I was looking forward to this week because it was exciting because I was looking forward to both the modules being taught. I was waiting to use a new rig in Maya!
Unit 1.2 Design for Animation Narrative
Nigel started off with introducing us to the concept of Mise-en-scene, composition, and staging. The main goal of this session was to concentrate on techniques for interpreting, analyzing, and recognizing language in film and animation. Mise-en-scene is a French term that basically means the stuff that is put into a scene or frame.
I aimed to analyze the Mise-en-scene in Blade Runner. I believe this movie effectively uses its settings, environments, and characters to underscore the film’s underlying messages. Separated by a span of 35 years, the pair of Blade Runner films exhibit visual aesthetics that, although distinct, bear a striking resemblance. Directed by esteemed filmmakers of their respective eras renowned for their unique visual approaches, both Ridley Scott and Denis Villeneuve are acknowledged for their precise methods and the ability to infuse a compelling allure and instant immersion into their visuals—a quality distinctly felt in Blade Runner. The universe portrayed in Blade Runner is a grim and dystopian realm, governed by technologies that ostensibly simplify life but exact a profound existential toll.
Blade Runner’s visual depiction adeptly captures the juxtaposition of societal decline alongside advanced technology through its congested streets and abundant neon lighting. Incorporating cyberpunk and film noir elements, both films heavily utilize shadows and atmospheric lighting. Their settings often isolate characters within encapsulated environments, heightening the emotional impact—such as Harrison Ford’s Deckard during the antagonist’s pivotal monologue or Ryan Gosling’s Officer K undergoing the Voight-Kampff test.
Unit 1.1 Computer Animation Fundamentals
This week, Serra said she might not take class as we had an extra session last week.
George critiqued our ball with tail animation as this time we had to submit it in spline. I got decent feedback for it and was happy with my submission. Today’s class was interesting as we finally got to start on how weight shifting works. George kept reminding us to keep the weight shift animation simple and he showed us a few examples. We had to use a new rig called the “Walker”. We had to shoot references of both front and side view and also for the first time we had to submit both front and side angles of the weight shift animation in blocking.
Here is the link to my walk cycle animation in blocking and in spline:
https://drive.google.com/file/d/1akBkJ97AKPHLylGzqJiuEV62P5J51Bbm/view?usp=drive_link
https://drive.google.com/file/d/1dUGHH0xaCskJJYngXTOrslQxGza6FA5V/view?usp=drive_link