"How do animators generate empathetic character performances, and how might these performances be used to convey an anti-bullying message?"
I'm really happy with this, and is more suited to my practical project and research combined.
Thursday, 24 February 2011
Wednesday, 23 February 2011
Showcase log Continued
Todays meeting went alright, I have come up with a schedule of deadlines that will let everyone what were heading for. (pie chart - Cam Goold)
List of Roles:
• Dave: Point of Contact/ Video Editing
• Gemma: Video Editing
• Samir: Video Editing
• Chris: Video Editing
• John: Sound Design
• Calum: Sound Design
• Ben: Video Editing
• Maxime: Structure Design
• Arnaud: Structure Design
Deadline Dates:
• 21st March: Early Work
• 22nd April: Final Work
This chart represents everyone in each course from the forms. Including GPDM we have 63 people presenting in the showcase. From this we have calculated the final times for the showreels, and how long each piece of work will be shown for. (See deadlines)
Other deadlines/expected deadlines:
• By the 11th of March (Friday) we should have the final logo etc from the graphics group.
• Collect Disks from everyone up till the 21st March (Monday)
• By Wednesday the 16th March have Ideas ready to present on the structure of the showreels (Structure Design)
• Promotional Showreel: (2m.30s) – 2.5 -3 seconds of work per person: by the 21st of March we will need to find out what the intended aspect ratio/website space etc from the interface Group.
• Main showreel: 1 min of work per person: 63 minutes
(These times will change slightly if more than one person is working on a project)
• Sound deadline for the promotional showreel: Wednesday 6th of April
• We intend to complete the test early work showreel by the 15th of April(Friday) (promotional and main showreel test)
• 2oth April(Wednesday): Present showreel test in presentation to the class
• 21st April (Thursday): Final Work Deadline: One person from the group to go collect the work from the 4th floor at 4pm.
• 28th April(Thursday): sound finished for promotional showreel
• 4thth of May (Wednesday): Present Final promotional showreel
• 5th May (Thursday): upload video to youtube/Give interface group the embedded code or hand them the file.
• 16th May: Deadline for finishing the final showreel/Test it in the cinema
List of Roles:
• Dave: Point of Contact/ Video Editing
• Gemma: Video Editing
• Samir: Video Editing
• Chris: Video Editing
• John: Sound Design
• Calum: Sound Design
• Ben: Video Editing
• Maxime: Structure Design
• Arnaud: Structure Design
Deadline Dates:
• 21st March: Early Work
• 22nd April: Final Work
This chart represents everyone in each course from the forms. Including GPDM we have 63 people presenting in the showcase. From this we have calculated the final times for the showreels, and how long each piece of work will be shown for. (See deadlines)
Other deadlines/expected deadlines:
• By the 11th of March (Friday) we should have the final logo etc from the graphics group.
• Collect Disks from everyone up till the 21st March (Monday)
• By Wednesday the 16th March have Ideas ready to present on the structure of the showreels (Structure Design)
• Promotional Showreel: (2m.30s) – 2.5 -3 seconds of work per person: by the 21st of March we will need to find out what the intended aspect ratio/website space etc from the interface Group.
• Main showreel: 1 min of work per person: 63 minutes
(These times will change slightly if more than one person is working on a project)
• Sound deadline for the promotional showreel: Wednesday 6th of April
• We intend to complete the test early work showreel by the 15th of April(Friday) (promotional and main showreel test)
• 2oth April(Wednesday): Present showreel test in presentation to the class
• 21st April (Thursday): Final Work Deadline: One person from the group to go collect the work from the 4th floor at 4pm.
• 28th April(Thursday): sound finished for promotional showreel
• 4thth of May (Wednesday): Present Final promotional showreel
• 5th May (Thursday): upload video to youtube/Give interface group the embedded code or hand them the file.
• 16th May: Deadline for finishing the final showreel/Test it in the cinema
Updated Specific research Question
Robin feels that my question is fine, but could do with a bit of refinment. so... this is the new question I'm going to go with.
while investigating virtual reality, games, and animation;
"How do you create empathy for characters within an anti bullying campaign?"
Aim: To create an anti bullying campaign, focusing on facial emotion within a narrated narrative.
I like this question because it's easy to understand, and to the point.
I'm going to get feedback from Robin on what he thinks of it.
while investigating virtual reality, games, and animation;
"How do you create empathy for characters within an anti bullying campaign?"
Aim: To create an anti bullying campaign, focusing on facial emotion within a narrated narrative.
I like this question because it's easy to understand, and to the point.
I'm going to get feedback from Robin on what he thinks of it.
Tuesday, 22 February 2011
showreel meeting/showcase log continued
I had a meeting with cam in the showreel group, and we spent a bit of time going through the showcase forms handed in from everyone, and finding out a percentage of people on each course. This has allowed us to finilise how much time each showreel should be, and how long each piece of work will be shown. We had these in rough form, but this has confirmed, and made us realise that the promotional showreel will have to be extended slightly to allow a couple of seconds of each persons work to be included.
(2m.30s) The long showreel will last about 50 mins which is fine. All in all (with the forms we have) there should be 50 of us, which is not including the GDPM course, apart from 1 (who is actually taking some responsiblity for preparing it.)
(2m.30s) The long showreel will last about 50 mins which is fine. All in all (with the forms we have) there should be 50 of us, which is not including the GDPM course, apart from 1 (who is actually taking some responsiblity for preparing it.)
Meeting with Robin
We had a chat about my case studies and disertation structure. I have a few changes to make within the case studies, but overall is pleased with the way things are moving. We are having a group meeting with Robin on tuesday the 1st of march, to go over more stuff to do with the dissertation. The practical stuff is moving on slowly but there has been a good amount of progress since our last meeting.
We have agree'd action points for the next meeting:
- Have two completed head models
- Test uv mapping/blendshapes
- Dissertation lit review
- 2nd draft (case studies)
I also had another meeting with Keith today to finalise measurments for the MDF paneling. and have agree'd where the table will be positioned, along with the toilet. He is going to get in touch once the base coat of black paint has been applied. He has also said he may have time to make me a small table which won't take up a lot of room. I didn't ask for these things, but I think because I have made sure to get in touch early, and am using a table that was used last year, he want's to try and help as much as he can, which is great.
We have agree'd action points for the next meeting:
- Have two completed head models
- Test uv mapping/blendshapes
- Dissertation lit review
- 2nd draft (case studies)
I also had another meeting with Keith today to finalise measurments for the MDF paneling. and have agree'd where the table will be positioned, along with the toilet. He is going to get in touch once the base coat of black paint has been applied. He has also said he may have time to make me a small table which won't take up a lot of room. I didn't ask for these things, but I think because I have made sure to get in touch early, and am using a table that was used last year, he want's to try and help as much as he can, which is great.
Saturday, 19 February 2011
Log Update Continued
Schedule for the coming week:
19/02/2011: Set up 1st draft structure for dissertation/ finish 1st draft of the dissertation Abstract and Intro
20/02/2011: Finish Tim Burton case study/ work on finishing environment props
21/02/2011: Work on the next 6 weeks schedule for practical work and the dissertation /Fill out Project Diary for meeting with Robin.
22/02/2011: Meeting with Robin/Gain feedback on dissertation/meeting with Keith/meeting with Showreel group member Cam Goold at 2pm to go through the forms/categorise work visualy for wednesdays presentation.
23/02/2011: Meeting with showreel group 12pm/Prepartion for showcase 1pm (Class)
24/02/2011: Continue Facial Model
25/02/2011: Continue Facial Model
19/02/2011: Set up 1st draft structure for dissertation/ finish 1st draft of the dissertation Abstract and Intro
20/02/2011: Finish Tim Burton case study/ work on finishing environment props
21/02/2011: Work on the next 6 weeks schedule for practical work and the dissertation /Fill out Project Diary for meeting with Robin.
22/02/2011: Meeting with Robin/Gain feedback on dissertation/meeting with Keith/meeting with Showreel group member Cam Goold at 2pm to go through the forms/categorise work visualy for wednesdays presentation.
23/02/2011: Meeting with showreel group 12pm/Prepartion for showcase 1pm (Class)
24/02/2011: Continue Facial Model
25/02/2011: Continue Facial Model
Friday, 18 February 2011
Online Forum Post and current Feedback
Now that the blender.org site is back up and running, I thought it would be a good idea to post my Thread post, and feedback that I have had so far.
(http://blenderartists.org/forum/showthread.php?t=208787&p=1786282#post1786282)
Hi Everyone
My names Gemma Pullinger, and I'm currently half way through my final year honours project at Abertay, Dundee, Scotland. The aim of my project is to look at processes which assist on translating humen emotions into non humen virtual characters within an anti bullying campaign... I would love any feedback on a number of questions I have which relate to my dissertation research... you would of course have a mention in my dissertation references... I'm going to start off general, and see if I recieve any interest.
1: Do you think character emotion is more achievable depending on the visual style? eg cell paint animation vs 3D animation?
2: What do you think blender can achieve in terms of preparing character expression than other 3D packages?
3: Can you think of any films, animation, and games that do or do not achieve believable character emotion, and why do you think this is?
Feedback:
From oggbog:
There was a study a while back where they judged people's emotional reaction to three different things all emulating the same thing. First, a photograph of a person. Second, a cartoony version of that character. The third was a hyper-realistic rendering of a human, ala the Robert Zemeckis films. They were shocked to find the cartoony version appealed the most, but even more shocked to find the realistic rendering was disliked in comparison to the photograph.
So yes, visual style has a tremendous impact. The worst thing you can do for a film's emotional impact is go full realism poser characters. This one point is why Pixar, Dreamworks, etc, have all made lots of money on their films while at the same time Disney has fired Zemeckis after multiple "realistic 3D" movies flopped.
Good: Pixar, Dreamworks, Blue Sky's stuff.
Bad: Midnight Express, Beowulf, Final Fantasy Advent Children, the Jim Carey Christmas Carol.
Friends don't let friends use Poser
http://ogbog.blogspot.com/
From Richard Culver:
I would say that there is an underlying element that this brings to light. A great parallel would be bad acting. Another would be attempting to make a war epic on a meager budget at your local park with a video camera. Emotional impact relies solely on your ability to bring a convincing believability to your presentation. If done with enough technical expertise - in line with what an audience expects - it will have an impact. If it is clear that one failed to achieve a certain effect, it falls flat.
In a nut shell, if you want to have emotional impact, do something that is going to be an effect you know you can achieve without pulling the audience out of the story or message by the distraction of something not looking quite right.
That may mean doing it as a character animated rather than realistic effect. If for no other reason than the fact that it is so hard to achieve the realistic that it can be distracting of not done right.
That goes from the top down. From the story to the art direction and the choice of what genera and style, casting and on down the line.
Don't write for characters types you will not be able to cast. Don't cast an actor unless they nail it. And god forbid don't cast young people to pretend they are old. If you need an old man, find one.
And if you don't think you can find an older actor, don't write a part for one. Same goes for accents and the rest of it. A great actor can do a convincing accent. Done poorly it is just distracting.
www.richardculver.com
(http://blenderartists.org/forum/showthread.php?t=208787&p=1786282#post1786282)
Hi Everyone
My names Gemma Pullinger, and I'm currently half way through my final year honours project at Abertay, Dundee, Scotland. The aim of my project is to look at processes which assist on translating humen emotions into non humen virtual characters within an anti bullying campaign... I would love any feedback on a number of questions I have which relate to my dissertation research... you would of course have a mention in my dissertation references... I'm going to start off general, and see if I recieve any interest.
1: Do you think character emotion is more achievable depending on the visual style? eg cell paint animation vs 3D animation?
2: What do you think blender can achieve in terms of preparing character expression than other 3D packages?
3: Can you think of any films, animation, and games that do or do not achieve believable character emotion, and why do you think this is?
Feedback:
From oggbog:
There was a study a while back where they judged people's emotional reaction to three different things all emulating the same thing. First, a photograph of a person. Second, a cartoony version of that character. The third was a hyper-realistic rendering of a human, ala the Robert Zemeckis films. They were shocked to find the cartoony version appealed the most, but even more shocked to find the realistic rendering was disliked in comparison to the photograph.
So yes, visual style has a tremendous impact. The worst thing you can do for a film's emotional impact is go full realism poser characters. This one point is why Pixar, Dreamworks, etc, have all made lots of money on their films while at the same time Disney has fired Zemeckis after multiple "realistic 3D" movies flopped.
Good: Pixar, Dreamworks, Blue Sky's stuff.
Bad: Midnight Express, Beowulf, Final Fantasy Advent Children, the Jim Carey Christmas Carol.
Friends don't let friends use Poser
http://ogbog.blogspot.com/
From Richard Culver:
I would say that there is an underlying element that this brings to light. A great parallel would be bad acting. Another would be attempting to make a war epic on a meager budget at your local park with a video camera. Emotional impact relies solely on your ability to bring a convincing believability to your presentation. If done with enough technical expertise - in line with what an audience expects - it will have an impact. If it is clear that one failed to achieve a certain effect, it falls flat.
In a nut shell, if you want to have emotional impact, do something that is going to be an effect you know you can achieve without pulling the audience out of the story or message by the distraction of something not looking quite right.
That may mean doing it as a character animated rather than realistic effect. If for no other reason than the fact that it is so hard to achieve the realistic that it can be distracting of not done right.
That goes from the top down. From the story to the art direction and the choice of what genera and style, casting and on down the line.
Don't write for characters types you will not be able to cast. Don't cast an actor unless they nail it. And god forbid don't cast young people to pretend they are old. If you need an old man, find one.
And if you don't think you can find an older actor, don't write a part for one. Same goes for accents and the rest of it. A great actor can do a convincing accent. Done poorly it is just distracting.
www.richardculver.com
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