This week, we explored two important aspects of Unreal Engine 5: Virtual Production and Sequencer, both of which play a key role in creating high-quality cinematic content.
1. Virtual Production
Virtual Production (VP) combines the physical and digital worlds, allowing real-time interaction with virtual environments. It uses tools like Sequencer, VCam, and Take Recorder for smarter recording and enables real-time editing and VR-based scene scouting. Everything from recording to editing and post-production can be done directly within Unreal Engine, streamlining the entire workflow.
2. Sequencer
Sequencer is Unreal Engine’s non-linear editing tool used for creating, editing, and managing cinematic sequences. It supports workflows like master scenes with multiple cameras, nested sequences for non-linear editing, and collaborative editing for large teams. Sequencer makes it easy to create both film-quality cinematics and in-game cutscenes.
3. Translating Film Concepts into Unreal Engine
Unreal Engine recreates traditional filmmaking elements in a virtual setting. Stages, sets, and props are built as levels and sub-levels, while cameras and lights work like their real-world counterparts. Dynamic effects are achieved using tools like Niagara, making the transition from physical to digital production simple and effective.
In the second week of our exploration of Unreal Engine 5 (UE5), we delved into UE5
1. Lighting and Environmental Improvements
UE5 introduces tools like the Environmental Light Mixer, Directional Light, and Volumetric Clouds. These features allow developers to create realistic lighting setups and control environmental effects efficiently.
2. Quixel Bridge Integration
Quixel Bridge allows easy import of assets directly into UE5 using drag-and-drop. It supports textures, 3D models, and characters, including MetaHumans, making asset integration fast and straightforward.
3. Nanite Virtualized Geometry
Nanite improves handling high-polygon 3D models by automatically managing detail levels (LOD) and reducing rendering overhead. This is especially useful for creating complex, highly detailed scenes.
4. Lumen for Dynamic GI and Reflections
Lumen provides tools for real-time global illumination and reflections. Developers can control lighting effects such as mesh distance fields and hardware ray tracing for more realistic visual results.
5. Virtual Shadow Maps
UE5’s virtual shadow maps offer dynamic, real-time shadow rendering that works well across different scales. This replaces older shadowing techniques, improving both quality and workflow efficiency.
6. Advanced Modeling and UV Tools
With built-in modeling tools, UE5 allows users to edit, adjust, and create 3D meshes without relying on external software. The updated UV tools also make texturing more precise and convenient.
7. Worldbuilding Innovations
Features like World Partition and Level Instances help manage large scenes by organizing assets into sections. Data Layers allow for testing variations in design without duplicating content.
The idea behind this mechanical heart was to combine the look of industrial machinery with the form of a human heart. It represents the cold and oppressive nature of a city. Inside the heart, there are pipes, gears, and various mechanical parts. Each of these elements symbolizes the pressure and restrictions that the city places on individuals. This heart is not only the city’s power source but also a symbol of its emotionless and mechanical operation. The goal of the texturing process was to express this feeling of coldness and oppression visually.
To achieve an industrial look, I used dark gray and black as the base colors. The metal texture was created with a combination of shiny and rough areas. This contrast made the surface feel more realistic, showing how light reflects off polished parts while worn-out areas stay dull. Scratches, rust, and dirt were added to make the heart look aged and heavily used, as if it had been operating under pressure for a long time. These small details made the heart feel more grounded and believable as part of a tough industrial environment.
The glowing red parts of the heart added a sense of technology and life. The cracks and joints emitted a red light, representing the energy flowing through the heart. This also created a strong contrast with the dark base, making the heart look more striking. The glowing effect was made using an emissive texture, with a gradient that fades outward, giving the impression that energy is leaking from inside. The red glow not only emphasized the technological aspect but also added a cold and dangerous feeling, which fit well with the oppressive theme.
For the pipes and gears, I used the same metallic textures as the main body but added small adjustments. The pipes were given a slightly greasy and dirty look to show their connection to the heart’s inner workings. The gears were textured to feel heavy and solid, with a shiny surface to show their strength and durability. These details helped make the structure of the heart more believable and added more layers to the design without making it feel too chaotic.
I drew this Planning based on my understanding. Planning was made based on the reference of the walking cycle
Processing
The key to a walking cycle is the loop from one contact pose to the next. In the contact pose, the character’s legs are almost straight, and the center of gravity is in a balanced position. In the subsequent transitions, the most critical intermediary actions are Up and Down, where the character’s center of gravity reaches its highest and lowest points, respectively. At the lowest point, the front foot is fully grounded and bearing the weight, while the back foot has just lifted off the ground, with bent knees adding a sense of weight to the character. At the highest point, the front foot pushes the body forward, and the back foot swings to its highest position, giving the movement a light and fluid feel.
In this project, I designed and built a “mechanical heart” as the core power source of a dark, industrial city. This heart isn’t just a machine; it’s the “pulse” of the world, symbolizing a cold and controlling force. Here’s a breakdown of my modeling process and design ideas.
Concept
The idea for the mechanical heart combines industrial machinery with the form of a human heart. I wanted it to convey a sense of coldness and oppression. The heart is filled with pipes, gears, and various structural parts, each symbolizing the pressure and confinement the city imposes on individuals. This heart is not only the city’s power source but also a representation of its unfeeling operation.
Process
For modeling in Blender, I started with basic shapes like cylinders and spheres. Then, I used Boolean operations to merge, cut, and layer different shapes, gradually forming the heart’s main structure. This approach made it possible to create a complex, layered look that feels both compact and detailed, capturing the industrial style I was going for.
After building the main structure, I added various pipes and connectors around the heart. These details make the mechanical heart feel more realistic and three-dimensional. Every pipe, gear, and part is carefully placed to show that this machine is not only complex but also vital to the city, as if each component plays a role in maintaining the city’s cold, relentless pulse.
To bring the mechanical heart to life, I added a skeletal structure to the model, which allows for easier animation. By adding bones, I can control specific parts of the heart and create subtle movements, making it appear as if it’s “pulsing” or “breathing” in a mechanical way.
The finished mechanical heart has a complex, industrial look. Every detail symbolizes the city’s control and oppression. It beats at the core of the city, representing the loss of humanity in this world. Through this model, I want to express a sense of “anti-human” coldness, making the viewer feel the loneliness and helplessness the main character experiences in this environment.
In this project, I created a dark, fantasy-inspired city. The main character arrives by bus to this rainy, gloomy place, where the streets feel empty and cold. I want to give the audience a sense of isolation and heaviness. This city feels both real and dreamlike, like it’s a surreal space that reflects the main character’s inner world.
In this fantasy world, I added a giant keyboard and screen on purpose. These oversized objects aren’t random; they symbolize the influence of technology on life and add a surreal feeling to the scene. This design choice makes the city feel familiar yet strange, like the main character could be in a dream or a virtual world.
The design of Bus stop
In the main character’s journey, the bus stop represents a short moment of pause, like a place where he can take a breath while searching for hope and direction in this dark world.
The bus stop has a cool, gray tone that matches the gloomy city style, but I added subtle lighting to give it a touch of warmth. In the constant rain, the bus stop is the only shelter, symbolizing a fragile but important place of safety. The never-ending rain brings a sense of pressure, making the brief shelter at the bus stop feel even more valuable.
Next to the bus stop, I added some old items that match the city’s worn-out style, like an old bicycle, a broken advertising board, and damaged trash cans. These details make the bus stop look a bit rundown, representing the decay and loneliness of the city. The bus sign shows blurred, dreamlike routes, hinting at the uncertainty and mystery of this world.
Creation Process: Techniques for the Rainy Atmosphere
To create the rainy atmosphere, I set up a dynamic weather system that makes rain fall and reflect across the scene. The ground looks wet and slippery, and I carefully adjusted the lighting to highlight the gloomy, rainy weather. The goal is to make the audience feel like they’re really in this constantly wet, dark city, making the atmosphere more immersive.
Character in the Scene
In this gray city, the main character wears a bright yellow raincoat, making him stand out. Yellow is the only bright color in the scene, symbolizing hope and warmth, and it reflects the character’s inner strength. This strong contrast draws the audience’s attention to the character and uses color to show a positive feeling, suggesting that he is holding onto himself in this heavy, oppressive world.
In animation, authorship can be hard to define. Some animations are made by big teams, like Disney movies, where many artists work together. Other animations are made by just one person, especially in independent films. Wells explains that animation can be “Textual” or “Extra-Textual.” Textual authorship means you can see the creator’s style and ideas in the film itself. Extra-Textual means the creator’s influence goes beyond the film—maybe through a studio’s brand or in the way people think about animation in general.
Walt Disney is a great example of Extra-Textual authorship. Disney didn’t draw everything himself, but his vision shaped every Disney movie. People around the world recognize the “Disney style,” even though it’s the work of many artists. Wells also talks about Ray Harryhausen and Caroline Leaf. Harryhausen was known for his stop-motion animation in live-action films; he added his own touch even though he worked in big studios. Leaf, on the other hand, worked alone and controlled everything in her films. She’s more of a classic auteur, where one person shapes the whole project.
Reading this made me realize there’s no one way to define “authorship” in animation. Animation can be a big team project or the work of a single artist. It can feel personal or like part of a larger brand. Now, when I watch animation, I think about who created it and how their style or ideas show up. It gives me a new way to appreciate the art of animation.
In animation, music does more than just fill the background—it often becomes a key part of the story, shaping both the mood and the personalities of the characters. For example, in girl band anime like MyGO!!!!!, music isn’t just an extra feature; it’s central to how we understand the characters’ journeys and their emotional struggles. Music brings out their personalities, their dreams, and even their challenges, creating a powerful connection with the audience.
As I read through different sources, I found that many scholars discuss how music drives storytelling. Jerrold Levinson’s work, Music as Narrative and Music as Drama, explains how music has a unique ability to convey emotions and drama without words. This idea is especially relevant in MyGO!!!!!, where instrumental music and lyrics express what the characters are feeling even when they can’t say it aloud.
In Animation and Sound, Mikhail Lebedev highlights how sound and music enhance the emotional depth of animated characters. This makes sense when we think about MyGO!!!!!, where each song reflects a different part of the characters’ lives and personalities, making the story more engaging. Mahathir Ahamad and Nor Hakimah Mohd Rozali’s study on music’s influence in animation also shows how music can shape the audience’s emotions, which is something I see every time a powerful track plays during a key moment in the anime.
Through these readings, I’ve realized that music is not just an addition but a narrative force in itself, especially in animations that focus on music-driven themes. It shapes the way we see the characters, feel their emotions, and follow their journeys. For me, this is what makes shows like MyGO!!!!! so impactful and memorable.
The content of this week is about mise-en-scène, which is the arrangement of the scene. It includes everything in the frame and how these parts work together to tell a story. In animation, mise-en-scène is very important because every detail is designed from scratch.
Setting and props
One key part of mise-en-scène is setting and props. The background, objects, and even small details tell us something about the story and characters. For example, a messy room might show that the character is not organized or feels stressed. A clean and colorful room could mean the character is cheerful or careful. The setting shows the mood before the character even speaks.
Lighting and color
Lighting and color are also important. Lighting influences the looking of the character, for instance, warm and friendly or dark and mysterious. Animators use these choices to make us feel a certain way about the scene without saying anything.
Character
Character positioning is another key part. Where characters stand in a scene shows their relationships. If one character is higher up or in the center, it might mean they are more powerful or important. Body language and facial expressions add even more, showing us what each character feels.
Screen direction
Finally, I learned about screen direction. This means that characters and objects should move in the same direction across different shots. This makes the action easy to understand.
Now, when I watch animation, I can see how carefully each part is chosen to guide my attention and tell the story.
An animated documentary is a special type of film that combines animation with documentary features, going beyond traditional documentary styles. It has three main qualities: it is made frame by frame, based on real events or topics instead of fiction, and is recognized as a documentary by creators, viewers, or critics. This style keeps the purpose of showing reality while using animation to express ideas in new ways. For example, Waltz with Bashir uses animation to show the director’s memories of the Lebanon War, mixing personal and factual perspectives to create strong emotions.
The legitimacy of animated documentaries has been debated for a long time, mainly focusing on the issue of “authenticity,” a key principle of documentaries. Traditional documentaries rely on a direct connection between images and reality, known as the “indexical relationship,” which ensures credibility. However, animation is created by artists and designers, making it an indirect and symbolic form of expression. Critics argue that this may weaken the documentary’s authenticity, as it could prevent audiences from directly engaging with the events and may be seen as subjective or artistic interpretation rather than a faithful representation of facts.
On the other hand, supporters believe that animation not only preserves but expands the possibilities of documentaries. Animation can depict things traditional filming cannot, such as inner emotions, psychological trauma, historical memories, and abstract concepts. For instance, A Is for Autism uses animation to present the subjective experiences of people with autism, offering audiences a window into their inner world. Furthermore, animation’s symbolic and creative nature can simplify and clarify complex issues, making it easier for viewers to understand the depth and meaning of the topic.
From an academic view, the legitimacy of animated documentaries can be explained with theory. John Grierson’s idea that “documentaries are the creative treatment of actuality” means documentaries are not just about copying reality but using creativity and storytelling to show deeper truths. Animation adds to traditional documentaries with its unique style, especially for topics like memory, emotions, and personal experiences. For example, Tower uses animation to show the memories of survivors of the Texas University shooting. It protects the survivors’ privacy while helping viewers understand the emotional impact of the event.
Animated documentaries also have clear advantages in sensitive situations. For example, when dealing with identity, trauma, or history, animation can protect people by hiding their identities. Its visual style also works across different cultures and languages, making these films more accessible to global audiences. For viewers, animated documentaries provide a deep and immersive experience, showing not just events but also emotions and feelings.
Although the innovative format of animated documentaries is widely recognized, its legitimacy remains a topic of debate. Some critics argue that the symbolic nature of animation can lead to over-interpretation or emotional bias, which might blur the factual boundaries of documentaries. On the other hand, this format offers a powerful tool for exploring complex or hard-to-visualize topics. For example, Ryan uses animation to depict the life of artist Ryan Larkin, visualizing his inner world, mental state, and creative inspiration. This showcases the unique strength of animated documentaries in combining artistic expression with storytelling.
Animated documentaries are a unique medium that combines artistry and authenticity, with great potential for future development. Although some debates remain among scholars and audiences, the innovative value of animated documentaries in exploring reality and expanding forms of expression is undeniable. This format allows documentaries to go beyond traditional filming techniques, opening new ways to understand reality. It serves as both a reflection on the past and an exploration of the future possibilities of documentaries. As animated documentaries are increasingly used to address social issues and for artistic creation, their legitimacy may no longer be a point of contention but instead become an essential part of the documentary field.
PART II RESEARCH
Persepolis
Persepolis (2007) is an animated documentary based on Marjane Satrapi’s graphic novel of the same name. It is an autobiographical story told from the main character’s point of view. The film shows the social unrest during the Iranian Revolution and the unfair treatment and oppression of women. It explores issues of gender equality and women’s growth.
Animation is used to show how women were oppressed under strict rules, focusing on gender inequality and loss of freedom. The black veil in the film symbolizes the struggles of women. The simple visuals help explain the complex history and emotions, making it easier for viewers to understand. The story also shows the character’s struggles with cultural differences between the East and the West. Animation adds emotional depth and makes the story more powerful. This film reflects big social issues through a personal story and pushes beyond traditional documentary styles, showing how animated documentaries can explore important topics in a unique way.
Reference
Grierson, J. (1933) Documentary and the creative treatment of actuality. First presented in 1933, this concept has been foundational in documentary theory.
Satrapi, M. (2000) Persepolis. Pantheon Graphic Library.
Folman, A. (2008) Waltz with Bashir. [Film] Sony Pictures Classics.
Webb, T. (1992) A Is for Autism. [Film] Channel 4 Television Corporation.
Maitland, K. (2016) Tower. [Film] Kino Lorber.
Landreth, C. (2004) Ryan. [Film] Copper Heart Entertainment.
Satrapi, M. and Paronnaud, V. (2007) Persepolis. [Film] Sony Pictures Classics.
