Final Outcome
The final outcome of this project is a real reflection of how far I’ve come since the initial idea generation back in June. It’s hard to believe the journey from concept to completion, and I am incredibly proud of the work I’ve produced. Looking back, I am so glad I made the decision to shift my final major project proposal from a milk advertisement to this animation. The result is something that I’m truly proud of, and the process has been an immense learning experience.
Throughout this project, I’ve gained so much knowledge, particularly with Cinema 4D and Redshift, and I’ve become more proficient in After Effects. I’ve also learned a great deal about sound production, especially from working with a sound team and understanding how they collaborate with clients. It’s been invaluable to see their approach and learn about their workflow, which I will definitely carry forward into future projects.
One of the key lessons I’ve taken from this project is the importance of planning and sticking to a production schedule. I took action early and created a thorough production plan. I wrote an asset list, made checklists for each step—whether it was modeling, texturing, lighting, rendering, or compositing—and kept track of every task. I also planned the script, recorded the voiceover, and spent time designing the elements and textures that would bring the film to life. Having everything meticulously planned out helped me navigate the project smoothly, with almost no setbacks along the way. I didn’t find myself questioning what came next or feeling lost about any part of the process.
This level of organisation allowed me to approach the project with a clear vision, which in turn made it easier for the sound team, the voiceover artist, and everyone else involved. They had it relatively easy because I knew exactly what I wanted and could give them clear, precise directions. I’m proud of how well I was able to communicate my vision, and I know it made the entire process more efficient for everyone involved.
Taking on a project of this scale—handling everything from 3D production to collaborating with a team—was a huge challenge, but it’s been incredibly rewarding. Now that it’s finished, I can look back with satisfaction at what I’ve achieved. I’m in the process of planning a showcase for this work, and I couldn’t be happier with how it all turned out. This project has truly been a testament to the importance of careful planning, teamwork, and perseverance.
Making of Video – Breath of Fresh Air
Compositing
For the post-processing stage, I made sure to render everything as an image sequence. This was crucial because it meant that if my render crashed at any point, I wouldn’t lose all the time spent rendering the scene. Additionally, rendering as an image sequence made it easier to work with the footage in After Effects, especially since I was going to be adding a lot of transitions and doing further adjustments there.
Once the image sequences were ready, I imported them into After Effects for the next step. I worked alongside a friend who is much more proficient in After Effects, as this is her field of study. She helped me with the compositing and post-processing work, and we collaborated to stitch everything together. She showed me how to layer the scenes and apply various effects, such as pop-ins, pop-outs, and fade-ins and outs. Together, we ensured that everything flowed smoothly from one scene to the next, which was essential for maintaining the overall rhythm of the animation.
During post-processing, there were definitely some elements of the project that changed. There were parts from the animatic and 3D animation that didn’t quite work as expected or didn’t make sense to push further in 3D. In these cases, we explored alternative transitions and creative solutions to make those scenes fit better with the rest of the animation. It was a lot of trial and error, testing what worked and what didn’t, but we adapted and made the most of the resources we had. The flexibility and collaboration in this phase really helped refine the final animation, and I’m happy with how it all came together.
Rendering
For rendering the final animation, I used Redshift in combination with Cinema 4D. Initially, I faced some challenges with the rendering process due to the heavy setup of my files, which included all the materials I was using. This caused the renders to take longer than expected and slowed down the overall workflow.
To improve the efficiency and quality of the renders, I sought help from Grayscale Gorilla, where I obtained a plugin for Redshift. The support team was incredibly helpful in guiding me on how to optimise the rendering process. They provided me with tools that helped speed up the renders while maintaining high quality. Through their support and tutorials, I learned a lot about tweaking render settings to push my scene further, ensuring that the final renders were both crisp and smooth.
Additionally, I explored Redshift’s post-processing effects and learned how to use Magic Bullet, a tool within Redshift that allowed me to refine and polish the final look of the renders. This was a significant learning experience, and I gained a deeper understanding of how to enhance the quality of my renders.
There were a few bumps along the way, however. Despite using these tools, some of my renders were still taking longer than expected. I reached out to the technical support at university to gain access to the Renderfarm, but unfortunately, it was down at the time. I didn’t have access to Redshift or Cinema 4D on the Renderfarm either. Fortunately, Kalista helped me work through this issue and assisted in finding an alternative way to render some of the scenes that were particularly time-consuming.
Although rendering did pose some challenges, I learned a great deal about optimising my workflow and tools during the process, which ultimately helped me achieve the quality I was aiming for
Feedback & Fixes
For the feedback and fixes stage of the project, I regularly collected feedback through weekly meetings with George, which took place every Wednesday. These meetings provided an opportunity for George to review my progress and offer constructive feedback on various aspects of the project. Whether it was related to the sound design, transitions, the appearance of the model, or the overall animation and flow, George meticulously went through everything I had worked on during the week. His input was invaluable in shaping the final outcome of the project.
I truly believe that the project wouldn’t have reached its current level without George’s consistent guidance. His feedback was instrumental in helping me make the right changes at the right time, which, in turn, contributed significantly to the final product. Looking at the project now, I can confidently say that I’m incredibly happy with how everything turned out, and this wouldn’t have been possible without his help.
One of the most crucial pieces of feedback I received was about Astra’s design. George suggested that I remove the arms and legs from the character, which turned out to be one of the best pieces of advice I could have gotten. Had I kept the arms and legs, I can’t imagine how the character would have looked or how the film would have turned out. The design would not have had the same cute, whimsical quality, and Astra wouldn’t have carried the same aura that she does now. This change truly transformed the character for the better.
In addition to the design suggestions, George also provided valuable advice on specific shots, animations, and elements to add or remove. His feedback was always thoughtful and helped me make significant improvements to both the visuals and the overall flow of the film. Thanks to his guidance, I was able to enhance the quality of the project and bring it closer to my original vision.
Lighting
Lighting played an essential role in shaping the visual narrative of my film. To keep things consistent and simple, I opted for a studio setup approach, primarily using a three-point lighting system. This setup included key lights, fill lights, and backlights, ensuring each scene maintained a cohesive and polished look. Where required, I introduced additional key lights to accentuate specific elements or characters, directing the viewer’s attention effectively.
The Role of Lighting in the Film’s Essence
Lighting was integral in conveying the tone and mood of each scene. For warm and inviting sequences, I carefully selected lighting colours to complement the scene’s essence. Even with good lighting, overly bright or mismatched colours could have disrupted the intended emotional impact. By harmonising the lighting and colour palette, I successfully enhanced the overall storytelling.
Experimenting with Lighting Setups
While most scenes were straightforward to light, I undertook some experimentation to refine the aesthetic. Astra’s lighting, in particular, demanded extra attention. Her glow needed to feel natural and cohesive, standing out without overwhelming the scene. The most challenging part was the space and star scene. Initially, I tried creating it entirely in 3D, but it didn’t align with my vision. Ultimately, I recreated the shot in After Effects, which allowed me greater control over lighting and composition. Ensuring Astra’s lighting matched this post-production environment required meticulous adjustments.
Tools and Techniques
Redshift’s intuitive lighting tools were invaluable throughout the process. With its pre-set assets and flexible options, I was able to streamline the lighting workflow. Tutorials were particularly helpful in teaching me the basics of Redshift lighting. Once I grasped the essentials, I leaned on my intuition to light the scenes effectively.
While I didn’t employ any advanced lighting tricks, I focused on keeping the lighting uniform and enhancing specific moments with targeted highlights. For instance, key lights were strategically placed to bring focus to Astra’s glow or to illuminate props that needed additional emphasis. This straightforward approach ensured the film retained its polished and cohesive aesthetic.
Challenges and Learnings
The space and star scene underscored the importance of adaptability in lighting. Transitioning from a 3D approach to a 2D After Effects composition wasn’t part of the original plan, but it proved necessary to achieve the desired result. This process taught me to embrace flexibility and find creative solutions when initial ideas don’t work as expected.
In summary, the lighting choices in my film were guided by simplicity and intentionality. By maintaining a consistent studio-like setup and selectively enhancing key elements, I created a visually cohesive experience that supported the narrative and enriched the viewer’s emotional engagement.
After Effects & Procreate
Transitions play a vital role in maintaining the flow of an animation, guiding the viewer seamlessly from one scene or concept to the next. In this project, I paid special attention to ensuring the transitions supported the narrative and enhanced the overall viewing experience.
How I Planned Transitions
Planning transitions began during the animatic stage. I treated transitions as part of the storytelling rather than mere connecting elements. Each transition needed to:
• Reflect the mood of the narrative.
• Feel intentional and aligned with the visual language.
• Be subtle enough not to detract from the content yet distinctive enough to stand out.
For example, the transition between Astra’s glowing starry scene and the ‘Techniques’ section was carefully crafted to feel smooth and cohesive. The warm-toned space background faded gradually into a textured blue denim-like background, creating a harmonious visual shift.
Techniques Used
1 Blending Visual Elements: One effective approach was using common elements between scenes. For example:
◦ In the transition from the opening starry scene to the ‘Techniques’ section, the glow of Astra lingered briefly, visually linking the two settings.
◦ I employed gradients and fading effects to soften the shifts between starkly different backgrounds.
2 Lighting Transitions: Lighting played a significant role. Adjusting the brightness and hue during transitions ensured they felt natural. For instance, Astra’s glow gradually dimmed as the focus shifted to textural details in the ‘Techniques’ section.
3 Motion and Movement: Motion was used to guide the viewer’s eye and create a sense of flow. Simple camera pans and zooms helped bridge scenes without jarring cuts. For instance, the movement of a musical note in one scene smoothly carried the viewer into the next section.
4 Fade and Dissolve Effects: Subtle fade-ins and fade-outs were used extensively to avoid abrupt scene changes. This technique worked particularly well in sequences where the mood needed to remain consistent.
5 Consistency in Visual Language: Maintaining consistent shapes, colours, and textures throughout the transitions was key. Rounded, soft elements echoed across scenes, ensuring cohesion.
Challenges Faced
One of the biggest challenges was ensuring transitions did not disrupt the pacing of the film. For example:
• Initially, I had planned a swirling motion effect between the ‘Mind’ and ‘Techniques’ sections, but during testing, it felt overly elaborate and slowed down the narrative. Simplifying it to a fade-out with a zoom-in on the next section’s background worked much better.
Another challenge was ensuring transitions complemented the dialogue. Timing transitions to coincide with pauses or shifts in the narrative required careful coordination with the audio.
Impact on the Final Film
The transitions helped maintain a polished, professional look for the film. They tied different segments together seamlessly, ensuring the viewer’s attention stayed on the narrative rather than being distracted by abrupt cuts. By balancing visual effects with storytelling needs, the transitions enhanced the overall coherence of the project.
What I Learned
Working on transitions taught me:
• The importance of simplicity in creating fluid transitions.
• How to use subtle visual cues like lighting and movement to guide the viewer.
• The value of planning transitions early in the pipeline to avoid last-minute adjustments.
Overall, transitions were a crucial aspect of this project, contributing significantly to its success.
Animation
Animation Methods
For this project, I used straight-ahead keyframing as my primary method. I kept animations simple and avoided overly complicating the scenes. Physics and simulation were utilised in areas requiring organic motion, such as floating effects. For Astra, I employed a vibrate tag to simulate her hovering as a star, while automation tags available in Cinema 4D helped streamline other elements.
Character Animation Challenges
I tackled character animation for the hands with a pose-morph rig, allowing me to smoothly transition between hand positions, such as a flat palm morphing into a fist. Initially, I experimented with a hand model and pose-morphed its rig, but following feedback from George, I switched to a new rig and refined the pose-morph setup.
Key considerations included planning morph transitions meticulously, ensuring fluid motion by adjusting sliders, and manually polishing animations to avoid rigidity. Challenges arose in achieving smoothness and lightness in hand movements, but by understanding how pose-morphs worked in Cinema 4D, I was able to refine these animations to meet the desired aesthetic.
Timing and Story Alignment
Thanks to the precision of the animatic, I faced minimal challenges with timing. Breaking down scenes frame-by-frame (e.g., a 4-second scene equals 96 frames at 24 fps) allowed me to align animations with the narrative. I allocated an additional 24-frame buffer for flexibility during post-production.
However, some adjustments were necessary. For example:
• Exercise Scene: The rigged legs didn’t align with the film’s aesthetic, and attempts to integrate 2D pants or clothing didn’t meet the visual standard. This segment was removed to maintain pacing and cohesion.
• Music Scene: An initial animation of dancing musical notes was cut because it felt rushed against the dialogue. Reworking these moments ensured the animation flowed seamlessly with the narration.
Final Refinements
While the overall animation process was smooth, condensing scenes or reimagining certain parts was essential to create a cohesive final film. The balance between adhering to the animatic and adapting to the constraints of 3D animation played a key role in the project’s success.
Texturing
For this project, I maintained a focus on simplicity, avoiding overly realistic textures while ensuring that elements didn’t feel completely flat. The aim was to balance subtlety and standout details. Key examples include the coffee cup, plants, and the conductor’s hands in the music scene. These elements required distinct textures to differentiate them from others. For instance, the conductor’s hands were textured as gloves, making them the only white hands in the film. This intentional choice allowed them to stand out while adding a layer of personality to the character. Similarly, musical notes were given a shiny texture, highlighting their importance as the stars of the scene.
The texturing process enhanced these key elements by either making them shinier or ensuring their textures were clearly visible. This approach ensured the textures complemented the animation without overwhelming the overall aesthetic.
Astra, the main character, required a glowing appearance. To achieve this, I initially experimented with subsurface scattering, exploring different levels of light penetration to create a soft, ethereal quality. However, integrating this with the space background during post-production proved challenging, particularly in terms of lighting balance. Ultimately, I opted to remove the subsurface scatter entirely, instead using emission and glow to give Astra her characteristic wax-like softness. This decision not only simplified the process but also ensured her texture aligned perfectly with the film’s visual language.
For the environment, the texturing approach was straightforward. The focus was on clean lighting and simple colours rather than intricate textures. Props within the scenes were selectively textured to add depth and interest, but the overall environment was kept minimal to maintain a cohesive visual identity.
Learning and Experimentation with Redshift
Redshift was a new tool for me, and mastering it was essential for this project. I dedicated time to learning its intricacies by watching tutorials and enrolling in an online course that covered texturing, lighting, and scene setup. This learning process was invaluable, allowing me to refine the textures and elevate the overall quality of the visuals.
For Astra’s texture, experimenting with Redshift enabled me to achieve a balance between intensity and softness. By trial and error, I crafted a look that retained the character’s warmth and glow while adapting seamlessly to the background and lighting constraints.
Balancing Simplicity and Cohesion
The decision to keep textures subtle and minimal was driven by the need for visual cohesion. Overly complex textures could have disrupted the film’s flow and visual harmony. By focusing on selective texturing—adding shine, increasing roughness, or enhancing specific parameters in the material editor—I was able to maintain the film’s cohesive style. This approach ensured that every element felt like part of a unified project, reinforcing the animation’s overall aesthetic and branding.
In conclusion, the texturing choices played a crucial role in shaping the film’s identity. By prioritising simplicity and focusing on key elements, I was able to create a visually engaging animation that felt cohesive and polished. The process also deepened my understanding of tools like Redshift and taught me valuable lessons in balancing detail with overall design.
3D Modelling
The entire project was created using Cinema 4D, a powerful and versatile software perfect for this kind of work. All the assets, including the main character Astra, were modelled in Cinema 4D. Astra was designed using curves, while the rest of the film’s assets were created using simple shapes. This intentional simplicity allowed for a cohesive visual style that avoided unnecessary complexity or visual clutter.
Refining the 3D Models to Match the Aesthetic
To ensure the 3D models aligned with the film’s overall aesthetic, I followed a clear design philosophy: everything had to feel soft and rounded. Sharp shapes were intentionally avoided. Instead, all elements were slightly chunky, with subtle bevels, to maintain a gentle and inviting visual tone. The focus on spherical and rounded designs contributed to the calming and cohesive atmosphere of the animation.
Texturing and Detailing Approach
When it came to texturing, I adopted a “less is more” philosophy. The textures were kept minimal to maintain the film’s soft and fuzzy aesthetic. I only added textures where necessary—either to enhance shine or reduce it—ensuring that the models were not overly detailed or distracting. This simplicity in texturing allowed the visuals to complement the narrative and maintain the intended calming and gentle feel throughout the film.
Everything sound
The Role of Sound in Planning the Animation
Sound played an enormous role in my animation project, shaping not only the mood but also the engagement and pacing of the entire film. It was not merely an addition; it was the backbone of the experience, ensuring the visuals were supported and amplified in the best possible way. Let’s dive into the various aspects of sound that made this project come to life.
The Voice of Astra
The voiceover, performed by Sabreen, was a crucial element. As the voice of Astra, she had to embody a tone that was calming, soft, soothing, inviting, warm, and gentle while remaining informative enough to keep viewers engaged. Her narration needed to strike a balance: not too fast to overwhelm, not too slow to bore. Given the animation’s length, it was vital that her delivery held the audience’s attention without breaking the immersive experience.
I sat in on the voiceover sessions and provided Sabrina with prompts and cues in the script. These indicated where to pause, breathe, or emote. We did several takes, each refining the delivery, and I worked closely with Samarth to finalise the ones that worked best for the film. Sabreen’s performance truly brought Astra to life, aligning perfectly with the vision I had for the character.
Sound Design and SFX
Motion design projects often rely heavily on sound effects (SFX) to keep viewers engaged. For my animation, every element—from objects popping in and out to transitions—required carefully crafted sounds that matched the visuals seamlessly. These SFX not only added to the immersive quality but also served as cues to guide the audience’s focus.
I worked with a music producer to achieve the sound design. My brief to him was clear: I wanted soft, rounded sounds that were calming yet satisfying, almost creamy in texture. While I didn’t want the soundtrack to feel overly dreamy like ASMR, it needed to strike a balance that evoked calmness and satisfaction.
Music Selection and Layering
The two main audio tracks used in the film were sourced during the animatic phase as placeholders. I grew to love them so much that they became integral to the project. These tracks, with their aura-like and zen qualities, set the foundation for the rest of the audio landscape. My music producer and I built everything else around these pieces, layering sounds in a way that complemented the visuals.
Interestingly, we designed the visuals first, ensuring they were exactly as I envisioned without being influenced by pre-existing audio. Once the visuals were locked in, the sound team created and adjusted the audio to fit. This approach allowed me to focus on crafting the animation without being constrained by sound expectations.
Collaboration and Refinement
Collaboration was key throughout the process. I was actively involved in all sound design meetings, contributing to the selection and refinement of sounds. We explored multiple takes and versions of each audio element, ensuring they aligned with the tone and flow of the animation.
The process of layering and perfecting sounds was a learning experience for me. I gained invaluable insights into how sound interacts with visuals to create a cohesive narrative. My sound team—from Sabreen’s voiceover to the music producer—did an outstanding job, and their expertise elevated the project significantly.
Final Thoughts
Sound was the invisible thread tying every element of this animation together. From the soothing voice of Astra to the intricate sound design and carefully selected music, every auditory choice was made with precision and purpose. The collaboration, experimentation, and refinement resulted in a soundscape that not only supported but also enhanced the visual storytelling. This journey reinforced my belief in the power of sound to transform a project and keep audiences engaged from start to finish.
Animatic
Approach to Creating the Animatic
To create the animatic, I began by lining up all the frames from my storyboard sequentially. I played these frames at a rate of 9 frames per second to simulate a basic sense of timing. My friend Mary kindly recorded a voiceover based on the script I had written, and I used this as a guide to match the storyboard visuals with the narrative pacing.
I ensured that the timing of each scene was adjusted to align with the voiceover, adding appropriate pauses between scenes to prevent any sense of rush. My goal was to maintain a smooth, engaging pace that felt natural and calming. Additionally, I sourced some sound effects and snippets of music from online resources to infuse the animatic with a bit more energy and atmosphere, though these sound elements will be elaborated on in the forthcoming sound-related blog.
Purpose of the Animatic
The animatic served as an essential planning tool for my animation. It allowed me to gauge the total runtime of the project, which turned out to be approximately three minutes. Upon realising this, I experienced a mix of excitement and apprehension. A three-minute animation is a substantial undertaking, especially given the slow-paced and deliberate nature of the storytelling I aimed for. This meant that every shot needed to be engaging and purposeful, with no room for filler or distraction.
Completing the animatic to a polished standard was invaluable. It not only provided me with a clear visualisation of the project’s flow but also highlighted areas where transitions or pauses needed to be reconsidered. For example, while some sequences worked well in the animatic, translating them into 3D animation required additional thought and planning.
Benefits of Polishing the Animatic
Editing and refining the animatic to a high quality proved to be an excellent decision. It acted as a blueprint, tying me down to specific shots and making the overall process more structured. This meticulous planning gave me a clearer vision of what needed to be done in the subsequent 3D animation phase. It also ensured that I had a strong foundation to work from, minimising uncertainties and helping me maintain focus on the creative and technical aspects of animation development.
By investing time into creating a polished animatic, I was able to pre-empt challenges and streamline my workflow, ultimately setting the stage for a successful transition into the 3D production process.
Finalising Storyboard
Finalising the Storyboard: Crafting a Visual Blueprint
The storyboard is the backbone of any animation project, providing a visual roadmap for the narrative, pacing, and emotional flow of the film. During the finalisation phase of my storyboard, I faced pivotal decisions, challenging creative blocks, and transformative feedback that shaped the film into its current form. Here’s a detailed account of this crucial step in my process.
Key Moments and Decisions
One of the most significant tasks during this stage was identifying and refining the key moments that would anchor the animation. Early drafts of the storyboard included a segment on “practising gratitude” in the mind techniques section. Despite multiple iterations, which involved visualising gratitude through elements like candles, cards, and positive affirmations, the segment failed to meet my expectations. The visuals lacked cohesion, and the energy of the script did not translate effectively on screen. Ultimately, I decided to cut this section. This choice not only simplified the narrative but also balanced the structure, leaving three techniques each in the mind, body, and soul categories.
This decision exemplified the delicate balance between creativity and practicality. While it was initially difficult to scrap a segment I had invested time in, doing so enhanced the overall clarity and flow of the storyboard.
Overcoming Creative Challenges
Translating the script into a visual format posed numerous challenges. For instance, in the “connecting with loved ones” sequence, I struggled to find a compelling visual representation. George, my mentor, suggested an innovative concept involving paper mache-style human figures connecting. This idea evolved into a depiction of stars folding and connecting in a symbolic embrace, a visual that beautifully captured the essence of the technique.
Similarly, the “music” section underwent a significant transformation. My initial idea featured Astra dancing on musical notes, but it felt disjointed. George proposed visualising a conductor’s hands lifting and playing the notes. This feedback led to a more cohesive and dynamic representation, which aligned better with the overall aesthetic of the film.
The “routine” section also benefited from George’s input. When I struggled to visualise “making it a regular part of your routine,” he encouraged me to simplify. His suggestion to incorporate a calendar as a symbolic visual was a breakthrough, providing a clean and relatable representation that enhanced the narrative.
The Role of Feedback
George’s consistent feedback was instrumental in refining the storyboard. His ability to simplify complex ideas and provide fresh perspectives helped me overcome creative blocks and enhance the narrative’s visual impact. Whether it was suggesting constellations for the “nature” section or refining transitions, his guidance ensured that each scene was thoughtfully crafted.
Importance of a Strong Storyboard
The storyboard was indispensable in planning the animation. It allowed me to:
• Visualise the sequence of scenes and transitions.
• Gauge the pacing and ensure that each moment resonated with the intended emotional tone.
• Align the visuals with the script, ensuring that every element on screen served a purpose.
This meticulous planning carried over into the animatic phase, where the timing and flow of the animation were further refined. A well-structured storyboard laid the groundwork for a seamless transition into 3D production, enabling a smooth and efficient execution of the animation.
Reflections on the Process
Finalising the storyboard was a challenging yet rewarding experience. It required balancing simplicity and creativity, addressing visual and narrative challenges, and incorporating feedback to create a cohesive and engaging visual story. This phase underscored the importance of flexibility, collaboration, and a willingness to revise and refine.
By focusing on the core story and ensuring that every element had a purpose, I was able to craft a visual blueprint that not only guided the animation process but also enriched the overall storytelling experience.
Storytelling
Storytelling: Crafting the Narrative for the film
The storytelling process for this motion design film was centred on simplicity and creating a calm, inviting experience. My inspiration stemmed from sources like Netflix’s Headspace series and the soothing app advertisements often seen on Instagram or the App Store. The goal was never to overwhelm viewers with complex narratives or heavy storytelling elements. Instead, I aimed for a fluid walkthrough accompanied by calming visuals and a gentle voiceover.
Structuring the Story: Beginning, Middle, and End
To establish a coherent structure, I divided the story into three distinct parts: Mind, Body, and Soul. This categorisation allowed me to organise techniques effectively under each section, making the narrative flow naturally. The film begins with an introduction, transitions through these three segments, and concludes with a reflective ending. This simple division ensured clarity and a smooth progression from one idea to the next.
Pacing and Atmosphere
Pacing was a critical consideration. I aimed for a slow, deliberate rhythm—not so slow as to bore the audience, but slow enough to evoke a sense of calm and relaxation. The visuals and transitions were intentionally understated, avoiding dramatic or over-the-top effects. I wanted the film to feel warm and inviting, much like the ASMR videos that use soft, rounded sounds to create a soothing atmosphere.
Minimalism and Visual Clarity
Minimalism played a key role in the visual storytelling. Every element on screen had a clear purpose and contributed to the narrative. For instance, when the dialogue referenced reading, the word reading would appear on screen, drawing attention and reinforcing the message. This approach, inspired by the techniques often used in motion graphics and short advertisements, ensured that the audience’s focus remained on the most important aspects of the film.
Unnecessary clutter was avoided at all costs. For example, if a coffee cup appeared next to a book in a scene, it was there to evoke the relatable experience of enjoying a warm drink while reading. Such deliberate choices helped maintain an organised and visually appealing composition, making it easier for viewers to connect with the story.
Symbolism and Emotional Tone
Interestingly, I didn’t rely on symbolism or complex storytelling devices. The focus remained on straightforward, relatable visuals that complemented the narration. The tone of the story was designed to be warm and inviting, enhancing the calming effect I wanted the film to achieve.
Audio-Visual Integration
A key aspect of ensuring clarity was aligning the visuals with the audio. The animations were designed to complement the voiceover, creating a seamless experience where what the audience heard was supported by what they saw. This not only reinforced the narrative but also helped maintain the viewer’s attention throughout the four-minute duration of the film.
Final Thoughts
Crafting the story for this project was a delicate balance of simplicity and intentionality. By stripping away anything unnecessary and focusing on creating a calm, clear narrative, I was able to produce a motion design film that resonated with the essence of mindfulness and relaxation. Every choice—from pacing to visual elements—was made to ensure the story was communicated effectively and left a lasting impression on the viewer.
Concept Sketches
The Building Blocks of Astra
The concept sketching phase was an essential step in defining the vision and style of my motion design film. This stage allowed me to explore key components like character designs, environments, and scene layouts while maintaining the simplicity and coherence typical of motion design films. Here’s a behind-the-scenes look at the journey.
The Visual Framework
Motion design films often rely on studio-basic backdrops that are visually light and easy on the eyes. Inspired by this approach, I opted for a flushed studio background with a minimalistic colour palette that could evolve throughout the film. The environments would seamlessly pop in and out of this studio backdrop, complementing the simplistic design ethos.
To achieve this, I embraced rounded, soft shapes and avoided using too many colours, prioritising clarity and focus. The concept was to create a harmonious balance between a clean design and engaging visuals that wouldn’t overwhelm the viewer.
Astra: From Star to Star Character
Astra’s design was pivotal to the project. The initial idea was to have a character that was both functional and representative of the narrative without requiring the complexity of a fully rigged biped character. Drawing inspiration from motion design trends, I decided Astra would include only the essential elements for animation, such as animated hands in 3D segments. This approach allowed me to achieve the essence of character animation without the challenges of rigging and animating a full character.
The design process for Astra went through several iterations. Early sketches featured arms and legs, but after receiving feedback from George, I revisited these ideas. He pointed out that Astra’s star shape naturally suggested limbs, with two points acting as legs and two others as arms. By leveraging Astra’s inherent design, I simplified her silhouette and eliminated unnecessary details like limbs. This simplification also extended to other aspects, such as avoiding features like a nose or teeth, which could complicate her appearance. George’s feedback was invaluable in helping me refine Astra into a minimalist yet expressive character.
Clarifying the Vision
The concept sketches not only helped define Astra’s design but also clarified the vision for the entire project. Simplifying scenes became a priority. I aimed for camera angles that were neither too zoomed in nor too distant, ensuring they felt balanced and comfortable. Simple camera movements would also facilitate smooth transitions, keeping the visual storytelling cohesive and accessible.
Exploring Variations
During this phase, I experimented with different designs for both characters and environments. For example, early concepts included a set that opened up as part of a transition. However, this idea was eventually simplified in favour of transitions that could be executed in After Effects or 2D animation. The flushed studio backgrounds remained the backbone of the design, allowing the focus to remain on Astra and her interactions within the space.
Valuable Feedback
George’s feedback played a critical role in shaping the final designs. He guided me on how to strike the right balance between simplicity and functionality, helping me avoid over-complicating Astra’s design. His suggestions on character simplification—from ditching limbs to rethinking minor features—ensured Astra’s final form was both visually appealing and easy to animate.
The Outcome
By the end of the concept sketch phase, I had a clear roadmap for the project. The simplified designs and careful planning ensured that every element served the narrative and style. The result was a foundation that felt cohesive, flexible, and aligned with the overall vision of the film.
Concept sketches were more than just the starting point; they were a tool to refine ideas, visualise complexity, and ultimately, create a film that’s as beautiful as it is engaging.
Visual Language / Mood Board
For my final major project, the moodboard became an essential part of shaping the overall visual style and atmosphere I want to convey. I’ve chosen a style grounded in clean, minimalistic 3D design, which I believe perfectly aligns with my aim to create a captivating yet calming experience for viewers. Here’s why I feel this approach works best, particularly in the context of motion design animations.
Why I Chose This Style
The look I’ve gone for combines simplicity with an elegance that allows the animation to breathe and feel accessible, inviting the viewer into a focused, uncluttered space. This style isn’t overly complex or heavy on detail, which makes it particularly effective for storytelling through motion. I wanted to avoid visual clutter, instead focusing on textures, soft colour gradients, and gentle movements that evoke a sense of calm and fluidity. In an age where we’re constantly overstimulated, this style offers a moment of quiet, where viewers can feel absorbed without feeling overwhelmed.
The Power of Minimalistic 3D in Motion Design
Motion design in 3D animation has a unique ability to blend storytelling with visual stimulation. The beauty of minimalistic 3D lies in its flexibility; it allows for smooth transitions and fluid animations that feel natural and pleasing to the eye. To add more depth and texture to the animation, I’m blending 2D elements on top of the 3D visuals. This combination allows me to highlight certain details and create layered compositions that feel more tactile and handcrafted. The contrast between the two styles brings an extra dimension to the animation, making it visually richer and enhancing viewer engagement. This layered approach also allows me to bring a unique style to motion design, where the 2D elements can guide the eye, add emphasis, or introduce dynamic storytelling moments that wouldn’t be as impactful in pure 3D.
Idea Generation
I initially intended to proceed by refining my pre-visualization for my FMP, but I’ve decided to take a different direction. Lately, I’ve been feeling a bit down and have been exploring various ways to relax and rejuvenate. I’m particularly drawn to the concept of creating satisfying animations accompanied by guided narration.
I began my journey by researching the most effective relaxation techniques and how to incorporate them into my practice. I compiled several lists featuring the most recommended methods and further explored ways to expand my search. I have curated a list of methods that resonate with me.
I am confident these techniques will lend themselves to compelling visuals, allowing my creativity to flourish and produce calming yet intriguing imagery. I’m considering the possibility of transforming this project into an interactive experience, although I’m not yet certain. If inspiration strikes, later on, I may explore this idea further.
I’m considering excluding some relaxation methods that may not translate well visually or could be unclear in abstract form.