This week, I got the final round of feedback from George. He pointed out a few important improvements—mostly around the clarity of camera framing and the timing of specific shots.
I made those changes and then went through the entire previs in Premiere Pro to tighten up the edits and make sure it flowed smoothly. Once I was happy with the pacing and emotion of the sequence, I rendered the final version and submitted it.
Here is my final submission:
In these few weeks, I blocked out the scene where the protagonist notices a scared little girl hiding behind a car and begins walking toward her. I still need to refine the character’s movements and reactions, but the basic timing and poses are in place. The young girl’s animation is subtle—she holds her mouth to avoid making noise and avoids eye contact to show vulnerability. George suggested adding a moment where she hugs her knees once noticed, which I’ll work on in the coming weeks.
I experimented with over-the-shoulder and low-angle shots to build tension at the start and create a growing connection between the two characters. I also made sure to hold key emotional moments longer, like when the protagonist reaches out her hand to the girl. Just before they touch, both glance quickly to the side, startled, adding suspense and showing their fear. This small moment helps make the scene feel more real and urgent.
I also focused on refining the previs based on feedback. I worked especially on the camera angles and shot timing, making sure the sequence flowed smoothly and clearly communicated the story. George gave me some great advice on how to frame the shots better to keep the focus on the characters and their emotions.
Following George’s advice, I want to include small elements like a picture of a family, hinting at the memories that were once there before everything fell apart. These little touches that he suggested will help make the space feel lived-in and add emotional weight to the scene.
So far, I have a solid basic version of the shot. My goal is to finish it fully, even if I don’t end up using it in my Final Major Project. It’s a great learning experience to practice storytelling, camera work, and character interaction, and I know these skills will help me in future animations.
This week, I finished the final version of my storyboard for the post-apocalyptic idea and started working on the previs in Maya. It felt good to lock in the story and start bringing it to life.
I began by greyboxing the environment — just basic shapes for now, but they really help me figure out the space. I added rough versions of damaged buildings, broken-down cars, and some debris to create that abandoned city feel. It’s a simple setup, but it already gives a sense of where the character is and what kind of world she’s living in.
I added the garage space with a shutter — this is where the main character starts her journey. I animated her walking out of the garage and added a little moment where she turns back and looks at it before stepping outside. It’s a small action, but I think it says a lot. She’s leaving a place that was probably safe, and now she’s heading into something unknown.
Once she steps out, I made her pause and look around carefully, like she’s checking if it’s safe. This was really important to me — I wanted to show that she’s nervous and alert, without having to say anything. It’s those subtle touches I’m trying to focus on more now, using body language to tell the story.
George gave me some helpful feedback about my camera work — he noticed that the camera was moving around a lot and suggested I keep it slower and steadier. This would help the audience focus more on the characters and the story without getting distracted. I’m going to adjust the camera moves next week to make everything feel smoother and more natural.
Another thing I added this week was a map — I drew it and included it as a prop the character uses. It’s how she’ll navigate the world, so it helps explain where she’s going and gives her a clear goal.
This week, I brainstormed a few different story ideas and turned them into quick storyboards. Each one had a different vibe, which helped me explore different types of moods and themes.
The idea I decided to move forward with is set in a post-apocalyptic city. It follows a female character who discovers a scared little girl hiding behind a car. There’s a sense of loneliness and tension at first, but also a spark of hope.
I felt this concept had the strongest emotional core and the best opportunity for visual storytelling, especially through atmosphere and character expression. I’m excited to take this further and start working on it for my previs project.
This week focused on the importance of establishing shots and how they can ground the audience instantly. A good establishing shot shows the setting, introduces characters, and connects them to their world. We looked at examples like The Simpsons and Harry Potter, where repeated shots of the house or castle help make the scene iconic and memorable. I realised this is something I need to work on — right now, my animation doesn’t have a distinct style or recognisable opening. I’ll focus on developing this more in the previs stage.
We reviewed the 180-degree rule for dialogue scenes. It’s a simple but important principle — keeping characters on consistent sides of the frame helps avoid confusing the viewer. Breaking it can work, but only when it’s done intentionally.
Finally, we talked about what makes a character compelling. They don’t need to be “good” — they need to be layered. Flaws, strong motivations, and emotional depth are what draw people in. We looked at Carl from Up, the Joker, and Tanjiro from Demon Slayer. Even small design choices (like Tanjiro’s rough hands) help tell a story.
We were reminded to show, not tell — using props, gestures, costumes, music, lighting, and movement to reveal personality.
This week was all about worldbuilding, which is the process of creating immersive, believable environments for your story. It’s not just about cool visuals—it’s about making sure the world has its own logic, history, and visual identity so everything feels consistent and authentic.
In animation and storyboarding, the world you create helps shape the tone of your entire project. I realized how important it is for things like architecture, clothing, and lighting to all feel like they belong to the same world.
What really stood out to me was that worldbuilding isn’t just background—it actually supports the narrative and helps the audience connect with the characters and setting on a deeper level.
This week, we were introduced to the module and its focus for the term. Unlike the previous term, which emphasized animation techniques, this one is more story-oriented, concentrating on the pre-visualization of a shot. Instead of receiving critiques on animation assignments, we will be working on developing a 3D storyboard concept.
In class, we learned about Mise-en-scène, the Rule of Thirds, and the Golden Ratio, all of which play a crucial role in camera positioning and shot composition in filmmaking.
Another important topic we discussed was world-building. Before introducing characters, it is essential to establish the setting—questions like where the scene takes place, the time period, and the environment all contribute to shaping a believable and immersive world.
For this week’s task, we had to come up with three different storyboard ideas to present. We could either sketch them or use images to represent our concepts.