‘Identity’ explores the fragile, often painful tension between who we truly are and who society wants us to be. It reflects how personal identity is shaped, challenged, and sometimes overwritten by external expectations—how idealistic notions of perfection push us to lose the raw, imperfect parts of ourselves in the quest to belong.
Drawing from glitch feminism’s core idea of understanding how systems of power shape our identities and creating space for transformation and liberation by disrupting the system, this work uses the glitch as a metaphor for moments of fracture and rewrite in identity. At its heart, this piece reveals the battle between authenticity and conformity—between embracing our real traits, like sensitivity, stubbornness, and restlessness, and adopting traits society praises, such as obedience, politeness, and ambition. This pressure slowly chips away at our sense of self, until the line between who we really are and who we pretend to be starts to blur.
In today’s session, we explored the fundamentals of VJing using Resolume Arena, focusing on how to integrate a MIDI controller for live visual performances. Key areas covered included clip triggering, layer management, and applying effects within Resolume, alongside mapping MIDI hardware to enable intuitive, real-time control.
We also learned how to customize the workspace to suit individual workflows, such as assigning keyboard keys to trigger specific clips. This foundational training provides essential skills that will support more advanced creative approaches in upcoming projects.
Project Progress:
Arpit was responsible for creating and editing the main glitch effect in After Effects. He carefully added all the necessary visual effects to achieve the desired glitch style, which is a central part of our project’s look. After completing the glitch sequences, he exported the video and sent the file to me.
Once I received the video, I imported it into Premiere Pro to continue the post-production process. There, I worked on color grading to enhance the overall mood and atmosphere of the footage. I also adjusted the timing and lengths of different clips to improve the pacing and flow. Finally, I applied sound that I had downloaded which was a copyright free music track that suits the theme on the final animation.
After completing these steps, I exported the finished video, ready for submission.
The rig was fully prepared and ready for use, so Arpit and I divided the animation tasks between us. I focused on using mocap animation on the main character. To achieve this, I used mocap data from Rokoko and imported that in Maya.
The animations were not entirely like we wanted, so we added animation layers to edit the mocap data. Once completed, I baked the animations and exported them as Alembic caches, allowing for smooth import and further work in Blender.
Then I imported all the textured assets and animations into Blender. I then meticulously set up the entire scene, applying the textures and configuring the lighting to ensure the overall look matched the project’s vision. To enhance the lighting setup, I used Leomoon, a specialized lighting tool, alongside Blender’s native lights to achieve the desired atmosphere and realism.
I added the background texture Arpit had created for the scenes in the file. After finalizing the lighting arrangement, I carefully adjusted the render settings to optimize quality and performance, and proceeded to render the scene.
This week, we learned how to create 360° videos using Unreal Engine and the Off World Media Production Toolkit. I’ve always liked how 360° videos let viewers explore scenes from any angle, making the experience more immersive and interactive.
We started by installing the Off World plugin, which includes Sprout—a tool that links Unreal Engine with TouchDesigner for real-time interaction. This makes the workflow smoother and more connected.
The process involved setting up a 360° camera in Unreal, adjusting project settings, and using Blueprints and the Sequencer to animate the scene. After rendering, we did minor edits in Media Encoder. It was a great intro to a powerful way of storytelling that puts the viewer in control.
Project Progress:
Now that I had the textures, I moved on to finish the environment. The idea was to visually show the character falling through these distorted letters—each one representing external expectations or judgments. As the character drops deeper, it reflects the concept of falling from grace or being reshaped by outside forces.
Alongside working on the environment, I also set up the surrounding human figures in the scene. These figures represent the crowd around the central character and are crucial to the narrative, symbolizing societal expectations and pressures.
I textured the surrounding humans with metallic black to represent perfection and uniformity, contrasting with the colorful main character. I created the textures in Substance Painter and refined the metallic look in Blender using a detailed shader node setup to control reflections and highlights.
Simultaneously, I turned my attention to the main character mesh, which Arpit had rigged. For the character’s initial texturing, I wanted to move beyond static colors and create a dynamic, colorful gradient that constantly shifts. This choice was intentional to symbolize fluidity and transformation in the character’s identity, visually reinforcing the project’s thematic core. To achieve this effect, I exported the rigged character mesh to Blender, where I experimented with node-based shader setups. Blender’s flexible node editor allowed me to create a procedural gradient texture that smoothly changes across the mesh’s surface. This involved layering color ramps, noise textures, and gradient masks to produce a seamless and evolving gradient effect. The process required a detailed understanding of Blender’s shader system and careful tweaking to balance subtlety with vibrancy.
This experimental phase was essential because it introduced a visually striking element that adds complexity and depth to the character’s appearance, aligning with the narrative’s focus on identity as something mutable and multifaceted.
During weeks 5 and 6, we had the opportunity to experiment with MadMapper, a projection mapping tool that links animations to physical surfaces via a projector. I spent this time exploring how to use glitch effects within MadMapper, experimenting with how I could potentially showcase parts of my work through projection mapping.
While projection mapping isn’t central to my concept, I see a lot of creative potential in it as an additional element—either as part of this project’s submission or something I might explore further in the future. For example, I imagined projecting glitchy animations or coded words onto shapes like a human silhouette, which could add an interesting layer to the visual storytelling.
In MadMapper, we also worked with animation sequences, transitions, and dynamic presentations, which I found really engaging. After discussing with Arpit, we considered incorporating projection mapping into the environment by creating a “matrix-like” digital space, where coded words flow horizontally around a central figure in a crowd. This idea inspired us to adjust the environment design to better suit this aesthetic.
Overall, this session was a valuable experiment that broadened my toolkit and opened new possibilities, even if projection mapping isn’t the main focus of my project.
Project Progress:
This week marked a significant turning point in our project, as Arpit and I strategically divided the workload to focus on different aspects simultaneously, maximizing efficiency and creative development. While Arpit dedicated his efforts to rigging the character, I took responsibility for texturing the environment, a critical element for establishing the visual tone and narrative atmosphere.
After reflecting on the ideas from last week’s projection mapping session and our discussions, we decided to pivot the environment design toward a “matrix-inspired” aesthetic. This shift was motivated by the desire to visually represent the glitch effect not only through distorted animations but also through the presence of floating, coded words and dynamic color changes. The environment itself became a key storytelling tool, where the words and colors act as visual metaphors for the breakdown and transformation of identity under societal pressures.
I began by setting up the “matrix-like” environment in Maya, carefully designing the layout to accommodate the animated words that would float and interact within the scene. I then animated these words to convey movement and flow, enhancing the sense of a digital space filled with shifting information. After completing the animation, I exported the assets to Substance Painter for the texturing phase.
In Substance Painter, I experimented with a wide range of textures to find materials that aligned closely with the project’s themes. My goal was to achieve a texture that felt authentic to the concept of digital identity and glitching. After testing different surface finishes, I focused on emissive textures that emit light, which added depth and vibrancy to the environment. These glowing textures visually emphasize the idea of digital code and energy permeating the space, making the environment feel alive and immersive.
Once I finalized the textures, I reassembled the scene in Maya and produced several mock renders. These test renders were crucial for evaluating how the emissive materials and animated words interacted within the environment’s lighting setup. The early results confirmed that the approach effectively conveyed the intended atmosphere and narrative.
This week was a big step forward for my project. I shared my storyboard with Serra, and she gave me really helpful feedback. She suggested I explore the concept of glitch feminism, which is quite well-known in creative and academic circles. Serra said that combining glitch feminism with my idea of identity would make the message of my work much clearer and easier for people to understand. Before this, I felt a little unsure about how to communicate my concept visually, but learning about glitch feminism gave me a fresh perspective.
Glitch feminism talks about how systems of power shape identity, and it uses the idea of a “glitch” — a disruption or error — as a metaphor for breaking free and rewriting who we are. This idea really resonated with me because my project is about the tension between being your true self and fitting into society’s expectations. Using glitches in my animation felt like the perfect way to show that struggle — the way identity can break, change, and transform.
After this, I started looking up words that describe the character’s personality and feelings, like rebellious, stubborn, sensitive, restless, anxious, impulsive, and outspoken. These words help me figure out how the character should move and express themselves, so the animation feels real and connected to the story.
However, I ran into a challenge finding a 3D character model that really fit my idea. I wanted something that matched the theme and the vibe of my project, but couldn’t find the right one on my own. Then, after talking with my classmate Arpit, we decided to collaborate. Arpit was working on sculpting a 3D model for this assignment and planned to rig it later. His model matched my project’s vision, so this collaboration felt like a great solution.
Now, instead of working alone, we’re combining our skills. I’m focusing on the environment and overall direction, while Arpit will work on the character sculpting, rigging, and animation.
This collaboration feels really promising. Serra’s feedback plus working with Arpit has given me a clearer direction for the project. Our next steps are to finish the environment and the character, then come together to animate and texture everything so it feels cohesive and unified. We want the look and feel to be consistent across the board so that the story flows smoothly and emotionally.
Apart from that, I was also experimenting with Booleans on my text in Maya to create a steps environment that will act as a base for the chess board.
This week we looked into nDisplay, which is used to show video on screens with weird shapes—like anamorphic or curved displays. I’ve always found those kind of visuals cool, so it was nice to understand how they work.
In Unreal Engine, the process is pretty simple. You set up a project with nDisplay support, then import the 3D model of the screen you want to use. After that, you map your video or animation onto the screen so it fits perfectly. If the screen is split into parts, each one gets rendered separately instead of treating it like one flat screen.
Project Progress:
This week, I focused on modeling the words in Maya, which is a key element for my project’s visual language. I began by experimenting with Maya’s modeling tools, particularly Boolean operations, to manipulate the shapes of the words and mold them according to my creative vision. This process has been quite exploratory — I’m testing different ways to integrate text as a three-dimensional, sculptural element rather than just flat typography.
Alongside modeling, I started investigating how words can be animated within the 3D space. This exploration is important because I want the words to do more than just sit statically; they should have life and presence that contributes to the overall atmosphere and storytelling of my project. For instance, I experimented with animations where words float, follow a path, or subtly interact with their environment. This could add a dynamic layer to the composition and deepen the viewer’s engagement.
Conceptually, I’m working toward creating a scene inspired by a chessboard, where the words occupy the squares horizontally. The chessboard metaphor ties into themes of strategy, identity, and interaction, which resonate with the broader narrative I want to explore. I’m considering multiple options for how the words might be presented: as part of the rigid chessboard grid, floating above the board, or perhaps trailing along an invisible path. Each possibility opens different avenues for visual storytelling and movement.
This phase of experimentation is crucial for me to discover what best aligns with the emotional tone and conceptual depth of my project. I’m intentionally keeping the process open-ended, allowing room for iteration and discovery. By trying out new techniques and pushing the boundaries of how text can function in 3D animation, I hope to create a unique interplay between language, form, and motion that supports my thematic focus on identity and perception.
Moving forward, I plan to refine the chosen direction, develop more complex animations, and integrate these word elements cohesively with the other visual components in the environment. I’m excited about the creative possibilities unfolding and the way this experimentation informs both the technical and conceptual growth of my project.
This week, we focused on capturing motion and camera movement within Unreal Engine using mobile devices, specifically through the Unreal Live Link VCam system. The session introduced us to how smartphones and tablets can be transformed into virtual cameras to control real-time camera movements in a 3D environment.
Setting up the VCam was surprisingly straightforward and really fun to experiment with. In Unreal Engine, the Live Link VCam plugin allows users to connect a mobile device—like an iPhone or iPad—and use its sensors to drive a virtual camera inside the game or animation scene. This means you can physically move your phone and see those motions reflected live in Unreal, which is amazing for filming cutscenes, adding natural hand-held camera effects, or even for virtual production setups.
The workflow involved several important steps: enabling motion capture plugins, establishing a Live Link connection, setting up remote sessions, using the Take Recorder in multi-user mode, configuring the virtual camera, and finally installing the Unreal VCam app on the mobile device. Although some technical hiccups occurred—mostly related to network connectivity between the devices and the host computer—these were manageable and mostly tied to shared institutional networks.
What really stood out was how immersive and intuitive it felt to “be the camera.” Instead of relying on keyboard controls or mouse clicks, the VCam lets you literally move and frame shots with your phone, capturing dynamic, fluid camera work with real-world motion. I’m really excited to test this further on my own devices and home network to see how well it performs outside of the campus environment.
Overall, this session was a great eye-opener to how emerging tools like Live Link VCam are changing how we can create and capture cinematic animation shots in real time, making the process more interactive and physically engaging—so cool!
Project Progress:
For my artefact video, I decided to explore the theme of Identity—something that feels really personal and important to me. I’ve always been interested in how who we are gets shaped not just by our own thoughts or feelings, but also by the constant pressure from the world around us. Society has these quiet but powerful expectations—about how we should behave, what we should want, even how we should look or speak. Over time, those expectations start to influence us more than we realise, and it can feel like we’re slowly changing just to be accepted. In that process, it’s easy to lose the messy, beautiful, real parts of ourselves.
With this in mind, I began working on a rough storyboard. Even though my final piece won’t have a traditional storyline, sketching out the scenes helped me imagine how to visually communicate this emotional journey.
The first session of Term 3 introduced us to the idea of experience—what it means and how it can be created, especially through animation and interactive media. We began by unpacking several key terms that describe different types of engagement, which are essential to understanding how people interact with creative works.
Some of the terms discussed included:
Audience: those who passively watch
Customer: those who purchase or consume
User: those who actively participate or engage
Character: those who perform roles
Player: those who play or control an experience
Avatar: a digital or narrative representation of oneself
The focus was on the user, highlighting how crucial active engagement is in designing immersive or interactive experiences. There was a light-hearted comment that only drug dealers typically call customers “users,” which served as a reminder of the importance of precise language in creative and technological fields.
For the project brief, the aim is to develop an engaging experience that uses animation to draw users into unique environments, either through direct interaction or observational storytelling. The goal is to craft a memorable experience driven by research and creative exploration.
Personally, I’m interested in how abstract concepts—like identity, tension, or transformation—can be expressed in tangible ways through animation. My idea is to explore these intangible feelings and ideas, turning them into visual experiences that users can connect with emotionally. This approach will help me experiment with both storytelling and animation techniques to bring complex, often invisible experiences to life.
