Category: Final Major Project & Thesis

Thesis

Final

Week 9

In addition to developing the thematic chapters, I paid a lot of attention to the findings and the possibility of starting a new line of thought in the examined topic

I am grateful to my teacher, Nigel Mars, for his patience and support.

Week 8

This is a very important part of the thesis.
The literature review allowed me to familiarize myself with the current knowledge of the chosen field, as well as the boundaries and limitations of the given field.
The literature reviews also helped me understand the theory(s) driving the field, allowing me to contextualize my research question.

Literature review
The literature review explores the intricate nature of genre theory, especially in the context of
film and animation. The overview begins by acknowledging the simplicity of the definition of
the genre, as a concept facilitating the categorization of narratives and works of art based on
shared characteristics. However, it emphasises the flexibility of the genre as noted by film
theorists like Gunning. (2004, pp. 273–291) and (Grodal, 1999)
The point of view also plays a role in defining the genre. The real question is not what a
genre is, but when and what we consider it to be, according to Robert Hodge and Gunther
Kress, genres exist as long as a social group defines and validates the rules that create those
genres. (Chandler, 1997) The challenges in defining animation are underscored by Dobson
(2010, p. 11), who points out the lack of a unified, consensual definition in animation
research “even animation researchers have not agreed on a clear definition”.
Manovich (2001) suggests that animated films have always been at a disadvantage compared
to live-action films.
Bordwell’s (1988, pp. 146–151) work, questioning the validity of film genre theory, adds
depth to the analysis.
After the discussion of genre issues and animation theory, the research focuses on the
possibilities of the general classification of the animated film. Especially to the question of
whether the animated film has genres that belong to the animated film in a medial sense and
therefore cannot be realised in the live-action film?
To outline the answer, it was necessary to interpret Paul Wells (Wells, 1998) attempt to
examine such problems.
Andrew Tudor, who analyses the basic problems of separating film genres, also argues for the
position that genres presuppose a community of interpretation, saying that “a genre is what
we believe to be a collective”. (Tudor, 2003. p. 7)
Anthropomorphism as a unique animation option can be discovered in many genres.
As for crime genres, in terms of typical characters, their activities and usual plot structures,
the detective film The Great Mouse Detective (1986) and the cop film Az erdő kapitánya
(1988) are found in the animated film.
In the thriller genre, some animated films can have a key tension 101 Dalmatians (1961). A
good example of animated versions of film noir is Batman: The Animated Series (1992–
1995).
8
In examining science fiction and fantasy, the review acknowledges the linkage between
science fiction and the virtual nature of animated films, while fantasy aligns more closely
with the animated film’s portrayal of magical worlds. Visual effects dominate in these genres
(Gunning, 1992, pp. 56–62).
Films like The Iron Giant (1999), Wall-E (2008), and Fantastic Planet (1973) are analysed as
examples.
The review also covers the horror genre, which partly belongs to the fantastic genre the thesis
examines general elements that can be closely related to the possibilities of the animated film.
In the presentation of the destruction, decomposition and metamorphosis of bodies, graphics
and clay animation practically take on new dimensions Virile Games (1988), Wicked City
(1987), The Hunger (2013), while puppet animation is often used to create mysterious
phenomena The Sandman (1990). As for the genre of comedy, first, there are general
problems to deal with regarding the question of laughter and humour, because it is not easy to
define their nature. Steve Neale’s and Frank Krutnik’s book on comedy provided help in
interpreting this (Neale, Krutnik, 1990).
The examination of animated comedy reveals two subgenres: burlesque, characterised by
visual humour, and parody, a mockery of aesthetic phenomena. The study draws on the
writings of Iván Hevesy (1985, pp. 199–217) to argue that burlesque shares attributes with
cartoons, emphasising irrational elements and invulnerable characters. The analysis of parody
encompasses parodies within the same series Wallace and Gromit (1995), the same type of
genre parody in different films The Incredibles (2004) and Megamind (2010) and the atypical
mixing of genres as a strategy of genre parody Cat City (1986).

Week 7

The following methodology helps to summarize the studies and numerous research works that proved to be important to me in terms of the development of the topic. It also provides insight into the validity and reliability of the research.

Methodology
The methodology used in the essay is aimed at the analysis of genre effects and the concept
of animated film. Each chapter depends on studies by different authors, which suggests that
the analyses covered different aspects of the research findings.
The most prominent area of these trends is the genre theory of literature, which had an
obvious impact on the genre theory of film. Can films be classified into basic general
categories like those found in literature, i.e., lyric, epic poetry, and drama? Steve Neale’s
analytical work (Neale, 1980) serves as a foundational reference for this exploration.
Rick Altman introduces an alternative perspective, considering genre as a distinctive element
within the series of production, distribution, and consumption (Altman, 1998, pp. 284–294).
This contrasting viewpoint adds depth to the examination of genre effects on animated film.
The study also addresses the distinctions and similarities between live-action and animated
films, with Lev Manovich’s insights proving essential in this context (Manovich, 2001). The
analysis further connects the conclusions from these theoretical areas and explores the
potential for a general classification of animated film. Brian Laetz and Dominic McIver
Lopez contribute significantly to the conceptualisation of the genre (2009, pp. 152–161).
The exploration extends to the phenomenon of anthropomorphism, where characters with
human characteristics play diverse roles. The essay contemplates the potential mutual
benefits of anthropomorphism for animation and genre promotion, while recognizing that not
all aspects may share this symbiosis.
A critical dimension of the study involves examining the impact of reduced animation tool
usage on genre representation. María Lorenzo Hernández’s concept of the animated image
double meaning is invoked to illuminate the potential consequences of underutilizing visual
components in graphic animations (Hernández, 2008, pp. 41–53).
The investigation also includes an analysis of articles exploring the depiction of animals in
popular animated films. This facet examines the social and cultural influences these
portrayals may exert on viewers’ attitudes. Examples such as “Bambi” (Algar, Armstrong,
Hand, Heid, Roberts, Satterfield, Wright, Davis, and Geronimi, 1942) and “Finding Nemo”
(Stanton, Unkrich, 2003) serve as illustrative case studies in this regard.

Final Major Project & Thesis Final Project

Final Project Week 10

A Visual Journey of Reflection and Resurgence
Introduction:

Welcome to my blog, where I invite you to explore the captivating process behind the creation of “Revival,” a VFX showreel that transports viewers to a world where the past guides us towards the future. Join me as I unravel the intricate steps taken to bring this mesmerizing project to life, using the powerful software, Houdini, Maya, Nuke etc. .

Test shot

I made this test video to simulate Elsa’s movements.

I did a water simulation.

Unleashing the Power of Flip Simulation

To bring the stormy waters and the mesmerizing maelstrom to life, I employed Houdini’s powerful Flip simulation capabilities. By meticulously defining the boundaries and parameters of the water simulation, I unleashed a torrent of realistic waves and currents, capturing the chaotic beauty of a tempestuous water. The swirling maelstrom was sculpted using a combination of fluid dynamics and particle systems, carefully choreographed to evoke a sense of awe and wonder.

I modeled the stairs in Houdini. I used the ‘vdbfrompolygons’ node which makes a staircase from clouds.

I modeled 4 trees to make sure they were different and multiplied them for the forest.

I made the following shots based on my storyboard.

RENDERING

I use a separate camera for each shot. I rendered on the render farm using the Deadline node. Then I exported the frames to NUkE for merging and color correction etc., Since I barely got to the files, the terrible connection problem with the computers took over the entire period I also had to think about Plan B.

For sure, it will be impossible to render every scene under these conditions, and it will be necessary to use Premier Pro in addition to Nuke.
This solution is very annoying as I spent at least 2 months preparing the scenes and now I can’t render them due to connection problems.

I will try to place the video on the successfully rendered frames, with the help of Premier Pro, perhaps placing more emphasis on the character animations made in Maya. Much to my chagrin, this time perhaps at the expense of VFX.

At this point I would like to emphasize that it is not my fault, but in this academic term MIDA’s digital support with connecting to computers has completely failed.

The castle modeled in Sketchup and import into Maya to improve the geometry.

These are some images from scenes that are ready to render, but mostly I haven’t had access to computers or the order process has been interrupted.

Harnessing the Power of Nuke for Compositing

To unify the various elements and refine the visual aesthetics, I turned to Nuke, a powerful compositing software. By seamlessly blending the rendered passes, applying color grading, and adding atmospheric effects, I achieved a harmonious composition that accentuated the overall mood and narrative of each scene. Nuke’s extensive toolset allowed me to fine-tune the final visuals, ensuring a captivating and cohesive visual experience.

I set the depth before rendering and cut the alpha to depth in Nuke.

At the end, I made the blur with the node above.

Harnessing the Power of Nuke for Compositing

test video

Critical Reflection

Now that we’ve come to the end of our last major projects, looking back on the development cycle, I can identify some areas that I enjoyed on my last project and some that I struggled with. On the positive side, in addition to Maya and Nuke, I also got an insight into fantastic software Unreal Engine. I like the materials and lighting looks great in that software. I enjoyed the landscape design opportunities the most, the opportunities provided by the library are not negligible either. It is a great challenge, sometimes it is difficult to find the right combination of using the most powerful software. For example, Houdini, Maya, Nuke and Unreal, to name just a few of those which charms I discovered during this course.

In its long history, Autodesk Maya is one of the most well-known 3D modeling software that allows us to create meshes, and the software can handle most graphical process models, animations and renderings. Until now I worked in SketchUp. I quickly realized that this is not a very suitable program, its geometry is not very good, it is not very compatible with other software, and it is not outstanding in terms of rendering.

One of the problems I face

Creating a Snow Storm Simulation

To simulate the intensity of a snowstorm, I employed Houdini’s particle systems and dynamics. By meticulously defining particle behavior, wind forces, and collision properties, I brought to life a flurry of swirling winds, engulfing the landscape in a mesmerizing dance of storm. The intricate interplay of particles and fluid dynamics captured the essence of a snowstorm, immersing viewers in its relentless energy and beauty.

Creating a Water Vortex

Modeling the Water Vortex was a real challenge for me. Therefore, I studied this question more deeply.
The process consists of several steps to achieve the desired result.
Since the ocean tank method was ineffective, I decided to simulate the water as a flat plane and then deform it as a vortex.

Since the ocean tank method was not efficient, I decided to simulate the water in a flat plane and then deform it like a maelstrom

Using point deform, I got the gravity back to the flat plane and this is ready to simulate

Using point cloud, I got the forces into action

After simulation these points are so dense. Very high res.

And I created my own white water solver.

I also used the same points in smoke sim to create bubbles under water.

So, overall, I can say that what I planned was a success. To create a video of my own that, in addition to being a technically capable, also includes narrative and great deal of art. Of course, the road didn’t stop here. This course broadened my horizons and showed me the areas and possibilities that await exploitation.

Final Major Project & Thesis Final Project

Final Project Week 9 Animation 2

Post author By Margaret Dekanyova
Post date 8th November 2023
No Comments on Final Project Week 9 Animation 2

Reference

Elsa rig

Looks like I still need to work on the clothes.

Looks like it followed, but I need to work on it.

Firstly, I made 2 scenes separately, the first one is
for jumping and sliding. and another for walks.

I made the walking animation, which turned out a bit weird. I think it’s a bit like a model walking. But since you have to walk on water, it doesn’t seem natural. I switched to running. I made another animation of him running.

She has to climb this hill.

I will make an animation of this.

I also need to create a climbing animation.

First of all, I created a camera position in Houdini, which is important to be able to model the climb in Maya.

Final Major Project & Thesis Final Project

Final Project Week 8 Animation 1

Post author By Margaret Dekanyova
Post date 2nd November 2023
No Comments on Final Project Week 8 Animation 1

Animation – Elsa

First I staged the scene in Houdini, then I design the animation. Elsa’s walk is approx. 20 second animation. I analyze the time.
I think she’s going to jump into the water. I also need to create a jumping animation.

CLIPCHAMP Free Video Editing App

I use this app to analyze time because

to start the animation, it is important to know how the animation will look in order to plan the movements and the location.

Firstly, I need to mark Elsa’s location during the animation.

After 5 seconds of animation, all I see is that there will be no slow walking.

I think Elsa should be here at this point.

It is important to upload the Houdini test video to the animation in Maya, update it with the Time slider

I am not sure about the way she would walking. Maybe she should jump on rocks. This is not cycle animation.
I google to the cycle animation .

This can be useful as a reference for our animation.

The skeleton is a problem for me now. I did a special search to import the skeleton.

3D Animation – Mixamo Motion Capture to Maya

I need more references for advance in skeleton

I used many references and tutorials to animate the jump and water walk as realistically as possible.

I think the jump as an effect will be interesting.

Applying poblast options is crucial for animation

Following the references, I try to animate the jump, of course we need to know that we jump not only with the legs, but with the whole body

I want the body to go a little lower so I opened the graph editor to manipulate the movement keys,

From now on, I have to work with clothes.

My issue is :
How to attach the cloth? Simple I google it.

Final Project Week 7

I created the laser beam in Houdini for the scene below.

The idea is that the building is above the clouds, covered by clouds.

I modeled mountains in Houdini.

For mountain, I started with heightfield 2000×2000

Also I created a geometry for lake to subtract from heightfield

By using these fields from heightfield, I was able to create textures and mask it correctly

Final Major Project & Thesis Final Project

Final Project Week 6

I work on the following models. I will need these to share the video.
I already modeled the head last semester, but I need to work on it to fit the scene. It also depends on the gate whether I use this or not.
This week I will try to finish some models and upload the details of making the models.

I modeled this many years ago in Sketchup, my idea was that the castle above the clouds covers this mystical world, which is made up of pieces, and leads back to the past to the world of renewal. The problem was that Sketchup is not compatible with Maya and Houdini. I need to improve the geometry, which I did in Maya.

Elsa rig

Reference

https://info.e-onsoftware.com/plantcatalog/browse/ornamental_olive_tree

At this point, I need to fix the geo because it can cause a lot of problems with texturing etc.

Final Major Project & Thesis Final Project Uncategorised

Final Project Week 5

I’m going to look for a color like the reference image,

Gates of Paradise

work by Ghiberti

I tried to apply texture. This is the result. That’s okay, but not perfect. Here we can see the gold flowing through its frame.

I didn’t model the frame here yet. It may take a long time. I am thinking about a reasonable solution, in order to save time.

I’m thinking of the white part (frame) to apply some wood material and then colors.

I couldn’t upload the 2 sides door to Adobe Substance because I’m having UV issues. So I have to solve the problems.

I solved this problem and cleared the history in Maya.

Then I just applied the texture setting in Adobe Substance and added textures.

I also dealt with the problems that arose. I searched in various sources.

Screenshot-2023-10-22-164017-1.png Download

Presentation-Final-Project-Presentation-3 Download

Final Major Project & Thesis Final Project

Final Project Week 4

As a first step, I imported a reference image.

This helps me a lot in modeling. This helps a lot in modeling. I just use a cylinder and model it to size.

Final Major Project & Thesis Thesis

Thesis Week 6

The weekly plan

Results/or Findings & Conclusions & Reference list

• Results/or Findings

This section will present findings and discuss the implications. Consider the practical value your findings will provide to practitioners, educators, and other academics in your field, any ways your work can challenge existing theories and assumptions in your field.

Conclusions

Conclude the study by evaluating and reviewing the implications of the study identifying any policies that could be impacted by your findings, problems your work can potentially help to fix, or how your work might contribute to current or future research. Identify any limitations and recommendations for future research.

Reference list

List all the sources cited in your thesis. Arrange your references alphabetically by author surname.

Bibliography

List books that you have consulted but not cited. Arrange your references alphabetically by author surname. You may also require a filmography

Image list

For academic referencing, visuals are categorised as either:

Illustrations (artwork, photos, screenshots, film stills, charts, graphs etc.) or,

Tables (numbers or text in columns and rows)

Appendices

Materials such as letters or relevant documents can be presented here.

Final Major Project & Thesis Thesis

Thesis Week 5

The weekly plan

Methodology & Themed topic chapters

Methodology

This section should review approaches and methods applied to develop findings, including any not covered in Literature review. This might include literary comparison, case studies, surveys, interviews, experiments, exhibitions and events. It should explain how these methods will generate relevant findings or results.

Themed topic chapters

This will form the main part of the discussion and the number of topics /chapters will vary. Main chapter headings should be clearly labelled e.g., Chapter 1. Contexts in Animated Documentary.

Chapter subtitles should be labelled as e.g., 1.1 Enactment and Re-enactment of Documentary, 1.2 Interview and Animated Documentary

Themed topic chapters………………………………………………………………………..

THE CONCEPT OF GENRE AND ANIMATED FILM……………………………………
Interpretation and application of the concept of genre in the film…………………….

1.1. The concept of genre (semantics and pragmatics) in general

I. CONCEPT OF GENRE AND ANIMATED FILM
1. Interpretation and application of the concept of genre in film
What does the term of genre mean and how can it be understood?
To examine the concept of genre, it is essential to determine how this concept can be interpreted in common language, as well as in art theory, from literary theory to film, visual art, and music. What does genre mean and what can be understood by this?
This expression often occurred in common language as well: as part of expressions such as “not my genre”.
Genre is used as a term suitable for certain groups and types of certain phenomena or activities.
Genre is a collective concept of identical or similar characteristics that enables the categorisation and classification of works of art and texts. In other words, genre category connects the works and separates them from each other – this is the essence of the genre as succinctly as possible.
How can the openness of the concept of genre be explained?
The lack of closure of the concept of genre can be explained by the fact that there is no sharp boundary between the semantics and pragmatics of the concept.

Final Major Project & Thesis Thesis

Thesis Week 4

The weekly plan

This study examines the genre characteristics of the media products used by motion picture culture – films and animated films.

Topic

The role and significance of the genre in its relation to the animated film.

Are there genres of animated film that cannot be realised in live-action film?

Contents page(s) & Introduction & Literature review

Contents page(s)

Contents page(s)

Examples will be provided.

Abstract………………………………………………………………………………………..

Acknowledgements…………………………………………………………………………..

Introduction……………………………………………………………………………………

Literature review……………………………………………………………………………….

Methodology……………………………………………………………………………………

Themed topic chapters………………………………………………………………………..

etc.

Introduction

Most movies these days are animated. Many consider animation to be a genre, but is it really? There are storytellers and filmmakers who work in certain genres and say they “make a genre film.” This seems simple enough on the surface but being a “genre storyteller” requires full understanding of what genre means.

The world of animated films is a vibrant and diverse medium that has captivated people of all ages for decades. However, when discussing animated films, an important question arises as to what role and significance the genre has in this artistic field. Animated films span genres from fantasy to adventure to comedy and drama, challenging traditional categorization and broadening the horizons of storytelling.

This work explores the issue of the animated film genre, delving into its development, significance, and impact on the audience experience.

The first half of the dissertation reviews the issues of genre theory and animation film theory. First chapters contain topics such as everyday use of the concept of genre, its position in different approaches to art and art forms in general. However, the most prominent area of these tendencies is the genre theory of literature, which had an obvious influence on the genre theory of film. After outlining the still-disputed problems of film genre theory, the thesis attempted to define the concept of film genre. It also approaches animated film as a discussed phenomenon and tries to outline a definition that can help eliminate problems arising from different approaches to animated film. During the discussion of animated film, this research examines its unique aesthetic characteristics (basically creationism and artificiality). Emphasising the possibility of an intermedial interpretation of the animated film; It deals with the differences and similarities between live-action and animated films, paying attention to the position of animated films in the system of film types. It then connects the conclusions of the two theoretical areas discussed, considering the possible general classification of the animated film. After reviewing the genre writings published so far in the animated film, it highlights the possibility of a completely new thesis: animated film has no genres that cannot be done in live-action film.

In the second part of this thesis, this thesis is proved by examining animated versions.

It studies three general corpuses of the popular film genres prevalent in live-action films, focusing on separate films, series, and full-length films: firstly, crime genres (detective fiction, film noir, thriller); secondly fantastic genres (science fiction, fantasy, horror); and thirdly, comedy (especially certain subgenres of comedy such as slapstick, burlesque, and parody). In the case of animated versions of these genres, it is pointed out that the use of animation features and the presence of genre components are not mutually exclusive, even if they are not equally emphasised in all cases.