Rational:
Many games use the perspective of the main character to see what is happening. The subjective view of the main character can have a strong sense of immersion, as in RPG, where the player can experience the same moving perspective and encounter as the main character in some storyline screens or levels. First-person games use a first-person perspective, such as a first-person shooter, to enhance the experience and engage the emotions of the player and audience. It allows the player and the audience to connect emotionally through the combination of multiple senses. This further allows the audience to amplify their engagement while watching.
It is worth mentioning that the phenomenon that occurs when a spectator is presented with a literary or audio/visual text. The theory describes how viewers voluntarily decide to accept the premises of a text, even if they are fanciful, impossible or contradictory. It also refers to the willingness of viewers to ignore the limitations of the medium so that these limitations do not interfere with the acceptance of these premises. (Janet H. Murray in Hamlet )
According to Murray Smith in Engaging Characters , humans have an inherent ability to feel empathy or compassion for others, whether they are other humans, animals, plants, or even inanimate objects. They can sense when someone is in a situation, or they can imagine themselves in that situation.
Thus, the suspension of disbelief , indicating that the spectator doesn't fully believe what he is seeing, but isn't fully rejecting it either, resulting into this vague in-between state of mind.
By reading the spectator's psyche, consciously substituting into the virtual situation and perceiving the character's emotions and choices through empathy. Increasing the audience's sense of experience needs to revolve around the interplay and integration of environment and character.
According to what has been learnt from animation narrative: the subjective and objective narrative approach enables the audience to understand what is happening and that the environment and the characters are in a mutually shaping relationship. The choice of camera movement around the main character's point of view allows the audience to understand the encounters and circumstances surrounding the protagonist and the choices made by the protagonist.
So for studio2 I will be making a 3D animation called Resting Place, a journey of flower petals that travel with the wind in search of a place to rest.
Considering the multi-sensory combination that adds to the immersion, I will add a soothing and appropriate combination of images and camera movements, with breathing rhythms.
Considering the main characters' lives to the construction of the scenario, I will record and collect scenario studies and elements of forest, travel, travel and relaxation through real and actual forest and beach experiences.
Iterate through many brainstorming sessions and feedback. Scaling up mossy microscopic scenery to multiple terrain traversals.
On the other side of the spectrum, I investigated various avenues of expression such as loops and vignette, and after experimenting with various styles, I opted for a narrative-free approach with the aim of bringing the viewer a pure travel experience.
Soothing soundtrack to enhance movement, immersion and relaxation.
When I consider the non-anthropomorphic protagonists, i.e. the petals as protagonists, and the purely natural environmental variations. To help the visitor's associate the atmosphere of the setting, perhaps add something that makes a connection between the characters. To help the visitor's associations, perhaps add things that make a connection between the characters. Thus, I added animals that live in real environments.
In addition, I will use the one shot animation throughout the animation. A single-shot scene is a full-length film shot by a single camera in one take, or made to give such an impression. (The Adventures of Tintin)Long takes at their best immerse viewers in a particular time and place, giving it unbroken attention.
Inquiry and question
How to use one shot to travel through different scenes in 3D animation?
How to make relationships between petals and different natural creatures in the different natural scenes in the one shot movement in 3D animation?
Context:
Indicating an interesting aesthetic part and also an rollercoaster feeling for (like being in the environment) ：
ZuneJourney001 This is screen capture from an interactive work which zooms through a landscape, used cursor to move through it
Go Back Take viewer through a landscape and have some nice sequences in there
Moon explores rhythms, breathing
FITC Toronto 2018 Titles like rollercoaster but my work will more slower and shorter
I was mainly inspired by those Abstract animations or motion graphics works. These works are very strong expressions of Rollercoaster's sense of travel and immersion. I learnt from these works how to use one shot to travel through different scenes in one piece.
However, my 3D animation is more towards a real forest rather than an abstract art form. Also due to the slow movement of the camera, there was a need to add some interesting aspects to avoid boredom.
So I took a field trip to see where the leaves shake in the forest, where the wetland woods are distributed and where mosses will appear.
Again, some memorable ones: bird's nests, snails, ladybirds. In terms of the wider environment, there may be variations in the classification of animals e.g. cattle and sheep in the grassland, wild animals in the forest.
Flower： petals on the wind Gameplay It is a realistic view of a meadow with petals moving through space
The movement of my camera was also studied from this work. But there are some adjustments because of the real scene changes. Instead of one shot weaving quickly like in Limitless (2011).
For the combination of sound and image I refer to Wendy Eduarte's work Untitled.This project touches on human introspection while traveling alone, and how within these landscapes we meet ourselves.
Both the image. movement and sound working together。But more than that, it simulates references and complements the real sounds in environments such as forests and beaches.
Choice of colours
People tend to respond more emotionally to more saturated and high-contrast colours. Blue is usually associated with water: cold, fresh, transparent
and clarity. Green is associated with nature and is generally found to be pleasing but not very exciting.
Colour palette
Reds and yellows are associated with sunny days, sunsets and sunrises. Blue, green and violet, on the other hand, are associated with shadows and cloudy weather.
According to the colour principle, the two colours also form a harmony, because when they are mixed together they form a medium grey. According to Itten in Art of Colour, this corresponds to the balance required by the human visual senses. Warm colours are also thought to arouse or stimulate the viewer, while cool colours are calming and relaxing.
Technique
The latest variation of Canadian company IMAX is a system for creating the illusion of three-dimensional depth, called IMAX 3D.Technical advantages of the IMAX format make it more immersive than the standard widescreen format. The huge resolution of IMAX film (approximately 10.000 x 7000 pixels) allows the audience to sit closer to the screen than in traditional cinemas. Screen surrounds the viewer to some extent, allows the image to occupy the viewer's field of vision (horizontally and vertically) almost completely.
Because the viewer now has no real spatial reference, this creates a sense of movement in the viewer's mind and some may even experience motion sickness.
Whether it is ambient noise or music, sound is as powerful as smell and its effects are mainly associative. As my work was done on a small scale by an individual and independently, it was not possible to use more scientific techniques (e.g. Imax 3D) to add more immersion and experience (rocking seats, scent simulation, etc.). Therefore, the experience can only be enhanced through images and sound.
Multi-sensory use, such as some of the activity programs in Disneyland.
They will take you through a scene, make you do seats that move, spray at you when you fall into the water and often spray something that you can smell in the environment. The combination of these senses will enhance the experience, and the feeling of being there.
However, in this production, the feeling of walking through the forest can only be experienced through images and music. This is not as good as a large scale production or an expensive technological facility.
The style of the animation: a discussion in conjunction with the tone. with a soothing atmosphere.
I viewed the way the Impressionists worked, their depiction of objects was often quite rough or stylized. Able to refine the essence of the object in a very convincing way, by drawing the general shape of the tree, plant and grass and adding some key accents to portray it. They give the object a very detailed appearance without depicting the actual details.
As well as the huge trees in Ghibli's Totoro movie gave me the inspiration for the trees in the centre of the scene.
So I learnt to do a triple rendering, combining tones and textures to give the scene a more soothing, serene look.
The choice of colors and materials used in painting is particularly evident in Renaissance and Baroque paintings, where the use of oils enabled artists to give objects a very specific appearance. The ability to make objects appear to be made of actual matter.
Methods:
Single shot film techniques involve using one camera for long shots or to create the impression given. Filming with these techniques has many challenges and can only be done with the best digital cameras. When the characters move, the camera moves too, which means that lighting and angles change. Despite any challenges, the camera must continue to shoot as things continue to happen. A slight mistake means starting again
I have created such a natural environment.
From the sea to the beach to the grassland to the forest to the flowers, all inhabited by different animals with different vegetation and environmental features.
The animals live in the places where they live. The animals continue their daily activities even before they encounter the petals. But the animals also react in some way to the sight of the petals.
Petals travelling from the sea to a place with lots of flowers, the petals are always looking for a place to rest. Petals will want to hide and play with the sheep, and some friendly petals will want to rest on a sleeping squirrel as a little blanket to keep it from catching a cold.
The scene is no longer just the scene itself, but a real natural system. There is vegetation, mossy mushrooms and all kinds of foliage, but also many animals living in this environment.
The animals also have their own activities and habits. They live even when the petals don't come to them.
As the camera pushes in my animation, the petals pass by the animals as they float by. Allowing the animals to stop in their tracks, look up, etc., or be startled by the petals, or continue their original behaviour, allowing the petals to stop for the animals.
This creates a connection with the animals as the petals. Because the environment creates the animals, the animals have different ideas about the petals created by the environment. On the other hand, these different treatments also reflect the real natural environment very well.）The petals change speed to break up the long, slow advance and become more naturally.
A multi-sensory combination that adds to the visitor's sense of navigation and experience
Adding relaxing atmospheric audio enhances the experience and sense of ease.
Considering the main characters' lives to the construction of the scenario, I will go through the real and actual forest and beach experience, to record and collect scenario studies and elements of forest, travelogue, shuttle, relaxation.
Experimenting with different styles of expression brought about by different main characters such as flower petals, leaves and paper planes.
On the other side of the spectrum, I looked at multiple avenues of expression such as loops and vignettes, single shots moving through different scenes, adding interesting vignettes or interactive elements.
When animating, I learnt how Ghibli's stylised grass and trees with cel shading could be used to keep the image uncluttered and unify the art style. Experiment with different styles of trees and grass. Experiment with different colour schemes.
Rendering to compare Cycles used the Blender EEVEE renderer as the quiet and relaxed atmosphere doesn't lend itself to too much light and shadow.
Compare the sculptural treatment of each detail, compare the effect of the Substance painter with that of Blender texture painting and add roughness according to the amount of light and shadow.
Outcome:
A 3D animation of around one and a half minutes.
The petals, as the main characters and as the camera moving perspective of this animation, traverse a variety of terrains through the wind.
From the sea to the beach to the grassland to the forest to the flowers, all are inhabited by different animals with different vegetation and environmental features.
The animals live in the places where they live. The animals go about their daily activities even before they encounter the flower petals. But the animals also react in some way to the sight of the petals.
The scene is no longer just the scene itself, but a real natural system. There is vegetation, mossy mushrooms and all kinds of foliage, but also many animals that live in this environment. The petals are subtly linked to the animals and the environment.
The animals also have their own activities and habits. Even if the petals don't come to them, they are still living.
As the camera pushes in my animation, the petals pass by the animals as they float by. Allowing the animals to stop in their tracks, look up, etc., or be startled by the petals, or continue their original behaviour, allowing the petals to stop for the animals.
Petals travelling from the sea to a place with lots of flowers, the petals are always looking for a place to rest. Petals will want to hide and play with the sheep, and some friendly petals will want to rest on a sleeping squirrel as a little blanket to keep it from catching a cold.
This creates a connection with the animals as the petals. This is because the animals shaped by the environment have different ideas about the flowers shaped by the environment. On the other hand, these different treatments also reflect the real natural environment very well. The petals change speed to break up the long, slow advance and become more naturally.
The focus and track to protagonists that are not anthropomorphic (such as falling leaves and flower petals) can connected from the environment.
Thank You So Much！
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By Guo Bingqian
Email Guo Bingqian
Published On: 09/10/2021