Month: June 2024

Blog_01: Start preparing the FMP animation project

This week, we submitted all our third-semester assignments, so I decided to start preparing for my FMP. I weighed the option of continuing with my original animation and modifying it, but I realized that the animation scenes contain too many character models. Most purchasable models are limited to a single pair (one male and one female), which does not align with my initial story setting. Additionally, the Chinese ancient architecture featured in the story, including palaces and traditional streets, is too grand. Without a complete scene, the project cannot be easily started. Thus, I began creating a new script, hoping to continue my undergraduate focus on psychological disorders by crafting an animation that conveys the suffering experienced by individuals with depression. These pains are depicted both literally and metaphorically within the script.

I compiled some key terms: somatization, pain, fatigue, sensory anomalies, psychological disorders, mental illness, emotional disturbance. I transformed the somatic symptoms of depression into a boy’s dependence on medication and communication, a sense of falling, and sudden tinnitus, incorporating these elements into the story. The narrative follows a boy who relies on medication to manage his depression. One day, he skips his medication, causing his surroundings to become oppressive. After taking his medication, he returns to reality.

In this stage, we will attempt to create a suitable character for this story. I’ll continue using Apollo as the base model for this animation, experimenting to achieve a stylized effect. This allows us to explore different animation styles and gain more experience in stylized production. Let’s start by changing the character’s hairstyle to quickly set an appropriate age range. The initial hairstyle made the character look younger, but the thin hair on the sides lacked depth. So, I chose the third hair model for a better fit.

Week 10: Completion of the ARTIFACT Project

With the dedicated efforts of me and Shihong, we managed to render the project in the final week. During this process, we encountered numerous technical challenges and made certain adjustments to the performance of our project. Here, I present the video:

Additionally, we have uploaded segments of our creation to YOUTUBE, accompanied by various background music tracks.

During this semester, we embarked on an exploration of experimental animation and investigated various methods that could expedite the project production process. In terms of animation, we employed video motion capture technology to acquire our dance animations (after all, we truly cannot dance, yet we were eager to create animations of this genre). Apart from the dance animations, all were keyframe animations. Both methods are broadly similar in their production approach; however, video motion capture aids animators in achieving the desired results more swiftly (though the output quality may not be as high).

Week Five: Attempting to Create Video Motion Capture Data
Week Nine: Importing Motion Capture Files into the ADV Model

In this project, I attempted to integrate the technology of UE’s virtual camera. However, similar to the unused ‘three-render-two’ technique, this technology proved to be quite challenging to manipulate and tended to impact the final output quality adversely. I hope to utilize it more effectively in future projects.

Week 3: Controlling UE with a Smartphone
Week Four: Character Costume Design and the Creation of 2.5D Textures for Models

Week 10: The animation exercises for this semester have concluded. One should never lightly attempt an animated character without clothing.

Here is the final version of this animation (Why is there no clothing? Because I attempted to create a military uniform for this character using MD software. However, due to the character’s extensive range of motion, the cloth simulation resulted in the garment tearing into pieces. Therefore, I had to abandon this idea. Once I find a solution, I may revisit and add the clothing).

During this semester, we began by revisiting the logic of character movement, posture, and the principles of timing and spacing in animation through exercises with the BODY MACHINE. This foundational work was instrumental when we later practiced character dialogue. The exercises were excellent, prompting reflection on numerous issues encountered during animation production. We also identified several key problems that need to be addressed. For instance, I tend to overlook the ‘POSS’ issue when creating animations, which I should probably practice more to overcome. Additionally, I’ve been neglecting the sense of space in animation. However, I’m confident that with further practice, I can quickly resolve these issues. Thus, reflecting on animations and learning from the works of others are valuable lessons I’ve acquired this semester.

Summary of Learning Segments for This Semester: 

Week Eight: Identifying issues within the Blocking phase of animation
Week Seven: Let’s make progress by identifying the errors in our animations. 
Week 3: Distribution of SPACE for Character’s Center of Gravity in 3D Animation

Week Nine: Lip Sync Adjustments and Some Thoughts

After last week’s practice, we have obtained a rough outline of the animation curves and made some modifications to the lip sync. Now, we need to pay more attention to the finer details of the mouth, such as the presentation of the character in the camera’s view. Therefore, the spatial relationship between the character’s teeth and lips requires careful consideration by the animator before making a decision. There is no set formula; I believe it’s more about understanding the relevant knowledge and the animator being aware of this during the animation process.

The sense of space between the teeth and lips

It’s important to avoid overly realistic dental details in the mouth cavity (animation should prioritize expressive quality over realism to achieve better performance effects).

SomeThought

I have consistently compared my animations with those of advanced animators and realized that my work may lack an element that imbues the animation with a soul, known as subtext.

Since 80% of human communication is expressed through body language, I could incorporate appropriate secondary actions in my animation performances to differentiate the emotions within my animations and advance the narrative process (once I have mastered the technical aspects of animation production). Currently, it may be even more important to pay attention to character design during the animation process, immersing oneself in the creation.

Week Nine: Importing Motion Capture Files into the ADV Model

During this week, we initiated the repair of our motion capture data and commenced the production of specific animation sequences in line with the narrative demands. It is crucial to acknowledge that the data derived from video motion capture is inherently flawed, necessitating its importation into MAYA for the refinement of motion data. This encompasses the recalibration of footstep placement and the rectification of distorted joints. Upon examination of our motion capture data, we find that each frame is populated with data, prompting us to discern and eliminate the stationary footsteps adhered to the ground, as well as to extensively prune the erroneous frames. Moreover, certain frames bear no relevance to our reference footage, thereby requiring their complete excision and the subsequent reanimation of those intervals.

Over the course of this week, we have embarked on rectifying our motion capture data and crafting specific animated segments that align with the script’s demands. Pertaining to the motion capture data, it is imperative to recognize that the data procured through video motion capture is incomplete. Consequently, we must import it into MAYA to amend the motion data. This involves fine-tuning aspects such as footstep alignment and correcting any distorted joints. Our scrutiny of the motion capture data reveals that each frame is replete with data. Hence, we isolate those footsteps that are affixed to the ground without movement, and we extensively excise erroneous frames. Furthermore, there are frames that are entirely incongruent with our reference video, which necessitates their full removal and the re-creation of animations for those specific durations.

Week 8: Resolume Arena Project Output

Today, we commenced the process of exporting our Resolume Arena project. The export interface distinctly categorizes videos into various dimensions, facilitating the projection of graphics onto disparate screens.

Detailed Operation:

Projecting the Resolume Arena project file onto a physical wall surface through a projector is an invaluable technique, particularly for VJ artists and live performers. Let’s examine the step-by-step process to achieve this. Initially, we must ensure that our Resolume Arena project file is fully prepared, with all media content imported into the project. This is an essential prerequisite before commencing.

Subsequently, we need to configure the projector. This involves establishing the necessary hardware connections and verifying its operational status, which may include power connections and signal inputs. Next, connect the projector to the computer running Resolume Arena via HDMI or another compatible connection method. Consequently, our computer can transmit the image signal to the projector.

Within Resolume Arena, navigate to the Output menu, select Display Setup, and confirm that your projector is recognized as an output device. During this process, we may need to adjust the screen resolution and position to align with our projection area.

The most critical step was to use Resolume Arena’s Mapping to adapt the video content to the actual wall. This may include Angle correction, size adjustment, etc., to ensure that the projected image fits perfectly with the wall.