Aayushi Barai's Blog

MA 3D Computer Animation
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Collaborative Unit

Texturing Interior Environment

Once the modelling was done, I moved on to texturing the interior environment using Substance 3D Painter. I wanted to give the scene more depth and make it feel lived-in but still clean and comforting.

I kept the textures soft and not too harsh, to match the calm feeling we were going for. I chose cool and gentle colours, so the focus stays on the characters and their emotions. I made sure the textures didn’t distract from the story but instead supported it quietly in the background. This really helped bring the environment to life and make it feel more natural.

Categories
Collaborative Unit

Modeling Environment

After the story was finished, I chose to work on the environment for our animation. I wanted to create a space that would support the emotions of the story and make it feel more alive. Using Maya, I worked on both the exterior and interior environments by myself.

For the exterior, I designed it to reflect South London, since the project was for SELCA (South East London Cancer Alliance). I thought this would help people connect more with the visuals, as it feels familiar and relatable. I kept this in mind while creating the layout and look of the outside space.

For the interior, I focused on keeping it soft and not too messy, to avoid any visual confusion. I wanted it to feel calm and clear, so the message of the animation could come through easily. Every part of the environment was carefully planned to support the character’s journey and make the story feel real for the audience.

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Advanced and Experimental 3D Computer Animation Techniques George Term 2 & 3

Week 1: Introduction & Storyboards

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.

  • Rule of Thirds: This is a guideline for visual composition that places the subject in either the left or right third of an image, keeping the other two-thirds open. This helps in achieving a balanced and visually appealing shot.
  • Mise-en-scène: This term refers to the arrangement of elements within a shot, including props, scenery, and characters. It plays a key role in setting the tone and atmosphere of a scene.
  • Golden Ratio: A mathematical concept where the frame is divided into three uneven sections in a 1:0.618:1 ratio. This technique helps in composing visually engaging shots by ensuring that the flow of the image feels natural. It can be used alongside the Rule of Thirds to enhance composition.

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.

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Thesis

Week 1: Introduction & Brief

For this assignment, I’m working on a draft literature review for my FMP thesis. I need to choose a research question or problem related to our course, outline my research objectives (150-200 words), and gather relevant academic sources to support my ideas.

The goal is to build a foundation for my thesis proposal, using Harvard referencing and ensuring all sources are properly cited. This draft will help me refine my thesis direction and will be a key part of the feedback I get to improve my final proposal.

Nigel had us answer a few questions in the beginning itself that helped me get clarity on the areas that I can be potentially interested in, and how I can relate my Thesis topic to my FMP practical submission. The questions are:

1. On graduation, which area or environment of production do you wish to focus upon and why?

After graduation, I plan to specialize in environment building and storytelling through short films, particularly in cinematic worlds. This allows me to create detailed worlds and explore different themes, which I find exciting and meaningful.

2. What skills will you need to attain the standards required for vocational practice?

To meet industry standards, I need to:

  • Improve my animation skills, making movement look more natural and realistic.
  • Expand my knowledge in world-building, particularly in Unreal Engine.
    I’ve gained some experience in these areas during Term 1 but need to push further to master them.

3. How will you showcase your FMP practice for the final shows?

My FMP will be a short film that lets me focus on narrative storytelling, animation, and immersive world-building. It will be shown at the final show, allowing others to experience my creative work.

4. Is it important to directly connect the thesis research to your practical work?

Yes, my thesis research is directly linked to my FMP. Both focus on the digitalization of identity and virtual worlds. Themes like losing oneself in digital spaces, isolation, and constructed realities will be explored through my film’s story and world-building.

5. Do you have an area of research you wish to conduct that is unrelated to the practical element?

No, all my research is connected to my practical work, as it helps inform and shape the themes and concepts I explore in my film.

Categories
Collaborative Unit

Brief and Ideation

I chose this project because I really wanted to do something that could make a difference, even if it was small. When I read the NHS brief, it felt important. The idea of helping people understand their treatment journey, especially something as tough as breast cancer, really spoke to me. I wanted to be part of something that could give comfort and support to patients.

After I joined the project, we worked together as a group to come up with ideas. Everyone shared thoughts about the story, visuals, and emotions we wanted to show. Once we had a clear direction, I wrote the final version of our story draft. I wanted it to feel real and respectful, while still giving hope. I thought about how we could show the journey of the patient in a way that was easy to understand and full of empathy. This story became the base for everything else in our project.

Categories
Design for Animation, Narrative Structures and Film Language

Week 12: Critical Report Presentation

For Term 1, for the subject Design for Animation, Narrative Structures & Film Language, I have written a report titled The Aestheticization of Violence in Animation: Moral Ambiguity and Narrative Consequences.

This report examines how violence is depicted in animated films and series, focusing on the aesthetic choices behind its portrayal and the moral ambiguity it creates. It explores the implications of stylized violence on the narrative structure and character development, specifically whether protagonists are forced to confront the consequences of their violent actions and if this leads to character growth. The report also investigates how antagonists may appear more charismatic due to the design and stylisation of their violent actions. Please find the critical report presentation attached below.

Critical Report Video Presentation Link:

https://drive.google.com/file/d/1NZCmnvCwx0ymRi1YvWV2uFrZVUftlJ8L/view?usp=sharing

Critical Report Document:

Critical-ReportDownload
Categories
Design for Animation, Narrative Structures and Film Language

Week 10 & 11: Final Draft & Structure

In Week 10, I focused on finalising my report’s draft. After gathering the necessary research and examples from the series i watched, I began structuring the material into a cohesive draft. A significant part of this process involved deciding the main chapters for my report. I decided on three chapters, each addressing a distinct aspect of stylised violence in animation, particularly in Demon Slayer and Cyberpunk: Edgerunners. These two series provided rich examples of how violence is not just depicted but stylised to evoke specific emotional and moral reactions from the audience as they both had a narrative structure to it. They showcased violence that was provoked by an event that took place earlier in the storyline of the series which will help me explain the narrative impact clearly as well.

The chapters I outlined were:

  • Chapter 1: Stylised Violence & its Effects on Viewers’ Moral Judgement
    This chapter became the centrepiece of my report, as it directly addresses the main topic: how stylised violence in animation affects viewers’ moral judgments. I made sure to allocate more space and focus to this chapter, as it is central to my argument. I discussed how visual representations of violence can desensitise viewers, influence their perception of right and wrong, and create complex moral ambiguities.

  • Chapter 2: Impact on the Narrative’s Structure and Resolution
    The second chapter explores how the inclusion of violence in animated series shapes the story’s structure. I examined how violence in both Demon Slayer and Cyberpunk: Edgerunners drives plot development and resolution. Violence, in these series, doesn’t just serve as a plot device but plays a pivotal role in shaping the emotional tone and resolution of the story. Again, this chapter received considerable attention in the final draft because it was crucial to understanding the narrative impact of stylised violence.

  • Chapter 3: Potential Long-Term Effects on Societal Perceptions
    For this chapter, I took a broader approach, reflecting on the long-term impact of stylised violence on societal perceptions of violence, morality, and empathy. While this chapter was important, I decided to keep it concise, not delving too deeply into it. I wanted it to serve as a reflective section, acknowledging the potential cultural consequences without overloading the report with too much speculation. The goal here was to offer a perspective on how violence in animation might shape public perception but not go into extensive detail, as this wasn’t the focus of my study.

By the end of the week 10, I had drafted the full report with clear sections and a strong argument in place. I was ready to move on to the revision stage, where I planned to refine the flow and ensure the report clearly conveyed my findings.

Therefore, in week 11, I made sure that the progression of the chapters was smooth and engaging. I also spent time reviewing the language and overall clarity of the report. My main goal was to find a balance between making the report academically correct as well as easy to understand. I wanted to make sure that even though I was discussing complex ideas, they would still be clear and accessible to anyone reading the report. To do this, I looked for places where the language might be too complicated or confusing and worked to simplify it. I also removed any unnecessary details or repetitive points that might distract from the main ideas, so the report stayed focused on what was most important.

Even though I was happy with the overall flow, I wanted to ensure the language was up to the mark. So I read a few books that focused on violence in visual media and communication to understand how to frame concise sentences. that helped me to form sentences that are neither too long nor too short. I then reviewed the entire report one last time, looking for any areas that needed improvement or clarification and made sure to clearly summarise the key points in the Conclusion section. After this, I spent time checking the formatting, ensuring that everything was consistent and professional. This included things like correct citation styles, clear headings for each chapter, and making sure the references were properly formatted. I also rechecked the word count to ensure the report fit within the required limit without sacrificing any important content.

I felt confident that I had put together a strong report that addressed the topic effectively and met all the requirements. It was satisfying to see the report come together after all the research and work I’d put in over the previous weeks.

Categories
3D Computer Animation Fundamentals Animation

Week 12: Showreel Submission

Term 1 Showreel:

Here’s my Term 1 showreel, featuring the projects I’ve worked on so far. It’s been an exciting journey of learning and development, and I’m looking forward to building on these skills in the next term.

Design Proposal

In my design proposal, I’ve outlined the concepts behind my previous project and the direction for my upcoming work.

Categories
3D Computer Animation Fundamentals Animation

Week 11: Body Mechanics Spline

This is my final version of the spline for the Body Mechanics Assignment. After completing the blockout, I focused on refining the animation in the spline stage. I adjusted the foot placement and smoothed out the transition into the sitting pose, ensuring the timing, weight distribution, and sitting in the chair felt natural. I also tried to exaggerate some poses to make it look more dramatic as George suggested.

Here is my final video –

Categories
3D Computer Animation Fundamentals Animation

Week 10: Body Mechanics Blocking

While blocking out the animation, I focused on how the character’s centre of gravity shifts during the movement. I made sure the weight felt balanced and natural, especially when lowering into the chair.

I did face some trouble with foot placement and the distance between the walk and the chair. It took several tries to adjust the positioning and make sure the sitting pose towards the chair looked smooth and believable and doesn’t make it look like the body is falling. I also struggled with timing during the descent into the chair, as the movement either felt too fast or too slow and the knees kept changing as the torso moved.

One of the most crucial areas I’ll be refining during the spline stage are the arcs. Both the arm and body arcs have been challenging to get right, and they’re essential for making the whole movement feel organic and smooth. I’ll also adjust the head movement to match the body more naturally.

The blockout gave me a good foundation, and I’m excited to see how these changes will improve the final result.