Maya Days 6-8

Day 6

[Figure 49]

The first thing that I did was begin to form the shape of the third and outermost extrusion on the jaw line - also extending the mouth so that it has a more lizard shape. At this point, the mouth actually goes around the jaw to the point that the ends of the mouth aren't visible in the front view - which isn't how it is in the photo [Figure 35]. So that needs improving. 

[Figure 50]

Once I realised the mouth needed altering, I moved the ends to fit the frame of the human face that was left behind - so that the curves all still looked natural. I then made the mouth more wavy like the cartoonish drawing to keep things accurate as motion capture and rotoscoping would. 

In [Figure 50], I also made a basic extrusion on the head to plan out the shape. 

Though I said I would work on the jaw first - I realised that I needed an extruded strip down the nose so that I could freeze it during sculpting the nose - so that the centre of the nose and lips don't lose their form when tweaking the eyes and lizard nostrils. 

[Figure 51]

I started to make the nose but just flattening it in to the correct shape meant that lots of vertexes overlapped in to the mesh. I ended up deleting the nostrils and following what I did on the human face to create the nostrils. 

EBI - the symmetry tool started to have some issues here, and so I completed one nostril and the other had become a mix of vertexes and incorrect extrusions. Luckily, my last save was before i had started on the nostrils - so i just quit and started again, manually doing each vertex so that it looked the same on both sides.  

I also added in the second layer of the jaw extrusion that acts as layering of the lizard skin, and joins the nose, jaw and forehead. I think this helps define the human features, a lot like hulk's mouth wrinkles. 

Day 7

[Figure 52]

I started to make the basic forms of the other two head extrusions on both sides, which was good to help plan the overhang around the ears. At this stage in the crashed model, I had kept the human ears fully intact on the model which had caused issues with crossing vertexes when I tried to create the overhang and indent the ears. I ended up deleting the entirety of the human ears - which left me with the original outline of the ear from the human face - which was great for making the indent and the long ear hole shape. 

[Figure 53]

In [Figure 53] I tried to flatten out the outer jaw extrusion so that it blended naturally in to the mouth. This saved me from more vertex problems. 

I also started creating the head overhang and making a better basic form for the extrusions - creating a more hammer-head-shark kind of look with a larger forehead. This will give a good flat surface area for the spikes. The overhang mostly needs rounding off underneath so that it doesn't look like curly hair looping behind the ear. 

[Figure 54]

Though making the basic human ear shape made making the ear hole easy, the ear hole of a reptile curves in the opposite direction to a humans. But this helped in smoothing out the curve between the jaw, ears and overhang to make it look more natural. 

[Figure 55]

Similar to the ears, the eyes also had a symmetrical issue to the point where the tear duct was an overlap of a lot of vertexes all stretching back in to the head. After a few hours of trying to fix it, I ultimately deleted the tear duct, created a single face with the 'fill hole' tool, and tried to copy the other eye vertex for vertex until the symmetry tool seemed to work on all of them. Some of the extrusion did go badly, but I ended up extruding outside in, one section at a time. Instead of extruding the whole eye and extruding again in layers. This also meant that the centre of the eye didn't get too lost, so I ended up improving from my original plan. 

EBI: I need to keep an eye on what I'm doing, on both sides. Symmetry cannot always help, and my face is clearly off centre somewhere now. I understand it works on the top and back of the head as well as the ears - but be careful with face.  

Day 8

[Figure 56]

I brought over the oval eye shape from the human head, which I had dragged to the side of the stage. I wanted to keep my oval eyes, as they're a main feature to my appearance. Especially since I am referencing what they did with the Hulk and keeping Mark Ruffalo's eyes - I wanted to maintain my own as much as possible. They did need sizing, and I also had to create a perfect circle in the centre whilst trying to keep the oval - which meant I had to rotate the 'sphere' and give the longer values to a different axis. With the pupil, I had less experience with. With every other part of this head so far, I could refer back to the method I used on the human head, in the tutorial. But because i hadn't done the irises and pupils - my plan was ultimately to try to maintain the roundness of the eye, because the human side profile refence shows the eye doesn't dip in. So I extruded the pupil and moved it in to the head to try and create the correct look, and I'm hoping a see through texture on the iris will help you to see the pupil depth. This may need editing. 

• Dinh, C. (2019) Making Of: How VFX Transforms Mark Ruffalo to Hulk in 'Avengers: Endgame'. Available at: https://www.marvel.com/articles/movies/how-vfx-transforms-mark-ruffalo-to-hulk-avengers-endgame (Accessed: 5 October 2020)

[Figure 57]

Looking at my bearded dragon reference [Figure 36], the spikes that cover the creature are actually in the shape of lots of little horns, getting larger towards the bottom of the jaw. In my drawing i just drew these as triangular spikes. As I kept the cartoony look of the mouth, I decided to keep it as spikes. This also made it better for time consumption, as by now I had already spent eight days on the modelling alone, without texturing or the original plan to move the mouth. I tried to add some depth, but on some parts of the head, the spikes looked flat no matter how many vertexes I moved.  I was hoping this would look more professional in smoothing. 

By around the point of creating the eyes, my sculpting tools started crashing Maya. I'm not sure if this was the file size (though it had only reached 1MB), or because a technician changed my graphics card settings so that I could get Harmony to work for 503 - which so far has caused crashing in Premiere 2020 because it's not compatible. Because of this crash, I couldn't use the pull tool to make better spikes. I also had to manually smooth down areas which took a lot of vertex moving. 

• [Figure 36]  Holt, K. (2019) [Instagram] 23, December. Available at: https://www.instagram.com/harry.lizard/v (Accessed on: 27th November 2020)

[Figure 58]

[Figure 59]

When I smoothed the head spikes [Figure 59], I liked the gill effect that it created, as it's very reptile like. However my project is about realism and accurate translations. In motion capture, some of the oldest work meant that one wrong translation in one machine to the next would cause a malfunction in all of the databases. (Polar Express). If I were to keep the gills, they would need rounding to fit the shape of the head better, as they are all in a straight line. When you look closer at the gills, they have a tiny remnant of the unsmoothed spikes just sticking out of them, [Figure 60] which looks slightly unprofessional. 

[Figure 60]

• Menache, A. (2011) Understanding Motion Capture for Computer Animation. Second edition. United States: Elsevier, Inc.
• The Polar Express (2004). Directed by R. Zemeckis [Film]. United States: Warner Bros. Pictures.

My issue with this is that I want to smooth the head like I did with the human one, but I will lose my spiked texture. 

The jaw under the ears looked a little blank, and it wasn't visible in my design because it's offset behind the front view of the jaw. So I decided to add a horn shape on each side. On Harry, he has one horn larger than the rest at the lowest point of his jaw, so I thought it would be a good place to put one. 

[Figure 61]

[Figure 62]

I think the smooth looks worse on the neck, as it completely removes everything that I did. The spikes do not come close to overlapping and creating layers like on any reptile I looked at, and the bottom edge is completely rounded. The neck just looks like a normal tube with some edges jutted out around it. However to fix this issue, I could easily separate the neck from the head and make this two separate planes, to keep the neck unsmoothed and the head smoothed. 

WHAT COMES NEXT?

• Figure out the spikes
• Make sure smoothing is good
• Colour?
• ATTEMPT texture without sculpting tools to show why this isn't working
• essay#
• evaluation

Opening Scene

 

no lights

• In this shot, we planned for the shot to clearly pan across each picture - so unlike a normal photo wall where they are different shapes and heights on the wall - we thought it would save viewing time to keep them in a straight line, and similar sizes to keep the centre frame similar. 

• The original animatic time was 20 seconds, but after adding tweens and leaving some space on the end to think about fading to black if we didn't want a clean cut - it ended up as 25 seconds. Even though this could be better thought out to decrease our screen time on an already long film - I think the speed looks more natural in 25 seconds and doesn't look too rushed. 

• EBI - we didn't have a clear vision for the party photo cut. The only real idea was a zoom or a pan. I knew we couldn't do the pan, because the camera movement was already a pan and it would confuse the viewer. And the zooming in to one particular colour would take too long and add on to our already over timed shot. 

My Ideas

• Lilith flickers in like demonic spirits in movies: Good = suits the demon theme. Bad= Other characters would have to animate in to position and the polaroids are pre drawn in Autodesk sketchbook.
• Ghostly animated cloud covers the image?: Good= Might add some colour, separate the characters and wallpaper and separate one image from the other. Bad= Cloud might look out of place in the style - and if I make it ghostly smoke, then holes/ it being see through will ruin the cover up transition purpose. 
• Spooky light flicker: Good = Having a light source might make the rest of the wall look less bare and show where these shadows are coming from. Bad = This wall is used a lot and if it's flickering in this scene, should it be in the others?

lights

WWW - 

• I like the transition idea as long as my group do. 
• The timing looks smooth in my own opinion. 
• The polaroids all have a consistent style.

EBI - 

• I struggled with the frame perspective as they passed and in places it looks a little off if you look too closely. 
• Retiming this the first time when I messed up and made the entire thing 1 second per photo and not 4 seconds per photo. This took a long time as this was a pan and not lots of frames. Also one panel on the background kept messing up. 
• Discuss with team earlier about the full plan of the shot before starting. i asked mid animating whether the title was supposed to be in this shot, as we haven't designed it or put it in any storyboard - as it wasn't in the script. (It will go after this shot when it fades to black)

COP 2 - Maya Day 5

 CREEPY PHASE

[Figure 44]

Trial and error - polygons extruded too far, not fixable. 

Bad shape for head either way, extruded too soon and should have figured out the jaw before the top of the head, so that it could overlap. 

[Figure 45]

Started off by making the basic shape, with the wavy cheek bones and the shark head kind of larger forehead in the design. Like when I designed the creature - I took the original face and simply stretched it - keeping the eye size the same as the original and shifting them in to a good eye socket position. 

[Figure 46]

With my error head, I started working on the top and back of the head and realised the ears were a huge issue - as they were in the ay of everything and there were too many vertexes to move to repair the face once I'd deleted the ear. So in this attempt, I deleted this at the start - which also helped make the overhang of the curved tubes on the head. 

[Figure 47]

[Figure 48]

As mentioned above, I did started the jaw first and I plan to work my way up. So far, I think I have a good basic structure in the wavy jaw, and the placements of the rounded jaw extrusions. I think the hardest part moving forward will be smoothing this out without moving the structure of the original face too much - as I think some vertexes will go too close to the mouth. 

A Note From That Day

[So far, I'm not sure if this is going well or not. I will probably spend tomorrow trying to get this further but if this fails, I have some back up sketches based on Avatar and they're more simpler to create in the time frame between now and the deadline.]

I wasn't too certain that this was looking like a lizard-human like I intended - but looking back on the last few days, I can see that this was a good basic structure and I shouldn't have worried as much at this stage. 29/11/20

COP - Maya Day 4

25/11/20

[Figure 31]

In The Polar Express, the team's original idea for the motion capture of the movie, was essentially painting over the actor's original skin tone with the artistic style of the books. Very heavy shading, painted look, bright white eyes, realistic looking strands of hair and flat texture almost everywhere else. I figured because my practical response was basically creating a creature over my own Maya head - I would do my designs for the creature in this method. 

Doing this, I can see why this would be hard for the production team, as all the paint strokes are unique and would morph differently across the frames. I also  think the piercing white eyes would have been haunting and almost "alien" in the dark background of the movie. 

[Figure 32]

Rare Finds. (2015) 'Rare Finds: Well, Are You Coming? 30 years Of The Polar Express' Biblio Blog, November 20. Available at: https://www.biblio.com/blog/2015/11/5427/# (Accessed: 27 November 2020). 

[Figure 33]

For my own creature, I decided to follow the Hulk's form of morphism as I plan to talk about his progression a lot. With the Hulk, his face gets wider and his jaw becomes more sturdy - and his eyes almost stay the same - keeping the same proportions but scaling to fit the face. After stretching my head, I drew out the shapes my face made and tried understanding what I could morph in to. 

[Figure 34]

I found that the pointed eye sockets reminded me of a reptile and how narrow at the snout. I also have a friend with a bearded dragon, and so I thought this would be a fun opportunity to use them as reference. The spikes mean that I can try out using my technique for making grass in my Maya mountain test over the summer, using the pull tool and harshly turning up the strength of the "sculpt" on small polygons.

[Figure 35]

[Figure 36]

 Holt, K. (2019) [Instagram] 23, December. Available at: https://www.instagram.com/harry.lizard/v (Accessed on: 27th November 2020)

As i looked in to a lot of realism at the start of my project by basing the human head off of a real person, me. I decided that I should similarly use a real life reference. But I also wanted to use what I had learnt from the Hulk movies, which is that the animated and smooth version was better accepted than the overly realistic attempt in 2008. So I chose the bearded dragon, as a dragon is the closest to a myth I would find. I also have a personal connection to the dragon, as he is my friends - making us share a link, like Hulk and Banner. This let me use more animated style mouths whilst making us look similar by our proportions and polygon placements. 

Other designs

[Figure 37]

GOOD - Fits the face shape well, Avatar inspired nose and ears

BAD - Fur is difficult, especially if I have time to animate facial expressions. 

[Figure 38]

GOOD - Good for animating, interesting exaggerations, face shapes are recognisable. 

BAD - Way too simple. Hardly any deviance from the human face, which defeats the point of the practical.  

26/11/20

On Day 4, I turned on the computer and found that I had lost seven hours worth of work, which set me back to a few minutes after Day 2. I found out that the student version of Maya saves, and deletes any existing saves before that one. If there is an error at any point, Maya fails to process the latest saves and deletes any before it too. So all of my backups had the same issue. 

After finding this out, I spent day 4 redoing what I'd lost. The good thing about this was that I realised how important shapes and curves are in making a head - making sure the lines follow each other around the face. I also had redone the ears a bit different and I think they look more like mine and less like the one in the tutorial. I had a bit of trouble with the back of the head possibly looking too square shaped - but after designing a little bit, I know this will work in my favour for the future parts. 

[Figure 39]

https://youtu.be/yXZ-HfC3JK0

[Figure 40]

[Figure 41]

[Figure 42]

[Figure 43]

 

COP - Maya Day 3

 This is my third day working on my rotoscoped Maya face. I think this went really well and I can see the resemblance to myself. I think I could improve next time by using a steady camera, possibly mounted on a tripod so that my head turn around was in line. Even though the lines matched up, I think one head was slightly tilted up more than the other, and so some alignments of the ears and eyes took some guess work - making the face seem a little longer when the two photos merged. 

After today, my next steps will be to design a creature-like form over myself. I might make this another rotoscope outcome by imitating what my book research said about the polar express - how they attempted to paint on top of the actors skin to make them look like the polar express book art style. (this didn't work for them but hopefully it will work for me as a quick design process.)

[Figure 29]

https://youtu.be/-83LwDop990

[Figure 30]

https://youtu.be/gd1gepQLfP8

COP 2 - Marvel video games (and MAF)

• Unnikrishnan, H. (2020) Marvel's Avengers - Artist Behind Kamala Khan Shares Her Story. Available at: https://www.essentiallysports.com/marvels-avengers-artist-behind-kamala-khan-shares-her-story-spiderman-mortal-kombat-esports-news/v (Accessed: 15 October 2020)
• Saad, S. (2020) [Instagram] 11, September. Available at: https://www.instagram.com/p/CE-ixMHpy7Z/?utm_source=ig_web_copy_link (Accessed: 5 December 2020)

The actress felt like she didn't have enough experience, walking in knowing nothing about the technology and feeling behind despite an actor background. She felt welcomed and it was very quick to be taught, especially when her cast members had a good background. (Quote from book about how people with no experience can get a job easier - good for my question about improving the feeling of production)

•  Schine, J. (2019) [Instagram] 30, August. Available at: https://www.instagram.com/p/B1y5N-EnHOC/ (Accessed:17th November 2020)
  

[Figure 26]

• CRYSTAL DYNAMICS (2020).  Marvel's Avengers. [DVD] PlayStation4. Japan: Square Enix.

[Figure 27]

[Figure 27] is a screen shot I took whilst playing the Avengers PS4 for myself. At this point in time, the game was about 2 weeks old, and was getting many complaints about everything from crashes to character actions and to glitches in the polygons of the character models. After this, lots of patches started being made for the game and continue to release weekly. With them continuously adding so much to the game, it brings more bugs. This one in particular was during an automatic character outfit change. This is the first time in the game Captain America is supposed to wear a version of his iconic cowl - however mine did not fully process his cowl - showing the shadow effects of the cowl but keeping cap's hair and blacking out the edges of the headgear. 

This shows that though Marvel has been advancing in motion capture throughout their films, their latest released project (at the time of starting this project), Marvel's Avengers, was not so up to date - despite having worked perfectly in the Ps4 Spiderman game (and seemingly in the newest Miles Morales these last few days.)

• INSOMNIAC GAMES (2020). Spider-Man: Miles Morales. [DVD] Playstation5. California: Sony Interactive Entertainment. 
• Manchester Animation Festival (2020) [Making It Manchester]. Manchester (on zoom livestream). 18th November - 30th November 2020.          Speaker was David Barton from Cubic Motion in Manchester. 

Miles Morales

• 18 months
• Covid 19 - they couldn't have the motion capture actors on a stage, so final stages of animation relied a lot on animators and distributing tech between the production team.
• Only Cubic Motion's 2nd time doing body motion capture and animation. 

Other

• TREYARCH (2020). Call of Duty: Black Ops Cold War. [DVD] PlayStation4. California: Activision. 
• Cubic sent their actors basic motion capture cameras and dot markers so they could record their own facial test during the covid-19 pandemic. Cubic then took a lot of effort turning this low quality mocap to make it match the rest of the 4K game. 

[Figure 28]

• Raw Technologies
• Cubic started using mocap that animated the movements of the actor in under two milliseconds, and producing this on a screen with a basic render. This allows for 'no human interference' and 'raw technologies' which they found unique. 
• They have used this in gaming conventions and live events to allow interaction  between the audience and their characters. 
• These technologies are also used in the industry to show the production team how the CGI characters will interact with the human actors, such as the mice in the new Witches.
• Witches (2020) Directed by R. Zemeckis. [Film]. United States: Warner Bros. Pictures. 

COP 2 - Rotoscoping a face (my face), MAYA practical

Day 1 - Reference photos

[Figure 22]

It took a long while for me to take photos where my head was straight and angled in the same/similar direction. This wasn't my first attempt, as I had originally started the project with two references where every feature lined up perfectly, but you could see my eyebrow on the other side of my nose and it messed up the main centre structure of the face when I started modelling. 

Day 2 - Centre of face

[Figure 23]

The method I plan on using is using one plane to create the entire head, using extrusion. this should help prevent mesh disturbances as I witnessed last year through merging objects. In [Figure 23], i used the plane and stretched it to the height of the face and used it to make all the curves of the face in the side view. Here I decided to use the symmetry tool to make the face equal.

Day 3 - Beginning to form the jaw

[Figure 24]

[Figure 25]

https://youtu.be/LCv3K8lvpFY

So far, I think my improvements for the next day will be smoothing out the cheeks. I will do one trying this through moving vertexes, and again using the smoothing brushes which I practiced with over the summer. I think on day 2, the face has started to look like mine - with the exception of any asymmetrical features like my nose.  

 

Wedding background and Final Polaroid

 6th November

After discussion with my group, they said that their idea for the photo would be a portrait, stood inside an archway just on the steps of the cathedral. This is what I came up with combining my thumbnail designs, attempting to split the red/brown, and the blue/grey colour palettes with the indoors and the outside. To make this easier for Ayesha, I have done most of the perspective, I just need her to redraw over this in her own style, and fix anything she thinks looks incorrect. I will then add the characters over the top. 

12th November

I decided to try and take a background off of Ayesha's plate, so we thought me taking the wedding background would be best, because it's not as significant and therefore won't be as obvious if it's not 100 percent accurate to Ayesha's style. 

WWW - I think by looking at Ayesha's reference, I was able to add more details in to my original design, which made it look less blank. I also think the more muted colour palette helps bring together the reds and the blues better. 

EBI - I struggled with her style and thin linework. Even though I was essentially tracing my own perspectives, this took a lot longer than anything I've attempted so far in this project. 

We discussed removing colour to show the background like in the reference but we decided to just keep everything muted as a compromise, because removing to a bare background in say the main living room where it's covered in wallpaper wouldn't look right, and we want the backgrounds to be consistent.  

13th November

WWW - With a bit of tweaking on the colour palette of the characters, making them darker to fit the sunset, I think the character really fit well in to the picture despite the style contrast that our group wanted. I'm glad that my research in to both the characters and the backgrounds paid off and feel coherent. 

EBI - Designing clothing isn't my strongest suit, as for Sandy I mostly found inspiration in Ayesha's character designs. For the father, I used the cape that I designed him in originally, but for the mother, I essentially just made up the dress, with a medieval inspiration to them, as based on the windows and pillars in my background research, and the laces on her casual dress. I think using hints of whites between both of the characters did help set them apart from the background, as there isn't white used anywhere else. 

Test Animations (Lilith Dances)

 9th November, Harmony had a crash period so this was on FlipaClip on phone. Original idea for sandy was a rock and roll punk style dance

• WWW - I think the arm movement and placement look natural. I got a lot of practice in with an overwatch contest submission in which the characters hand did the same twirling motion. I also like the tail rotation and follow through, especially how it links to the characters butt
• EBI- I'm not overly happy with the tongue action, but as this wasn't done in harmony, if the team prefer this dance, which so far they do, I will have to redo this one in harmony anyway. 

10th November - Technician got Harmony running again

• Dance drawn in the storyboarding, inspired by Phineas and Ferb style dancing. 
• WWW-  I like the consistency of the body shapes in this one, especially considering the whole body is moving, unlike the first one. But that comes with using better software. I think the horns are hard to keep consistent and it worked well in the head turn as well as the jumps. 
• EBI - the tail looks a bit stiff, it needs more follow through on the turns. 
• I need to import a colour swatch in to Harmony to keep the colours consistent to the original. 

Family Photo

• WWW - I think my storyboard sketch was quite detailed and so it was quite easy to create the actual photograph once my group said they were happy with the pose and layout. I think improving the baby's eyes to be more like Sandy's was a good call, and also make the pupils larger to be like a baby's wide eyes. I also improved the mouth so it is more demonic with the uwu cat shape. The main change was that I added the father's amulet from his original cape design around Sandy's body, which I think links together the first two photos quite nicely, as it shows their wedding. 
• EBI - I think the pose was rather difficult to figure out because of the height dynamic between the mother and father. Charlie clearly wanted the father holding both of them in an embrace, but the best I could manage were two  supportive and gentle touches, and the head leaning in for a little intimacy. 
• Between both the wedding and the family photo, my personal feelings towards love and family did make this difficult and I had to strongly rely on my group's opinions and my reference images over my personal ideas and emotions. 

Wedding Background Research

Using my research, I tried to think of some quick thumbnail backgrounds for the wedding photograph. I think that with the strong reds in all of our characters, the navy theme with red lighting seems to be the best way to maintain the red theme whilst also sticking to the idea of weddings and funerals typically being in a white/grey/black palette - keeping the navy closer to black. I like the idea that they all reflect the supernatural, with demons being from the underworld and therefore having the wedding in underground buildings. I also took inspiration from other parts of Corpse Bride as well as the circle of trees in The Nightmare Before Christmas, to create the top right drawing - looking in to the Corpse Bride's muted and grey washed colour palette and the spooky, supernatural, autumnal vibe we have been having now during Halloween. 

These haven't been discussed in our group yet so i will update this post when i have some more feedback

Character Tutorials for 2D animation

Lilith

Sandy

I tried to create the characters out of lots of basic shapes to make the animation process as easy as possible for Naomi and Ayesha. i also had to think about how large the limbs needed to be for Charlie's puppet work, and how easy it would be to replace mouths and eyes if he wanted to use replacement animation. I think the main thing to remember is that the characters all have either human, demon or mixed features, and it's difficult not to mix them up between the characters

 - such as the nose types (pointy, demon nostrils, or both), 

or fingers (3 pointy demon, 4 pointy Sandy, 5 human Mum and Therapist)

 

Study Task 5 - Images, Examples and Theories (2)

[Figure 21] is my triangulation poster, based on the points made in [Figures 18-20] - put in order of how important I think my points are. As my marvel points seem to have my largest interest, and my greater amount of possible outcomes, I thought that was the best place to put at the top and begin to branch out from. My main goal was to link my points until I ended at my introduction that I wrote, even if I may change it. I think started with the more worded and factual aspects of medicine and advancements in technology gives me more ways to branch out and end up at my final conclusion and outcomes. 

I think with my original layout from part 1, I was able to find a way to organise my research so that I could argue a personal opinion (Mocap actors are forgotten about unless they also provide the voices). A public opinion among a large portion of the animating community (rotoscope is cheating). And also a personal animators opinion (which Hulk did it better - which I found and was released to YouTube  after my own research in to the evolution itself through the ILM documentaries. )

[Figure 21]

Film References so far:

• Hulk (2003). Directed by A. Lee [Film]. United States: Universal Pictures. 
• The Incredible Hulk (2008). Directed by L. Leterrier [Film]. United States: Universal Pictures.
• The Avengers (2012). Directed by J. Whedon [Film]. United States: Walt Disney Studios Motion Pictures.
• Avengers: Infinity War (2018). Directed by J. Russo, A. Russo [Film]. United States: Walt Disney Studios Motion Pictures.
• Avengers: End Game (2019). Directed by J. Russo, A. Russo [Film]. United States: Walt Disney Studios Motion Pictures.
• Avatar (2009). Directed by J. Cameron [Film]. London: 20th Century Fox. 
• The Polar Express (2004). Directed by R. Zemeckis [Film]. United States: Warner Bros. Pictures.
• Jurassic Park (1993). Directed by S. Spielberg [Film]. United States: Universal Pictures. 
• A Christmas Carol (2009). Directed by R. Zemeckis [Film]. London: Walt Disney Studios Motion Pictures. 
• Guardians of the Galaxy (2014). Directed by J. Gunn [Film]. United States: Walt Disney Studios Motion Pictures. 
• Toys (1993). Directed by B. Levinson [Film]. United States: Baltimore Pictures

Study Task 5 - Images, Examples and Theories

Backwards planning, from a final topic paragraph to my introduction. 

[Figure 18]

[Figure 19]

[Figure 20]

Trying to order my essay to start thinking about how to do the triangulation poster. I know where I would like to end, with the break down of how Marvel have used the advancements in motion capture in the last two decades to evolve their characters, starting with Hulk 2003, and ending with End Game. Possibly also brining in the slight failure o the new Avengers game on ps4. I want to end with this because I know it's my best discussion to create a final outcome from, as there was a lot that ILM learnt from their large process in the films. I also think ending by zoning in on one company will narrow down my focus and show that I had a process throughout this topic. [Figure 18]

What concerns me most at this point is how I will present my essay, as I think this is all too factual and there aren't many visuals to show as most of my research either came from a book or actual movie analysis. 

To add to this list, I think it would be good to do a few smaller practical tasks, such as trying to show the failed process of the polar express by adding a filter of a paint style over a person's face. 

As tech oriented as this topic is, motion capture is not mocap unless it is 'human driven', and so I need to make sure that I talk as much about personal experience of the actors and how it affects people, at the same time, or possibly more so than the tech advancement itself. This structure helped me to take out some of the tech facts that I know wouldn't have helped my case.