The Animatic and storyboarding process of an animated film, arguably, is the most important step, as a visual piece of narrative work has less value when there is no purpose behind its presentation. Considering this within documentary contexts, since the ’narrative’ displays factual accounts I felt it important to not just replicate real life but really utilise the animated form in a way that can express metaphoric subjectivity. As stated in Storyboarding: A critical History by Pallant and Price, storyboards in the contemporary age assist massively with understanding continuity editing, and it is essential to understand narrative aspects in my film, and how these different pieces of dialogue will stitch together in a meaningful way that can be visually interlinked.
Going forward Into the following weeks, I aim to complete my previsualsation as soon as I can as ”Previs presents the most accurate vision possible with resources available” (Pallant and Price, 2015, Pp. 152). This will also give me a stronger idea of any additional assets I will need following the list I have created below.
Asset Modelling List
Reference
. Pallant, C and Price, S. (2015) Storyboarding: a Critical History. Basingstoke, Hampshire: Palgrave Macmillan. .
To test different environmental aspects of my designs, I wanted to explore and test various cloud simulations to better understand how they work and see how they can be applied to the aesthetics of my overall film. Since I am utilising 3D software, U thought it would be a good idea to explore different simulation options I could attempt due to my overall lack of experience with using them.
Cloud using areo in Bifrost
My initial attempt to create a simulation was by learning to use the cloud areo feature in Bifrost, as I found a tutorial that looks at creating a more high-density ’realistic’ looking cloud. While stylistically, I am looking to go more ‘cartoony’, I also want to explore and see if a very stylised ’toony’ character will fit in more semi-realistic environments to see aesthetically how that will contrast.
The Initial step was creating a sphere and using a deformer to create random vertex placement; this allows for a more naturalistic-looking mesh that could, in essence, replicate a cloud.
Creating Random Vertex Placement
After this, I utilised the geometry paint tools to create further mesh disparity. In using the cloud paint settings, I was also able to create a displacement of several spherical balls that will randomly surround the mesh in a way that will form the ‘look’ of a cloud.
After FloodingBifrost Aero Simulation
Attaching the Bifrost aero to this collection of the mesh created a simulation which replicates the movement and overall look of the cloud. When using the Bifrost simulation, it became apparent the importance of lighting to get the desired look instead of relying on textures; they were ineffective. This already indicates several issues with my intended stylistic approach to my film as I will not be able to apply a toon-shader to this simulation, and it might look very odd in contrast. Even in an attempt to blend more realistic simulations within the film, the sheer amount of voxel density and lighting required for this simulation will also drastically up the render time, giving me less time to work on the animation itself.
Early test Sim
N Particle Test
In a similar light, I attempted to use N Particles to create a more ‘smoke-like’ effect for the chimneys. In this, I used a particle emitter to explore different speeds and effects which I can manipulate to fit different wind speeds and climate conditions. This overall, however, did not create the effect I wanted to achieve as when I applied the toon shader, it once again blacked out even in differing lighting conditions.
Modelled and Animated Clouds
Taking this approach forward, I decided to take a similar approach in creating a cloud-like mesh by using lots of spherical objects clustered together. Due to the fact the aitoon shader does not outline each individual shape or wireframe but only outlines the exterior edge of the overall combined mesh, I thought I could use this to my advantage to create the best overall effect. I also feel this very circular, soft-looking style will help create an environment that is reminiscent of toys/ children’s television shows that will add a contrast to the darker subject matter visually.
Since It proved not effective to add a simulation to this type of cloud, I explored several different methods in which I could animate these clouds in different situations that will be required for my film.
As generalised background passive animation, there should be clouds in most of my shots moving within the sky that is visible to the camera. To explore a really simplistic way of moving these that gives a weightless look without spending an excessive amount of time making the motions replicate that of a simulation.
Another essential use of ‘clouds’ will be the chimney smoke that emits from some of the characters at several points within the film. For this, I began an exploration of motion that gives the impression of expansion and dissipation with the mesh.
Next Week’s Goals:
I am to work extensively on the storyboarding and animatic process.
Toying with the concept of lockdown and being trapped within the confines of our own homes, I decided this week to explore the various different ways in which you can characterise and personify a building. As this film intends to be fully 3D animated, it begs the question of how I will create facial expressions and also bodily movements in order to sell the 12 principles of animation.
https://www.tripzilla.com/photo-square-head/5306
The image above shows the ‘The Square Head’, which presents a habitable sculpture which is also used as a library. This posed several different aesthetic considerations for me when going forward with my designs, which are:
How can you creatively interpret a habitat?
How can you personify a habitat?
Below I explored my initial moldboard with several images from the interest which sparked my interest aesthetically but also explored strongly with shape and colour from various places across the world. My particular interest in the below moldboard is accentuated in how Pixar personified their character for the film ‘Cars.’ By employing the physical shape of the car, they created expression by implementing the eyes within the front window and using a ‘screen’ to create eyelids and eyebrows, which convey emotional expressivity. For the cars, they have created mouths within the front of the vehicle instead of using the cars ‘hood,’ so to speak.
‘To-Mater’ from Cars (2006)Initial Moodboard
Applying this concept, I have created some initial ideas as to how a house will appear and interact as a ‘living’ object. While later on, I will potentially make some closer ideas about how eyes can be used within the space of classically presented windows and also how upper facial expressivity will be conveyed. For the time being, I have looked at mouth movements, which can be represented by the door opening and closing, to achieve mimesis. While this may cause a lack of emotive expression, I feel it will fit well within the confines of aesthetic personification in this context.
Initial Concept 1
Regarding location-based designs, I wanted to try and explore how I could encapsulate specific stereotypes associated with locations and find a balance between architectural and characteristic traits. Below is the painting “Two Gentlemen Out Hunting” by Henry Barraud, which seems to capture the stereotypical English gentleman aesthetic I was trying to translate within a more ‘modern’ building to try and match the accents portrayed in my documentary into the character design.
Two Gentlemen Out Hunting (oil on canvas) by Barraud, Henry (1811-74)
Reflecting this, the below drawing indicates a building with a classic ‘monocle’ and a roof which somewhat resembles a top hat. I also wanted to try to draw parallels between English gentlemen smoking ‘pipes’ and the use of chimney smoke. However, while this concept leaves a lot of space for visual exploration, I feel it adds to a conversation about the animated documentary not being correctly represented. This play on stereotypical behaviours could add to a conversation that helps generalise and strip down the personas of the individual to an extent. I also feel that colonial historical links with the English gentry feel inappropriate in the space of this subjective documentary space.
Initial Concept 2
Considering the modern architecture associated with cityscapes, with the below concept art, I wanted to explore how the skyscraper-type character would walk and interact, as both architecturally and visually, they are typically very stiff. I took heavy inspiration from 432 park-avenue in new york, as it is very tall but very skinny in structure which I thought would be interesting to toy around with. It is also rather iconic within the new york skyline, which sets its modern-day presence.
Initial Concept 3
In order to see how this would work in 3D space, I wanted to create a rough 3D model to try and work out how the leg placement and overall body structure would work within Maya. I also wanted to start the initial rendering exploration and test the look of Arnold’s AI toon shader to create a more primary, simple aesthetic which adds a simplicity that is reminiscent of children’s animations.
Rough 3D Model TestAi Toon Shader Application
Next Week’s Goals:
Going into next week, I would like to explore the various FX I may need when creating the animation, such as clouds and smoke, in order to explore Maya Bifrost systems, as well as find an aesthetic match.
Going forward with my documentary structure, I have taken videos of the different interviews and tried to edit them together to create a coherent documentary narrative structure. Our brief indicates that the final major project should be within the limits of 1-3 minutes; however, the current edit below runs slightly over that. Baring this in mind, I still feel that the current length allows more space for the interviewees to speak more fully about their experiences and adds further emotional quality and informational aspects to the video that I would not be able to cover with less time. I will create space, however, for easily removable sections for contingency and also in case there is a limit that needs to be adopted later on.
The process of editing these clips has given me introspection into the inherent control and interpretation of documentary, considering the ideals of the film inevitably shaped it “in relation to an imagined eventual audience” (Ellis, 2012, pp.64). The process of cutting these clips together made me consider what I inherently want to convey and what I think the audience will gain from the experience of perceiving it. In part, my primary aim is to reflect on the ‘mundane’ of the lockdown that ensued through the coronavirus pandemic, stressing what an everyday experience could be in the eyes of the people around me. However, my other aims also beg the question of a wider viewpoint, what did the pandemic mean, and is it something we should not just brush aside to move on from but hold onto in a space of self-reflection? I feel it is a time period to be remembered and considered in more than just a widely catastrophic way, but to force viewers to focus on experiences perhaps not too dissimilar from their own. Helping incite a connection with not only the animated agents on the screen but also with themselves and who they have become due to this time.
Looking further into the thematic ideals surrounding the aesthetic for this documentary, I want to play on Grierson’s “creative treatment of actuality” (1933, Pp.8) by utilising the animated form to make a more conceptual and abstract version of the video above. An intriguing aesthetic exploration I have taken particular inspiration from is Max Mörtl’s ‘Island’, which aesthetically encapsulated different characterised and stylised environmental aspects that explore a world or reality that feels both alien and earth-like in the way it interacts and behaves. I also feel the way it uses sound to enhance its charm and performance is something I will consider using within my own film, despite its use of the indexical recorded voice. As stated by Honess Roe, the “non-conventional relationship between image and reality in the animated documentary also places greater emphasis on the soundtrack” (2013, pp.2). This heightens my exploration and intrigue into the use of the voice and how I intend to portray it.
Going forward into next week, my aims are to begin character design and development as well as produce more solidified artistic concepts.
References
Grierson, J. (1933) ‘The Documentary Producer,’ Cinema Quarterly, Vol 2. No. 1, Pp. 7–9.
Honess Roe, A. (2013). Animated Documentary. London: Palgrave Macmillan.
Ellis, J. (2012) Documentary Witness and Self-revelation. Abingdon, Oxon: Routledge.
This week we had an introductory workshop on the unreal engine, and in particular how to create particle effects. The main goal was to create a ‘health’ spawn point. Due to this, the first step was to create a cross within photoshop, that had a black background and a white foreground to mimic an alpha channel.
After this, we created a material that this x channel would be applied to, and from there we applied this material to an NB Particle system, which gave the appearance of ‘floating crosses’. We then manipulated different aspects of these such as the gravity and particle spawn to create a softer more inviting look (To engage potential players that is it safe to approach) and created a ‘glow’ effect in the material colour area to make them stand out.
NB Particle System
After this NB system is created, It can be linked to an NB particle emitter within unreal, and placed in the scene where it can be transformed and manipulated and potentially animated.
Considering all aspects I will have to consider when producing an animated documentary, I thought it essential to ponder the means I wish to represent its stance in the argument surrounding animated documentaries’ validity. In my thesis, I am exploring animated documentaries’ subjective and inherently performative nature, which can benefit and detriment to overall viewer engagement. Taking this idea into account, I further brainstormed several ideas that could stem from utilising the animation medium and being very intentional with my artistic stylisation; Why choose animation over live action? And how can this be exploited symbolically?
A key and central piece of work that has inspired this train of thought is a fairly recent Aardman animation which, in a similar vein to Creature Comforts, utilising the visual representation of caged animation to create an indexical link between confinement of humans and animals within in the broader context of Covid-19. When using animation, I wish to think about direct correlative imagery that matches and contrasts the subject matter in a way that spins additional meanings.
In a live-action sense, interesting documentaries that truly push the border of subjectivity are documentaries such as ‘Married to the Eiffel Tower ‘(Piotrowska 2008). Within the realms of this film, various extremist ideas are showcased in a manner that truly allows space for individual experience. It also only gently implies, rather than heavily reinforces, that certain people reach certain extremist views based on traumatic experiences without being condescending. Ideas I want to expand on from this are truly showcasing a person’s experience in a way that can help visually encompass individuality while also retaining anonymity through animation.
For my premise project, My primary goal was to explore different aesthetic animated interviews, with conflicting visuals and tones. The first is a more serious, darker and atmospheric idea, which is a reference to police interrogation rooms. The second is a more abstract and personal stylisation which pushes more performative and fantastical elements of subjective accounts.
Showreel
Below is a short showreel which goes through the different steps to create each project, particurarly breaking down the process of creating the 2.5 D and the layers it required to create.
Critical Reflection
Over the past 10 weeks of this premise project, I was able to get an understanding and apply old methods and learn new ones to see where I want to expand my visual identity as a documentary filmmaker. I think my main successes lay in the personal adaptation of ideas, particularly in the visual stylisation of the 2.5 D tests. However, Since this is only a premise, I can largely see and understand the various aspects that need improvement in order to be a completed film. Firstly, regarding the first interview, I feel that if I had adequate time, I would have improved the animation to be much more lifelike and fitting to the visual surroundings. I particularly feel that the lower body animation was much too stiff at points, and did not flow as naturally as the facial movements. Going forward with this in mind, I will allow more contingency time for these styles of interviews, or opt for a simpler animation style.
The secondary issue I noticed was the quality of the blend between the 2D and 3D assets in the second interview. I feel the AI toon shader creates a much cleaner and smoother line which evokes a much more computer-generated stylised look to it than the rougher lines of my Tiff image. I also feel that the alpha channel cut some of the detail from the edges, causing the lines to look clipped at parts. I think going forward with this idea it will be important to consider aspects such as 3D modelling all aspects of the scene but creating a 2D-looking render, upping the quality of my line drawings, and applying hand-drawn textures to the 3D models using brushes that are consistent with my 2D assets.
Taking these two visual explorations forward, I wish to pursue finding a middle ground between these two ideas and create a coherent and fixed visual identity that uses the more clarified and detailed facial expressions of the first design, with the stylised and abstract nature of the second.
Project Schedule Plan
Below indicated my project schedule plan for creating my short animated documentary film, including time over the summer which will be essential to get a kick start of animatic creation and character modelling attributes. My main goal is to finish all pre-production, modelling and main aspects of rigging by mid-September so I can really focus on character performance from that point on.
I have also laid out and indicated a technical pipeline for myself, so I can consider which order things will need to be completed in for the most efficient time management going forward.
Progressing onto the next few months of work, below highlights the final major project I wish to produce. Within this, I really wish to explore the animated documentary genre and push for an aesthetic uniqueness that helps me shape and adopt a personal style that compliments my drawn works.
https://vimeo.com/725841618/066fdeca6d
Aesthetic Contrasts
During the development and production of my premise project, I explored two visual ideas that derived from different aesthetic inspirations, during the next few weeks I intend to merge my research into the two into one visual identity in which I can adapt the entire piece of work by. As stated earlier in my blog, there are mentions of virtual worlds such as video games within my recorded footage, which I will explore integrating within the film. This may include clips of recorded video game footage that are displayed through a modelled and rendered television screen within my documentary.
Within the next month, I aim to have completed all of my interviews so that I can start to adapt my work into its pre-production stage.
Below is the finished result of the 10 weeks of production, and features two different versions of the short film. The first is my initial plans for the black and white movie aesthetic, which feature post-production editing such as flickering and vignettes to try and emanate the feel of a real 1930s production.
https://vimeo.com/722972206/2ff2e18f27
Colour Version
I have also published a coloured version to accentuate and make clearer the actions and lighting aspects of the rigging and highlight elements that may have been missed within the black and white edit.
https://vimeo.com/722971495/ca414fb7a1
Showreel
Below is a showreel of the different steps and elements of the pipeline which has led to this finished overall result and indicates the building block and steps involved. During this, I summarise the key modelling elements, and preproduction areas such as the animatic, musical development, previsualization and animation.
https://vimeo.com/727405655/7897e88774
Miro Board
In a similar vein to the collaborative module, I decided to use miro to visually track my pipeline and progress as the project went on, so I could get a clear understanding of where I was at each point within production and what my next key step was.
Upon the 10 weeks of production in which I created this project, I would largely say that it was successful in the amount of work produced in the given time period. I think pushing myself to do an unconventional animation style has helped me understand and explore various aspects of keyframing I had not considered when utilising Maya’s interpolative systems that benefit from transitioning between frames. This being said, I think various elements of my project fall flat due to the animation, and it loses its aesthetic consistency at times that can look jarring and slightly rushed. As I have assessed earlier, I wished to add more time contextual dances to my film to create more direct references, however, failed to plan my film effectively around this to incorporate it. I think if I was able to extend my time on the project, I would spend a lot more of my process on the animation section of the pipeline, to create a more consistent stylisation.
I also feel that my limited knowledge of rendering and lighting at times causes issues due to the excessive noise at some parts of my render. While this works stylistically with my piece due to its ‘outdated’ technological context, I feel going forward I will allow myself more contingency time with rendering, as I found I had to settle for certain lower-quality renders due to time constraints. When it came to the rigging process, I was happy with what I achieved, as I was able to create and understand exactly how to make a detachable rig using parent contains. However, In order to push me in the future, I wish to learn more about IK/FK switches as non of my rigs have this included to date. I think this will be an incredibly useful rigging tool later on.
Another key area I want to push in future projects is texturing. As I stated in one of my earlier blog posts in research, I stated how I wanted to explore the incorporation of German Expressionist painted background into my scene. Due to time constraints, I was not able to allocate efficient time to this cause, but I think learning to paint textures onto 2D models will help immensely with projects and the future, and push myself to create a more independent visual identity in my work. To look further into this idea, In the following months, I am going to explore 3D painting within software such as Nomad and Procreate, as well as photoshop, to get a clearer understanding of this style of texturing. This may also extend to learning how to use Z-brush for sculpting purposes.
Considering my main focus of this film was animation, modelling and 3D, I am happy with the soundscape I was able to create with my own abilities. While I had intended to reach out to musicians to help compose the sound design for the film, I, unfortunately, was not able to, and had to primarily make do with freesound.org and my own composition in Garageband. In future, I think I will continue to utilise this tool to help myself audibly communicate ideas with sound students/ composers.
Extended Reading in Relevant Areas
.3ds Max Projects: a Detailed Guide to Modelling, Texturing, Rigging, Animation and Lighting. (2014). 3D total Publishing. Worcester:3dtotal Publishing.
.3D Animation Essentials. (2012) Andy Beane. Indianapolis, Ind: Wiley and Sons.
. Principles of Three-Dimensional Computer Animation: Modeling, Rendering and Animating with 3D Computer Graphics. (1998). Michael O’Rourke. New York: W.W. Norton.
. Character Animation Fundamentals: Developing Skills for 2D and 3D Character Animation. (2011) Steve Roberts. Oxford: CRC Press.
.3D Art Essentials: The Fundamentals of 3D Modeling, Texturing and Animation. (2011) Ami Chopine. Amsterdam; Focal Press.
.Norman McLaren: Between the Frames. (2019) Nichola Dobson. New York: Bloomsbury Academic.
.The Film Work of Norman McLaren. (2006) Terence Dobson. Eastleigh: John Libbey Publishing.
Finalising my 2.5 D animation style tests, I felt to tie the feel of the section together I have created a title card, which reflects and matches the overall scene environment so that I can create a somewhat convincing transition between the title card and animated shot.
Title Addition
The main thing I wanted to achieve with this is exploring a way I could integrate the questions into the scene without using any additional voices. While I am considering leaving my own interviewing voice into the film overall, I think it somewhat takes away from the isolation of the interviewee in a sense, which is the overall tone I am going for. By addressing filmmaking techniques directly within the film, I am taking away from the performativity somewhat, which is something I want to test within my thesis studies. So for this premise project, I really wanted to hone in on the re-enacted aspect of animation. By including this question I am introducing a context for the speech while maintaining an aesthetic identity.
Interview 2 (2.5D Style Premise)
Below is the finalised shot for my secondary interview, which included the rendered animation from the previous week’s posts. I feel the final outcome along with the edit works well enough for the time being to get the idea across. However, I think in future, I would not create a cross fade cut and would create another pan down to the character, in order to make them feel like they are further part of the same scene.
Interview 1
As well as completing the first interview, I was also able to edit together the first interview process, in which I really tried to stress the ‘crime noir’ aspects of the overall tone, and with the addition of the ‘typewriter’ sound and visuals and the flickering lights. I wanted this style of ‘part 1:’ and ‘part 2:’ to potentially compartmentalize the different sections of my documentary and the questions they regard. When all of the footage has been collected, I believe this will be a good way to help shape the narrative focal point that all the interviews stress when put together, and figure out exactly what the message I want to convey is. I think this will be an effective way to express the general topic without trapping each person to specific questions, and let the spotlight fall more on the subjective experience without the audience’s expectation of response.
creating the finalised edit for the submission next week, I will have time to revalue and critically asses my next steps going forward with this project.
