Author: Drishti Kosambia

Advanced & Experimental Artefact - Feast your Eyes

Artefact

Post author By Drishti Kosambia
Post date 12th June 2024

Maple’s Diner – Dine in Experience

The Artefact – Maple’s Diner

Stills of the Experience

Week 10 – The set up & summary

Challenges in Setting Up the Experience

Setting up the interactive experience was challenging, to say the least. I initially expected an easy setup since I had tested my projection at home without encountering significant issues. My plan was to set up in the Creative Lab, with the projector positioned directly above the dining table and plate. However, this proved more difficult than anticipated.

Unhappy with the clarity of the projections & lighting in the filming space

I ran my projections using a ceramic dinner plate. However, I found that the projections were losing clarity and appeared slightly blurry due to the material of the plate. When I decided to film the entire setup at home, I realised it would be more effective to use a paper plate instead. This change significantly improved the clarity of the food and other 2D visuals, making them much sharper and more visually appealing.

The Creative Lab’s space was not ideal; it wasn’t dark enough, making it difficult to project clearly. Additionally, once I set up all my sensors and ran the experience in TouchDesigner, I faced several technical issues. Obtaining support for the setup was challenging, and I had to quickly find solutions to avoid wasting time. This situation was incredibly stressful, especially since it was the day before the project deadline.

Despite my efforts, I was unable to set up as planned at the university. Fortunately, I had the right equipment at home and managed to get the code and sensors working with the help of a friend who is well-versed in Arduino. I was also fortunate to have borrowed the projector from the kit room, which I had on standby at home throughout the project. Consequently, I decided not to film at the university. Instead, I brought everything home and conducted the experience there.

Overall, I am very happy with the outcome and the visuals I presented for this project. They were exactly what I envisioned during the first week when I set up my mood board and pitch. I couldn’t be more proud of the result. This experience has assured me that this won’t be my last interactive project. I am eager to experiment further with interactivity in future projects and potentially create a more elaborate interactive experience.

I am delighted with the new knowledge I gained in interactivity, Arduino, TouchDesigner, and creating toon shaders. I am seriously considering expanding this project for my Final Major Project (FMP) or creating something entirely different that incorporates some level of interactivity.

Redid the set up at home using the paper plate

This is how i set up my spare table for the experience

Week 9 – Arduino & Soldering

Exploring Interactivity with Arduino

To tackle the interactivity aspect of my project, I sought assistance at the Creative Lab. A technician there helped me understand Arduino and guided me through setting up the necessary cables. She provided me with a wiring guide, and I practised my wiring under her supervision.

I quickly realised the importance of having a concise menu, as each force sensor required five wires and a resistor. Given that my menu needed six sensors, I faced the task of managing around 30 to 35 wires on my breadboard. This setup became quite complex, but using colour coding and starting slowly helped me understand the process better.

Through the technician’s guidance, I learned how to prepare the sensors by unscrewing them from the positive and negative terminals and soldering them to wires for a more robust setup. This knowledge was crucial for ensuring that my final setup was both functional and reliable.

Preparing the sensors for the Bread board

Implementing and Testing Force Sensors with Arduino

After practising my wiring and running my code in Arduino, I proceeded to set up my force sensors and integrate them with TouchDesigner. Running the code, I focused on troubleshooting and tweaking it to ensure the delays were accurate, allowing my visuals to play seamlessly.

Given that this was my first time working with such a setup, I opted to start small by setting up only two sensors for the initial test. This approach made the process manageable and less overwhelming, providing a solid foundation for scaling up the project.

Running tests in Touch Designer using Arduino & Forced Sensors

Soldering the sensor to wires for the Bread board

Week 8 – Toon Shader, Blender

Crafting Food Textures and Enhancing Visual Appeal

For creating the textures for the food, I referred to several YouTube tutorials. I focused on toon shader tutorials to achieve the specific aesthetic I had in mind. While the tutorials were straightforward, fine-tuning the lighting and shader settings to work seamlessly with my food models proved a bit time consuming. I also needed to combine the toon shader with the right render settings to ensure the food projected clearly with the desired tones.

I experimented with various render settings and outputs to determine the best look. Additionally, I played around with bloom effects and manually painted some strokes on the textures in combination with the toon shader. For instance, the toon shader alone didn’t work well for the bacon, as it lacked the distinct stripes that make bacon recognizable. To address this, I painted the texture in Procreate and layered the toon shader on top. This approach worked exceptionally well, and I was pleased with the outcome. It perfectly aligned with the visual language I had set for this project.

To further enhance the appeal and freshness of the food, I decided to add vapour around the dishes. This extra animated element made the food look more enticing and freshly made. Initially, I considered rendering with backgrounds, but the vapour didn’t project well against coloured backgrounds. Therefore, I opted to render with a transparent background to maintain the desired visual effect.

Food renders

Week 7 – Projection Mapping

In this session, I learned projection mapping in TouchDesigner, which proved to be an enriching experience. We had the freedom to create unique setups to project onto surfaces. Using paper folded in various ways, we crafted intriguing shapes that we could map out using Kanton Mapper. The session was incredibly helpful, providing insights into the limitations of projection mapping and the requirements needed for smooth animation projection.

I aimed to run tests and refine how the projection mapping and audio-reactive visuals would appear. To do so, I borrowed a projector from the kit room and set it up at home to anticipate any challenges I might encounter in layering my visuals. Maple (The owner of Maple’s Diner) assisted me with the setup, ensuring everything was in place for effective testing and troubleshooting.

This testing proved invaluable as it helped me determine the angles required to render out my 3D assets accurately, ensuring they appeared as if they were being viewed from the correct perspective.

Week 6 – Audio Reactive Experimenting

Creating Visuals with TouchDesigner: Inspired by Retro Jukeboxes

For my 2D visuals, I chose to create something in TouchDesigner, drawing inspiration from the retro music boxes commonly found in American diners. These jukeboxes, with their vibrant, moving lights, evoke a nostalgic feeling that I wanted to capture in my project.

I aimed to represent the sensation and appearance of jukebox lights shifting from one side to another. American diner jukeboxes often feature classic records that are widely known and loved, accompanied by beautiful light displays that sometimes react to the beats of the music. Inspired by our TouchDesigner sessions, I decided to incorporate audio reactivity into my visuals, creating a dynamic representation of jukebox lights.

To achieve this, I experimented with various American classics and other music tracks, selecting those that would produce interesting visuals due to the unique instruments used. This approach allowed me to create an engaging and visually appealing experience that pays homage to the iconic jukeboxes of American diners.

This was my moodboard for capturing the essence of a diner while creating the audio reactive visual for the experience.

This is my touch Designer setup for my Jukebox visual

Here are my rendered tests

But eventually this is what I thought captured it the best. So I decided to proceed with this.

Week 5 – Creating 3D Models

Creating 3D Visuals with Blender : Inspired by American Diner food

I had a very clear mood board for what I wanted the diner food to look like. My goal was to capture the essence of classic diner food with a chunky and authentic representation. To achieve this, I curated a collection of distinct visuals from Pinterest, carefully selecting images that embodied the nostalgic and hearty feel of diner cuisine. Using these references, I aimed to replicate the look and feel of iconic diner dishes as closely as possible, ensuring that the visuals were both accurate and evocative of the diner experience.

I used Blender to model my 3D assets. Since the food items mainly comprised simple shapes, which made the modelling process relatively straightforward. While I didn’t encounter many challenges during modelling, I knew that texturing the food was critical. It had to align perfectly with my anime-style cartoon shader aesthetic to preserve the essence of mouthwatering food. Ensuring accurate and appealing textures was paramount to evoke the desired response from viewers.

Week 4 – Designing 2D & 3D Elements

Shifting My Visual Approach: From Intricate Cuisine to Nostalgic Comfort

Before I began designing my 2D and 3D visuals, I explored various restaurant menus from places I admire. As an avid fan of Italian cuisine, I initially gravitated towards both traditional dishes and high-end restaurants known for their intricate creations. These establishments often present their food with a unique visual style, which I intended to incorporate into my project.

However, as I delved deeper into the world of intricate food presentations, I realised I was missing the essence of what my project needed to convey. It became clear that my visuals should evoke a sense of familiarity and nostalgia, allowing everyone to relate to them and recall immediate memories, smells, and tastes.

To achieve this, I decided to pivot from showcasing curated and designed dishes to focusing on food that is widely recognised and beloved. I switched my theme from Italian cuisine to classic American diner fare. This ensured that my visuals would evoke a sense of nostalgia, making the project more accessible and relatable to a broader audience.

By adopting this approach, I aimed to create visuals that would immediately resonate with viewers, bringing forth universally cherished memories and sensory experiences. This shift not only aligned my project with its core purpose but also enhanced its ability to connect with and engage a diverse audience.

This menu was my inspiration for my dining experience. I needed to simplify it down to 3-4 classics so when i moved on to interactivity I didn’t complicate my project too much.

I decided to approach this as a branding project and so I focused on creating a very clear brand identity for this diner. I drew inspiration from the American diner classic checkerboard print and this menu above and created this menu

I also animated the logo that I will use as filler animations at the beginning and the end of the experience

Intro & Logo

Outro with Logo animated

I created this stylised table cloth using procreate referencing the classic red and white checkerboard pattern

Week 3 – Introduction to Touch Designer

Discovering TouchDesigner: A Game-Changer for My Project

I recently enrolled in a TouchDesigner workshop and found the software to be remarkably engaging. Initially uncertain if it would align with my interests, I quickly developed a profound appreciation for it under Pierre’s tutelage. The interface is intuitive and logical, facilitating a smooth learning experience. Later in the week, Serra and Sunni introduced us to more advanced features, highlighting TouchDesigner’s capacity to merge real-time graphics with precise control.

TouchDesigner offers a versatile platform for manipulating various types of visuals and mediums. It supports audio reactivity, mouse and keyboard interactions, and allows for seamless integration of live camera feeds, music, sensor data, controllers, and more. This level of interactivity is both innovative and compelling.

During our sessions, we learnt to create captivating visuals using noise operators and gained an understanding of the functionality of each operator system. We explored how to connect these systems to produce coherent visual outputs. These workshops were immensely beneficial and played a crucial role in my decision to incorporate interactivity into my project.

Without TouchDesigner, my project would have likely been a straightforward 3D animation with anime aesthetic 2D style shaders. However, these sessions opened my eyes to new possibilities. I was able to experiment with and explore different mediums and abstract art forms, maintaining control over the fine details while ensuring the art remained cohesive and aesthetically pleasing.

As a practice project, I created visuals using noise operators, colour ramps, and music. Overall, I found the sessions with TouchDesigner to be highly enriching and began planning how to integrate it into my main project. TouchDesigner has proven to be a transformative tool, enabling me to elevate my project through the incorporation of interactive and dynamic elements.

Week 2 – Planning & Visual Language

Developing My Visual Language

Developing my visual language was crucial, particularly because food needs to look appealing. If the presentation of food doesn’t make you hungry or evoke a mouthwatering appeal, it’s not something you’re excited about. The first concept that came to mind for my visual language was the vibrant portrayal of food in anime. Anime is one of the best mediums for capturing the essence of a dish, making viewers eager to indulge.

This feeling of immediate indulgence was an emotion I was keen to evoke in my visuals. I wanted to draw strong inspiration from the way food is depicted in anime and incorporate these elements into my 3D food project. Many food commercials successfully capture this essence as well, so I aimed to merge these two worlds.

My goal was to curate a menu featuring classic items that are immediately recognisable, allowing viewers to anticipate the taste based on the visuals alone. To achieve this, I explored different cuisines, seeking out dishes that would resonate universally. By doing so, I aimed to create a visual and culinary experience that both captivates and delights.

These are my mood boards for the dining experience

Week 1 – Brain Storming Phase

A Journey into Culinary Animation: Bringing Food to Life in 3D

Since my earliest memories, I’ve harbored a profound admiration for culinary shows. From the intense competition of MasterChef to the fiery challenges of Hell’s Kitchen and the sweet delights of The Great British Bake Off, each show has left an indelible mark on my appreciation for the culinary arts. My admiration extends beyond the screen as I immerse myself in the creative journeys of renowned chefs on Instagram and TikTok.

Icons such as Amoury Guichon, Reynold Poernomo, Cedric Grolet, and Anna Polyviu have charmed me with their culinary artistry. I follow their every move, indulging in the captivating reels they share that bring mouthwatering dishes to life. The creativity and skill displayed in these digital snippets have fueled my own desire to create something equally enchanting.

Recently, I embarked on a culinary journey of a different kind by immersing myself in the highly anticipated MasterChef Australia Dessert Masters. In this competition, culinary maestros competed for the coveted title of dessert master, pushing the boundaries of their creativity with each challenge. This experience served as a catalyst for my aspiration to translate their ingenuity into a delightful 3D animation of food.

During moments of reflection, I was reminded of the impeccable food montages featured in anime classics such as Food Wars, Toriko, and Restaurant to Another World. These animated sequences beautifully capture the essence of culinary delights, inspiring me to explore the possibilities of 3D animation in the context of food. Beyond the world of anime, motion graphic shorts showcasing food have become a staple in advertisements on platforms like YouTube, TV, and even cinema.

The Vision: A Captivating Food-Oriented Animation

My goal is to challenge myself and embark on the journey of creating a captivating food-oriented animation. In the coming weeks, I plan to delve into the development of this idea, contemplating how deeply I want to infuse storytelling into this project. My vision includes experimenting with liquid simulations, incorporating dynamic particle effects, all while ensuring the textures evoke an irresistibly appetizing appeal.

This project is not just about creating a visually stunning animation but also about pushing the boundaries of my creativity and technical skills. I envision a world where the art of cooking transcends the kitchen and comes to life in a deliciously animated form. I am excited to see how this endeavor unfolds and to share this imaginative world with others who share my passion for both the culinary and visual arts.

The fusion of culinary inspiration and digital animation is a testament to the limitless possibilities when passion and creativity collide. As I embark on this journey, I invite each of you to join me in savouring the delightful experiences that can be created at the intersection of food and animation.

2.1 Thesis Proposal

Feedback –

Post author By Drishti Kosambia
Post date 3rd June 2024

Narrow your research focus on the contribution of animation to education.
Use a specific subheading, such as focusing on a particular country.
Consider exploring the role of animation in increasing technological access in underdeveloped countries.
Highlight the importance of multimedia learning for underdeveloped regions.
Specify a target group in your subtitle for clarity and precision.

These are the suggestions I received from Nigel for my thesis proposal. They are valuable and will help me refine my research. I plan to narrow my focus to target a more specific group.

2.1 Thesis Proposal

Brainstorming: The Use of Animation in Education

Post author By Drishti Kosambia
Post date 3rd June 2024

I want to choose the use of animation in education as my thesis topic because I believe it has the potential to revolutionise the way students learn and engage with complex subjects. Animation can make abstract concepts more tangible, enhance understanding, and retain students’ attention in ways that traditional teaching methods often cannot. By investigating this topic, I aim to uncover the best practices and innovative techniques that can be employed to maximise the educational benefits of animation. Additionally, understanding how to effectively integrate animation into educational curricula can provide valuable insights for educators and policymakers, ultimately contributing to more dynamic and inclusive learning environments. This research is not only academically intriguing but also holds the promise of making a significant positive impact on the future of education.

Introduction

Animation has long been recognized as a powerful tool for storytelling and entertainment. However, its potential as an educational resource is only beginning to be fully explored. The goal of this thesis is to investigate how animation can be effectively utilized in educational settings to enhance student learning and engagement. This exploration will cover various aspects, including the types of animation most effective for learning, the psychological and cognitive benefits, and practical implementation strategies.

Research Questions

How can animation be used to enhance the understanding of complex concepts in educational settings?
What are the cognitive and psychological benefits of using animation in education?
Which types of animation (e.g., 2D, 3D, stop-motion) are most effective for different educational purposes?
How can educators integrate animation into their teaching methods effectively?
What are the challenges and limitations of using animation in education, and how can they be addressed?

Key Areas of Investigation

Types of Animation in Education

2D Animation: This traditional form of animation can be simple yet highly effective in illustrating concepts, particularly in subjects like history and languages.
3D Animation: Offers a more immersive experience, which can be particularly beneficial in subjects like science and engineering, where spatial understanding is crucial.
Stop-motion Animation: This type can be engaging and is often used for storytelling, which can help in subjects like literature and social studies.

Cognitive and Psychological Benefits

Engagement: Animation can captivate students’ attention more effectively than static images or text.
Memory Retention: Visual and dynamic content can enhance memory retention and recall.
Understanding Complex Concepts: Animation can break down complex ideas into simpler, more digestible parts.
Motivation: The entertaining nature of animation can increase students’ motivation to learn.

Educational Applications

Science Education: Using animations to demonstrate processes like cell division, chemical reactions, or astronomical phenomena.
Mathematics: Visualizing abstract concepts such as algebraic functions, geometry, and calculus.
Language Learning: Animated stories and characters can aid in vocabulary building and comprehension.
History: Bringing historical events to life through animated reenactments.

Implementation Strategies

Blended Learning: Combining traditional teaching methods with animated content to reinforce learning.
Flipped Classroom: Using animations as pre-class learning materials to introduce new topics, allowing in-class time for deeper discussion and problem-solving.
Interactive Animations: Incorporating interactive elements where students can control the pace of learning and engage actively with the content.

Challenges and Limitations

Resource Intensive: Creating high-quality animations requires significant time and resources.
Access to Technology: Ensuring all students have access to the necessary technology can be a challenge.
Teacher Training: Educators need to be trained not only in the use of animation tools but also in how to integrate them effectively into their teaching.

Literature Review

A comprehensive literature review will cover existing research on the use of animation in education. This will include studies on its effectiveness, best practices, and theoretical frameworks supporting its use. Key sources will include works by Mayer on multimedia learning, Berk’s research on multimedia teaching with video clips, and Moreno’s studies on interactive multimodal learning environments.

Methodology

The research will employ a mixed-methods approach, combining qualitative and quantitative data. Surveys and interviews with educators and students will provide insights into their experiences and perceptions of using animation in the classroom. Additionally, experimental studies will measure the impact of animated content on learning outcomes compared to traditional teaching methods.

Expected Outcomes

This research aims to provide a comprehensive understanding of how animation can be leveraged in educational contexts to improve learning and engagement. It will offer practical recommendations for educators on integrating animation into their teaching practices and highlight potential areas for further research.

Conclusion

The potential of animation as an educational tool is vast and largely untapped. By exploring its applications, benefits, and challenges, this thesis aims to contribute valuable insights to the field of educational technology and pedagogy. Ultimately, the goal is to enhance the educational experience for students through the innovative use of animation.

Consider including a visual timeline of the research process or an infographic summarizing the benefits of animation in education to complement the thesis.

2.1 Thesis Proposal

Topic potentials motivations and applications

Post author By Drishti Kosambia
Post date 2nd June 2024

In this class, we focus primarily on the proposal due in June, which serves as a crucial step in preparing for our final essay. This proposal acts as an initial exploration of our final essay topic.

We must determine the direction of our research, ensuring it addresses an existing gap or offers a novel perspective. It could involve conducting an experiment or making a unique contribution to the field. To achieve this, extensive reading and a thorough literature review are essential.

I intend to focus my thesis on the use of animation in education. This study will explore how animated content can enhance learning experiences, facilitate understanding of complex concepts, and engage students more effectively compared to traditional teaching methods. Through this research, I aim to demonstrate the potential benefits and applications of animation as an educational tool.

We were asked to consider these questions for our FMP Thesis Proposal –

On graduation, which area or environment of production do you wish to focus upon and why?

My focus after graduation will be on motion graphics, 3D design in advertising, or lighting.

What skills will you need to attain the standards required for vocational practice?

Mastery of motion graphics and 3D design software
Expertise in advanced lighting techniques
Ability to create eye-catching advertisements
Creativity and innovation in design

How will you showcase your FMP practice for the final shows?

I would like to present with an interactive display. If that’s not possible, I would like to create an engaging ad campaign.

Is it important to directly connect the thesis research to your practical work?

It depends on the goal. Personally, I enjoy exploring animation methods across various industries and cultures. While I experiment with different tools and media, my research doesn’t always translate directly into my practical work. For instance, although my research focuses on animation in education, my FMP will be designed to be fun, light-hearted, and interactive.

Do you have an area of research you wish to conduct that is unrelated to the practical element?

While I have not specified a particular area of research unrelated to the practical element at this time, I remain open to exploring diverse topics that intrigue me and offer opportunities for personal and academic growth.

Narrative Structures

Workshops & Lessons

Post author By Drishti Kosambia
Post date 1st June 2024

Advanced & Experimental

Final Major Project – Proposal

Post author By Drishti Kosambia
Post date 2nd May 2024

Advanced & Experimental Body Mechanics & Acting Shot

Project 2 – Body Mechanics & Acting

Post author By Drishti Kosambia
Post date 2nd May 2024

Body Mechanics

Final Animation

Adding more poses

I worked on adding more poses for the arms. I had an issue with the frames after i converted from blocking to spline. I ended up having to delete all the frames for the arms. I thought it would be easier to re pose the arms instead of fixing the poses. The timeline was really messed up. not sure why my auto-key option wasn’t saving keys as i continued to pose. It wasted a lot of my time trying to fix the missing double frames, So i decided to re-do the arms

Changing from Blocking to Spline

After Blocking out my key poses, I changed the file set up from stepped preview to spline. I took a closer look at the graph editor to fix the curves for a smoother animation.

Blocking

For the body mechanics shot, I chose to do a very simple sitting down to standing up animation.

Acting Shot

Final Shot

Blocking to Spline

Blocking the Shot

Shooting the Reference

George asked me to shoot reference footage for the approved audio clip. He wanted me to reimagine the original scene and act out a different scenario for my reference. In my planning sheet, I reconceptualized this audio to be delivered by a judge as a snarky comment to his fellow judges at a beauty pageant, directed at a contestant just after being announced.

The original clip from the show

My acting shot reference

After reviewing my initial reference footage, George advised me to reshoot it because the camera placement was off.

Intro to Acting Shots

After completing advanced body mechanics, our focus has shifted to acting animation. Recently, George assigned us a new task: selecting an unfamiliar audio clip, ideally 3-5 seconds long, to inspire a fresh animation concept.

Once chosen, our next steps include sketching thumbnails and crafting a layout that illustrates the character’s progression through “before,” “now,” and “after” phases in response to the audio. Additionally, we are required to transcribe the dialogue and use the emotion wheel to depict the emotional nuances conveyed in each line.

Selecting the right audio proved to be the most daunting challenge, just as George had anticipated. After listening to numerous clips in search of one with a compelling emotional shift, I ultimately settled on a snippet from Brooklyn Nine-Nine, featuring Captain Raymond Holt.

Advanced & Experimental Previs

Project 1 – Pre-Visualisation

Post author By Drishti Kosambia
Post date 1st May 2024

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.