Seiya's Blog

Category: Unreal Engine

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Maya Unreal Engine

Summary and Showreel for Final work

Maya Animation class with George

In this class, I started by learning the 12 principles of animation and was able to build a solid foundation in animation. I worked on many animation exercises, such as bouncing ball, pendulum, small creature jumping, weight shift, walk cycle, and body mechanics. Through these exercises, I realized again how important it is to carefully observe references and make a clear plan. I also found that drawing movements by hand in 2D is very effective for imagining the motion. In addition, I learned that planning must always include timing, space, and the number of frames.

This was my first time using Maya, so I faced some difficulties, but I feel that I learned the basic knowledge and skills needed for animation. I actively asked my classmates and teacher for advice and tried to use an objective perspective to notice points that I would not have realized on my own.

In the next semester, I want to further improve my animation skills and expand the range of what I can create in my animation projects.

Maya Animation class with Ting

In this class, I focused on animating characters. I learned not only the 12 principles of animation but also many useful tips for creating animation. Working on exercises like “Juice Box” and “Golden Pose” helped me strengthen my basic skills and improve my knowledge.

The “Golden Pose” exercise was important because it taught me how to show a character’s situation and emotion clearly. I also learned about other important points in character animation, like the center of gravity (COG). Through the “Franky Pose to Pose” and “Body Mechanics” exercises, I gained more experience and understanding of animation. These exercises were challenging, but by asking my classmates and teacher for feedback, I was able to improve steadily.

I also really enjoyed the time at the end of class when we shared and presented our animation works.

I want to use what I learned in this class in the next semester and continue to grow as an animator.

UE5 class with Serra

In this class, I focused on learning UE5. I had never used UE5 before, so I worked hard to keep up with the lessons. Especially, UE5’s UI and controls are different from other software like Maya or Blender, so it was challenging at first. I also struggled with UE5-specific terms like “Sequence” and “Level.”

However, through the class, I realized that UE5 has a lot of potential. I found it very useful that rendering time can be shorter, there are many ready-to-use assets, and it is a very versatile software that allows modeling, animation, and rendering all in one.

For the final project, I used UE5 to create my work, and I was able to greatly improve my skills. But there are still many things I don’t fully understand, so I want to continue learning on my own next semester to use it more confidently. In the future, I hope to be able to do modeling in Blender, motion in Maya, and camera work and rendering in UE5.

Showreel

This is my Unit 1 showreel. I included a lot of motion in it. I put together everything I learned in the 3D Computer Animation Fundamentals class in this showreel. Through this project, I really felt that I grew a lot as an animator.
Next semester, I want to use what I learned here to improve even more and keep working hard.

Categories
Unreal Engine

Week 12: Setting up the scene in UE5 and creating the animation

Cut01

In Cut 1, the character walks from left to right along a path in the forest. In this scene, I focused on the sense of scale of the character and the movement of the surrounding plants.

Cut02

In Cut 2, the character walks toward the camera from the background to the foreground. In this scene, I wanted to clearly show the character’s facial expression. Therefore, I used a low-angle camera to make the character’s face more visible.

Cut03

In Cut 3, the character walks toward the cave. To emphasize the vastness of the background, I used a panning camera while gradually pulling back. This allows the viewer to clearly understand the scale of the environment, the smallness of the character, and where the character is going.

Cut04

In Cut 4, the character pauses in front of a Japanese torii gate at the entrance of the cave before walking inside. During this scene, I rotated the camera 180 degrees while maintaining focus on the character. By adding this dynamic camera movement, I aimed to clearly convey that this moment marks a significant change in the narrative.

Cut05

In Cut 5, the character walks inside the cave. In this scene, I kept the interior of the cave simple in order to draw attention to something ahead. As the character moves deeper into the cave, I emphasized this focal point by using brighter blue lighting toward the end of the cave.

Cut06-1

In Cut 6, the character arrives at the end of the cave. Rather than revealing what lies beyond, I focused the camera on the character to build anticipation.

Cut06-2

In Cut 6, I depicted a scene where the character stops and is overwhelmed by the view beyond the cave. In this scene, I did not reveal the entire interior of the cave; instead, I showed only a part of the tree to create a sense of mystery.

Cut07

In Cut 7, we focused on a Japanese shrine at the base of a tree. This shrine is visually connected to the torii gate we saw earlier at the cave entrance. By combining mystical elements like the cave and the shrine, we aimed to create a more beautiful and sacred atmosphere.

Additionally, we illuminated the shrine with orange and yellow lighting to highlight it and convey a warm, welcoming feeling.

Cut08

In Cut 8, the camera pulls back to show the entire cave interior. To emphasize the vastness and grandeur of the environment, I positioned the camera slightly above eye level, using a gentle high-angle shot.

UE5 Set up

Scene 1:

Foliage

When creating the background, I needed to place a lot of plants, as the setting was in a natural setting. I used the Foliage tool I learned in class to efficiently place plants and trees within a specified area. This function exists in other software, but it can often slow down processing or cause data loss. However, I felt that UE5’s greatest strength was that it runs stably and allows you to work quickly as long as you make sure to save regularly.

Based on this experience, in future background productions I would like to create the main objects and props in Blender, and then place plants and other elements later in UE5 to complete the background.

Scene 2:

When creating this background, I was conscious of guiding the eye naturally into the cave and of expressing the grandeur of the background. To that end, I duplicated and layered many assets to enhance the sense of three-dimensionality.

This method is not often used in other software, as it can cause strange surfaces and textures when rendering, and can also cause problems with light reflection. However, when I checked the sample background environment assets for this production, I found that many objects overlapped, creating a wonderful sense of three-dimensionality and working normally.

For this reason, I decided to incorporate this technique into my own work.

Scene 3:

As this background is set inside a cave, it is a dark environment with no sunlight. Therefore, we placed many point lights and spot lights to ensure brightness. Furthermore, by setting the light to blue, we emphasized the mysterious atmosphere.

We also positioned the base of the tree slightly below eye level so that the entire tree could be seen. Furthermore, by using lake assets, we were able to create a realistic and tranquil atmosphere.

Rendering Settings

What I Learned About Rendering in UE5

While working on this project, I tried different rendering settings in UE5 and noticed some important points. Here’s what I learned.

1. Save Often

Even though UE5 is stable, big scenes can sometimes crash. I realized that saving frequently is very important. I made it a habit to press save bottom regularly.

2. Lighting Matters

Adding many lights can sometimes make things look too bright or strange. I learned that adjusting intensity and radius carefully helps. Also, light color changes the feeling a lot: blue feels mysterious, while orange feels warm.

3. Reflections and Shadows

Reflections and shadows can be tricky. I noticed that using Reflection Capture and Lightmass helps make them look natural.

4. LOD (Level of Detail) Helps Performance

High-polygon objects can make the scene slow. I found that using LOD allows the polygons to decrease when objects are far away, which makes everything run smoother.

5. Object Placement

I also noticed that putting too many objects in one place can be heavy for the scene. Nanite in UE5 helps a lot, because it can handle high-polygon objects without slowing down the scene.

6. Rendering Settings

I tried different settings and learned:

  • Anti-Aliasing makes edges and movement smooth. TAA works well.
  • Post Process Volume helps adjust brightness, color, and contrast.
  • Ray Tracing gives realistic shadows and reflections, but it can slow down the scene.

7. Preview Before Final Render

I found that it is better to preview in low resolution first. When everything looks good, then do the high-resolution render. Temporarily hiding unnecessary lights or objects also saves time.

Categories
Unreal Engine

Week 11: Cave

I created the cave and corridor in Blender. First, I modeled a basic sphere and then used Sculpt Mode to sculpt the rock textures. Finally, I combined the cave and corridor assets to build the environment.

Problem and solution

First, I created this cave using Blender.
For the modeling process, I started by creating a sphere, then used Sculpt Mode to shape it and add textures to make it look like a realistic cave.

After that, I exported the model from Blender to UE5, but I encountered a new problem. In UE5, even if an object is three-dimensional, the inner faces are not rendered properly, so the surface appears transparent from the inside.

I tried reading various references to solve this issue, but I could not find a clear solution. Therefore, I went back to Blender and used the Solidify modifier to add physical thickness to the mesh. After applying the modifier and exporting the model again, the surface was no longer transparent.

Through this problem, I realized that it is important to give objects proper thickness when creating 3D models.

References

Categories
Unreal Engine

Week 10: Big Tree

First, I planned to use tree assets in UE5, but when I looked around, I only found normal trees and couldn’t find any large, mysterious trees. So I decided to make the tree myself.

This week, I focused on creating a large and mysterious tree inside a cave.
I am good at modeling buildings and mechanical objects, but I have had little experience with modeling organic forms like trees, which have irregular shapes and delicate wood grain details. Because of this, creating this tree was a personal challenge for me, and at the same time, it became a valuable opportunity to gain new knowledge and skills.

I wanted to create a large, powerful impression, so I designed the wood grain to be somewhat coarse and with wider spacing between the grains. Also, because trees at shrines often have decorative elements, I incorporated ornaments that symbolize the sacred tree and the act of worship. The most difficult part was creating the spirally woven rope.

Through the process of creating this tree, I was able to learn how to use sculpt mode more effectively and gain new insights. Overall, it was a very meaningful and valuable learning experience.

Making Process

1.First, I created a circle and converted it into a curved cylinder, similar to the shape shown in the reference image.

Then, I drew curved lines along the surface of the cylinder.

↓

2.Next, I converted the curved lines into three-dimensional cylindrical objects. At this stage, I effectively used Bezier curves to control the shape.

In addition, I made both ends thinner and the middle thicker in order to represent a more realistic tree form.

↓

3.Then, I rotated and duplicated the cylinder created in step 2 by 360 degrees, as shown in the reference image.

↓

4.Once I had a clear understanding of the overall tree shape, I went back to step 2 and added additional branches. After that, I used Sculpt Mode to create details such as growth rings and wrinkles, enhancing the realism of the tree.

↓

5.Finally, I repeated the rotation and duplication process described in step 3. Then, I carefully adjusted the positions and rotations of the branches while considering the overall balance of the tree.

Rope

In terms of this rope, I first created it in a spiral shape. Then, my initial plan was to bend the rope along a curve and wrap it around the tree.

Specifically, I started by creating a circular object, and using a modifier, I arranged it in a spiral along the Z-axis. Next, I applied a curve modifier to shape it into a circular form. Finally, I adjusted the curve mode of the object to add sagging caused by gravity, making the rope look more natural.

Paper docoration

When creating the paper decoration, I first created a flat plane. Then, I added a grid on the plane and removed unnecessary faces and vertices to shape it according to the reference.

Next, I extruded the plane in steps to make it three-dimensional. Finally, I bent the object along a curve, which allowed me to create a paper decoration that looks like it is fluttering in the wind.

Straw decorations

Creating the straw ornaments was particularly difficult. I felt that the most challenging part was expressing the detailed texture of the straw and its complex shape.
However, I tried to create them in my own way. First, I created a sphere and deleted the bottom half. Next, I extruded the deleted part to create the shape of the straw ornament. After that, I used Sculpt mode to adjust the texture and shape. Finally, I adjusted the position of the bottom face to complete it.

References

Categories
Unreal Engine

Week 9: Japanese Shrine

This is a Japanese traditional shrine created using Blender. In this modeling, I focused on creating a balanced and symmetrical design, as well as emphasizing the texture of the wood to convey the shrine’s sacred atmosphere. I also aimed to combine the simplicity of a temple with the elegance of a shrine, creating a building that embodies the best of both.

Throughout this process, I realized that traditional buildings are made up of many interconnected parts. For example, even in wooden architecture, the structure relies solely on interlocking wooden components, and the roof tiles differ from ordinary tiles, giving the building unique features not found in other constructions.

I also created textures using Substance 3D Painter, which I found very useful for future projects. At the same time, I feel motivated to deepen my skills in these software tools to be able to create my own original textures.

full 360° view to display the temple assets

<Torii>

<Light>

<Temple>

Texture / Material

I used Substance 3D Painter to create the textures and materials for the temple assets. I referenced traditional Japanese shrines and temples and aimed to replicate their characteristic design elements. The main body was painted with a red base color, while the windows were painted in dark green.

Through this texturing process, I was able to understand the basic workflow of Substance 3D Painter. However, I am also eager to learn more advanced techniques, such as creating original materials to achieve more customized textures. In the future, I would like to explore Substance 3D Designer as well in order to take my material creation skills to the next level.

Reference

Categories
Unreal Engine

Week 8: Character Motion

During this week, I focused mainly on creating character animation, especially a simple walking cycle motion. Since I had already learned the basic knowledge and techniques in another class, I was able to work on this animation relatively a bit of smoothly.

I also borrowed The Animator’s Survival Kit from the UAL LCC library and checked practical tips and key points to keep in mind when creating a walk cycle.

However, I faced several problems during this process. First, I was unable to transfer the rigged character in Blender to Maya. This was because I used Blender-specific add-ons, which caused compatibility issues. As a result, I decided to complete all the animation work in Blender.

While working in Blender, I encountered another issue: the rig’s weight painting was incorrect, causing parts such as the arms to bend unnaturally. This problem occurred mainly because my knowledge and skills in rigging were still limited. I was not able to fix the issue completely, but I adjusted the rig as much as possible and managed to finish the walking animation.

Through this experience, I clearly realized the areas which I need to improve immediately, especially in rigging. I strongly feel that I need to study and develop these skills through self-learning in the future. This production process became a valuable experience that helped me identify my next challenges and goals.

Cut01
Walking Cycle motion in blender
From Animation Survival kit

When creating walking animations, I realized that weight shift is very important. In particular, the up-and-down movement plays a key role in making a character’s walk look natural and alive.

From my observations, I understood that when a foot moves forward, the other foot lifts off the ground and the body rises slightly. On the other hand, when both feet are on the ground, the knees bend and the whole body moves slightly downward. I found it helpful to imagine this up-and-down movement as a wave, which makes it easier to understand and apply.

I also noticed that the body naturally sways slightly from side to side while walking. Paying attention to this side-to-side motion makes the walk feel more natural and lively.

Through this process, I learned that it’s important to observe carefully, understand the movements, and reflect them in the keyframes. This approach helps give the character’s walk a sense of depth and realism.

From Ting’s Presentation document

Walk Cycle References

From Animation Survival kit

On the foot movement, it is important that the heel touches the ground first, while the toes remain on the ground until the end. In addition, the bending of the knees gradually becomes stronger and then slowly releases. This results in a more natural and realistic walking behavior.

Not only for foot movement, but also for all types of motion, I realized that space and tempo are extremely important. These elements strongly affect the speed, smoothness, and sense of weight in an animation. Therefore, I want to carefully judge and adjust space and tempo according to each movement.

From Animation Survival kit

Adding flexibility to the arms makes the movement feel more realistic. This tip is very similar to this process and the knowledge I gained from creating a pendulum animation in another class was very helpful.

However, in terms of my main character is a wooden doll, adding too much flexibility would make it look like a vivid, organic creature. For this reason, I found that it is better to keep the movement subtle and restrained.

The usage of techniques such as overlapping action and anticipation to create this flexibility is also an important point in other types of movement. Therefore, I would like to continue practicing and improving these skills in future animation work.

Categories
Unreal Engine

Week 7: Main Character

This character is a wooden doll made of wood. The wooden doll so-called Mokkun. I focused on creating a cute and charming design. For example, the character has very simple eyes and a tiny body. These design choices emphasize a sense of cuteness, simplicity, and warmth.

I also tried rigging the character using Blender. However, I realized that the weight painting was not working properly after rigging, which caused some unnatural deformations. Despite this difficulty, I adjusted the animation as much as possible and did my best to move the character naturally.

Above all, I aimed to design a character that feels lovable to everyone, with a cute appearance and a slightly clumsy personality.

Wooden Doll (Mokkun)

Modeling Mode

Material Mode

Wire Frame Mode

Categories
Unreal Engine

Week 6: Storyboard

Storyboard

This story is an adventure about a wooden doll who is the main character, set in a forest and a cave.

At the beginning of the story, the main character is walking through the forest. The forest is quiet and surrounded by a dark, sadness atmosphere. The character feels lonely, uneasy, and slightly afraid. This environment amplifies his negative emotions.

Then, he notices a strange torii gate. The gate stands in an unusual position in front of the cave, and it catches the character’s attention. Beyond the gate, the cave highlight with a mysterious blue light, and it creates a magical and otherworldly atmosphere. Although he feels fear, the character tries to enter the cave and go steps forward with brave.

Eventually, the character reaches the deepest part of the cave. Inside, a large and huge tree stands at the center, and its overwhelming presence takes his breath away. At the base of the tree stands a Japanese shrine, the same one he saw outside the cave. Overwhelmed by the beauty of the tree and the cave, the character naturally walks toward the shrine.

In this story, the character’s main movements are walking or standing still, but the beautiful and grand backgrounds give the story a sense of depth and space.

If I possible I would like to add this element into my animation by using UE5. This red thread comes from the Japanese conventional narrative story which is red thread led us to connect with the good future, fate, and people.

Categories
Unreal Engine

Week 5: Concept Art

For this project, I created two main scene background image boards to clearly imagine the atmosphere, space, and visual style of the animation. These image boards serve as a reference for the overall world, including color, lighting, and composition, helping to move forward to the production process.

The first scene is set in front of the cave, and it combines a Japanese traditional shrine with natural elements. In this scene, the man-made shrine and the surrounding forest and rocks coexist naturally, creating a calm, mysterious, and harmonious atmosphere. The composition and colors were carefully chosen so that viewers can feel that “something special lies ahead,” making it a fitting introduction to the story.

The second scene takes place inside the cave, with a large tree positioned at the center. This tree acts as a focal point, drawing the viewer’s attention and representing a mysterious element hidden within the cave. The interior is little with soft blue lighting, creating a fairy-like, magical atmosphere while giving a sense of coolness and beauty. By adjusting the light intensity and reflections, I emphasized the depth and the fantastical feeling of the space.

By contrasting these two scenes, I aimed to show the difference between the outside and inside of the cave, and between reality and fantasy, guiding the viewer gradually into a mysterious and magical world.

In front of the cave with Japanese traditional shrine gate (Torii)
Inside of the cave and big tree located in the center of the cave
Categories
Unreal Engine

Week 4: Research & Influence

I got the idea for my work from three elements: a traditional Japanese shrine, a cave, and a big tree. Each of them has a special meaning for me. The shrine represents the connection between people and nature. The cave shows the power of time and the beauty that comes from many small coincidences. The big tree symbolizes life, growth, and strength.

By combining these elements, I wanted to create a beautiful and peaceful scene that draws the viewer into the world of the animation. My goal is to make people feel calm and inspired, as if they are standing inside a quiet place in nature.

Japanese Shrine

I decided to add the combination a Japanese traditional culture into this work, like Shrine. Because I thought that the staff allows the viewer immerse the wonderful atmosphere. In particular, I was inspired from the – Fushimi Inari Taisha. This is because that I felt the wonderful atmosphere when I visited there. A shrine is a place where Japanese people worship Kami, the gods from ancient times.

Cave

I have been to the various types of cave in Japan. And I thought that the cave enable visitor to attract with beautiful scenery. Also, based on these images, it is possible to high-light the one spot due to lighting and dark space. Furthermore, a cave is formed over a long time period of time though countless natural coincidences. I found that this process closely related to my work, as both reflect how chance encounters can create unexpected and meaningful forms.

Big Tree

The big tree is inspired from Castle in the Sky made by Ghibli which is my favorite animation company. The big tree is strongly related with Japanese culture. For instance, since a long time ago, people pray to like this big tree because people believed god dwell in the big tree and watch over. Based on this fact, I thought it can express the wonderful atmosphere to utilize these elements.

Based on this mind map, I decided to create an animation with a non-human main character and to keep the story simple.
This is because I want to focus more on environment creation and on learning the knowledge and skills of Unreal Engine 5 (UE5), rather than spending too much time on a complex storyline.

In this project, my main goal is to create an immersive and realistic environment using UE5.
By keeping the character and story simple, I can put more attention into the visual atmosphere, background design, and world building, so that the audience can enjoy the space itself.

For the environment design, I plan to combine three main elements.
These are a Japanese traditional shrine, a mysterious giant tree, and a cave with a magical and mysterious atmosphere.
By combining these elements into one environment, I aim to create a world that feels both realistic and fantasy like, provide a strong impression on the viewer.