Portfolio Yun-Yun, Hung National Centre for Computer Animation Computer Animation Technical Arts Level4
May 25th 2018
Education Arts University Bournemouth International Art and Design Foundation Bournemouth University National Centre for Computer Animation, BA Computer Technical Arts Ability
Arts University Bournemouth, International Foundation Lighting Editing Storyboard Stop Motion
I was born in Taipei, Taiwan in 1997. Ever since I was little I love to creative little illustration book to fulfil my passion in storytelling. Storytelling comes in different form such as photography, film, performance, all I know is that it has the power to expand my creativity, and do something meaningful for our society.
Bournemouth University, Computer Animation Technical Arts Moving Image Theory Cinematography VFX Script Writing CG Character Design CG Character Modelling Compositing Nuke Maya Autodesk Python Scripting c Language Contact Email email@example.com Phone +447397816949 Digital Signature
Visual Narrative and Design 3D Bouncing Ball Animation I.
Demonstrate understanding of the principles of animation.
Demonstrate skills in animation production and pre- production techniques.
III. animation on a subject inspired by the title â€œThe Art of Fallingâ€?. Pipeline Research I. II. III.
Understand, Conceive, present and generate preproduction Exposes student to the principles and techniques of storytelling scriptwriting and storyboard.
3D Bouncing Ball Animation Theory Understand squash and stretch The rig on the ball is how we can animate the movement of the ball, it is like the join of human body. When the ball hits the surfaces it squashes, then it stretches again to bounce up. What made it challenging was to consistently decrease the level of squash and stretch frame by frame, the bounciness would reduce due to the loss of energy, this is the challenging part of achieving realistic movement.
Movement The ball started to fall from frame 0 and fall on frame 15 ( you can start with any number for the first fall but in this case we use 15). The ball will fall again on frame 33, which means we have 18 frames gap from the first falling position until the second one. For the bounce back up position, we simply put the ball in the middle of the frames gap. From frame 33, we will make the ball fall on frame 47, which means 14 frames gap and next, to frame 59 which means 12 frames gap from frame 47.
The rig stretch squash rotate around world space
The main principle for this basic bouncing ball is to make the ball fall consistently and decreasing the number until it stop.
Squash and stretch Squash and Stretch is the principle of applying a contrasting change of shape—from a squash pose to a stretch pose or vice versa—to give a feeling of fleshiness, flexibility, and life in animation. The absence of squash and stretch gives a rigidity or stiffness to the motion. The transition between a proper Squash pose to a Stretch pose, or the other way around, breaks the perfect solidity that CG animation in particular inherently gives to everything. Squash and Stretch can make characters and inanimate objects have a feeling of life by introducing a flexible quality. It can be applied to a single body part, say an eyeball, or the entire character’s pose(In this case is the entire ball). The latter is particularly useful when making rigid objects come to life, like the classic Disney Flour Sack, which is a beginning traditional Ref 2 animator’s test case.
Maya Autodesk 3D Bouncing Ball Animation
The Maya interface is posed for “pose to pose” or key-frame animation. Maya’s dynamics and simulation animation tools cater for “straight ahead” animation. Here we look at key-frame or pose to pose Maya techniques. The most important concept here is the Maya “Time Slider” or more affectionately “Time Line.
Script V.S. storyboard
Rom-Com, Theatrical Style
III. Lighting and SFX
Theatrical lighting, SFX
IV. Concept art research Like how it illustrate with drawing, we set key frame in Maya, which means the time for a ball is at its highest position in the air and the lowest position on the ground. By reducing its level gradually, it feels like it is losing energy consistently.
Title- Bouncing Ball Genre- Rom-Com Stage style- Theatre Plot- love relationship between two characters that are separated.
Graph editor Allows to edit move, scale, delete, cut and past key-frames, also to vary and change the way in-between frames are generated. Lastly, Provides a convenient method of controllingNotice timing.the graph in figure 4 is similar to the movement of Figure 5, the red the red arrows in Figure 5 is the graph before we edit smooth transition in the graph editor, by using the tool to in Figure 6, we are able to control the transition between each bounce.
Maya Render scene
TITLE: THE BOUNCING BALL WRITTEN BY: YUN-YUN, HUNG CHARACTER: GIRL BALL, PINK ONE AND BOY BALL, BLUE ONE INTRODUCE CHARACTERS. SFX: TRUMPET INTRODUCTION GIRL BALL OUT, BOY BALL OUT SCENE1: ON THE STAGE FOCUSES ON GIRL BALL. SFX: FAILED TRUMPET, TO EMPHASISE THE COMICAL MOOD GIRL BALL IS ROLLING. SHE BOUNCES ON THE WALL, AND SHAKES HER HEAD DIZZILY. SCENE2: FOCUSES ON BOY BALL (NERVOUSLY) SAW HIS GIRL BOUNCES ON THE WALL, HE QUICKLY JUMPS OFF THE SPRINGBOARD. SFX: LIGHT TRUMPET, EMPHASISE BALL BALLâ€™S QUICK JUMP. WITH BALL BOUNCE SOUND BOY BALL STARTS TO SPEED UP, READY TO BREAK THE WALL, TO REVENGE HIS GIRL. SFX: INTENSE SOUNDS, MEANS SOMETHING IS ABOUT TO HAPPEN. SCENE3: FOCUSES ON THE WALL BETWEEN THEM BOY BALL (ANGRILY) BOUNCES ON THE WALL GIRL BALL (WORRIEDLY) LOOK THROUGH THE WALL TO MAKE SURE HER BOY IS SAFE. SFX: WORRIED AND SHOCKING SOUND. SCENE4: FOCUSES ON THE WALL BETWEEN THEM, FROM FRONT VIEWPORT BOY BALL QUICKLY ROLLS TO THE WALL, TO SEE HIS GIRL. THEY LOOK AT EACH OTHER THROUGH THE WALL. SFX: ROMANTIC JAZZ MUSIC. END SCENE CAST AND CREW SPECIAL THANKS
Figure 11 galaxy background set Figure 9 theatre look Figure 10 shadow casting on background, stage like
Figure 9 wooden stage
Figure 7 springboard, symbolised the height, the risk
Figure 8 Plot, the wall, the separation
Lighting There are 6 lights options in Maya Ambient light, Directional light, Point light, Spot light, Area light, Volume light. By changing their colour, intensity and shadow, we can simulate real life lighting and shadow. Spot Light
General purpose of lighting Accenting- direct audienceâ€™ attention to that particular spot. Wash- is used to provide color or tone to the performance area
Colour for Lighting Lighting is an integral part of theatrical performance. Not just so you can see what is happening on stage; light and colour also change the mood of the scene and the emotions of the audience. Colours in the spectrum of red, orange and yellow are known as warm. Colours for lighting are set to support sensations of the storyline. The storyline involves passion, love and challenging, and colours in the spectrum of red, orange and yellow are known as warm, and represent the sensations I listed above. To simulate a theatrical environment, I found ‘area light’ in works better than ‘spot light’ in Maya, It created an equal brightness on the stage Ref 3 but managed to cast enough light source on characters.
Light one also work as key light, light two work as fill light is lighting over all environment with an even brightness, fill light works as assistant lighting source
2 Area lights work as spot lights
Light 2 1 Point Light for the whole stage
Camera , Cinematography Design and composition There's a common mathematical ratio found in nature that can be used to create pleasing, natural looking compositions in your design work. We call it the Golden Ratio, although it's also known as the Golden Mean, The Golden Section, or the Greek letter phi. Whether you're an illustrator, art director or graphic designer, it's well worth considering the Golden Ratio on any project. Closely related to the Fibonacci Sequence (which you may remember from either your school mathematics lessons or Dan Brown's novel The Da Vinci Code), the Golden Ratio describes the perfectly symmetrical relationship between two proportions. Approximately equal to a 1:1.61 ratio, the Golden Ratio can be illustrated using a Golden Rectangle: a large rectangle consisting of a square (with sides equal in length to the shortest length of the rectangle) and a smaller rectangle. Ref 4
The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts. As follows. As we are taking an image you would have done this in your mind through your viewfinder or in the LCD display that you use to frame your shot. With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image. Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo. The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it. Ref 5
Camera in Maya operates the same way as in real life. We can look trough camera’s POV and set key frame for camera’s position. See figure 15 and figure 16, the time and scene is same, but Figure 16 is the POV of camera, and Figure is 3D view port, by changing camera’s POV, We get to design our composition.
Link to full animation
Moving Image Theory Theoretical Case Study Using examples of MODERNIST or AVANT-GARDIST practice in photography, film and animation discuss the underpinning idea of one of these movement
Demonstrate the ability to use camera equipment to produce a skillful and aesthetic response to the brief
To be able to communicate theoretical and conceptual ideas to demonstrate an understanding of the use of composition, tone, subject, lighting, texture, colour in images to convey meaning
Photo taken at 29th April 2018 Using slow shutter speed to capture light
Surrealistic concepts within Avant-garde
Case study based on lost Highway (David Lynch 1997). By studying the film Lost Highway (David Lynch 1997), I found evidences of aesthetics point of view and the historical influences that highlighted the surrealistic concept in avant-gardism. Unlike the classic Hollywood style, avant-garde and surrealism might not be tallying with popular taste, but they supported those whom abandoned traditional values and ready for a new era. Avant-garde film is cinema made outside of the film industry on an artisanal basis, largely without regard to the structures and demands of traditional narrative film. ( Robin Blaetz 2012). Traditional film requires a clear storyline and develops its own momentum later with a liner trajectory right to end. However, there are different ways to present narration in films. American filmmaker David Lynch dedicated himself for making surrealism film in the past twenty years. His work Lost Highway (1997) has provided us another technique to address narration in film with meaning beyond rationality.
Descriptive writing Analytical writing Surrealist concept within Avant-garde
Breaking down dual storyline in Lost Highway
Lynch used the cinema to express non-rational energy in tangible form (visually and aurally) in Lost Highway. (Thomas Elsaeesser and Warren Buckland 2002:168). In the film, Fred Madison (Bill Pullman) and Renee Madison (Patricia Arquette) are having a cold and suspicious relationship. (Figure 17.) In the opening conversation, it was easy to pick up Renee’s indifferent attitude when she found excuse to not attend her husband’s jazz performance. Renee was living a double life, but Fred, as her husband is left cloudlessly and suffered in unspeakable pain. Soon, Renee received a package contains a videotape. Inside, they found out they were recorded while asleep. After the detective came to check on possible invasion for them, they asked Fred if he owned a video camera. ‘No, Fred hates them.’ said Renee and Fred explained that he likes to ‘remember things in his own way, not necessarily the way they happened.’ The words he chose to respond, sent a message that indicates the whole narration (visually and aurally) is not necessarily solid fact but the memories he chose to remember (In fact the entire film is a reflection of his fear, jealousy and pain from Renee’s betrayal).
Surrealistic concept and mental breakdown
Fred eventually found out Renee was cheating on him, however, he still attempted to pretend normal, which included having sex with her, only to follow through with great difficulty. When men’ subconscious was taking over the regular functionality of his brain, I tis possible to influence on his physical condition. Later Fred met a man (Figure 18) he claimed he had visited Fred’s house before, in fact, he ‘was invited’ into his house. Then the man proceeded to place a call to Fred's house and somehow manages to be at the other end of the line to take his own call. This man is a representation of the nonrational energy inside Fred, like an interlinking duality of this film. This mystery man is Fred’s illusion or to be more specific, an excuse for his dark personality, which is to kill Renee and her affair, but as an honourable man and loving husband, it’s impossible for him to admit or realized his intention. Fred was sentenced to death after he murdered Renee, this part of memory he couldn’t recall. He reminded audiences what he said before,’ he likes to remember thing in his own way.’ It came to the climax of this film(Figure 19), Fred seemed to project himself into the body of a young man named Pete, and he manage to posse his conscious on him, eventually he walked away from his crime successfully. This part of movie demonstrate strong surrealistic elements, like strange lighting, countless faces of mystery man’s face appeared as well, it was different living dimension from ours. This energy is familiar to us all, but has been repressed in us by language, rationally and education. (Thomas Elsaeesser and Warren Buckland 2002:168)
What makes surrealistic concept highlight the main ideology of avant-garde? It is not just an art works broke the traditional rules but with grater self-affirmation and selfawareness spirit. To be contrary from mainstream ideology or be denied by public taste does not equal to the lack of beauty. There are meanings beyond traditional realism, and absolute perfection. Surrealistic was born to highlight the spirit of uniqueness within avant-garde.
Script Study Script like Pan’s labyrinth (Guillermo del Toro 2006), a combination of fairy tale and horror interest me the most. Director Guillermo del Toro created this wonderland and invited us in. the script was formed by two non-liner timeline, one is set in real world, the other one is by fairy tale. The story based in Spain 1944 right after the civil war and the main character, Ofelia, was going to meet her new stepfather Vidal, a captain of a fascist troop. He is ruthless, arrogant and all together an unpleasant man. Ofelia’s mother, Carman, was there with her. She was pregnant and very ill. Ofelia had no place in the house under Vidal’s command, however, she found a surrogate parent in Mercedes, her house maid. The story was surrounded by these four character, while Ofelia discovered the secret of Faun’s labyrinth. Ofelia met the Faun after she moved into Vidal’s house, an emissary from the wonderland. He told Ofelia that she was the princess of the wonderland, but she needed to complete three tasks to prove her quality. Ofelia wanted badly enough to escape the reality, and she was ready to believe him. There is two possible explanation of the Faun’s existent. First one, the Faun is Ofelia’s illusion, she was frightened by Vidal, and she wanted to escape the reality, therefore, a psychological break down was predictable, in fact, it may become the sources she lived on. Second, the faun is real, but only who believed in fairy tale would have the sensation to see him.
There are many scenes supporting these two possible situations. For example, the mandrake root put by Ofelia under her mother’s bed to stabilise the quickening, so her mother could feel better, as soon as Vidal found out the root and set it on fire, her mother miscarried the baby. This showed the authentic of Faun’s power, also proved his existent. On the other hand, Ofelia drew a door with a magic charcoal on the wall that she could really opened and entered another world, however, when Mercedes came in her room, she only saw her painting of a door on the wall. The confusion was created these different evidences, it was audience’s choices to believe either perspectives that were portrayed in film, so does Ofelia, faun once said ‘a girl needs to disobey anything except her own soul.’, trust your intuition and trust your sensation, people should not be easily convinced or compromised just because they think differently.
In the interview of Guillermo del Toro, he highlighted the importance of obedience and choices. ‘Instinct and disobedience will always point you in a direction that should be natural, should be organic to the world. I think that disobedience is virtue and blind obedience is a sin.’ (Guillermo del toro 2006, Interview of Pan’s labyrinth) It was Ofelia’s choice to obey the Faun, and completed his tasks, she really believed there was a better place for her than the own she lived now. Obedience is very subjective, Ofelia could choose to be destructive or she could choose to be encompassing, the audience had to choose as well: to believe Ofelia was mad and disgusted her illusion or wept for her death and felt relief after Vidal’s execution. ‘Each choice defines who we are, no matter what the reason behind it is because everybody values reason behind the act, or the idea behind the act more than the reason.’ (Guillermo del toro 2006, Interview of Pan’s labyrinth). Pan’s labyrinth was a film of choosing between good and evil, and discovered the temptation behind blind obedience.
Modernist staircase Photo taken at SUBU building, Talbot campus, The stairs are build in the middle of the building , gives a natural rounded shape. Camera, Canon 500D. 1/60, f/8, ISO200 Monochrome
Avant-garde Makeup Using flower petal as makeup Camera, Canon 500D. 1/15, f/8, ISO200 Monochrome
Modernism lighting Streetlight in the evening Camera, Canon 500D. 1/3, f/8, ISO200 Monochrome
Modernist Staircase Photo taken under fire escape metal symmetrical staircase . Camera, Canon 500D. 1/15, f/8, ISO200 Monochrome
Modernist Portrait The model wore a vintage dress, trying to recreate late 90s trend Camera, Canon 500D. 1/60, f/8, ISO200 Monochrome
Avant-gardist Portrait Using flower petal as makeup Camera, Canon 500D. 1/15, f/8, ISO200
National Centre for Computer Animation Level 4