First of all, I overthought things and got it completely wrong by ignoring everything I had learned about animating the bouncing ball. Keep it simple, stupid!
Regarding the Bouncing Ball
I came across a blog, a tutorial, and other people’s animations, and I learned that when you jump (like an athlete), the path you’re creating in the Y-coordinate space—which describes your height—is not a perfect parabola. This is because of the friction that affects your body as it moves through the air. While this is true, I exaggerated it too much.
In reality, the path still follows a parabola, representing an organic movement with ease-in and ease-out. It may slightly deviate, becoming more pronounced on the left side of the curve, but it still represents the pathway from the floor to the highest point of the jump, where the body momentarily stays in the air before it begins to fall.
Regarding the Blocking
The blocking confused me when I initially planned the animation. I sketched out triangular motion trails for the jumps, but it should have been a parabola! Fair enough—when Maya is set to linear tangent interpolation and the trail option is displayed, it shows these triangular shapes. However, this isn’t mechanical; it’s an organic motion, so the path should still resemble a parabola.
Regarding the Tail
The tail should follow a similar trajectory to the ball, much like the roller coaster example where the ball is the front carriage and the subsequent parts of the tail are the carriages that follow. My first attempt resulted in a stiff tail, which is the opposite of the desired fluid appearance.
Tailed ball animation in spline exercise
Redoing blocking
To achieve fluidity in the movement of the tail and eliminate stiffness, I began to redo the blocking stage, in reference to the feedback given. I drew the table that depicted the breakdown of 1 jump into 10 keyframes, to better navigate the following movement of the tail. I used that as the reference point, to check against while animating.
This is a screenshot of the work-in-progress during the blocking stage. The motion trail in the viewport currently has a triangular shape, which is typical for this stage. Moving forward to the spline animation phase, my role will be to refine the pathways to better approximate organic movement by reshaping them into parabolas. To achieve this, I will add more keyframes, providing Maya with additional data to create smoother parabolic interpolations. This approach addresses the default linear interpolation caused by the limited coordinate space data provided during the blocking stage.
Delivering spline animation
Delivering an animation in spline requires working within the graph editor and the viewport to adjust the interpolation curves, ensuring they approximate organic movement while checking the outcome for both appearance and feel.
The automated spline interpolation function facilitates the transition from linear tangents to spline curves. However, due to the limited sample data provided, this often results in visual artifacts. Therefore, manual corrections are necessary to refine the animation.
The concept of authorship in animation explores the role of the artist as a creator, innovator, and storyteller. Early examples of animation techniques showcase the evolution of this idea:
The Stop Trick (Disappearing Lady, 1890): The artist becomes the creator of transformation by stopping the camera to implement changes. This technique pre-dates stop motion animation.
The Lightning Cartoonist: Proto-animation techniques recorded the work of lightning cartoonists in real-time, blending the logic of the stop trick to create illusions of transformation.
Humorous Phases of Funny Faces (1906): Highlights the dichotomy between the labor of the artist and the onscreen life of animated characters, exploring the tension between creator and creation.
(Example of the movie where artist’s hands are visible)
1.1 Single Animator vs. Team Production
Single Animator: According to Schneider (1994), a single animator “can control every element of his/her film” (p. 30), ensuring every depiction is deliberate and personal.
Team Production: While large-scale productions aim to reflect a unified vision under a single director or creator, they often require the collaborative work of dozens or hundreds of artists.
1.2 Animation and Authorship
Industrialized animation production complicates authorship, as seen in examples like the cartoon “Mutt and Jeff.” The original content creator’s role becomes entangled with the larger production process, leading to questions about creative ownership.
Example: The falling-out between Stanley Kubrick and Stephen King over creative control further illustrates the tension between creators and their adaptations.
1.3 The Auteur Theory
Origins of Auteur Theory: Introduced by Cahiers du Cinéma in 1951 during the French New Wave, auteur theory emphasized the director as the primary creative force in filmmaking.
François Truffaut’s “A Certain Tendency of the French Cinema” (1954): Distinguished between the auteur and the “scene-setter.” The auteur uses film as an audio-visual medium for personal expression, while the scene-setter merely translates a script into visuals.
The Birth of a New Avant-Garde – Le Caméra-Stylo (1948): Championed cinema as a tool for artistic expression, equal to painting or literature.
1.4 Andrew Sarris and Auteur Theory in 1962
Andrew Sarris built upon auteur theory, establishing criteria for identifying directors whose creative vision elevated their films into art. This approach continues to influence discussions of authorship in animation.
1.5 Animation Studies and Auteurship
Animation studies have adapted theories from cinematography to explore authorship in animated works.
Director-Led Animation
Directors such as Friz Freleng, Chuck Jones, and Robert Clampett left significant marks on animation, demonstrating auteur-driven creativity:
Robert Clampett’s The Great Piggy Bank Robbery (1946): Introduced the “smear principle,” creating dynamic, distorted characters and rapid, joke-driven narratives.
Chuck Jones’ Rabbit Seasoning (1952): Focused on slower-paced character dynamics and carefully staged static shots to enhance narrative impact.
1.6 Anti-Intentionalism and The Death of the Author
The Anti-Intentionalism movement challenges auteur theory, shifting the power of interpretation from the creator to the audience.
Roland Barthes’ “The Death of the Author” (1968): Argues that the audience, not the author, determines the meaning of a work. Each viewer’s experience is subjective, constantly changing with each encounter.
Chuck Jones’ Duck Amuck (1953): A meta-commentary on authorship, portraying Bugs Bunny as the author, blending humor with an exploration of creative control as an inside joke.
1.7 The Triangular Relationship in Animation
Donald Crafton’s In the Shadow of a Mouse (2013) introduces a triangular relationship in animation between:
The Animated Characters: The personalities brought to life on screen.
The Animators: The creators who shape the characters’ movements and stories.
The Viewers: The audience, whose interpretations and connections complete the experience.
David McGowan’s Work: Explores the idea of “animated personalities” and the interplay between animators and their creations.
Red (Ambient Occlusion): Indicates how much light penetrates through (left to right).
Green (Roughness): Controls how much light bounces off. Bright roughness maps make objects appear wet, while darker maps create a dull appearance (top to bottom).
Blue (Displacement/Normal Map): Blue represents surface depth, where dark blue areas are deeper and bright blue areas are elevated (front to back).
ORM Maps
ORM: Combines Occlusion, Roughness, and Metalness into a single texture for efficiency in PBR workflows.
Red Channel: Ambient Occlusion (AO)
Green Channel: Roughness
Blue Channel: Metalness
Building Blueprint Materials
The naming convention for materials: MA or MM for master material.
Convert nodes into parameters before adding them to the blueprint; updates occur automatically.
Create an instance of the material and save it as MI.
Shortcuts and Tips
Ctrl + 1: Assign a value and convert it to a parameter.
F2: Rename a parameter.
Adding materials to landscapes requires assigning them through the landscape material settings, not drag-and-drop.
Customizing Textures in Unreal Engine 5.4
Unreal 5.4 lacks built-in functions for brightness/contrast adjustments, but node-based coding allows implementation.
Benefits of a Master Material (MA):
Reusable across projects if the proper folder structure is maintained.
Allows customization (e.g., overlaying dirt or surface imperfections like rust).
Brightness: Use a multiplication node with a scalar parameter for control.
Contrast: Use a power node with a scalar parameter for adjustments.
Master Material Custom Functions
Create custom PSR (Position, Scale, Rotation) functions (MF_PSR) for UV mapping.
Example: UV mapping can be compared to wrapping 2D foil around 3D objects like chocolate Easter bunnies.
Implementation Notes
Use ORM files for simplicity and efficiency.
Assign RGB channels to the appropriate MA nodes (Green: Roughness, Blue: Metalness, Red: Ambient Occlusion).
In cases where a specular texture is unavailable, use a scalar parameter to define specular values.
Specular Texture: Defines areas of surface imperfections like dirt or scratches to avoid flat plane aesthetics.
Lerp Function: Interpolates between two textures (e.g., blending roughness and surface imperfection maps).
Master Material file implementation: process and reflection
Unreal Engine 5.4 does not provide built-in functions for adjusting the brightness and contrast of textures. However, these adjustments can be implemented through node-based coding by creating a Master Material. While this requires additional setup, it offers significant benefits, allowing for greater customization of materials. For example, layers such as dirt or surface imperfections can be added, conveying a story about the material—such as rusted metal that has undergone corrosion.
Implementing a Master Material also promotes efficiency and reusability across projects, provided the project structure is well-organized. All textures and functions referenced by the Master Material must be stored in corresponding sub-directories within the main Master Material folder to ensure seamless functionality.
Adjusting brightness can be achieved using the multiplication node, with values customized through a scalar parameter, which takes floating-point numbers. Similarly, contrast adjustments can be made using the power node, with a scalar node providing an adjustable slider.
Creating a Master Material also requires defining custom PSR functions (MF_PSR) following naming conventions. PSR stands for position, scalar, and rotation, which are tied to UV mapping. This process can be likened to wrapping a 3D object, like a chocolate Easter bunny, with decorative foil. The flat, 2D foil covers the complex 3D shape, ensuring accurate texture mapping.
To create my Master Material, I followed the tutorial Unreal Engine Materials in 6 Levels of Complexity. My implementation differs slightly as I utilized an ORM file. Based on class discussions and Serra’s advice to memorize RGB channel functions, I assigned the appropriate colour channels in my Master Material: green for roughness, blue for displacement (used as metallic in my case due to research I encountered), and red for ambient occlusion. In the tutorial, the texture was connected to the specular input of the main node. However, the texture I downloaded from the Fab library lacked a specular layer. Instead, I assigned a scalar parameter to define the specular values manually.
The importance of a specular texture is well-documented: “A specular texture defines parts of the surface that might be dirty, scratched, or darker. These areas react differently to light sources. Without a specular texture, light reflects off the surface like it’s a flat plane.” Based on this insight, I may need to refine my Master Material to better align with its intended purpose, avoiding the flat-plane aesthetic and aiming for a more realistic appearance.
Additionally, I explored using the Lerp function to interpolate between two textures. For instance, to create a material that appears dirty, such as a surface touched by greasy hands, I added a layer representing surface imperfections. By blending this layer with the roughness texture using the Lerp function and promoting the alpha value to a parameter, I achieved adjustable blending in the material.
Imperfection Adding a surface imperfection layer on top of the roughness map provides a story about the material’s journey and wear.
Method: Use a texture imperfection file as Source B and a roughness map as Source A (the order doesn’t matter). Use the Lerp function to blend the two, promote the alpha to a parameter, and name it “Blend.” This parameter determines the degree of blending and accepts floating-point values.
Dirt and Filth Adding a dirt layer on top of the albedo map creates the appearance of a dirty surface. The Static Switch Parameter, which acts as a Boolean, allows for toggling the dirt effect on or off.
Method: Use a texture imperfection file as the alpha channel and an albedo map as Source A. Add a Vector3 node for colour (e.g., a brownish tone) and promote it to a parameter. Use the Lerp function to blend these elements, promote the alpha to a parameter, and name it “Blend.” This parameter controls the degree of dirt application, taking floating-point values.
Summary
The process of creating a Master Material has deepened my understanding of material design within Unreal Engine. By customizing textures and parameters, I can achieve a higher level of realism and storytelling in my materials. For instance, adding imperfections or dirt layers provides depth and context to otherwise flat surfaces. While these techniques require a strong foundation in node-based logic and texture mapping, the results are highly rewarding, offering endless possibilities for material customization
Pendulum critique & Planning for the tailed ball exercise
What is Anticipation?
Anticipation is an action that provides visual clues about the main action that is about to occur, often building up internal force leading to the main event.
Anticipation visually conveys the amount of strength and force that goes into a movement. The use of squash and stretch not only enhances the expression of movement but also makes it more convincing to the viewer.
Framework: Anticipation > Action > Reaction
This principle, as described by Bill Tytla, references Newton’s laws of motion.
Anticipation: Prepares the audience for the action by showing the buildup of strength or force. For example, the ball stretches and squashes in anticipation of a bounce.
Action: The main event, such as the ball bouncing.
Reaction: The follow-through movement, like the tail following the ball’s motion.
(Reference: Rollercoaster principle)
Tail movement
The tail follows the same curve as the front part of the movement (e.g., a bouncing ball).
The natural pose for the tail is often an S-shape, which reflects the dynamics of motion.
Tailed ball animation exercise
Key guidelines:
Begin with the ball animation.
Once the ball’s motion is finalized, move to animating the tail.
Deliver the animation in blocking mode, not in spline.
What is blocking?
Blocking is the foundation of the animation process. It involves setting the main keys, breakdowns, and using stepped tangents to sketch the motion.
Purpose: Blocking allows you to test and refine your idea quickly without worrying about transitions or splines. It’s a time-efficient way to sketch the animation’s key movements.
Delivery Details: Use stepped tangents (flat or linear tangents) that create a strobe-light effect. This is similar to a Boolean system—either “on” or “off.”
Breakdowns: Adding Life to Motion
Breakdowns are essential to filling the space between keyframes. They define how the motion transitions, playing a crucial role in creating the illusion of life.
Core Idea: It’s all about time and space—integrating principles like stretch and squash to make the motion believable and dynamic.
The Four Stages of Animation:
Planning: Laying out your ideas and structure.
Blocking: Establishing the foundation with keys, breakdowns, and stepped tangents.
Splining: Refining the transitions and smoothing out the motion.
Polishing: Adding the final touches to perfect the animation.
What is ghosting?
Ghosting mode can be switched on for the controllers or object, to visualise tracking of the movement.
Planning for an assignment
To create an iconograph, I took screenshots of George’s demo in class, which showed the simple up-and-down motion of the ball with the tail. I used these as the guide, while working on delivering of my animation, so I could always go back to it an reference the key frames, and try to approximate my blocking against George’s.
I opted for a simple animation while applying the theory I’ve learned so far. My animation consists of a small jump, which serves as the anticipation for the bigger jump. This is followed by three smaller jumps, indicating that the initial jump was high in energy. To balance the energy accumulated from the jump, the ball requires several smaller jumps to come to a stop.
The sequence follows the pattern of anticipation > action > reaction:
Anticipation: Preparing for the big jump.
Action: The big jump itself.
Reaction: The consecutive smaller jumps that help balance the accumulated energy.
The pendulum movement is effective, but the achieved velocity is not proportionate or justified relative to the velocity of the base moving from point A to point B before it stops. To address this, the number of frames allocated for the base movement should be reduced to around 23 frames to create a shorter, more rapid motion. (Refer to the graph editor highlighted in the red box.)
I have grasped the concept of C and S shapes well, but I now need to ensure they are accurately approximated so that these shapes do not appear exaggerated. (See the comparison above: an over-the-top S versus a correctly approximated S below.)
Consistency is key when mapping the movement. The S and C shapes should be spaced evenly around a middle line, which could be drawn as a reference through the anchor point of the pendulum at its base.
When the pendulum comes to a stop, the movement must account for both the middle section and the outer part of the pendulum (corresponding to the rotation of the respective joints). The final part to stop should always be the outermost section of the pendulum.
The Avant-Garde movement of the early 1900s rejected traditional representational art, aiming to push the boundaries of artistic expression both visually and intellectually. This led to the development of two distinct forms of abstraction:
Formal abstraction: Focused on the visual fundamentals of art, such as shape, colour, composition, and motion.
Conceptual abstraction: Emphasized the underlying ideas, emotions, and cultural or intellectual context of the work.
1.2 Formal Abstraction: Visual Fundamentals
Formal abstraction centers on manipulating visual fundamentals, such as colour, shape, line, motion, rhythm, space, and composition, to create a distinct visual and sensory experience. This approach prioritizes movement, aesthetics, and sound design over narrative or messaging.
Example: Kaleidoscope by Len Lye (1935)
Len Lye’s work exemplifies formal abstraction by abandoning narrative in favor of exploring visual patterns, repetition, and transitions between forms.
1.3 Merging Formal and Conceptual Abstraction
The fusion of formal and conceptual abstraction can be seen in works like Max Hattler’s (2005), where geometric shapes, visual patterns, and cultural symbolism converge. For example:
Hattler incorporates Islamic patterns, American quilts, and flag motifs to create abstract fields of reflection.
Formal abstraction: Generates a visual experience through geometric shapes and cultural references.
Conceptual abstraction: Embeds symbolic meaning tied to cultural connotations, such as American and Islamic themes, which imply a deeper narrative.
1.4 Conceptual Abstraction: Symbolism and Meaning
Conceptual abstraction focuses on ideas, thoughts, and narratives, often incorporating geometric shapes bound to real-world objects, thus adding symbolic depth.
Examples:
Metropolis (1927):
Filmstudie (1926) by Hans Richter:
Both films reflect conceptual abstraction through symbolic visuals and narratives that convey cultural and intellectual themes.
1.5 Visual Processing, Machine Learning, and AI Tools
The evolution of abstraction continues with the integration of modern technologies like machine learning and AI. Tools for visual processing expand the possibilities of abstract art in animation.
Example: LATENTSPACE by Charles Sainty (2024)
Sainty’s work demonstrates how AI can process and generate abstract visuals, combining traditional abstraction techniques with cutting-edge digital technology
Avant-Garde Theories and Animation
The theory of the Avant-Garde, as proposed by Renato Poggioli in 1984, aligns with the exploration of abstract representations in animation. This era sought to convey the interaction of the senses and media’s impact on our perception of reality, often engaging with unconscious desires and surrealism.
Len Lye, Norman McLaren, and Oskar Fischinger:
These filmmakers were heavily influenced by the avant-garde movement, exploring the unconscious and experimenting with sound and movement in animation. Much like surrealism, they focused on visual abstraction, drawing inspiration from the unconscious mind.
Plato and Kandinsky:
Plato said, “Geometry draws the soul towards truth,” which reflects the structural precision and deliberate composition of abstract art.
Kandinsky’s statement, “Colour is the keyboard, the eye is the hammer, and the soul is the piano,” emphasizes the emotional and sensory power of art to resonate with the viewer’s soul.
Oskar Fischinger:
Fischinger believed that the artist’s vibrations should be expressed through material forms, and this is clearly evident in his work, where visual rhythm and movement sync with the sound to create a unique sensory experience.
The Relationship Between Sound and Image in Avant-Garde Film
Avant-garde filmmakers often used cutting techniques driven by sound, creating a more immersive experience for the audience. The combination of sound and image in animation allows for a heightened emotional response, providing a unique experience that is challenging yet engaging.
Synaesthesia and Its Role in Film
Synaesthesia, a neurological condition where stimulation of one sense causes an involuntary reaction in another (such as tasting shapes or seeing colors), parallels the experience of avant-garde films. The blending of sound and visual elements in animation and experimental film can evoke a synesthetic experience, connecting senses in a way that challenges conventional perception.
The Structure for Writing an Avant-Garde Film Review
When writing about avant-garde films, it’s important to consider:
Production Circumstances:
Many avant-garde films were created by individual artists or small, independent groups with limited funds or art grants. These films often use alternative animation techniques and are exhibited in non-traditional spaces.
Conceptual Basis: Avant-garde films are conceptually driven, often intellectually challenging the audience to rethink the boundaries of storytelling and perception.
Organic life moves in arcs, simulating curvature in motion, it’s characterised by the increase and decrease in the acceleration that is not constant.
Robotic and artificial ways, on the other hand, move linearly as per constant acceleration.
Exaggeration:
Enhances dramatic effect and emphasizes important moments, so it’s clear to an audience what’s happening. Animation is about exaggeration.
Timing and Motion:
Defines the pace and the rhythm of movement, and justifies the simulation that approximates real movement.
Anticipation:
Prepares the audience for an action by providing a visual clue about what is about to happen. It gets pulled back before it goes forward etc.
Follow-Through and Overlapping Action:
the primary action comes with secondary actions that follow to enhance the fluidity of the organic movement.
Staging:
Understanding where the subject that is being animated is supposed to be situated is more related to the viewer feedback, in the way that the viewer has a sense of what’s going on, thus the animator’s role is to clearly convey that action that is taking place.
Straight-Ahead vs. Pose-to-Pose Action:
Straight Ahead: Suited for tackling heavily organic movements, emphasizing the physicality of motion.
Pose-to-Pose: Structured and thought through as per break down, useful for complex animations.
Layering: Combining both approaches for efficiency and optimized approach.
Slow In and Slow Out:
Achieved using Graph Editor curves:
Linear Curve: Constant motion.
Smooth Gradual Curve: Gradual acceleration or deceleration.
Sharp Steep Curve: Quick, abrupt motion.
Secondary Action:
It follows the primary action and adds depth and richness to the movement, enhancing the fluidity of the organic movement.
Appeal:
Adds an “extra flavour” to the animation, often during the polishing stage.
Squash and Stretch:
Reflects the flexibility and mass of the object. (Covered in the detailed during the 1st week)
Solid Drawing:
A principle rooted in 2D animation, ensuring that forms remain consistent in volume and appearance, and reliable in motion.
Pendulum motion: Understanding follow-through and overlapping action
What is Follow-Through?
Follow-through refers to the movement that continues after the primary action has taken place. It describes secondary actions that are a natural result of the primary motion, enhancing the realism and fluidity of the animation. This principle ensures that movements feel organic and not abruptly mechanical.
Successive Breaking of Joints
A key technique in follow-through is the successive breaking of joints, where the motion flows like a chain reaction. Each joint moves with a slight delay compared to the previous one, creating a cascading effect. This slight offset prevents the animation from looking rigid, introducing a natural and dynamic quality to the movement
Drag aka Wave Principle
Drag, or the wave principle is essential for achieving overlap in motion. It involves a lead-and-follow dynamic, where the leading part of an object drives the movement, and the following parts react to it. This interaction highlights the relationship between primary and secondary actions, adding depth and complexity to the animation.
Pendulum Motion
A classic example of overlapping and follow-through action is pendulum motion. Here, the gravitational energy transitions into kinetic energy, creating smooth arcs and diminishing momentum over time. The pendulum showcases how overlapping motion can add weight, rhythm, and natural flow to animated objects, making them feel grounded in physical principles.
A video demonstration reveals that the complex movement of a character in animation can be broken down into separate areas, each of which can be depicted as a bouncing ball moving independently. Each joint or limb of the character follows its own unique path, much like an individual bouncing ball, yet when combined with the motion of the rest of the body, they come together to define the cohesive and dynamic movement of the character. This approach highlights how the interplay of these individual elements contributes to the overall flow and believability of the animated motion.
Pendulum exercise
1. Quick and Dirty Method in Maya
Following the class example, I attempted the “quick and dirty” method in Maya. However, I encountered difficulties when trying to develop the pendulum’s movement after its base stops. At this point, the kinetic energy transfers through the system, creating the characteristic “C” and “S” shapes.
To better understand the logic behind the movement, I started by sketching the motion of grass as demonstrated in the tutorial.
Observations:
The grass tail begins its motion in an initial C-like shape.
As it moves, the bottom half of the tail shifts in the opposite direction to the upper half, transforming the C-shape into an S-shape.
The S-shape represents the point where the energy peaks, causing the tail to snap back into an inverted C-shape.
This cycle repeats, following a similar pattern of movement logic.
3. Analysing Pendulum Motion
Video source: https://vimeo.com/111841120
To analyse the pendulum motion, I used George’s pendulum animation to closely examine for all the shapes discussed in the point above.
Steps taken:
I selected a specific chunk of the video and extended its duration to slow it down significantly.
This allowed me to view the motion in slow motion and clearly identify the pendulum’s path, including all the “C” and “S” shapes.
Extremes and keyframes
According to Animation Survival Kit, the positions where the pendulum reaches its furthest points are called extremes, which is intuitive. As a rule of thumb, extremes are not circled in animation planning sketches, but keyframes are.
Keyframes, based on the 1940s animation method, are the key drawings circled in the sketches used to plan an animation. Between these keyframes are the intermediate drawings, often referred to as in-betweens or phasing frames.
The hierarchy of animation planning follows this structure: KEYS → EXTREMES → BREAKDOWNS → IN-BETWEENS
For example, moving from frame A to frame B without any in-between frames would create a “teleportation” effect—an unnaturally quick movement with no sense of transition. To address this, a breakdown key is introduced to highlight the journey between frames. The in-between frames are critical as they define the character of the movement. By adding in-between frames, the motion can be slowed down or made more fluid. Concepts like ease-in and ease-out rely on adding frames strategically to emphasize gradual acceleration or deceleration.
Keyframes define what happens and where it happens on the screen, providing staging information (e.g., if a character moves forward, the keyframes indicate the start and end positions).
In-betweens define how the action happens, adding nuance to the nature of the movement.
In 3D animation, software handles interpolation between frames automatically. However, the animator’s role remains essential for keying the major positions during the blocking stage.
Best Approach to Animation Planning
A hybrid method known as layered method (discussed in detailed in week1), combining pose-to-pose and straight-ahead techniques, is the most effective approach. This ensures the animation is both logical and structured (pose-to-pose) while maintaining a fluid and natural quality (straight-ahead).
Steps for Planning Animation:
Define the main keys for the animation.
Add the extremes.
Incorporate breakdowns and in-betweens.
Apply the straight-ahead approach to specific parts of the character.
For example, in the flying squirrel animation from week 3, the ball and the tail would be treated as separate components.
The keyframes are the most critical as they define the foundation of the animation.
The pendulum loses momentum as it swings, resulting in asymmetrical movement. Each successive endpoint of the swing decreases in height (as seen in the cartographic view/left plane). These “endpoints of the movement” are numbered in the image below, starting with 1.
” Animation requires for ball to bounce 1 or 2 times”.
“Please try to curve out motion trail and reduce rotations since some parts are spinning to much”.
Pendulum exercise
Planning
Delivering
As the base of the pendulum moves, the end of the pendulum is getting dragged alongside. This dragging gets transcend into kinematic energy, so when the base comes to stop the pendulum swings until the complete loss of the energy. The most important when delivering an animation is that, the end of pendulum, remains in the same position, for the first few keyframes, to achieve the notion of dragging.
The base comes to stop, energy is being transcend, resulting in a swing into the opposite direction.
The graph describes rotation X of the pendulum base, that decreases over the time, as the pendulum swing backwards and forwards, until complete lose of energy (flat line at the end).
Successive breaking of the following joints, as depicted on the screenshot above, as the pendulum take a awkward shape that resembles S shape, as it’s swing from one side to the opposite one, marking both extremes, while taking a shape of reversed letter C and regular C, respectively.
Offsetting as an easy and quick way to get fast results. For the consecutive joints of the pendulum the keys are applied in that same values are applied but offset in the time, meaning moved across the timeline by the certain number of keyframes for each of the following joints, with the highest offset applied for the end of the pendulum, as this comes to the end as the last. the screenshot shows the graph editor, where rotation x is shown for the following joints.
Art Fundamentals: Animation History and Cinematography
Animation has evolved tremendously over the years, with technological advancements playing a pivotal role in shaping its techniques and impact. Understanding the historical development of animation, alongside the role of cinematography and technology, allows us to appreciate the innovative progress the medium has undergone. Here’s a look at the key developments starting from the early 1900s, highlighting the technological and artistic shifts that influenced animation.
History of Animation
Early 1900s: The Dawn of Animation
The Birth of Animated Film: The early 1900s marked the emergence of animation as an art form. Techniques like stop-motion and traditional hand-drawn animation were explored in films like Gertie the Dinosaur (1914)
Technological Limitations: Early animation was labor-intensive, often hand-drawing each frame and photographing it on film.
1920s–1930s: The Rise of Hollywood and the Golden Age of Animation
Technological Innovation: The introduction of the cel animation process in the 1920s revolutionized animation. Disney’s Steamboat Willie (1928)
Technological Influence on Artistry: As sound became an integral part of animation, it created new opportunities for storytelling. Cartoons like The Jazz Singer (1927) and Mickey Mouse.
The Introduction of Technicolor: Another game-changing technological advancement was the introduction of Technicolor in the 1930s, first used in Snow White and the Seven Dwarfs (1937).
1940s–1960s: The Expansion of Animation Techniques
Post-War Innovation: The development of Xerox machines in the 1950s allowed animators to reproduce animation drawings directly onto cels, reducing costs and speeding up production.
Television and the Rise of TV Animation: The rise of television in the 1950s led to an increase in animated content for the small screen, including shows like The Flintstones (1960).
Stop-Motion and Puppetry: Stop-motion animation began to gain recognition as an artistic technique in the 1960s
1970s–1990s: The Digital Revolution and the Emergence of CGI
Digital Animation: The 1970s saw the dawn of computer-generated imagery (CGI), which began to change animation from traditional techniques to digital.
The Emergence of Pixar: In the late 1980s and 1990s, Pixar became a dominant force in animation,. Toy Story (1995)
2000s–Present: The Integration of New Technologies
3D Animation and Motion Capture: The 2000s saw the rise of 3D animation, and studios such as DreamWorks and Blue Sky Studios adopted CGI for feature films like Shrek (2001) and Ice Age (2002). The Polar Express (2004).
Virtual Reality and Augmented Reality:
The Fusion of Live-Action and Animation: Avatar (2009) and The Jungle Book (2016)
Introduction to fellow colleagues on the course, following and Introduction to the module structure, in-class teaching and summative and formative assessments. The following section describes the detailed topics covered during the initial session.
Maya Setup
Project Setup Instructions
Create a New Project Locally Begin by creating a new project directory on your local drive.
Drag and Drop to Scenes Organize your scenes by dragging and dropping relevant files into your project’s “scenes” folder.
Set the Project Ensure the project is set in Maya to avoid pathing issues during the workflow.
Reference Project Use references to maintain an organized and modular project structure.
Maya settings for Animation (general)
Frame Rate: 24 FPS
Evaluation Mode: Parallel
Playback: Play every frame
Selection control
Group all controls under a “selection control” to optimise the workflow, via creation for the quick selection -> adding these to the navigation shelf for easy access.
Master Control
The master control, typically located at the rig’s base, should not be adjusted while animating to avoid unintended global transformations.
Graph Editor
Interpolation Curves
1. Straight line = no change
2. Linnear interpolation: constant acceleration from A to B coordinate space, characterized by robotic-like movement. However in 2D space, for the representation of the movement, the change within the X coordinate space is described as linear interpolation.
3. ARC: create organic movements, particularly for “living creatures,” as they naturally move in arcs, allowing for implementation of ease in and ease out to refine the transitions between keyframes for smooth motion. The change within the y coordinate space, corresponding to height is described with the parabola movement.
XYZ Rotation Order
X: Forward and backward
Y: Rotation around the vertical axis
Z: Left and right
Bouncing Ball Exercise
Key Concepts
Energy Loss: As the ball bounces, it loses energy, resulting in shorter heights, fewer frames between keyframes, and smaller angles of rotation over time.
Physics Principles: Applies Newton’s 2nd law (each time a ball hits the ground it loses its energy), gravity is an external force that works on the ball causing it to fall down again after each bounce, alongside the momentum, and friction informs/define the movement and its trajectory.
Material Properties: The number of bounces depends on the material’s elasticity, weight, and height from which the ball is being dropped. All these must be justified within the animation, to achieve reliability and approximate reality while simulating it.
Animation Principles
SQUASH & STRETCH:
1) Mass Indication: The amount of squash and stretch should be applied in reference to the object’s material properties, as it reflects the object’s stiffness or softness.
– Soft Objects: High squash and stretch (e.g., rubber balls). – Stiff Objects: Low squash and stretch (e.g., bowling balls).
2) Volume Consistency: Maintain the object’s volume while deforming it, to avoid inaccuracy (fairly beginner mistake).
3) Timing:
– Stretch: As the ball accelerates downward or upward. – Squash: At the point of ground impact.
ARC MOVEMENT
Animation principles, state that all forms of the lives follow organic movements which are best approximated by circular/parabola-like shapes, not mechanical straight lines that define the linear interpolation.
In 2D, this can be visualized as a linear increase in the x-coordinate and a parabolic increase in the y-coordinate.
Keyframe Planning
Energy Decay: Each time the ball hits the ground, it loses energy. The subsequent bounce will not reach the same height.
Arc Movement: Bouncing follows an arc rather than a linear path for natural motion.
Squash and Stretch:
– Gradually reduce the squash and stretch effect over time. – The volume of the object should remain consistent during squash and stretch. – Avoid overusing squash and stretch for realism.
Motion Trails: Use motion trails in orthographic views to visualize and refine curved motion.
Planning and visualisation: – Work in the left view for planning and demonstrations. – Upload a picture of the sketch to SyncSketch for reference.
Observations & Practical application.
O. Breaking tangents in the Graph Editor allows finer control over the curve shapes, enabling more nuanced movement adjustments.
O. Removing keys helps explore the animation’s overall feel and assess whether it works before finalizing.
P. Applying the principles of squash and stretch gave the animation more life-like dynamics.
P. Observing motion trails provided a clearer understanding of how the object’s trajectory aligns with the principles of arcs.
Bouncing Ball Exercise
Planning
Delivering
The ball is dropped at the angle. Gradual drop at first followed by step line. As the ball is falling, it accelerates, so the speed up can be developed by making the curve gradual at first, followed by a steep curve.
The parabola-like curves, arcs, decrease in size as the balls lose momentum and energy.
During the first bounce, the arc defines the ball’s movement. It starts steep and becomes more gradual halfway through, representing the drop in velocity. At its peak, the ball reaches equilibrium, momentarily hanging in the air before gravity pulls it down again. As a result, the first parabola will have a noticeably flattened top to emphasize this equilibrium and make it perceptible to the viewer. In subsequent parabolas, the equilibrium point becomes less noticeable as the motion continues.
To refine the arcs, I broke the tangents and manually reshaped each arc to better approximate the natural movement of the bouncing ball.
The red path illustrates the changes in the ball’s rotation. While the direction remains consistent, there is a slight offset toward the end. As the ball moves, it gradually loses energy, momentum, and velocity, which also results in a reduction of its rotation. This is visualized by the decreasing distance between the rotation keys.
Although the overall rotation accumulates over time, as shown by the increasing graph, the spacing between consecutive keyframes reflects a decreasing rotation value.
Stretch and squash. The amount of it’s highest at the first bounce-off and then gradually decreases.
