Week 10 – Completed Previs & summary
I am delighted with the outcome of my previs and am pleased that I opted for something as experimental as this. Moving forward, I intend to further develop and refine my previs to a high standard, especially for my final major project.
Working with liquid simulation and particles has been particularly enjoyable, and I am keen to explore Houdini for more precise control over simulations in future work. Despite gaining valuable insights from numerous Blender tutorials on its particle system, I found myself grappling with simulation control.
This limitation hindered my ability to fully realize my creative vision, often resulting in simulations that lacked realism, akin to chunky milk. Given more time, I am confident I could uncover methods to achieve more creative and realistic shots.
Week 9 – Lights to enhance
I added lights into my scenes to enhance the shots further.
Week 8 – Camera set up
This week, I focused on incorporating camera movements into my scenes and planning their animations. To gain a better understanding of effective camera placement, I watched several product commercials on YouTube. These commercials provided valuable insights into how the camera is positioned to create the most impactful compositions.
In advertisements, shots are typically very short, so each frame must be perfectly composed to engage the viewer and highlight the main product, which is the star of the ad. I attempted to replicate some of these camera movements to achieve a similar level of engagement and focus in my project.
Week 7 – Refining shots after feedback
George provided valuable feedback on the shots I had so far. He mainly suggested making some shots shorter and others slightly longer to improve the overall pacing. Additionally, he recommended rearranging certain clips in the previs to ensure better flow and maintain continuity. Another key piece of advice was to simulate the milk in various ways, enhancing the readability and impact of the key words in the advertisement. After reworking the previs based on his feedback, I was pleased with the improved flow and coherence of the clips. They now deliver a much smoother and more effective visual narrative.
Week 6 – Fails & successes
Working with liquid proved challenging, as there aren’t many controls to easily replicate the desired results. I struggled with dispensing the liquid particles inside a container. I ended up overlapping the models so the particles could collide with the inner model. However, this approach failed because, if I wanted the bottle to be glass, the simulation didn’t look right. It lacked the smooth flow of milk I was after. As a result, this shot was unsuccessful and I decided not to use it.
I had success fracturing the model and shattering it into bits. The visuals turned out exactly as I wanted. I aim to recreate this effect using geometry nodes and apply high-quality textures to enhance the overall look. Additionally, I would like to experiment with achieving a finer shatter effect to add more detail and realism.
Week 5 – Simulation tests
I experimented with the particle system in Blender, adjusting the settings of the forces and other parameters to replicate the shots I had saved for my reference and mood board. Some experiments were successful, while others were complete failures. However, I managed to replicate most of the shots effectively using the particle system.
Week 4 – Modelling Bits
I swiftly modelled the necessary items for the commercial, intentionally not spending too much time on the models. My primary focus was on experimenting with particles and simulating liquids, so I aimed to allocate sufficient time for those aspects.
Week 3 – Mood boards & Compositions
Design Choices for the Commercial
I created two distinct mood boards to guide the aesthetic and design choices for a 3D cartoon commercial focused on milk and breakfast foods. These mood boards are essential in conveying the desired visual style, colour palette, and overall mood of the project. Here, I’ll explain the design choices made for these mood boards, focusing on colours, aesthetics, and the dynamic patterns of the splashes.
Blog Entry: Design Choices for 3D Cartoon Commercial Project
For my university’s Previsualisation project, I created two distinct mood boards to guide the aesthetic and design choices for a 3D cartoon commercial focused on milk and breakfast foods. These mood boards are essential in conveying the desired visual style, colour palette, and overall mood of the project. Here, I’ll explain the design choices made for these mood boards, focusing on colours, aesthetics, and the dynamic patterns of the splashes.
Colour Palette and Aesthetic
The first mood board features various shades of white and blue. These colours are universally associated with milk, freshness, and purity. The background colours range from vibrant blues to neutral whites, creating a crisp and clean visual that aligns with the concept of freshness. The presence of contrasting colours like the bright blue backdrop in some images helps to make the white milk splashes stand out more vividly, drawing the viewer’s attention to the central theme.
In the second mood board there is a broader and more playful use of colour. Pastel shades dominate this board, with soft pinks, light blues, and gentle yellows creating a whimsical and inviting atmosphere. This colour choice is deliberate to evoke a sense of nostalgia and comfort, reminiscent of childhood breakfasts. The pastel palette also lends a dreamy, surreal quality to the visuals, which is ideal for a cartoon commercial aiming to capture the imagination.
Patterns and Splashes
The dynamic patterns of milk splashes in both mood boards are crucial to the visual storytelling of the commercial. The splashes are depicted in various forms—from cascading streams to explosive bursts. These patterns suggest movement and liveliness, essential qualities for a commercial that needs to capture attention quickly.
The patterns extend beyond milk to include other breakfast elements like chocolate and cereal. The splashes and swirls here are more stylised, often forming intricate shapes that add a layer of visual interest. For instance, the swirling chocolate and flying cereal pieces are designed to appear as though they are in mid-motion, adding to the dynamic and engaging quality of the visuals.
Week 2 – Storyboards
This week, we were supposed to present storyboards as part of our idea generation for previsualization. I had two ideas for my storyboard:
1) Moon Milk
This storyboard idea originates from my BA project titled “Moon Milk.” The story revolves around a little girl reading a bedtime story to her stuffed toys about where milk comes from. During my BA, I wasn’t able to develop this idea to the level I desired, so I thought it would be interesting to revisit and expand it for previsualization now. The storyboard would capture the whimsical and magical elements of the tale, with scenes illustrating the girl’s vivid imagination as she narrates the story. Key aspects would include charming settings, endearing character designs, and a warm, enchanting atmosphere.
2) Flavoured Milk Advertisement
My second idea is to develop a storyboard for an advertisement, which is a distinct departure from the narrative focus of the first idea. This storyboard would be approached from an advertising perspective, aiming to create a compelling ad for flavoured milk. The previs would focus on vibrant and eye-catching visuals, highlighting the product’s appeal. The storyboard would detail the composition of each shot, the use of bright colours, and engaging imagery to attract the audience’s attention and convey the product’s benefits.
Feedback – George provided feedback on both of my storyboards, expressing that he was happy for me to proceed with either idea. However, since I wanted to experiment with an ad-style animation and explore the fluid simulation, he suggested that now would be a good time to do so. Therefore, I decided to proceed with my second idea and further develop my milk advertisement. This project will allow me to experiment with dynamic visuals and fluid simulations and motion graphics if i decide to continue this production after previs.
Week 1 – Mise-en-scène
Today we learned about Mise-en-scène!
Mise-en-scène is a French term that translates to “placing on stage.” In the context of film and theatre, it refers to the arrangement of everything in the frame, encompassing various elements such as settings, props, lighting, costume design, and the spatial relationships between characters and objects. Essentially, it involves all the visual aspects that contribute to the overall look and feel of a scene.
The key components of mise-en-scène include:
- Settings and Props: These establish the time and place of the story, providing context and aiding in world-building. Props, or properties, are objects used by actors that can have symbolic meaning or contribute to the plot.
- Character Design and Costume Design: These elements help define characters’ personalities, social status, and development throughout the story. Costumes can also signify a particular era or cultural context.
- Lighting: This is crucial for setting the mood, creating atmosphere, and directing the viewer’s attention. Different lighting techniques can evoke various emotions and highlight specific aspects of the scene.
- Composition: This refers to the arrangement of visual elements within the frame. Effective composition guides the audience’s eye and emphasizes important details, helping to convey the narrative more powerfully.
Mise-en-scène is essential in filmmaking as it shapes the viewer’s perception and understanding of the story. Through meticulous planning and creative use of these elements, filmmakers can craft visually compelling scenes that enhance the narrative and deepen audience engagement.
For practice, I decided to analyse the Mise-en-scène in the film “Coco.” Analysing the mise-en-scène involves examining how various elements are arranged and designed to convey meaning to the audience. Here is a breakdown of some stills from the film:
Setting and Props:
In the vibrant streets of Santa Cecilia, the setting reflects Mexican culture and traditions. The use of colourful papel picado (cut-paper decorations) and traditional offerings during Día de los Muertos sets the scene and provides cultural context.
Props such as musical instruments, particularly Miguel’s guitar, are crucial to the plot and symbolise his passion for music.
Character Design and Costume Design:
Characters in “Coco” are dressed in traditional Mexican attire, which helps establish their cultural identity.
Miguel’s simple, everyday clothing contrasts with the elaborate costumes of the skeletal figures in the Land of the Dead, emphasising the fantastical elements of the story.
The design of the characters in the Land of the Dead, with their intricate skeletal features, showcases the filmmakers’ attention to detail and respect for cultural depictions of the afterlife.
Lighting:
Lighting in “Coco” plays a significant role in creating the film’s atmosphere. Warm, vibrant hues dominate the Land of the Living, conveying a sense of liveliness and celebration.
In contrast, the Land of the Dead is illuminated with a mystical glow, using a palette of purples and blues to create an otherworldly feel. This contrast not only differentiates the two realms but also enhances the magical realism of the story.
Composition:
The composition in “Coco” often highlights the protagonist, Miguel, positioning him at the centre of the frame to signify his importance.