Seiya's Blog

Author: Seiya Ito

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Serra Class

Week 9: Recording Our Project in 270 Big Screen

Recording Our Project in 270 Screen

This week, we projected our project onto screens and recorded it.

At first, we planned to show the work on a large TV like screen and film it. However, to make it more interactive and more interesting, we changed the idea. In the final setup, we used a 270 degree large screen in the background and showed an underwater scene. In front of it, we placed a TV and displayed our interactive work on that screen. With this setup, when viewers stand in front of the TV, they are surrounded by a large underwater world. This made the work more immersive and created an experience-like installation.

However, we also had some critical problems during the process. For example, when we rendered the project in Unreal Engine 5 for the large screen, the resolution broke or the output did not work correctly. We solved this by changing camera settings and separating the parts that needed high resolution from those that did not.

Also, in this recording process, the four group members worked together and shared different roles. This improved our teamwork and made the production more enjoyable. Since using a large screen like this is not something we do often, I want to use this experience to improve my future work.

This is a rendered 270 screen size under the sea. (Resolution size: 7104 × 1080)

My idea previs video

This is a previs video that I made before discussing the project with my team members.
At that time, I only planned to use one large screen for the project.
However, after showing this previs to my team, we realized there were some problems with the interactive design. For example, we needed to decide where to place the camera that detects hand gestures. We also realized that the camera could only detect gestures in front of it, so it would be difficult for people to move freely around a 270-degree space.


After discussing these issues together, we changed the design and developed the final interactive setup shown above.
Through this experience, I learned that creating a previs before meeting with the team is very helpful. It makes it easier to share ideas, communicate with each other, and improve the project together.

Categories
Ting Class

Week 18: Workshop: Studio Library, Anim Layer, AnimBot and advanced Animation Shot Polish

Workshop: Studio Library, Anim Layer, AnimBot

This week, I took part in a workshop where I created a shot using different plugins, such as Studio Library, Anibot, and animation layers in Maya.

I was particularly surprised by how useful Studio Library is. It makes it very easy to combine different animation shots and assets into a single Maya file. In this exercise, I created a scene involving a Pakkunflower attacking to Mario. Through this practice, I realised that I really enjoy creating action based scenes, especially like game animations, and I also like working with characters such as Mario.

In the last unit, I learned how to use Studio Library to copy key poses and combine them into a single Maya file. In this workshop, however, I learned how to combine full animation keyframes into one shot. This workflow is very convenient and efficient, and I understand that it is also used in the animation industry, according to my tutor. Because of this, I would like to practise it more and improve my workflow in future projects. The tutor provided us with three different files: a Pakkunflower model, a Pakkunflower attack animation file, and an environment file. I combined these assets into one scene and created a simple narrative. In my version, the Pakkunflower jumps, attacks, and Mario tries to escape from the attack. I also used animation layers in Maya. On the first layer, I added breathing motion, similar to the snake breathing workshop I did previously. On the second layer, I added the escape action for Mario, adjusting position, timing, and spacing to make the movement more dynamic.

Overall, this workshop was very exciting and helpful for me. However, because the workshop period is limited, I would like to continue refining and polishing this work during the summer holiday.

Advanced Animation Shot Polish

This week, I continued polishing the timing and spacing of my advanced animation shot. In addition, I added a new first section that includes a weight shift motion to make the beginning of the performance feel more natural and grounded.

Through this process, I realised that I still need to push the animation further by adding more characteristic movement principles, such as anticipation and exaggeration. These elements are important for making the performance more appealing and expressive, rather than just mechanically correct.

I also received valuable feedback from Mariana, who recommended a YouTube channel created by professional animators for learning body mechanics. This is very helpful for my development, as it gives me access to high quality references and industry level insights that I can study and apply to my own work.

Overall, this week helped me understand that polishing animation is not only about fixing timing and spacing, but also about strengthening the performance through clearer acting choices and animation principles. In the future, I would like to continue improving this shot by focusing on more expressive body mechanics and studying professional references more deeply.

Categories
Serra Class

Week 8: Polish Our Project and Getting Feedback

Polish Our Project

I’m trying to create eye and blinking animations for coral reef creatures in TouchDesigner. I’m really excited about this because the eyes are very cute, and the process is helping me deepen my understanding of TouchDesigner compared to before.

On the other hand, I haven’t been able to create the coral reef creatures very well because my skills and knowledge are still limited. From this experience, I’ve changed my focus from creating the whole creature body to designing the creature’s eyes, so I can at least contribute to the project.

In TouchDesigner, I built the system by connecting nodes as shown in the reference image, and created a blinking eye animation.

To make the blinking feel more natural, I introduced randomness into the timing. In addition, I designed the eyes to be large and bold so that even if the creature itself is small, the facial expressions remain clearly visible and easy to understand.

The mouth does not move in this design, but I emphasized cuteness by shaping it into a gentle curved smile.

Furthermore, background elements such as plants and coral reefs are created as 3D objects. However, the facial expressions of the creatures are designed in a more 2D-oriented way. Specifically, I use a top-view perspective and CHOP-based controls to achieve clear and readable facial expressions within a 3D space.

Project Statement

This week, our teacher asked us to create a project statement for our group project. Together with my group members, I worked on the document and contributed to several sections. In particular, I wrote about our project concept, the characters that will appear in the project, the meaning behind the work, and our current progress.

In the project statement, I explained what we have completed so far and what still needs to be done. For example, we have already created some of the environments and sea creatures for the project. However, we have not yet combined the creatures and environments into a single file, so this will be one of our next tasks. We also need to record a video presentation of our project, and we will have to discuss the best way to present it so that viewers can clearly understand and enjoy our work.

Overall, I think our project is progressing well. Every Tuesday, our group meets in the Digital pace to work together, and everyone is putting a lot of effort into the project. Because of this regular teamwork and communication, we have been able to make steady progress each week. From my perspective, I would like to use the large screen in the Dataspace to display our underwater environment. I believe this could create a more immersive experience for the audience and help them feel as if they are exploring the underwater world themselves. This would make the project more engaging and memorable for viewers.

This project statement helped us organize our ideas, reflect on our progress, and plan the next steps for the development of our project.

Categories
Ting Class

Week 17: Workshop Anibot

Workshop Anibot

This week, I learned how to use a plugin system called Anibot in Maya. Anibot is very helpful and convenient for adjusting the Graph Editor and controlling animation functions more efficiently.

I used Anibot to create a PakkunFlower character animation as part of a workshop. Through this process, I realised that Anibot helps me save a lot of time, as it is much easier to control animation curves compared to doing everything manually in the Graph Editor. For example, if I want to adjust spacing, I can simply modify a slider in Anibot, and it directly affects the curves in Maya. This workflow felt much more efficient than my previous method. I also found the trail function very useful, as it allows me to visualise motion paths and better understand how each part of the body and joints are moving over time.

The PakkunFlower Character animation was quite challenging because it is not similar to a human body. Since it is a Mario character, I had to imagine how it would move in a believable way. I tried to animate actions such as attacking and opening its mouth to catch objects. Although it was difficult, I also found it very fun and exciting.

In terms of animation principles, I focused on timing and spacing throughout the shot. For example, when the Pakkunflower prepares to attack, I added anticipation to make the movement more appealing. Then, when it attacks, I used trail visualisation and adjusted timing and spacing to emphasise a more dynamic and natural motion.

After the workshop, we reviewed everyone’s work and progress. I was impressed by the quality of my classmates’ animations. It was a valuable opportunity to gain new ideas and insights from both my tutors and peers, and it motivated me to continue practising and improving my skills.

Categories
Serra Class

Week 7: Making Environment (Under the Sea) in UE5

Under the Sea

I made an environment (Under the Sea) in UE5 based on references that I researched before.
In the process, I have faced up some difficulties and challenges to achieve our concept image. In particular, it is the most difficult to make water surface and atmosphere in ocean.

To overcome these difficulties, I searched tutorial in YouTube and some website. And then, I found some good reference and tutorial to revise my purposes in UE5. Therefore, I used to this knowledge. I used blueprints for water and sculp mode for making ground and texture and assets from Fab.

Also, I considered about construction of each nature objects such as, rock, coral reef, and sand etc.
First, I spent time researching references for our underwater environment. I looked at different examples of underwater scenes and explored what kind of visual style would be suitable for our project. During my research, I found several useful tutorials that explained how to create underwater environments in Unreal Engine 5, which gave me ideas for developing our scene.

After gathering references, I created a rough sketch of the underwater environment by myself. The main purpose of this sketch was to explore the layout and camera composition before building the scene in 3D. I wanted to create a strong sense of immersion for the audience, so I carefully considered how objects would be positioned within the environment.

In my sketch, the center of the scene represents the deepest area and acts as a focal point that draws the viewer’s attention into the environment. The foreground contains elements such as coral, sea plants, and branches that are positioned close to the camera. As the viewer looks toward the center of the screen, the environment gradually becomes more distant, helping to create a sense of depth and scale. I also paid close attention to the color balance of the scene. While bright and vivid colors can make an underwater environment visually appealing, using too many strong colors can sometimes make the scene feel unnatural. Therefore, I aimed to balance realistic underwater tones with a slightly fantastical atmosphere. My goal was to create an environment that feels believable while still capturing the magical and imaginative qualities of an underwater world.

Overall, this process helped me develop a clearer vision for the environment and provided a solid foundation for the next stage of production.

Draft Sketch for Under the Sea

Color Test

Reference / Tutorial

This is a good reference and tutorial how to make under the sea in UE5, I used different method to make under the sea in UE5, but I learned basic and a lot of things from this video! Especially, What element is necessary to express beautiful and realistic under the sea and about blueprint techniques as well.

Categories
Serra Class

Week 6: Projection Mapping in UE5

Projection Mapping in UE5

I learned how to make and revise 3D digital signage by using UE5 in this week. This installation is so called projection mapping as well. And it was really excited for me because I thought that might be difficult for me before I took the class today, however, indeed, it is not too difficult for me.

To sum up key point, first, I decide the camera angle to consider where is from the viewer saw it. And then, I set up moving object from back to front. Also, it is the most important thing is to be aware of what you gonna make 3D advertisement in real field, and fit it correctly in UE5.

And then, to render the video and fix it in after effects. After that, finally, the video shows to the object via screen projector.

Touch Designer Self Study

By creating an animated video of a moving banana using TouchDesigner, I was able to understand the basic UI operations of TouchDesigner, as well as the overall process of how to generate and export visuals from the software.

Through this project, I also gained a basic understanding of what can be achieved with TouchDesigner, at least in terms of producing and outputting visual content.

Moving forward, I would like to repeatedly practice these fundamental operations and production processes in order to fully internalize them. Based on this experience, I aim to further develop my ability to build interactive structures using TouchDesigner, which is the core of our project.

Categories
Ting Class

Week 16: Polish Previs Work

Polish Previs Work

I focused on polishing creature animation in this week. In particular, I fixed leg movement, head movement, ear movement, and shoulder movement. But in my point of view, it has still not smoothed body motion.
Also, I joined animation party that gave me a good opportunities to connect with professional artist and student. Additionally, I could get a feedback from professional animators. They said that I need to observe more carefully, for instance, I have to see in foot movement, and how to move leg, and body structures etc.

From these feedbacks, I gonna polish more for achieving natural creature animation and to make a good showreel for getting a job in 3D animation / game industries!

Advanced Animation Shot (Jump Forward) Blocking

This week, I started working on a jumping animation shot as a more advanced body mechanics exercise.

Last week, I discussed my plans with my tutor. Initially, my tutor advised me to focus on polishing my previous work rather than creating a new shot. To be honest, I was a little confused because I had already planned a new animation idea. My original concept was a character jumping to catch a balloon that had floated away from a child and then returning it. I was quite interested in developing this idea further. However, after discussing it with my tutor, I understood their point of view. Since there were only about two or three weeks remaining, they suggested that I simplify the idea and focus primarily on creating a convincing jumping motion. Therefore, I decided to use this project as an opportunity to practise body mechanics and improve my understanding of jumping animation.

This week, I created the blocking pass in Maya using stepped mode. While working on the blocking, I found timing and spacing particularly challenging. A jump contains many subtle movements and details that need to work together. For example, when a character pushes off the ground, the body stretches upward, and when the character lands, the body compresses or squashes. These principles are important for creating appealing and believable animation, especially in stylised character animation. Although I understand the importance of squash and stretch, I realised that these techniques are still quite advanced for me. Therefore, I decided to focus first on the fundamentals, particularly timing and spacing, before concentrating on more complex animation principles.

After reviewing my blocking, I noticed that the character’s weight shift looked slightly unnatural, especially at the beginning of the shot. The centre of gravity (COG) did not feel stable, which affected the believability of the movement. Next week, I would like to focus on improving this area, as well as refining the timing and spacing throughout the animation. Overall, this exercise helped me recognise the importance of strong fundamentals in body mechanics. By concentrating on the basics first, I hope to build a stronger foundation for more advanced character animation in the future.

Categories
Serra Class

Week 5: Reality Capture

Reality Capture

In this week, I learned about RealityCapture and how to use it to create 3D models from real-world objects. I found this technology very useful because it allows us to create realistic 3D assets without going through the traditional modeling process. As shown in the workflow, the first step is to prepare a real object that I would like to import into Unreal Engine 5 as a 3D model. After that, I capture the object from multiple angles, including a full 360-degree view, using the Unreal VCam application on a smartphone.

Next, I import the recorded footage into RealityCapture, where the images are processed to generate a 3D model. During this stage, I adjust the settings and edit the data to improve the quality of the generated mesh. Once the processing is complete, the model can be exported and imported into Unreal Engine 5.

Finally, I clean up the mesh and make adjustments to the UVs so that the asset can be used in the same way as a standard 3D model. This process enables the creation of highly realistic assets while significantly reducing the amount of manual modeling work required.

Overall, learning RealityCapture was a valuable experience because it introduced me to an efficient workflow for creating realistic 3D environments and objects. I believe this technique will be very useful for future projects, especially when creating detailed assets for real-time applications in Unreal Engine 5.

Making Environment

I found these references for our underwater environment. I would like to create a beautiful underwater world that is mainly based on blue tones, as I believe this colour palette can effectively convey the atmosphere of the sea while creating a calm and immersive experience for the audience.

Another important consideration is colour balance. I plan to keep the colour scheme relatively simple and avoid using too many different colours throughout the environment. This is because our project aims to emphasize the creatures that inhabit the underwater world, and I do not want the background environment to distract viewers from them.

By limiting the number of colours and maintaining a consistent visual style, I hope to create a strong contrast between the environment and the creatures while still ensuring that both elements feel connected within the same world. Finding the right balance between an attractive environment and clear visual focus will be one of the key challenges of this project, and I am eager to develop an effective solution.

Categories
Ting Class

Week 15: Creature Study Locomotion (Polish), Advanced Animation Shot (Planing)

Creature Study Locomotion (Polish)

This is a polished version based on the feedback I received from my tutor last week. In particular, I focused on improving the facial movement by adding clearer directional changes, such as looking to the right and left. I also refined the ear movement, foot movement, and foot joint positions. In addition, I corrected the leg rotation, especially in areas where the legs were moving inward unnaturally.

Actually, this creature animation has been very difficult to create because I need to understand the animal’s body structure properly. This type of creature has completely different proportions, movement patterns, and body features compared to the human characters that I usually animate.

For instance, tigers and leopards move using four legs rather than two legs with arms and hands. They also have characteristics as carnivorous animals, which influences how they move and behave. Because of this, I need to carefully observe real animal references in order to create a more believable and natural animation.

Advanced Animation Shot (Planing)

Before I received feedback from my tutor, I intended to create a new animation shot based on this planned idea. However, I realised that it was more important to refine and complete my previous work rather than start another animation. Therefore, I changed my approach and decided to focus on polishing my existing shots to a higher standard so that they could become stronger pieces for my showreel and portfolio.

One of the ideas I had planned was a body mechanics animation focused on a jumping action. In the future, I would like to create realistic body mechanics performances, so I believe it is important to first develop a solid understanding of fundamental movements such as walking, running, and jumping.

For this shot, I wanted to create a convincing jumping motion while also including a simple narrative. My idea was that a small child accidentally loses a balloon, which then floats into the sky. The main character notices this and jumps to catch the balloon in order to help the child. After catching it, the character returns the balloon, creating a simple but heartwarming moment. Through this idea, I hoped to improve not only my understanding of jumping mechanics but also my skills in timing, spacing, dynamic movement, and camera staging. However, after discussing my plans with my tutor, I realised that finishing and polishing my existing animation shots would be more beneficial than starting a completely new project at this stage.

Furthermore, I learned that I should avoid using slow motion references or references taken from already animated videos. Instead, I should use real life footage, preferably recorded by myself, to ensure that the movement is accurate and believable. This feedback helped me understand the importance of quality over quantity. Rather than producing many unfinished shots, it is more valuable to complete a smaller number of animations to a professional standard. Moving forward, I will focus on refining my current work and paying closer attention to observation, reference gathering, and animation polish in order to improve the overall quality of my work.

Categories
Serra Class

Week 4: Project Feedback

Project Feedback

I collaborate with Chichi, Liz and Maria in this project !
I really excited to work together and we conceive main idea, meaning of it, and main concept for this project. In particular, we choose under the sea environment and three types of creature for interactive installation.
To sum up, the viewer shows three different hand gestures or handwaves that have different speed and the camera catch up this motion and creature react real time under the sea.

When it comes to meeting with my group members about out project, I researched what kind of creature do we want to create and suitable for achieve our purposes in this project like this pictures in advance ! And in my opinion, I would like to create unique character that inspired from sea animals such as, jelly fish, coral reef, and urchin etc. Furthermore, we decided to add different emotions like happy, calm down, and steadily in these creatures.

Also, we made a timeline and provide each task such as, character modeling, environment making, and sound, and touch designer and so on. And especially, I have assigned to work on making environment in this project! Therefore, I will do my best to contribute to this project. So that, I will collect reference and imagine how is appearance at first, and then I will use Unreal Engine 5 to make it.