Mise-en-scène, meaning “putting in the scene,” refers to the arrangement of everything within a frame or scene. This concept, rooted in theatre and French terminology, is central to both live-action and animated storytelling. In animation, it aligns with the principle of staging and serves to guide audience attention, establish mood, and convey narrative meaning.
Elements of Mise-en-Scène
1. Setting and Props
Settings and props are critical in creating the world of the story.
Filmmakers and animators can either use pre-existing assets or build custom environments for more control over aesthetics and audience response.
These elements manipulate the viewer’s emotions and establish context.
2. Character Stylisation and Placement
Costume, hair, and makeup signify the character’s social role, personality, and attributes. For example, a cruel character might use a cigarette as a prop to pause, build tension, and emphasize their demeanour.
Character placement refers to the areas of the screen occupied by characters, influencing the viewer’s perception of their relationships and importance.
3. Body Language and Facial Expression
These aspects work together to convey emotions and character intentions.
Micro-expressions may be explored independently for deeper emotional nuance.
4. Shot Framing
Tight framing: Characters and objects are enclosed within a confined space, often creating tension or intimacy.
Loose framing: Allows for more open space, emphasizing freedom or isolation.
5. Blocking and Screen Density
Blocking refers to how characters and objects move and are positioned within the frame.
Screen density, or the amount of visual information in the frame, can evoke a sense of chaos, calmness, or focus.
6. Composition
The arrangement of elements within the frame includes the use of horizontal, vertical, and directional lines, guiding the viewer’s eye and creating balance or tension.
7. Lighting and Colour
Lighting and colour establish the mood, atmosphere, and focus within a scene.
High-key lighting: Bright and evenly lit, often used for upbeat or comedic scenes.
Low-key lighting: Characterized by deep shadows, creating a dramatic or mysterious atmosphere.
High-contrast lighting: Emphasizes stark differences between light and dark, adding tension or intensity.
These techniques work together to set the scene’s mood and ambience.
Breaking the Fourth Wall
Breaking the fourth wall involves characters directly addressing the audience, creating a unique connection. This can happen through close-ups where characters actively talk to the viewers, as seen in traditional cinema and shows like The Office. This technique disrupts the narrative boundary, making the audience part of the story.
Camera Shots and Angles
1. Types of Shots
Close-up: Highlights facial expressions, conveying emotions in detail.
Long Shot: Establishes the setting, focusing more on body movement than facial expressions.
One-Shot: Features a single character in the frame.
Two-Shot: Includes two characters, often highlighting relationships.
Group Shot: Displays more than two characters.
2. Camera Angles
High-Angle Shot: Makes subjects appear smaller, emphasizing vulnerability or weakness.
Low-Angle Shot: Makes subjects look larger, emphasizing dominance or power.
Camera Movements
1. Pan Shot
The camera remains fixed but moves left or right on its axis.
2. Tilt Shot
The camera remains stationary but tilts up or down.
3. Travelling Shot (Dolly Shot)
The camera moves forward or backwards while fixed on its axis.
4. Crane Shot
The camera moves in multiple directions—up, down, in, or out—while mounted on a mechanical crane.
Animation and Narrative
Clear Storytelling
The narrative must be clear to avoid ambiguity unless the animation is experimental in nature.
Key Narrative Techniques
Staging: Ensures that the story is communicated effectively within the scene.
Character Placement: Establishes relationships, power dynamics, and focus.
Blocking and Movement: Guides the viewer’s eye and conveys story elements.
Composition: Balances visual elements to create impactful frames.
Scene Entry: Thoughtful choreography of how characters enter the scene enhances storytelling.
Critique ball with tail in spline & planning the weight shift exercise.
The Center of Gravity COG
For Humans: The centre of gravity (COG) for humans is typically located around the hips or pelvis. This is where the main control resides in character rigs, serving as the foundation for natural movement.
For Hero Characters: For hero characters, the COG shifts to the chest, reflecting their predominant movements, such as flying or leaping through the air. This adjustment enhances the believability of their superhuman abilities.
Maintaining Balance: To ensure proper balance in animation, it’s essential to apply correct weight distribution within the positive space of the character’s body mass. This helps achieve a sense of realism and stability in movement.
COG exercise
The following images present the outcome of the exercise, practicing the COG by aligning the bony rig with poses corresponding to the reference images. Where the red marking is Gerorge’s feedback.
Forward jump
Posing with the use of the live-action snapshot reference, is to ensure the accuracy of the physical logic, and distribution of the weight in consideration of the COG, however, the animator role is to go one step beyond, to make it visually appealing with use of exaggeration and assymetry.
Kneeling jump
Kneeling jump breakdown of action, video source: 3 Exercises To INCREASE YOUR VERTICAL Pt.2 | JUMP HIGHER | The Lost Breed used as the reference. Breakdown including the anticipation: hand movement that implies the preparation for the jump, stretch and squash of the spine, marked with the ball reference under each pose, pendulum consideration where the hands follow the chest and pelvis moving up front.
This example was broken down correctly; however, it is visually uninteresting because the posing throughout the action is symmetrical. Animation should aim for asymmetrical posing, as this allows for more variation in the line of action, making the movement appear more dynamic. Animation has the advantage over real-life action in that movements can be exaggerated. Considering this, the current example is far too dull to justify the time spent animating it.
A ball with tail spline animation feedback
Managed to make progress, and achieve fluid motion of the tail.
Need to pay more attention to the timing and spacing. The allocation of frames is incorrect, which results it the undesired movement. More specifically, instead of jumping to falling, jumping to flying and coming down was delivered. Rule of the thumb is that more frames are allocated for the ease in and ease out, as the character accelerates upward or downwards, to show the gradual movement.
Body weight shift planning > blocking > spline exercise
Instructions & Guidance (notes from in-class talk)
1. Setting Up the Basics
1.0 Change Default Tangents to Stepped
Switch the default tangent to “stepped” mode to make it easier to block out key poses and focus on timing.
1.1 Create a Default Pose
Start with a neutral default pose. Use both the front and left views to ensure accuracy and alignment.
1.2 Set Up a Quick Selection Tool
Create a quick selection tool for all the controllers, excluding the root controller. This will streamline the animation process and save time during adjustments.
2. Anticipation: Adding Realism to Movement
2.1 Offset for Anticipation
Introduce anticipation by slightly offsetting the pose in the opposite direction of the intended movement. This creates a sense of tension and preparation before the action begins.
2.2 Incremental Adjustments
Use the “+” or “−” keys to control the gizmo for incremental adjustments. Remember:
A larger gizmo results in smaller, more precise movements.
Set the foot roll to 100 and adjust it in the graph editor across the entire animation timeline for consistency.
2.3 Create Multiple Anticipation Poses
Develop around 4 anticipation poses to build a dynamic and fluid movement.
3. Weight Shift: Crafting the Contact Pose
3.1 Clean Up Between Poses
Reset all values to 0 before moving on to the next pose. This ensures clarity and reduces errors.
3.2 Define the Contact Pose
The contact pose is critical for establishing the weight shift. When the hips take the weight, the body naturally leans toward the supporting side. Add subtle rotation in the direction of the hip movement to enhance realism.
Shooting reference
Creating a video reference in front and side views for the body weight shift involved ensuring the camera was stable. Both perspectives needed to match precisely in timing, as two different cameras were used to capture the reference. The footage was then aligned in Premiere Pro, and consecutive frames were screenshotted for breakdown purposes, making it clear how to perform blocking for the action.
The image below shows the collection of screenshots, presenting consecutive frames of the action, which served as a reference for my blocking process.
Body weight shift study: breaking down in class demo
The image below shows my investigation of the class demo on the body weight shift, as explained to us with consideration of both the front and side views.
Observations/Notes:
The body moves slightly in the opposite direction before the action is undertaken, providing a visual clue for anticipation.
This is followed by a significant movement toward the intended direction to build up anticipation.
It is crucial to consider the COG (centre of gravity) as a reference point when performing blocking to ensure that the poses in the blocking are accurate and physically make sense.
As the weight of the body shifts, the COG shifts, requiring adjustments to the character’s poses.
The feet move in such a way that, in the side view, the trajectory forms an arc, ensuring organic movement.
The step to the side starts from the heel unless the animation is intentionally depicting a tiptoeing character (like a Pink Panther, for example).
The passing pose is an approximation of symmetry, with the centre of gravity positioned in the middle due to even weight distribution across both legs.
The contact pose, following the passing pose, involves dragging the foot. By analogy to the pendulum exercise, as the body shifts to the side after the step, the other foot follows by being dragged. This must be accentuated in the animation.
As the foot is dragged, it moves upwards with the heel, while the toes remain in contact with the ground. This creates a distinction between local dragging (toes) and global dragging (leg). Both must be carefully implemented to ensure accurate movement.
Films and other forms of media often contain subliminal or overt political messages, shaping societal perspectives and influencing behaviour.
1.0 Subliminal Advertising
Subliminal advertising is a marketing technique that uses hidden images, sounds, or messages to influence consumer behaviour without conscious awareness. The aim is to tap into the subconscious mind, where decision-making primarily occurs.
Example: In 1957, James Vicary famously claimed to have flashed the phrases “Drink Coca-Cola” and “Eat popcorn” during a movie, too fast for conscious perception. He asserted that this resulted in increased sales of these products. However, his claims were later debunked. (Source: BBC News – Does subliminal advertising actually work?)
TfL bosses ban advert for new West End play because it features a two-tier Victoria sponge that ‘promotes’ obesity
1.1 How Do Politics Shape Media Production?
Political ideologies and cultural narratives significantly influence the creation and content of media. Decisions about what stories are told and how they are presented often reflect prevailing political and social climates.
1.2 Politics in Pop Culture
The Worldwide Privacy Tour is a satirical take on Prince Harry and Meghan Markle’s decision to “step back as senior members of the Royal Family” and their subsequent rebranding. The episode humorously portrays the “Prince of Canada” and his wife visiting South Park, claiming they are in search of privacy and seclusion. However, their actions create chaos in the town and bring them into conflict with fourth-grader Kyle Broflovski.
Popular animated series frequently address political themes, using satire and humour to critique society:
Family Guy – Parodies absurd political situations and offers critiques of both right- and left-wing ideologies.
The Simpsons – Tackles issues such as corruption, environmental concerns, and corporate greed, with characters like Mayor Quimby representing real-world political archetypes.
South Park – Known for its timely and provocative political commentary, addressing topics like elections, social justice movements, and political correctness.
BoJack Horseman – Explores the intersection of politics with celebrity culture, media influence, and personal scandal.
American Dad! – A satirical look at right-wing ideologies through the lens of conservative CIA agent Stan Smith.
Futurama – Uses its futuristic setting to comment humorously on modern political issues such as climate change and government control.
Rick and Morty – Occasionally incorporates political themes, exploring issues like government control and existential questions of authority and freedom.
1.3 Animation as Political Commentary
Animation has been a powerful medium for political and social critique:
Norman McLaren: Neighbours (1952)
A stop-motion film that uses a simple conflict—neighbours fighting over a flower on their border—to critique war and human violence.
Despite winning an Academy Award, the film was banned in some places due to its portrayal of cruelty, including scenes involving babies.
Joanna Quinn: Britannia
A biting critique of British Imperialism, highlighting its rise and fall through satirical and brutal imagery.
Winsor McCay: The Sinking of the Lusitania (1918)
An animated propaganda film depicting the sinking of a passenger ship during World War I, emphasizing the tragedy of civilian casualties.
1.4 Animated Documentaries
Animated documentaries combine factual storytelling with creative animation to communicate complex ideas or personal narratives.
Defining Characteristics:
Created frame by frame.
Represents the real world rather than an entirely imagined one.
Presented as a documentary by its producers or perceived as such by audiences.
Often clarifies phenomena, educates viewers, or explains abstract concepts.
1.5 Examples of Animated Documentaries
Walking (1968): Directed by Ryan Larkin, this Canadian short film showcases vignettes of how different people walk, offering an observational and artistic take on human movement.
Abductees (1995): Paul Vester’s documentary is based on interviews with individuals who claim alien abduction experiences. Animation is used to depict their surreal, emotional, and often unsettling accounts.
Representation in Animation
Disney’s Dominance and Its Global Influence
Disney has long been the central force shaping global animation culture, presenting an American-centric perspective that dominates popular appreciation of the medium.
In the early 20th century, as animation industrialized, international animators strove to develop unique styles. However, the sheer volume of content produced in America led many to adopt American techniques and aesthetics. Examples include:
Japan’s Tiny Chibisuke’s Big Adventure (1935), which reflects the influence of earlier American works like Jumping Beans (1922).
Egypt’s Mish Mish el Shater (1939), produced by the Frenkel brothers, which mimicked American techniques to appeal to local audiences.
Christian Thomasson emphasizes that early animation embraced a cartoonist, exaggerated approach, creating visual experiences beyond live-action’s capabilities. Ironically, while many early animators celebrated stylization, Disney shifted toward a more realistic and aspirational visual style.
Hollywood and “The Other”
The Concept of “The Other” in Media
“The Other” refers to characters who deviate from societal ideals—norms often defined as white, cisgender, heterosexual, non-disabled males. These norms are societal constructs maintained by power structures that marginalize diverse identities.
During Hollywood’s “studio era,” many films used monsters as metaphors for “the Other,” dehumanizing those outside the societal norm.
The Celluloid Closet (1995) critiques the dominance of heterosexual and heteronormative portrayals in cinema.
I Am Not Your Negro explores the negative, dehumanizing representation of Black, Indigenous, and other ethnic minorities in mainstream media.
Disney’s Evolving Representation
A Shift Towards Inclusivity
Recent Disney productions show progress in representing diverse genders, ethnicities, and cultures. However, this inclusivity often remains superficial.
Moana (2016) authentically depicts Polynesian culture with a largely non-white voice cast, yet its creative direction was led by four white men.
The authors of From Mouse to Mermaid: The Politics of Film, Gender, and Culture argue that animation serves as a platform for exploring identity and cultural expression, beyond mere entertainment.
Nicholas Sammond highlights that animation’s theatrical roots included problematic practices like blackface, visible in early cartoon characters such as Felix the Cat and Mickey Mouse.
Racial Stereotypes in Early Animation
Examples of Racial Bias
Animation has reflected the racial biases of its time, perpetuating harmful stereotypes:
Fleischer Studios’ I’ll Be Glad When You’re Dead, You Rascal You (1932): Intended to celebrate Louis Armstrong’s music, it caricatured him as an “African cannibal.”
Warner Bros.’ Coal Black and de Sebben Dwarfs (1943): Part of the “Censored Eleven,” it featured extreme racial caricatures and was later withheld from circulation.
Disney’s Trader Mickey (1932) and Mickey Steps Out (1931) perpetuated racial stereotypes, as did live-action films like The Jazz Singer (1927), infamous for their blackface performances.
These portrayals exaggerated traits associated with marginalized groups, reinforcing stereotypes under the guise of humour and simplicity.
Live-Action Parallels
Stereotypes in Live-Action Films
Donald Bogle’s Toms, Coons, Mulattoes, Mammies, and Bucks (1973) outlines restrictive archetypes for African American characters in live-action films, such as:
The “Mammy” figure (e.g., Gone with the Wind).
The “Coon” stereotype, portrays Black characters as comedic and subservient.
These roles starkly contrasted with the wide-ranging, complex narratives afforded to white characters, reinforcing racial hierarchies in storytelling.
Responses to Past Representation
Avoidance vs. Authenticity
In response to criticisms, studios often avoided addressing racial stereotypes directly, opting instead to exclude non-white characters. For instance:
Chuck Jones replaced Tom and Jerry’s original “Mammy” character with a white Irish maid in the 1960s.
More recently, efforts have shifted toward authentic representation, empowering diverse creators to share their perspectives. Examples include:
The Proud Family
Bébé’s Kids
The Boondocks
These works centre on Black characters and themes, created and produced by Black writers and animators, enabling more meaningful storytelling rooted in lived experiences.
Countering Stereotypes in Animation
Some animators push back against historical stereotypes by creating counter-images that challenge past narratives, while others advocate for nuanced portrayals that reflect the complexities of human experience.
Further Reading
Introducing Intersectionality by Mary Romero provides tools to analyze how privilege and exclusion manifest across social identities. This framework deepens our understanding of how media representation impacts various groups, emphasizing the need for nuanced portrayals.
The following presents instructions on performing physics within UE5. These are embedded screenshots of the Word document that I made as the result of the studies and exploration. When rendering a lot of simulation physics within Unreal, it is recommended that you switch to Nanite.
First of all, I overthought things and got it completely wrong by ignoring everything I had learned about animating the bouncing ball. Keep it simple, stupid!
Regarding the Bouncing Ball
I came across a blog, a tutorial, and other people’s animations, and I learned that when you jump (like an athlete), the path you’re creating in the Y-coordinate space—which describes your height—is not a perfect parabola. This is because of the friction that affects your body as it moves through the air. While this is true, I exaggerated it too much.
In reality, the path still follows a parabola, representing an organic movement with ease-in and ease-out. It may slightly deviate, becoming more pronounced on the left side of the curve, but it still represents the pathway from the floor to the highest point of the jump, where the body momentarily stays in the air before it begins to fall.
Regarding the Blocking
The blocking confused me when I initially planned the animation. I sketched out triangular motion trails for the jumps, but it should have been a parabola! Fair enough—when Maya is set to linear tangent interpolation and the trail option is displayed, it shows these triangular shapes. However, this isn’t mechanical; it’s an organic motion, so the path should still resemble a parabola.
Regarding the Tail
The tail should follow a similar trajectory to the ball, much like the roller coaster example where the ball is the front carriage and the subsequent parts of the tail are the carriages that follow. My first attempt resulted in a stiff tail, which is the opposite of the desired fluid appearance.
Tailed ball animation in spline exercise
Redoing blocking
To achieve fluidity in the movement of the tail and eliminate stiffness, I began to redo the blocking stage, in reference to the feedback given. I drew the table that depicted the breakdown of 1 jump into 10 keyframes, to better navigate the following movement of the tail. I used that as the reference point, to check against while animating.
This is a screenshot of the work-in-progress during the blocking stage. The motion trail in the viewport currently has a triangular shape, which is typical for this stage. Moving forward to the spline animation phase, my role will be to refine the pathways to better approximate organic movement by reshaping them into parabolas. To achieve this, I will add more keyframes, providing Maya with additional data to create smoother parabolic interpolations. This approach addresses the default linear interpolation caused by the limited coordinate space data provided during the blocking stage.
Delivering spline animation
Delivering an animation in spline requires working within the graph editor and the viewport to adjust the interpolation curves, ensuring they approximate organic movement while checking the outcome for both appearance and feel.
The automated spline interpolation function facilitates the transition from linear tangents to spline curves. However, due to the limited sample data provided, this often results in visual artifacts. Therefore, manual corrections are necessary to refine the animation.
The concept of authorship in animation explores the role of the artist as a creator, innovator, and storyteller. Early examples of animation techniques showcase the evolution of this idea:
The Stop Trick (Disappearing Lady, 1890): The artist becomes the creator of transformation by stopping the camera to implement changes. This technique pre-dates stop motion animation.
The Lightning Cartoonist: Proto-animation techniques recorded the work of lightning cartoonists in real-time, blending the logic of the stop trick to create illusions of transformation.
Humorous Phases of Funny Faces (1906): Highlights the dichotomy between the labor of the artist and the onscreen life of animated characters, exploring the tension between creator and creation.
(Example of the movie where artist’s hands are visible)
1.1 Single Animator vs. Team Production
Single Animator: According to Schneider (1994), a single animator “can control every element of his/her film” (p. 30), ensuring every depiction is deliberate and personal.
Team Production: While large-scale productions aim to reflect a unified vision under a single director or creator, they often require the collaborative work of dozens or hundreds of artists.
1.2 Animation and Authorship
Industrialized animation production complicates authorship, as seen in examples like the cartoon “Mutt and Jeff.” The original content creator’s role becomes entangled with the larger production process, leading to questions about creative ownership.
Example: The falling-out between Stanley Kubrick and Stephen King over creative control further illustrates the tension between creators and their adaptations.
1.3 The Auteur Theory
Origins of Auteur Theory: Introduced by Cahiers du Cinéma in 1951 during the French New Wave, auteur theory emphasized the director as the primary creative force in filmmaking.
François Truffaut’s “A Certain Tendency of the French Cinema” (1954): Distinguished between the auteur and the “scene-setter.” The auteur uses film as an audio-visual medium for personal expression, while the scene-setter merely translates a script into visuals.
The Birth of a New Avant-Garde – Le Caméra-Stylo (1948): Championed cinema as a tool for artistic expression, equal to painting or literature.
1.4 Andrew Sarris and Auteur Theory in 1962
Andrew Sarris built upon auteur theory, establishing criteria for identifying directors whose creative vision elevated their films into art. This approach continues to influence discussions of authorship in animation.
1.5 Animation Studies and Auteurship
Animation studies have adapted theories from cinematography to explore authorship in animated works.
Director-Led Animation
Directors such as Friz Freleng, Chuck Jones, and Robert Clampett left significant marks on animation, demonstrating auteur-driven creativity:
Robert Clampett’s The Great Piggy Bank Robbery (1946): Introduced the “smear principle,” creating dynamic, distorted characters and rapid, joke-driven narratives.
Chuck Jones’ Rabbit Seasoning (1952): Focused on slower-paced character dynamics and carefully staged static shots to enhance narrative impact.
1.6 Anti-Intentionalism and The Death of the Author
The Anti-Intentionalism movement challenges auteur theory, shifting the power of interpretation from the creator to the audience.
Roland Barthes’ “The Death of the Author” (1968): Argues that the audience, not the author, determines the meaning of a work. Each viewer’s experience is subjective, constantly changing with each encounter.
Chuck Jones’ Duck Amuck (1953): A meta-commentary on authorship, portraying Bugs Bunny as the author, blending humor with an exploration of creative control as an inside joke.
1.7 The Triangular Relationship in Animation
Donald Crafton’s In the Shadow of a Mouse (2013) introduces a triangular relationship in animation between:
The Animated Characters: The personalities brought to life on screen.
The Animators: The creators who shape the characters’ movements and stories.
The Viewers: The audience, whose interpretations and connections complete the experience.
David McGowan’s Work: Explores the idea of “animated personalities” and the interplay between animators and their creations.
Red (Ambient Occlusion): Indicates how much light penetrates through (left to right).
Green (Roughness): Controls how much light bounces off. Bright roughness maps make objects appear wet, while darker maps create a dull appearance (top to bottom).
Blue (Displacement/Normal Map): Blue represents surface depth, where dark blue areas are deeper and bright blue areas are elevated (front to back).
ORM Maps
ORM: Combines Occlusion, Roughness, and Metalness into a single texture for efficiency in PBR workflows.
Red Channel: Ambient Occlusion (AO)
Green Channel: Roughness
Blue Channel: Metalness
Building Blueprint Materials
The naming convention for materials: MA or MM for master material.
Convert nodes into parameters before adding them to the blueprint; updates occur automatically.
Create an instance of the material and save it as MI.
Shortcuts and Tips
Ctrl + 1: Assign a value and convert it to a parameter.
F2: Rename a parameter.
Adding materials to landscapes requires assigning them through the landscape material settings, not drag-and-drop.
Customizing Textures in Unreal Engine 5.4
Unreal 5.4 lacks built-in functions for brightness/contrast adjustments, but node-based coding allows implementation.
Benefits of a Master Material (MA):
Reusable across projects if the proper folder structure is maintained.
Allows customization (e.g., overlaying dirt or surface imperfections like rust).
Brightness: Use a multiplication node with a scalar parameter for control.
Contrast: Use a power node with a scalar parameter for adjustments.
Master Material Custom Functions
Create custom PSR (Position, Scale, Rotation) functions (MF_PSR) for UV mapping.
Example: UV mapping can be compared to wrapping 2D foil around 3D objects like chocolate Easter bunnies.
Implementation Notes
Use ORM files for simplicity and efficiency.
Assign RGB channels to the appropriate MA nodes (Green: Roughness, Blue: Metalness, Red: Ambient Occlusion).
In cases where a specular texture is unavailable, use a scalar parameter to define specular values.
Specular Texture: Defines areas of surface imperfections like dirt or scratches to avoid flat plane aesthetics.
Lerp Function: Interpolates between two textures (e.g., blending roughness and surface imperfection maps).
Master Material file implementation: process and reflection
Unreal Engine 5.4 does not provide built-in functions for adjusting the brightness and contrast of textures. However, these adjustments can be implemented through node-based coding by creating a Master Material. While this requires additional setup, it offers significant benefits, allowing for greater customization of materials. For example, layers such as dirt or surface imperfections can be added, conveying a story about the material—such as rusted metal that has undergone corrosion.
Implementing a Master Material also promotes efficiency and reusability across projects, provided the project structure is well-organized. All textures and functions referenced by the Master Material must be stored in corresponding sub-directories within the main Master Material folder to ensure seamless functionality.
Adjusting brightness can be achieved using the multiplication node, with values customized through a scalar parameter, which takes floating-point numbers. Similarly, contrast adjustments can be made using the power node, with a scalar node providing an adjustable slider.
Creating a Master Material also requires defining custom PSR functions (MF_PSR) following naming conventions. PSR stands for position, scalar, and rotation, which are tied to UV mapping. This process can be likened to wrapping a 3D object, like a chocolate Easter bunny, with decorative foil. The flat, 2D foil covers the complex 3D shape, ensuring accurate texture mapping.
To create my Master Material, I followed the tutorial Unreal Engine Materials in 6 Levels of Complexity. My implementation differs slightly as I utilized an ORM file. Based on class discussions and Serra’s advice to memorize RGB channel functions, I assigned the appropriate colour channels in my Master Material: green for roughness, blue for displacement (used as metallic in my case due to research I encountered), and red for ambient occlusion. In the tutorial, the texture was connected to the specular input of the main node. However, the texture I downloaded from the Fab library lacked a specular layer. Instead, I assigned a scalar parameter to define the specular values manually.
The importance of a specular texture is well-documented: “A specular texture defines parts of the surface that might be dirty, scratched, or darker. These areas react differently to light sources. Without a specular texture, light reflects off the surface like it’s a flat plane.” Based on this insight, I may need to refine my Master Material to better align with its intended purpose, avoiding the flat-plane aesthetic and aiming for a more realistic appearance.
Additionally, I explored using the Lerp function to interpolate between two textures. For instance, to create a material that appears dirty, such as a surface touched by greasy hands, I added a layer representing surface imperfections. By blending this layer with the roughness texture using the Lerp function and promoting the alpha value to a parameter, I achieved adjustable blending in the material.
Imperfection Adding a surface imperfection layer on top of the roughness map provides a story about the material’s journey and wear.
Method: Use a texture imperfection file as Source B and a roughness map as Source A (the order doesn’t matter). Use the Lerp function to blend the two, promote the alpha to a parameter, and name it “Blend.” This parameter determines the degree of blending and accepts floating-point values.
Dirt and Filth Adding a dirt layer on top of the albedo map creates the appearance of a dirty surface. The Static Switch Parameter, which acts as a Boolean, allows for toggling the dirt effect on or off.
Method: Use a texture imperfection file as the alpha channel and an albedo map as Source A. Add a Vector3 node for colour (e.g., a brownish tone) and promote it to a parameter. Use the Lerp function to blend these elements, promote the alpha to a parameter, and name it “Blend.” This parameter controls the degree of dirt application, taking floating-point values.
Summary
The process of creating a Master Material has deepened my understanding of material design within Unreal Engine. By customizing textures and parameters, I can achieve a higher level of realism and storytelling in my materials. For instance, adding imperfections or dirt layers provides depth and context to otherwise flat surfaces. While these techniques require a strong foundation in node-based logic and texture mapping, the results are highly rewarding, offering endless possibilities for material customization
Pendulum critique & Planning for the tailed ball exercise
What is Anticipation?
Anticipation is an action that provides visual clues about the main action that is about to occur, often building up internal force leading to the main event.
Anticipation visually conveys the amount of strength and force that goes into a movement. The use of squash and stretch not only enhances the expression of movement but also makes it more convincing to the viewer.
Framework: Anticipation > Action > Reaction
This principle, as described by Bill Tytla, references Newton’s laws of motion.
Anticipation: Prepares the audience for the action by showing the buildup of strength or force. For example, the ball stretches and squashes in anticipation of a bounce.
Action: The main event, such as the ball bouncing.
Reaction: The follow-through movement, like the tail following the ball’s motion.
(Reference: Rollercoaster principle)
Tail movement
The tail follows the same curve as the front part of the movement (e.g., a bouncing ball).
The natural pose for the tail is often an S-shape, which reflects the dynamics of motion.
Tailed ball animation exercise
Key guidelines:
Begin with the ball animation.
Once the ball’s motion is finalized, move to animating the tail.
Deliver the animation in blocking mode, not in spline.
What is blocking?
Blocking is the foundation of the animation process. It involves setting the main keys, breakdowns, and using stepped tangents to sketch the motion.
Purpose: Blocking allows you to test and refine your idea quickly without worrying about transitions or splines. It’s a time-efficient way to sketch the animation’s key movements.
Delivery Details: Use stepped tangents (flat or linear tangents) that create a strobe-light effect. This is similar to a Boolean system—either “on” or “off.”
Breakdowns: Adding Life to Motion
Breakdowns are essential to filling the space between keyframes. They define how the motion transitions, playing a crucial role in creating the illusion of life.
Core Idea: It’s all about time and space—integrating principles like stretch and squash to make the motion believable and dynamic.
The Four Stages of Animation:
Planning: Laying out your ideas and structure.
Blocking: Establishing the foundation with keys, breakdowns, and stepped tangents.
Splining: Refining the transitions and smoothing out the motion.
Polishing: Adding the final touches to perfect the animation.
What is ghosting?
Ghosting mode can be switched on for the controllers or object, to visualise tracking of the movement.
Planning for an assignment
To create an iconograph, I took screenshots of George’s demo in class, which showed the simple up-and-down motion of the ball with the tail. I used these as the guide, while working on delivering of my animation, so I could always go back to it an reference the key frames, and try to approximate my blocking against George’s.
I opted for a simple animation while applying the theory I’ve learned so far. My animation consists of a small jump, which serves as the anticipation for the bigger jump. This is followed by three smaller jumps, indicating that the initial jump was high in energy. To balance the energy accumulated from the jump, the ball requires several smaller jumps to come to a stop.
The sequence follows the pattern of anticipation > action > reaction:
Anticipation: Preparing for the big jump.
Action: The big jump itself.
Reaction: The consecutive smaller jumps that help balance the accumulated energy.
The pendulum movement is effective, but the achieved velocity is not proportionate or justified relative to the velocity of the base moving from point A to point B before it stops. To address this, the number of frames allocated for the base movement should be reduced to around 23 frames to create a shorter, more rapid motion. (Refer to the graph editor highlighted in the red box.)
I have grasped the concept of C and S shapes well, but I now need to ensure they are accurately approximated so that these shapes do not appear exaggerated. (See the comparison above: an over-the-top S versus a correctly approximated S below.)
Consistency is key when mapping the movement. The S and C shapes should be spaced evenly around a middle line, which could be drawn as a reference through the anchor point of the pendulum at its base.
When the pendulum comes to a stop, the movement must account for both the middle section and the outer part of the pendulum (corresponding to the rotation of the respective joints). The final part to stop should always be the outermost section of the pendulum.
The Avant-Garde movement of the early 1900s rejected traditional representational art, aiming to push the boundaries of artistic expression both visually and intellectually. This led to the development of two distinct forms of abstraction:
Formal abstraction: Focused on the visual fundamentals of art, such as shape, colour, composition, and motion.
Conceptual abstraction: Emphasized the underlying ideas, emotions, and cultural or intellectual context of the work.
1.2 Formal Abstraction: Visual Fundamentals
Formal abstraction centers on manipulating visual fundamentals, such as colour, shape, line, motion, rhythm, space, and composition, to create a distinct visual and sensory experience. This approach prioritizes movement, aesthetics, and sound design over narrative or messaging.
Example: Kaleidoscope by Len Lye (1935)
Len Lye’s work exemplifies formal abstraction by abandoning narrative in favor of exploring visual patterns, repetition, and transitions between forms.
1.3 Merging Formal and Conceptual Abstraction
The fusion of formal and conceptual abstraction can be seen in works like Max Hattler’s (2005), where geometric shapes, visual patterns, and cultural symbolism converge. For example:
Hattler incorporates Islamic patterns, American quilts, and flag motifs to create abstract fields of reflection.
Formal abstraction: Generates a visual experience through geometric shapes and cultural references.
Conceptual abstraction: Embeds symbolic meaning tied to cultural connotations, such as American and Islamic themes, which imply a deeper narrative.
1.4 Conceptual Abstraction: Symbolism and Meaning
Conceptual abstraction focuses on ideas, thoughts, and narratives, often incorporating geometric shapes bound to real-world objects, thus adding symbolic depth.
Examples:
Metropolis (1927):
Filmstudie (1926) by Hans Richter:
Both films reflect conceptual abstraction through symbolic visuals and narratives that convey cultural and intellectual themes.
1.5 Visual Processing, Machine Learning, and AI Tools
The evolution of abstraction continues with the integration of modern technologies like machine learning and AI. Tools for visual processing expand the possibilities of abstract art in animation.
Example: LATENTSPACE by Charles Sainty (2024)
Sainty’s work demonstrates how AI can process and generate abstract visuals, combining traditional abstraction techniques with cutting-edge digital technology
Avant-Garde Theories and Animation
The theory of the Avant-Garde, as proposed by Renato Poggioli in 1984, aligns with the exploration of abstract representations in animation. This era sought to convey the interaction of the senses and media’s impact on our perception of reality, often engaging with unconscious desires and surrealism.
Len Lye, Norman McLaren, and Oskar Fischinger:
These filmmakers were heavily influenced by the avant-garde movement, exploring the unconscious and experimenting with sound and movement in animation. Much like surrealism, they focused on visual abstraction, drawing inspiration from the unconscious mind.
Plato and Kandinsky:
Plato said, “Geometry draws the soul towards truth,” which reflects the structural precision and deliberate composition of abstract art.
Kandinsky’s statement, “Colour is the keyboard, the eye is the hammer, and the soul is the piano,” emphasizes the emotional and sensory power of art to resonate with the viewer’s soul.
Oskar Fischinger:
Fischinger believed that the artist’s vibrations should be expressed through material forms, and this is clearly evident in his work, where visual rhythm and movement sync with the sound to create a unique sensory experience.
The Relationship Between Sound and Image in Avant-Garde Film
Avant-garde filmmakers often used cutting techniques driven by sound, creating a more immersive experience for the audience. The combination of sound and image in animation allows for a heightened emotional response, providing a unique experience that is challenging yet engaging.
Synaesthesia and Its Role in Film
Synaesthesia, a neurological condition where stimulation of one sense causes an involuntary reaction in another (such as tasting shapes or seeing colors), parallels the experience of avant-garde films. The blending of sound and visual elements in animation and experimental film can evoke a synesthetic experience, connecting senses in a way that challenges conventional perception.
The Structure for Writing an Avant-Garde Film Review
When writing about avant-garde films, it’s important to consider:
Production Circumstances:
Many avant-garde films were created by individual artists or small, independent groups with limited funds or art grants. These films often use alternative animation techniques and are exhibited in non-traditional spaces.
Conceptual Basis: Avant-garde films are conceptually driven, often intellectually challenging the audience to rethink the boundaries of storytelling and perception.
