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Major Project #New learning over the project
Animation Creation Process: In this project, I got a better understanding of the complete professional animation creation process. I learnt the process from the initial design concept to sketches, line drawings and then the gradual refinement of colours. More importantly, I learnt how to use marking and auxiliary lines to assist in the production process to ensure the proportions and motion consistency of the characters and scenes.
CHARACTER AND BACKGROUND DESIGN: I've made progress in character design by re-creating characters inspired by ancient Chinese paintings. By adapting details such as eyebrows, eyes and clothing, I have managed to create a more distinct and personalised image of my characters. In addition, I have also given due consideration to traditional architectural styles when designing the scenes, extending and applying them to my work, giving the scenes a unique regional flavour.
Animation Style: I actively tried the ink painting-like style and after many experiments and comparisons, I finally found the ink style that suits my work. I focus on the use of brushes and lines, and after selection and adjustment, I find the most suitable visual expression to make the image more textured and unique.
Elemental Design: I have explored elemental design, especially in the use of elements such as the image of God and the fish eggs. By combining these different elements, I create more creative and unique elements that add more visual appeal to my work.
MUSIC AND SOUND: I recognise the key role of music and sound in animation. By working with the music and sound effects team, I learnt how to choose suitable local music and plan the music timeline to enhance the emotion and atmosphere of the animation. In addition, I also experimented with recording and editing some of the related sound effects myself, adding more creativity and personality to my work.
Animation Skills: During the animation process, I have learnt to use a method of animation in steps, manage time wisely and use professional techniques such as the use of colours and auxiliary lines to enhance the quality of the production. I also tried to draw some animation elements that I had not covered before, such as fire and flying birds, thus enriching my animation skills. I have also improved my use of animation software, such as looping, camera use and marking techniques in TVPaint. I have configured myself with suitable shortcuts for more efficient production. In addition, I have gained a deep understanding of the importance of testing the production speed to ensure that the project schedule and key scenes are completed on time. Through the accumulation of these skills, I became more comfortable with the whole process of animation production.
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Major Project #Post 25|Development
Before the submission date, I managed to produce a relatively complete version of the project, which was much improved from the previous draft. Not only is it more complete, but it has also refined most of the subsequent animation effects, as well as some striking background colours.
I am very proud of my development on this project. Additionally, I plan to continue to move forward with the development of the project over the next month. During the next development process, I will fully complete the clean-up of the end section to ensure the smoothness and visual appeal of the animation. In addition, I have added colour effects to the animation to enhance its visual appeal.
Although the sound effects section is not yet complete, I have made some adjustments to ensure that the audience can not only hear the sound effects but also enjoy the music while watching. This integrated sound experience makes the whole piece more engaging and presents a richer sensory experience for the viewer.
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Major Project # personal methodologies of practice
Reflection and self-assessment of this MAJOR STUDY based on the Gibbs' Reflective Cycle:
Benefits:
I learnt how different cultures, music and visual elements affect the emotional and thematic communication of a story.
Familiarity with animation-related software and learning more in-depth could use some tips and techniques to accumulate effective experience.
Observing and studying other works, such as "CAGE' Folding Branches", "The French Doors", and "Blind Mountain" gave me a better understanding of the creation of horror atmospheres, from which I got invaluable insights.
I had the honour of participating in the EVA London conference and benefited from the feedback of professionals and teachers, boosting my confidence and expanding my horizons and thinking!
Disadvantages
The time constraints did not allow for smooth animations with high frame rates, which had an impact on the final presentation.
The overall length of the animation increased, making it impossible to submit a complete version of the animation in the required time.
The part that went well:
Successfully used some traditional animation film production processes, such as acting out the movements and expressions of the animated characters first, as well as capturing similar camera angles for reference.
Collaboration with the music and sound teams enriched the animation's emotional and audience experience.
The process and techniques of animation production with a step-by-step approach, the use of colours and auxiliary lines for clear differentiation and guidance, and the use of time management skills have provided me with a professional way of working.
Tested my own animation drawing speed to determine the time required and focused on completing key scenes.
Character design-wise, my creativity and re-creation brought success in making the characters more distinct and characterised.
The part that didn't go well:
The element design, it went through several modifications, which took time and effort.
As the original 2 minutes and 23 seconds was extended to 3 minutes and 17 seconds, this increased my working load, leading to the extension of the overall animation time and some steps encountered delays, making me realise the importance of better planning and time allocation.
Active contribution:
Collaborating with music and sound teams, planning time points, using a step-by-step approach to animation and creating your own animation to the best of your ability.
Why it went well:
During the knowing period, I actively searched for information and drew inspiration from other works, communicated with the tutor and professionals, and got feedback and benefits from them, which established a strong foundation for the following creations.
In the production period, I also adopted teamwork, especially with the music and sound teams, to enrich the emotion and audience experience of the animation.
I used skills such as the step-by-step approach and time management in the animation, which helped me to better control the progress and complete key scenes.
Why it didn't go well:
The many adjustments in music selection and element design were due to our attempts to find the most suitable way to express the emotion and theme, but this led to repetitive revisions of our music design.
The animation production time was extended because the planning and time allocation for some phases was not accurate enough, and a better time management strategy was needed.
My creative process as a whole this time was full of positive experimentation and collaboration, as well as some challenges. In my future work, I can further optimise time management to ensure better control of the project schedule. At the same time, adjustments to the design of the elements can be more fully planned and discussed over and over again at an early stage to minimise unnecessary duplication of work.
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Major Project #management 5
I am very fortunate to have more time to complete my animation projects. I've already discussed with Katy the scheduling of subsequent animations, and in the interim, I'll be making the most of the time. My plan is to start by working on the promotional video and presentation section over the next week. This section is crucial to the promotion and presentation of my animation, so I'm going to put enough time and effort into making sure they are of good quality.
When creating a promotional video, I will use creativity and skill to output the content of my project in a way that captures the interest of the viewer. I will demonstrate the core concept and highlights of the animation in order to convey the message my idea is trying to convey in a short amount of time.
At the same time, I am also committed to producing well-crafted presentation documentation. The documentation will clearly explain my animation concept, creative background and technical details to help the audience better understand my creativity and efforts. I will use appropriate diagrams, pictures and text to make the slide informative.
After completing the promotional video and presentation, I will use the remaining time to focus on perfecting my animation. I will tackle those parts that need further touching up. If time permits, I also plan to add background colours to my animation to enhance the visuals and overall appeal.
Although I may not be able to complete the entire animation project in a short period of time, my goal is for the teachers to be able to clearly see the effect I want to present. This will help to get valuable feedback before the exhibition and give me a fine foundation for completing future animation works.
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Forefront Post 10 |Stay (2022)
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'Stay' is a five-minute animated film, hand-embroidered, depicting the relationship between a daughter and her absentee father. It won the highly acclaimed McLaren Award and the overall award at the 2022 Edinburgh International Film Festival, and in the same year won the NAHEMI Student Film Award for Best National Student Film.
The author's use of the needle in the production process, combined with Photoshop, is what makes me love animation so much for the endless possibilities offered by this multimedia medium. While the subject matter and materials used in this work are not exactly original, the decision-making that went into skillfully blending them and presenting them on screen gives this short film a unique perspective. Through the use of semi-transparent sulphate paper and needle and thread, she creates a combination of blurred lines and translucent effects, a treatment that matches her understanding of her father's vivid childhood memories.
She has made an extra effort in both her ideas and her method of creation. I particularly like her idea of playing with ropes as a means of expression, as playing with ropes is a Chinese popular children's game. She used the effect of a mobile phone vibrating for a twist and repeated this expression several times throughout the work, thus catching the viewer's attention. I appreciate this creative technique and have also taken similar expressions in my work. Fish is an important element in my animation design, so I have also used this element many times in my artwork as a sign of a relationship between fish and women as a metaphor.
reference
Munday, R. (no date) Stay - a hand embroidered animated short film by Yu Sun, Short of the Week. Available at: https://www.shortoftheweek.com/2023/08/07/stay/ (Accessed: August 18, 2023).
Yu Sun uses needle and thread to animate the story of a young girl and her absent father (no date) Itsnicethat.com. Available at: https://www.itsnicethat.com/articles/yu-sun-stay-project-animation-201022 (Accessed: August 18, 2023).
Graduation film- stay (no date) Yu Sun. Available at: https://www.yusunnnnnn.com/ongoing-project (Accessed: August 18, 2023).
Short of the Week (2023) Stay | A hand-embroidered short film about absent parents. Youtube. Available at: https://www.youtube.com/watch?v=1SXZJs26UKY (Accessed: August 18, 2023).
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Forefront Post 9 |THE RAT 2022
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Weseefilm presents 'the rat', a brutal domestic violence scene animated from a drunken man's subjective point of view. The director of "the rat", Yuanqing Cai, and the producer, Tuan Muzi, led the production team together. This is also an animation using tvpaint, and the director is very skilled with this software and has sent out a lot of good tutorials on Bilibili.
There are two design elements that I especially appreciate about this animation. Firstly, the use of the rat metaphor to portray the powerlessness of the abused. The rat symbolises hiding, weakness and insignificance, and is a perfect example of a metaphor for the wife and children, the two members of the family who are in a vulnerable position. Although the rat is not a positive image, it is a projection of his family in the eyes of the drunken man, an object to be fought against and driven away. It also fits the environmental characteristics of the poor and backward urban-rural area, a design image that is very apt.
Secondly, the use of tumbling and gravity effects in space to show the vertigo of the drunken man, and the feeling of drunkenness and confusion through the distorted world in the man's eyes, complemented the plot, and the instability of this image felt fresh and vivid. There is also the image of the man vomiting out the fish, which is so realistic that it is as if you are experiencing the sensation of vomiting yourself. These subtle and vivid expressions highlight the director's deep understanding of drunkenness. In addition, story development from the perspective of a domestic abuser is not common in anime, which usually focuses on the victim's point of view, but this innovative perspective injected strong drama into the work.
The main influence this work exerted on me was how the backgrounds were drawn. Its detailed lines and simple colours present a complete animated background effect. In addition, it draws dilapidated home environments, broken walls, etc. in a vivid way, and this style has also been used in my own animation background creation. Although this background is drawn in a simple way, the effect is remarkable and makes the picture more vivid.
Reference
Box, A. F. (2023) THE RAT 癔症| family violence | Animated Short Film | BestAnimation |. Youtube. Available at: https://www.youtube.com/watch?v=yqKkiT5a3bI (Accessed: August 29, 2023).
哔哩哔哩番剧 (no date) 胶囊计划2022.
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Major Project #Post 25 |reflection and Development
I've been working on line drawing and trying to colour in recently, and I've got about 1½ minutes of line drawing done. This includes two of the most challenging and complex parts: a scene of a man pushing his way out from in front of a pile of dolls, and a part of two girls playing at a marketplace. These two sections were where I spent the most time.
I then talked to Katy about how to organise my animation schedule, and she offered a few suggestions.
Firstly, she suggested that I focus only on completing the clean-up for the sections from Scene 25 to Scene 33 and from Scene 35 to Scene 45. In particular, to reduce the drawing of the short-haired girl's hand movements in Scene 36, as well as to only clean up the characters in Scenes 40 and 41, keeping the background in rough animation.
Secondly, she suggested that I should spend the next week working on my blog and the promotion video and presentation, and when my friend arrives in the UK, we can focus on the rest of the animation together.
Finally, she suggested that I ask the sound team to turn down the music volume so that it doesn't completely drown out my sound effects.
These suggestions were very helpful in helping me to better organise my time and tasks to ensure that I was able to complete the animation efficiently.
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Major Project #Post 24|Experiment and Development
Test of the final effect of the stallholder
I wanted the men's masks to look like paper, making the viewer feel uncomfortable and creepy at first glance. However, using white straight away as the main colour of the mask might look too thin and bright. Therefore, I decided to darken the colour and turn it into a blue-grey. At the same time, I added a large red blush to the mask, a design inspired by opera faces.
By using blue-grey, I was able to achieve an expression of the coldness and discomfort of the mask. This colour gives a dreary, depressive feeling that echoes the brutal scenes in the theme. Compared to using white, blue-grey is more able to create an overwhelming and depressing atmosphere, allowing the audience to feel the inner state of the characters more deeply.
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Major Project #Post 23 |Decision and Development
In music production, we went through a process of three important adjustments. In the beginning, we spent a lot of time selecting regional music in order to conceptualise the appropriate music. Southern China covers a wide range of regions, including Sichuan, Minnan, Chaozhou, Jiangnan, etc., and there are significant differences in the musical styles of each region. For example, the music of Chaozhou is known as "two fighting geese" and contains a rich system of popular music such as the famous Chaozhou gongs and drums. However, considering that the scene design in my animation is based on the Huizhou architecture, which is mainly located in Anhui, Hunan, Hubei and part of Jiangsu. Therefore, the choice of music, although more mature and rich in Chaozhou music and easy to find references, was rejected in the second attempt of the version in favour of a style closer to the music of Jiangnan.
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The second version of the music
The second version of the music effect for the marketplace section was closer to a wedding music vibe, which did not match the initial musical tone and therefore did not have the desired effect. During the adjustments, we also found that the attempt to move the horror atmosphere to the part inside the man's house around 1:40 was unsuccessful, as the lack of a clear turnaround scene resulted in the emotional change being too subtle.
After discussion, we decided to keep the timing of the first version's twist in the third production, i.e. changing the musical atmosphere at 48 seconds, and at the same time adding a sacred musical element at 1:45, i.e. strengthening the musical atmosphere with a sense of sanctity in the idol section. In addition, we considered deliberately designing a silent musical gap before the final part of the door opening to create a contrast and contrast with the content of the HIGHLIGHT later on, so as to further enhance the expression of emotion.
Reference
Two fighting geese - 双咬鹅（潮乐） (2012).
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Major Project #Post 22 |Decision and Development
In order to better my animation process, I decided to take a fast-track strategy and focus on drawing line drawings of the animation to test how much I could get done in a week. I focused on drawing the most crucial big scene, the part of the bazaar to animate. This scene lasted about 20 seconds .
In order to organise my work more efficiently, I imported each character into a separate file for drawing. This approach helps me to be more flexible with character movement and effects during subsequent compositing. I can export each character's drawings as transparent PNG sequences and then overlay them with the background in After Effects to simulate 3D scene effects.
Through this quick development, I can get a better idea of my drawing speed and progress, and it also helps me to plan more purposefully in my subsequent productions.
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Major Project #Post 21|Experiment and Development
I'm currently focusing on moving forward with the clean-up part of my animation, and in order to better plan the animation process, I did a full character colouring session in order to organise a clear step-by-step process. During this painting process, I clarified the types of brushes to be used, the colour selections and the final effect settings. In addition, I created a clear three-view drawing of the character, which will be used as an important reference in the subsequent animation.
Drawing these three views of the character is critical to maintaining consistency in animating the character. They will provide me with a clear guide to how the character will look at different angles, ensuring that the correct proportions and appearance are maintained for every frame drawn in the animation.
During my painting process, I was obsessed with the first brush in the screenshot. This brush gave my images a unique texture and brought the whole work alive. However, one less desirable characteristic I found with watercolour brushes is that most of them have a semi-transparent effect. When I use these watercolour brushes, I find that they sometimes show through to the underlying colours as I paint. This is useful for mixing colours in a picture but can create problems when it is necessary to remain unaffected by the background. To get around this, I've adopted a method of adding a white base colour before painting. This way, the background is not revealed, even if the translucent effect of the brush is present.
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Major Project #management 4
Starting this week, I will try my best to make my CLEAN UP section. Although I may not be able to finish the entire animation in these few weeks based on my re-planning, I have made a lot of progress on all other aspects of the piece because my rough animation is done. I'm grateful that I've been able to find partners in different areas to work together to energise my work even more.
For animation music, I worked with my primary school classmate from the Composition Department of the China Conservatory of Music and her friend to write my animation music. We put a lot of experience into the production of the music, striving to create just the right musical atmosphere for my work. Their expertise and enthusiasm made me feel more confident in my musical expression. Their knowledge of traditional Chinese music is quite in-depth, which adds professionalism and regional characteristics to our music production.
In addition, through my boyfriend, I got in touch with the White Cat Legend sound production team. It's a very mature business team, and I'm lucky that they are willing to provide sound production support for my animation. What's even better is that they didn't charge me a fee, but left the sound production of my animation to their student team. They promised that they would be able to do all the sound effects for my animation, including the dialogues, in just one week and fast.
I am very confident to say that the team I have found is excellent in the field of sound synthesis and music production. Their high professional standards and talents will inject new energy into my animation and create a richer listening experience for the audience. The addition of these partners will further enhance my work, making it even more complete and engaging.
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Forefront Post 8 |Raya and the Last Dragon
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Raya and the Last Dragon is a Southeast Asian culture-inspired fantasy adventure animation commercial film produced and published by Walt Disney Animation. Its commercial success is not only a multicultural fusion but also a successful example of cultural export. The film not only successfully explores Southeast Asian culture but also draws on the region's diversified cultural elements to create a fictional and rich world. Watching the film, I was acutely aware of the amount of thought and research the animators put into building this Southeast Asian fantasy world, especially in the initial conceptual design of the world.
The film clearly shows all aspects of Southeast Asian culture, from clothing to traditional customs, from architectural styles to background elements, all cohesively richly researched and deeply learned. This fictional world is full of details, and every detail is infused with Southeast Asian cultural characteristics, enabling viewers from different cultural backgrounds to experience this intense cultural visual feast.
It is obvious from the excellent work that, whether it is a game or an animation, every successful design requires a lot of dedication from the designer, including field trips and in-depth study. This is also the reason why I spent a lot of time on pre-design when I started animation because I also strongly agree with this point of view. Although my MAJOR STUDY was a very short time, which made me afraid to spend too much time on design. But as luck would have it, the geographic location of my story is in the south of China, and I am a native of this region. I also love travelling and spending a lot of time in the countryside, so my knowledge of traditional architecture and other cultural elements is deeply rooted in my memory. This makes my designs relatively simple, and I don't need to spend a lot of time re-learning and re-interpreting them, as they are all familiar to me. I simply build on these foundations.
Raya and the Last Dragon's approach and concept of cultural output deeply attracted me. It not only presents the audience with rich cultural elements but also inspires me to incorporate familiar cultural backgrounds into my animation, injecting more emotion and uniqueness into my work. By studying the creative ideas of this film, I believe my animation works can better communicate the cultural connotations and resonate with the audience, creating works with more depth and diversity.
Reference
Burt, K. (2021) Raya and the Last Dragon’s many cultural influences make for a distinct world, Den of Geek. Available at: https://www.denofgeek.com/movies/raya-and-the-last-dragons-many-cultural-influences-make-for-a-distinct-world/ (Accessed: August 16, 2023).
Koeppel, K. (2021) Southeast Asian cultural representation in Disney’s Raya and the Last Dragon, Disney News. Available at: https://news.disney.com/southeast-asian-culture-in-raya-and-the-last-dragon (Accessed: August 16, 2023).
Studios, W. D. A. (2020) Raya and the Last Dragon | official teaser trailer. Youtube. Available at: https://www.youtube.com/watch?v=9BPMTr-NS9s (Accessed: August 16, 2023).
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Forefront Post 7 |The Windshield Wiper 2022
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The Windshield Wiper is a very personal and particular vision of Love and relationships. Presented by Pastel and crafted by the talented Alberto Mielgo, this work showcases his distinct vision as a writer, director, and designer. Produced by Pinkman. tv and Leo Sanchez Studio, it stands as a testament to Mielgo's matured creative direction
Alberto Mielgo is a very mature director who has worked on many notable productions including Harry Potter, Love and Death Robot and Spider-Man. This work was before 2023's Spider-Man: Into the Spider-Verse, but it can be seen in this trailer that this short film influenced much of his subsequent work in superhero films. Over time, he has developed a unique personal style that has been used successfully.
The film is a multi-dimensional digital animation that reflects Mielgo's creativity to go beyond the limitations of a single production tool. The film uses a combination of painted backgrounds and a harmonious mix of 2D and 3D elements to achieve a visual synergy between the modern and the retro. Notably, Mielgo employs certain shots that mimic live-action cinematography techniques, capturing the natural way in which a scene shakes and moves.
In contrast to creators who aim for surrealistic narratives and novel cinematic languages, Mirgo prefers the design of real scenes. This tendency may be attributed to his early experience in filmmaking. However, he boldly uses unconventional camera angles to effectively convey the emotional flow of his narrative. In addition, this work abandons a linear narrative approach in favour of a multifaceted narrative that writes multiple perspectives together. Rather than a single, overarching plot thread, it resembles an essay exploring perspectives, similar to an academic exploration of the multi-faceted nature of love.
Mielgo is an established director, full of experience and insights to offer. Whether it's production techniques, visual language or multi-dimensional storytelling, his work provides invaluable learning opportunities. I recognise my limitations as a writer and producer of experimental animation, and I greatly appreciate Mielgo's exceptional visual expression and storytelling. While my current project tends towards narrative-driven content, I've had challenges with script development and transitioning to polished storyboards. As a result, I am more able to learn and appreciate more from this film.
Reference
EverythingiMovie (2022) The windshield wiper [FULL VIDEO] Alberto Mielgo. Youtube. Available at: https://www.youtube.com/watch?v=RW-0nMPksfg (Accessed: August 29, 2023).
the windshield wiper’ reveals the many sides of modern love (no date) Animation World Network. Available at: https://www.awn.com/animationworld/windshield-wiper-reveals-many-sides-modern-love (Accessed: August 16, 2023).
Motamayor, R. (2022) How animated short ‘the windshield wiper’ influenced ‘Into the Spider-Verse,’ IndieWire. Available at: https://www.indiewire.com/awards/industry/the-windshield-wiper-animated-short-alberto-mielgo-interview-1234693351/ (Accessed: August 16, 2023).
Mielgo, A. (2021) The Windshield Wiper / TRAILER 2021. Vimeo. Available at: https://vimeo.com/568179562 (Accessed: August 16, 2023).
The windshield wiper - NEW — + (no date) +. Available at: http://www.albertomielgo.com/the-windshield-wiper-1 (Accessed: August 16, 2023).
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Major Project #Post 20| Decision and Development
First Edition Music Effects
After completing all the sketch animations, I spoke with my music production friend and came up with an excellent result. There are still a few details that need to be tweaked, but the overall tone is already in line with what I was looking for. I deeply enjoyed the musical ambience and it provided the perfect support for my animation. The music has a strong Chinese folk instrument fair feel to it, along with an excellent horror atmosphere in the second half. Although I think there are still some elements that need to be tweaked, this music has set a solid foundation for my animation.
Together we worked out a schedule, broke down the music, and I extracted key parts of it for translation:
0:10-1:00: The music unfolds in a light-hearted key, using a multi-instrumental compilation to create a festive bazaar atmosphere.
0:57: The music suddenly becomes eerie, conveying a mysterious, unsettling feeling through the tones and musical elements.
1:09: A brief hint of dissonant music, but then shifts back to a light-hearted theme that brings tension to the audience.
1:43: Appearance of the idol, with music featuring winds to emphasize the sense of sacredness and ritual.
2:30: The scene with the open door begins with music that creates great tension and adds more layers to the tense atmosphere of the scene.
By combining this with music, my animation was able to convey emotion and plot more vividly. The different elements of the music bring a different mood to each scene, which fits perfectly with my animation goals. I am very grateful for the collaboration with my music partner, whose music adds to my work and creates a richer viewing experience for the audience. In future revisions and refinements, I will make sure that the music and animation echo each other to create a great piece of work together.
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Major Project #management 3
During the creation of my animation, the initial plan was to complete the rough animation in a period of about three weeks. However, the reality of the situation forced me to extend it by at least two weeks. There were two main reasons for this extension.
First of all, the animation was originally planned to be two minutes long but due to the animatic change it was increased to 3 minutes and 15 seconds. I realize was quite a long time for me during the actual production. This is also the reason why my drawing time increased dramatically.
Secondly, I had many large scenes and multiple characters in the animation process. This posed a drawing and design challenge, as each character needed to be carefully portrayed and have a certain fluidity of movement, which made it necessary for me to allocate more time to each character and scene to make sure that they all worked as I designed them.
I was very fortunate to attend the EVA London Academic Meeting and this experience has had many positive effects on me. The academic conference has given me more confidence in my work and has provided me with new inspiration and motivation. At the EVA London conference, I had the opportunity to chat with many teachers and practitioners who showed great interest in my work and stories. Not only did they listen attentively to my presentation, but they also gave me valuable advice and feedback. This positive interaction made me feel that my creations were being recognized, and at the same time made me more confident that I was on the right path.
At the same time, I also made many new friends at the meeting, with whom I shared my creative ideas and experiences. This kind of academic exchange gave me a strong academic atmosphere. It took me two days to attend the conference, and as a person who is not very good at being socially active, I needed to take a day off to recover. However, I know that this experience was invaluable to me. It not only boosted my confidence in my work but also made me more committed to my animation. The experience of this meeting became an important point in my creative journey and brought me new motivation.
All of these reasons led me to need to re-plan the content, so during the tutorial I discussed with Katy what to do after that as I had less than 5 weeks left at that time. In the end, we decided to just draw keyframes in some of the less important scenes and remove some of the content. we decided that I would only draw keyframes in some of the less important scenes and remove some of the content. And I spent the next week testing my production speed by focusing only on clean-up at full speed.
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Major Project #Post 19| Development
The scene of the girl falling ensued. In order to gain a deeper understanding of the character's movements and to vividly feel the sensation of her falling, I took the approach of recording the falling scene myself. I realized that by experiencing it myself I could better understand the character's feelings and movements in this situation, thus giving the animation a more realistic and vivid effect. To accomplish this, I attempted the fall myself to better capture the pose and feeling of the fall.
However, due to the high friction of the carpet, I accidentally bruised myself in several attempts. Despite the difficulties and challenges, I firmly believe that these efforts are very necessary. In order to create quality animation effects, I am willing to put in many attempts and efforts. Through hands-on experience and practice, I was able to understand the characters' emotions and movements more deeply, adding more realistic layers and details to the animation.
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