ANIMATION PRINCIPLES
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MODULE 1
Delving into a range of sources and artistic creations to guide my path while crafting an explainer video centered around animation principles.
Unveiling Varied Approaches
Uncovering diverse methodologies for producing an explainer video, each with its unique approach and style.
Spiel (2019) The 7 Top Animation Styles For Explainer Videos Revealed [Video]. https://www.youtube.com/watch?v=DCBj5tqts_c&t=1s
Case studies of 12 principles animation explainer videos:
This example employs fundamental text animation and dynamic motion graphics complemented by background music.
aCreativeAgency (2014) 12 Principles of Animation [Video]. https://www.youtube.com/watch?v=GcryIdriSe4
Becker A. (2017) 12 Principles of Animation [Video]. https://www.youtube.com/watch?v=uDqjIdI4bF4
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What are the 12 principles of Animation?
1. Squash and stretch:
Objects elongate or compress to emphasize speed, momentum, weight, and mass.
2. Anticipation:
Communicates forthcoming actions to the audience, preparing them for the next movement.
3. Staging:
Presents ideas in a clear and unmistakable manner, guiding the audience's focus.
4. Straight ahead and pose to pose action
Animating step by step, creating an organic feel | Planning key poses and filling in the in-between frames, ideal for dynamic action.
5. Follow through and overlapping action
Adds realism by incorporating residual movement after the main action stops.
6. Slow in / slow out
Achieves lifelike motion through gradual acceleration and deceleration, common in 3D animations with spline curves.
7. Arcs
Introduces natural curves to movement, preventing rigid, linear motion.
8. Secondary action
Supports the main action, providing additional layers of depth and dimension.
9. Timing
Frames between actions significantly impact the pace of the animation, with more frames indicating slower actions and fewer frames for quicker motions.
10. Exaggeration
Enhances animation by magnifying elements without distortion, creating convincing effects.
11. Solid drawing
Constructs drawings with volume, weight, and balance to portray a three-dimensional space. Avoids symmetry, twinning, and integrates perspective.
12. Appeal
Ensures visual attractiveness through a variety of designs, proportions, and simplicity, making it pleasing to the eye.
Reference: 12 Principles of Animation (Official Full Series) by Alan Becker Tutorials https://www.youtube.com/watch?v=uDqjIdI4bF4
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Exploring Earlier 2D Key-Frame Animation
Presenting a sprite animation sheet created for my character design, Eddy, featured in a game I developed during the previous term: "Hungry Eddy." This venture marked my initial foray into character illustration and animation, an endeavor that felt quite intimidating. I admit to omitting certain crucial animation principles such as anticipation, exaggeration, and overlapping action. However, I'm enthusiastic about advancing my animation abilities, this time in a 3D realm.
Summary of Assessment 1 Task Scope:
The assessment project entails animating a sphere while incorporating the following animation principles, each with a minimum duration of 5 seconds:
1. Timing & Spacing
2. Ease In & Out
3. Anticipation & Follow Through
4. Arcs
5. Squash & Stretch
Key points of the project include:
- Utilizing a sphere for animation, employing key-framing techniques within Houdini.
- Implementing straightforward shading and lighting effects.
- Creating a simple background to enhance the visual context.
- Introducing text and labels for each principle, potentially using Premiere Pro.
- Incorporating sound effects (SFX) and a soundtrack within Premiere Pro.
- Excluding any voice-over narration from the project.
- Finalizing the animation video's production in Premiere Pro.
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Investigating Each of the 5 Principles:
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Mood board:
1. Minimalistic shapes and forms
2. Vibrant hues against a deep backdrop
3. Illuminated objects with spotlight effects and strong contrasts
4. Elements of challenge or hindrance
Fig. 1: User 18223502 - 3D minimal black geometric shapes. [Image] Retrieved 20 February 2021, from https://image.freepik.com/free-photo/3d-minimal-black-geometric-shapes_170979-49.jpg
Fig. 2: User 18223502 - 3D minimal shapes with podium and decorative elements.[Image] Retrieved 20 February 2021, from https://image.freepik.com/free-photo/3d-minimal-shapes-with-podium-decorative-elements_170979-52.jpg
Fig. 3: User 18223502 - 3D minimal shapes with podium and decorative elements. [Image] Retrieved 20 February 2021, from https://image.freepik.com/free-photo/white-technology-podium-mockup-with-yellow-blue-light_170979-184.jpg
Fig. 4: Alexander Edwards - Still Life #9. [Image] Retrieved 20 February 2021, from https://www.alexanderjedwards.co.uk/still-lifecopy
Fig. 5: Cosimo Barletta - Blu Orange. [Image] Retrieved 20 February 2021, from https://www.saatchiart.com/art/Photography-Blu-Orange-Limited-Edition-of-7/1246727/6882443/view?utm_source=google&utm_medium=cpc&utm_campaign=2200
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Module 1 Activity:
This activity guides you through the 3D production pipeline and establishing an animation workflow:
1. Camera Setup
2. Geometry Arrangement
3. Shading Configuration
4. Lighting Arrangement
5. Animation Process - Rendering
Upon concluding the instructional video tutorials, revisiting this process proved immensely beneficial in solidifying fundamental skills and familiarizing myself with Houdini's interface. I began incorporating animation principles previously explored, adding a practical dimension to my learning experience.
Creating the Ambiance with Background, Lighting, and Shadows + Fine-Tuning the Camera Perspective
Creating a simple key-frame animation
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MODULE 2
Module 2 Activity:
Engaging in this activity provided me with the opportunity to apply a standard studio animation workflow through the following stages:
1. Referencing
2. Layout
3. Blocking
4. Splining - Refinement
In this module, our emphasis was on crafting a concise animation that adheres to the Anticipation principle. This time, I observed a smoother progression in my approach, as I am becoming more adept at navigating Houdini's toolkit. Nevertheless, occasional frustration persists, as I aspire to accomplish more at an accelerated pace, yet my proficiency remains bounded by foundational skills.
The animation process:
1. Incorporating References (Utilizing a brief video from the Lecturer)
2. Establishing Layout (Integrating background, lighting, camera, objects, and establishing parenting relationships)
3. Initial Blocking (Generating keyframes for the start and end using the Constant animation setting)
4. Polishing / Enhancing (Introducing transition keys with the Ease or Bézier animation setting, along with introducing bending and shader key animation)
Character & storyboard:
In crafting my animation, my intention was to infuse personality into a basic sphere. I achieved this by affixing a tail composed of bead-like elements. This tail not only added visual interest but also served as a means to accentuate all the animation principles outlined in my explainer video. To ensure seamless animation of the entire geometry, I established a parent-child relationship among the elements.
Facilitating the Communication and Visualization of my Concept, I constructed a storyboard to outline the animation's visual progression and simplify the production procedure. I consciously integrated diverse camera angles to sustain engagement and accounted for all the requisite shots and their sequential arrangement. Drawing inspiration from a parkour-like adventure, I sought to infuse dynamic energy into the narrative.
Animation reference:
In order to create my explainer video animation, I was required to choreograph, direct and shoot a reference video for the sequences involved in it.
Employing my smartphone, I produced the reference video (provided below) and subsequently refined it using Premiere Pro. This process yielded significant advantages, as it enabled me to delve into and conceive various poses, and test diverse actions by immersing myself in the movements. This resource will be invaluable in the next stages, as it equips me with the means to establish a foundational timing structure for my animation, with the frame counter serving as a useful guide.
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MODULE 3
Module 3 Activity:
Building upon the animation methodologies previously covered, this week's focus involved navigating the intricacies of animating more elaborate scenarios through the utilization of compound objects and multiple elements.
Following hands-on experimentation with the provided guidelines during class, I embarked on the creation of my explainer animation video. Drawing inspiration from the in-class demonstration, I incorporated elements such as camera angles, lighting effects, shaders, textual elements, as well as compound effects and movements.
In this phase, I am currently in the midst of trial and error, diligently adhering to the animation process. While I am not completely satisfied with the timing yet, I am content with having established the camera and lighting aspects thus far.
As a glimpse into the concept of my explainer video's introduction, grounded in the exercise of this week, the central theme revolves around "STAGING."
Layout & Blocking:
During this week's session, our task entails initiating the layout and blocking process for the pivotal keyframes essential to our explainer animation video.
Guided by my storyboard, I strategically organized my scene layout and positioned my camera. Additionally, I intend to leverage my animation reference to finely calibrate the overall timing of the individual scenes. As part of my preparations, I have meticulously generated all the required objects and materials.
I've already crafted the introduction, though it necessitates revision and enhanced timing for an overall refinement. While finalizing the entire Blocking sequence, my primary concentration was on establishing the crucial key poses involving jumps and movements, and meticulously positioning the camera and lighting. I opted for Constant transition settings. I deliberately left some segments open to accommodate anticipatory moments and subsequent actions between scenes, which I intend to animate as a vital component of the final animation process. The next step will encompass character deformation and animation to conclude the project.
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MODULE 4
Module 4 Activity:
The task for this week concentrated on orchestrating the scene by configuring lighting, camera perspectives, and shaders. Our emphasis included mastering the three-point lighting technique, refining material properties by experimenting with settings, and harnessing camera effects to enhance the visual experience.
It's important to note that in this project, our objective isn't to generate a professional-grade render using tools like Arnold or Mantra. Instead, we will be utilizing the Flipbook to achieve our desired outcomes.
I have already configured the lighting, materials, and camera settings for my sequence, although it remains a work in progress. Many refinements are still needed to bring it to its final state.
Given that I had commenced work before our class, I haven't fully integrated all the guidelines presented during the session. I chose not to follow the three-point lighting technique precisely. Instead, I experimented with a single spotlight that tracks my character, while also utilizing various objects and obstacles as additional light sources. I might explore the incorporation of a few more lights, although I'm uncertain if they will align with the intended mood. The backdrop I employed is dark, providing a pronounced contrast against my scene and character.
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Project 1 Sharing and Reflections:
As part of our activities, we were tasked with finalizing and presenting our animation principles explainer video for the impending Assessment One. You can view my animation below, which was crafted using Houdini. To refine the finishing touches, I employed Adobe Premiere Pro.
Reflections:
Following the completion of the blocking phase, I transitioned into refining the animation and introducing compounds. My intention extended beyond character animation; I aimed to imbue dynamism by animating the camera as well. Initially, a spotlight tracked the ball's trajectory, later joined by ambient lighting to soften shadows. I deliberately juxtaposed a dark background against vibrant, illuminated objects to amplify the contrast.
Nevertheless, a few challenges surfaced:
- With numerous animated elements and intricate geometry settings, managing adjustments became complex and labor-intensive.
- Despite employing the Dope Sheet for comprehensive keyframe editing, I discovered that animated geometries didn't uniformly adjust, necessitating individual corrections.
- Given my ongoing acclimatization to Houdini, certain concepts had to be omitted from the final animation due to time constraints. For instance, I chose to omit the character's tail.
- Striking the right timing proved challenging initially, but with accumulated experience, I anticipate this aspect becoming more intuitive.
Acknowledging these aspects, while refinements may still be needed, I'm genuinely pleased with the final outcome. I sincerely hope you find the animation as enjoyable as I did crafting it.
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MODULE 5
Ident Mood Board:
In preparation for the forthcoming assessment, I will be presenting a selection of references that align with my design vision and trajectory. Regarding my Ident procedural animation, I am contemplating the animation of my game logo design, previously crafted in 2D. This concept will serve as my foundational framework:Drawing from diverse sources of inspiration, I've embarked on a comprehensive exploration. I've identified specific practical inspirations and objectives that I intend to incorporate into my initial 2D animation.
TEXT EFFECTS
Entagma (2020) Houdini in five minutes 12: Setting Up Articles [Video]. https://www.youtube.com/watch?v=igZdpSCNH4c&list=PLtaoCw0AHejNz9dzXZ_O95ZhaW212hO44&index=8
END ANIMATION: PROCEDURAL PARTICLE TRAIL ON A BALL
Pereira, J. (2016) Particle trail man - Houdini Tutorial [Video]. https://www.youtube.com/watch?v=BucG27RUONE&list=PLtaoCw0AHejNz9dzXZ_O95ZhaW212hO44&index=6
BACKGROUND PROCEDURAL ANIMATION
Wiemers, P. (2020) Houdini tutorial: Motion Design Inspired by Modern Art (Gunther Uecker) [Video]. https://www.youtube.com/watch?v=jtwTrUeCzSQ
Motion Designers Community (2020) Houdini tutorial: Animated Recursive Subdivision in VEX [Video]. https://www.youtube.com/watch?v=1Ho-7gnWWgA
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Module 5 Activity:
This week's task centered around procedural animation, predominantly utilizing attribute manipulation nodes and Chops. Similar to the keyframe animation process, we are adhering to a familiar workflow, commencing with these stages:
1. Design / Exploration / Research
2. Scene Layout and Blocking
3. Experimentation
4. Refinement and Presentation
Drawing inspiration from the guidance of the Lecturer and our own explorations, we established a basic scene featuring four platforms and spheres, which were slated for animation. Our next step involved outlining the camera's path with keyframes, transitioning from one platform to another in sync with the rhythm of a chosen audio track.
Upon completing the blocking phase, we proceeded to animate the three spheres by employing attribute manipulation nodes, including:
- Adding a box within a sphere under geometry
- Transform
- Adding MotionFX > noise
- Copy to points
- Deform > Mountain
- Color > Ramp from attribute
- Attribute create
- Attribute promote
- Channel
- Chop
- Polyextrude
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MODULE 6
Ident and Blocking:
For the purpose of crafting our identification animation for Assessment 2, a strategic plan for the procedural animation is essential. Having conducted thorough research and determined the course I wish to pursue for my identification animation, our current task is to arrange and block essential components and camera perspectives within our sequence.
I employed an uncomplicated arrangement involving a sphere in the backdrop, which I intend to animate subsequently using a wave effect combined with point-attached geometry. The letters of the logo materialize sequentially, with individual particles illustrating their formation. Departing from the approach of a particle sphere traversing the scene, as seen in the 2D identification video game logo, I opted for the utilization of the Test Geometry toy. This choice lends an enhanced quality to the conclusion, as it follows a designated path and undergoes animation towards the finale.
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Module 6 Activity:
Focused on diverse procedural animations, this week's assignment delved into various effects through the utilization of attribute manipulation nodes, Chops, and VOPS.
In our initial simulation, we ventured into distinct procedural effects:
1. Generated a wave effect (Deform) and applied it to a grid.
2. Introduced a cube within the geometry level.
3. Replicated the cube across each individual point of the wave. This was achieved through the utilization of the For Each Point node, establishing a loop, and employing the Copy to Points node.
4. Incorporated a color effect governed by the points' height.
5. Created a fresh attribute for assigning height (Y) to parameters.
6. Employed a color node alongside a ramp, generated from the attribute.
7. Implemented a scaling effect by introducing a new attribute through pscale.
In our second simulation, we initiated the process by crafting a planar sphere and cubes. These entities were manipulated through transformations, copying, and rotation, all centered around the sphere, eventually being merged into a cohesive unit. Our objective was to animate the objects, regulating the cubes' height (Y) and the sphere's uniform scale, with audio dictating the animation's progression.
To achieve this, we addressed each object individually within the geometry level, employing CHOPS. The procedural effects explored for this animation encompassed:
1. Establishing a Chop Network.
2. Utilizing the Import function, specifically File import.
3. Incorporating the Audio tool, specifically Parameter EQ.
4. Export to animate the cube's height.
5. Implementing the Combine operation through Math.
6. Creating a new export for scaling the sphere.
In the following simulation, I amalgamated several previously studied procedural animation techniques, engaging in experimentation and exploration. I introduced a wave effect to the sphere and utilized the copy-to-points method to repetitively position small balls in a loop configuration.
In our ultimate simulation, our attention shifted towards VOPS (Vector Operator) procedural animation, a method akin to programming but with a more intuitive and visual approach. Employing a sphere as our canvas, we harnessed VOPS to infuse effects, expertly navigating the interplay between input and output elements.
The procedural effects harnessed for this exercise encompassed:
1. Attribute manipulation through Attribute VOP and Vex Builder.
2. Mathematical manipulation via the Constant node.
3. Unified noise integration.
4. Employing displacement techniques.
5. Incorporating color adjustments.
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MODULE 7
Experimentation:
The forthcoming milestone in preparation for our impending assessment involves elucidating the steps taken to achieve its completion. In the current week, our task entails documenting and presenting the array of experiments and trials undertaken to realize the intended movements and behaviors mapped out for our identification sequence.
1. Text animation:
To animate my logo, I aimed to create a particle effect that gradually draws its outline. The completion of this task involved a sequence of nodes:
- Generating an empty geometry.
- Crafting the font.
- Utilizing the "Ends" function to focus solely on the text's outline.
- Implementing "Sort" to reorganize point numbers.
- Employing "Transform" to position the logo.
- Employing "Resample" to introduce additional points for each letter.
- Utilizing "GroupRange" to choose points for particle movement, determining the animation's starting frame and speed.
- Diverging into two branches: one for the particle and another for the letter outline.
- Using "Popnet" to generate particles.
- Employing "PointVOP" for geometry attribute modification via VEX Builder.
- Integrating "Null" as a placeholder.
The particle effect initiates at a specific frame, involving gravity and floor collision to manage its behavior. I leveraged "PointVOP" to introduce attributes using VEX builder, including a size ramp, color ramp, and overall scale. While the initial tutorial provided limited guidance and was based on a different Houdini version, I utilized the Help feature to bridge the gaps and supplemented my knowledge by conducting further research to enhance the particle effect with additional attributes.
2. Toy animation:
For this animation, my objective was two-fold: I aimed to create a scenario where a toy and a spotlight would trace a specific path, followed by orchestrating an explosive finale for the toy. While the first segment was relatively straightforward, the latter posed some challenges. Nonetheless, I managed to devise an effective solution, albeit it might not be the most optimal approach. Here are the steps I took, along with the nodes utilized:
1. I initiated by crafting an empty geometry and then generated a path through Add and Convert nodes.
2. Another empty geometry laid the groundwork for the test geometry, which was the rubber toy.
3. A branching approach emerged to produce two outcomes: a whole toy and a fractured one.
4. I employed Constraints to ensure the toy adheres to the designated path.
5. Attribute Delete served to remove the toy's material.
6. IsoOffset came into play to internally fracture the toy geometry by establishing a volume.
7. By using Scatter, I selectively picked points around the toy geometry.
8. The Voronoi Fracture step enabled the fragmentation into distinct pieces aligned with each cell point.
9. Applying the Color node facilitated the differentiation of the toy's outer and inner surfaces.
10. To visualize and control the explosion's scale, I utilized the Exploded View tool.
11. Null nodes were introduced to act as placeholders.
12. Subsequently, I created two additional empty geometries: one to simulate the toy's motion along the path before the explosion, and the other to simulate the toy's detonation at the conclusion.
3. Background animation:
This animation project began with a sphere, which served as my foundation. Through the application of Deform and the Wave function, I animated the sphere. A critical step involved reversing the normals' direction to execute the animation within the sphere's interior.
To enrich the animation, I manipulated various attributes, including random points and scale, to influence the color and size of the pyramid shapes. Additionally, I employed keyframing to manage the wave's amplitude over time, exploring parameters like reference wind and scale.
The animation came together through a series of nodes:
1. I initiated by creating an empty geometry that eventually hosted a sphere and a pyramid.
2. By using the Transform node, I transformed a tube shape into a pyramid and oriented it correctly.
3. The Normal node was pivotal in reversing the orientation direction.
4. Employing the Deform function, specifically Wave, I generated the animated wave effect within the sphere.
5. The Attribute Noise and Attribute Create nodes introduced randomness via randPoint and pscale attributes.
6. Utilizing the Color node, I achieved color variation through a ramp derived from attributes, combined with the randPoint attribute.
7. The Attribute Randomize node, built upon the pscale attribute, contributed to controlled randomness.
8. A For Each Point loop facilitated iteration.
9. The Copy to Point node enabled the replication of pyramid shapes onto the sphere's points.
4. Rendering testing:
5. Lighting & multi-camera
Employing techniques addressed in Module 8, I incorporated an environmental light through an environment map. Additionally, I introduced an extra camera and facilitated seamless switching between them via a Switcher node.
Through iterations and test-runs, I honed the sequence, ultimately producing two distinct renditions of my ident: the first featuring dual cameras and environmental lighting, and the second employing a single camera with a more streamlined lighting arrangement.
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Module 7 Activity:
The focus of this week's acitivity centered around delving into various procedural animations, utilizing attribute manipulation nodes and Chops.
In our initial simulation, the concept revolved around crafting an animation employing two distinct objects (an octopus and a toy). The objective was to generate a volume by randomly duplicating these two objects onto the points of a facial geometry.
To execute this simulation, we harnessed a multitude of procedural animation techniques:
1. Dynamics > Geometry (to initialize with an empty geometry).
2. Geometry > Test geometry.
3. Employing For Each Points node to establish a looping structure.
4. Copy to Points node for duplicating an object onto each point of the volume.
5. Incorporating Scatter to regulate the point density on the facial volume.
6. Utilizing Normal to dictate the objects' orientation.
7. Packs to optimize polygon count for each object.
8. A Switch node to connect both objects to the face (0 for Object 1, 1 for Object 2).
9. Attribute Create to facilitate random selection between 0 and 1, scale object, and rotate object (randSwitch + scale + rotate).
10. Employing Editing Expression for the Switch node, to access the point attribute and assign it to the switch (point("/obj/MyEffects/foreach_begin1", 0, "randSwitch", 0)).
11. Attribute Noise to imbue animation into the objects.
12. The Transform node, responsible for enabling object scaling and rotation (Uniform scale = point("/obj/MyEffects/foreach_begin1", 0, "scale", 0), Rotate = point("/obj/MyEffects/foreach_begin1", 0, "rotate", 0)).
In the subsequent simulation, we employed a grid to generate animation by extruding it through individual elements, incorporating random scaling and persistent growth.
To achieve this, we harnessed the following techniques:
1. Attribute Create > Created attributes zscale and value, the latter computed using the expression rand($PT) * 2 * $T.
2. Attribute Noise > Implemented with a specified range (min/max) and using Perlin noise type.
3. Polyextrude > Applied to individual elements with the following parameters: Distance = 1, Inset = 0.9, Twist = 50. Local control was employed with Distance Scale governed by zscale.
In our ultimate simulation, we revisited the procedural animation approach utilized earlier.
However, in this instance, we employed a sphere and introduced an audio track to oversee the animation through the application of chop and channel techniques.
As part of this process, we introduced several novel nodes:
1. Attribute Promote - This node facilitated the transition between point-based attributes and primitive-level attributes.
2. Channel - By employing this node, we provided animation input for the attributes, thereby governing the animation's behavior.
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MODULE 8
Module 8 Activity:
This week's assignment centered on the presentation and exportation of our work through visual mediums, involving techniques encompassing post-production and rendering.
Throughout the process, we delved into novel nodes, including:
- The Switch node for seamless camera switching.
- Integration of an Environment Map (HDR image) within the Environment Light.
- Utilizing the UV Unwrap node to display textured materials, such as brickwork.
- Applying materials to objects via the Material node.
- Implementation of the Delete node to eliminate all object attributes.
- Manipulating elements like the Metal Ball, VDB from Polygons, Sequence Blend, and Convert VDB.
To successfully execute this exercise, we repurposed sequences from Modules 6 and 7, and the results of our exploration are illustrated below:
Project 2 Sharing and Reflections:
During Module 8, our task was to finalize and present our procedural animation video, which would be part of our upcoming assessment two. The animation I've created using Houdini is provided below, and I applied finishing touches using Adobe Premiere Pro.
Version 1:
(2x cameras + environment map lighting)
Version 2:
(1x camera + simple lighting set up)
Reflections:
After investing countless hours in exploration, undergoing numerous trials and errors, and engaging in rigorous experimentation, I successfully crafted an ident animation sequence for my video game brand, primarily harnessing procedural animation techniques. Alongside conventional keyframe animation, my approach integrated expressions and node-based functions. By assigning behaviors, I gained the capacity to regulate attributes across diverse objects and imbue them with animation.
The overarching visual theme I pursued was minimalist, aiming to present a zenith of creative and technical prowess cultivated through the process. Complementing procedural tools, I seamlessly integrated particle simulation into my sequence, which I believe enhances the overall outcome.
Throughout this endeavor, I encountered certain challenges and hurdles:
- Adapting to animating in sync with an audio track that, over time, exhibited glitches and playback issues.
- Striving to elevate my overarching ideas and designs to meet the standards I envisioned while operating within the constraints of my skill set.
- Crafting a gradient background for my sphere, ultimately opting for an environment map featuring an HDR image within my environment light setup.
- Ensuring a smooth transition between the two cameras for Version 1 of my animation.
On the whole, this journey of learning and growth has been remarkable, and I'm enthusiastic about continuing my exploration and bolstering my efficiency and comfort with a diverse array of procedural nodes.
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MODULE 9
Simulation Mood Board:
As I prepare for my upcoming assessment, I will provide a collection of references that shed light on my design intent and creative direction. Delving into the realm of animated simulations, I've delved into researching captivating magical particle effects and delved into the realm of theatrical stage lighting to draw inspiration from. This assortment of influences will serve as my initial foundation:1. Particle effects:
Fig. 1: Entagma, Fiedler - Swirly particles. [Image] Retrieved 17 April 2021, from https://entagma.com/site/uploads/2021/02/fiedler_swirly_particles-still062-700x394.jpg
Fig. 2: G. Girac - FX Portal. [Image] Retrieved 17 April 2021, from https://www.artstation.com/artwork/aRBPgk
Fig. 3: M. Pravin - Fluid sim after effects. [Image] Retrieved 17 April 2021, from https://www.youtube.com/watch?v=8ioNFESLDko
Fig. 4: GaoChuang Design - Magic particles. [Image] Retrieved 17 April 2021, from https://motionarray.com/after-effects-templates/magic-particles-logo-reveal-91339
Fig. 5: CGRecord - V-Ray for Houdini. [Image] Retrieved 17 April 2021, from https://plugins.cgrecord.net/2019/07/v-ray-for-houdini.html
2. Colour palette and lighting effects:
Fig. 1: W. Spangler - Night of the Iguana. [Image] Retrieved 17 April 2021, from https://everythingscenic.tumblr.com/post/35957794266
Fig. 2: Rpbinson, T. - WandaVision concept art reveals magic plans. [Image] Retrieved 17 April 2021, from https://www.polygon.com/2021/3/23/22345377/wandavision-magic-colors-marvel-meaning-special-effects
Fig. 3: A. Koch - Magic Flute, stage lighting design. [Image] Retrieved 17 April 2021, from http://www.jeffgreenberglightingdesign.com/flute.html
Fig. 4: Magic of Technical Theatre. [Image] Retrieved 17 April 2021, from https://saytheater.org/the-magic-of-technical-theatre/
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Module 9 Activity:
In this week's exercise, we were introduced to the fundamentals of animated simulation, focusing on establishing the sequence by configuring cameras from varying angles and focal points, along with different types of lighting.
Our attention then shifted to creating a basic particle simulation, encompassing the following steps:
1. Particle Creation - This entailed determining the particle's starting point, managing its lifespan, and regulating variations in lifespan over time.
2. Particle Movement Control - To influence particle movement, we introduced a grid to facilitate collision and interactions, incorporating bounce and friction. Converting the grid to a proxy object was crucial for its functionality, a process carried out within the AutoDopNetwork node, responsible for computational calculations.
3. Particle Appearance Control - Managing particle aesthetics was conducted under the Source_Particles or Resulting nodes. To achieve a viscous effect, we incorporated a VDB particle fluid and subsequently converted it into a polygon form through the Convert to VDB node. With this transformation, it became simpler to apply color, materials, textures, and more.
4. Caching - As particles reached a refined and polished state, caching became necessary. This involved storing the calculated particle data on disk, streamlining and expediting the process in the long run.
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MODULE 10
Exercise & Experimentation:
Our upcoming assessment milestone revolves around sharing the pivotal steps leading to its completion. This week, we were tasked with delving into investigations and demonstrations of various methods to attain specific effects, behaviors, actions, and outcomes. The aim was to refine and identify potential solutions.
Below is a summary of our primary explorations during this week:
- Shattering objects
- Employing Rigid Body Dynamics for Fractured Objects
- Utilizing Rigid Body Dynamics with RBD Objects
- Stabilizing Objects via Static Status to Counteract Gravity Effects
- Creating Constraint by Gluing Adjacent Rigid Body Objects
- Facilitating Object-to-Object Collisions
- Fine-Tuning Shattering Effect by Adjusting Glue Constraint Strength
- Applying AttributeVOP to the Orb Incorporating Noise, Ramp, Multiplier, and Fit Range for Animation and Gradient Color Addition
- Employing popKill for Particle Elimination
- Enhancing Particle Effects with popWind
- Transferring Color Attributes between Objects via Attribute Transfer Node
- Emphasizing the Importance of Caching as the Final Step
Currently, I've refrained from caching as I'm still in the midst of experimentation and attribute manipulation. Caching will be performed in the concluding stages once I've finalised these aspects.
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MODULE 11
Exercise & exploration:
During this week, our task was to compile and exhibit a preliminary visualization (previs) of the simulation sequence for our impending final assessment. The objective was to present a draft rendition of the simulation, complete with a pre-blocked camera setup, encompassing the targeted duration and narrative flow of the sequence.
1. Refining and blocking the camera:
Aligned with the audio file, the animation's duration is set at 30 seconds, transitioning between three distinct camera angles. Furthermore, the animated simulation will seamlessly synchronize with the audio track and corresponding camera angles.
2. In class exploration and investigation:
Experimenting with novel simulations involves orchestrating movement along a designated path, conjuring fog effects, or experimenting with sprite elements.
3. Exploration - creating a swirly particles:
Completing this simulation was an enjoyable experience, guided by an online tutorial that navigated me through the steps. The outcome is remarkably captivating, as the simulation seamlessly traces the velocity of the points animated through the application of a Mountain Node.
4. Exploration - creating a smoky portal:
Navigating this simulation posed a slightly greater challenge, demanding a bit more time to accomplish. I also referred to an online tutorial to guide me through the process, and while it required some effort, the final result was truly gratifying, yielding an impressive and visually appealing outcome.
5. Magic particle simulation:
In this simulation, I initiated with a circle, imbuing it with animation through the manipulation of various attributes. Subsequently, I integrated a sprite particle simulation into the mix. Regrettably, I decided not to incorporate this particular simulation into my final work due to my dissatisfaction with the rendering outcome.
6. Adding debris after pillar collision:
Implementing this simulation was a rapid and straightforward process, serving as an additional effect following the explosion of the four pillars. I harnessed debris particle effects to achieve this. However, due to the need for further refinement and my current level of satisfaction with the outcome, I opted to omit this particular effect from the final animated simulation.
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Previs:
My previsualization offers a preliminary rendition of my simulation sequence. At this stage, I haven't incorporated textures or materials, and I've yet to include certain simulations I explored separately. The progression is becoming more challenging as I'm encountering slowdowns, and some of my lighting effects are losing their functionality.
However, I'm still in the process of caching my most recent simulation, which should contribute to a smoother workflow and ultimately present a comprehensive preview of my final sequence.
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MODULE 12
Project 3 Sharing and Reflections:
Module 12 entailed the task of finalizing and presenting our animated simulation video for our ultimate assessment. Below, you'll find my animation, which was crafted in Houdini, with the finishing touches added using Adobe Premiere Pro.
Version 1:
Simplified version excluding the ultimate portal cloud effect.
Version 2:
Enhanced version featuring the concluding portal cloud effect.
Reflections:
Among the three distinct style animations I've developed, this one stands out as my personal favorite. The creative process was truly enjoyable, reminiscent of my experiences crafting musical soundtracks, sharing similarities in exploration and composition. Through countless trials, errors, and experiments, I've meticulously fashioned an animated simulation sequence, imbuing a 3D magical scene with dynamic interactions. Rooted in a provided scenario, this sequence is a testament to the culmination of my creative and technical skills cultivated throughout this trimester.
Throughout, my aspiration was to evoke a magical ambiance. Drawing inspiration from references, I curated a color palette and lighting effects that encapsulate this enchanting atmosphere. The visual style was a critical component, contributing to the overall narrative.
However, the journey wasn't without its challenges:
- Real-time visualization constraints stemming from my graphic card's limitations hindered my ability to witness the simulation process as I worked. This posed a significant hurdle in fine-tuning and adjusting each simulation to align with my envisioned outcome.
- Time and technological limitations proved to be limiting factors. A more powerful computer would have facilitated deeper exploration and refining of various elements. The editing process became progressively time-consuming, even after caching most of the simulations.
Overall, this experience has been incredibly gratifying and educational. The learning curve has been steep, but I'm determined to continue honing my skills. Hopefully, in the near future, I can harness these abilities to create cinematic animations for the video games I plan to develop.
