My presentation of critical report Music in New Generation Girl Band Animes
Monthly Archives: December 2024
Seminar 06 Screen Senses
Avant-Garde and Sensory Exploration
Avant-garde art emphasizes experimentation, not only in technique but in exploring the unconscious and uncharted territories of perception. Modernist abstraction and the avant-garde sought to synthesize sensory experiences and reflect the impact of emerging media like photography, cinema, and radio.
Synaesthesia and Isomorphism
Synaesthesia involves cross-sensory experiences, such as associating colors with sounds. somorphism explores structural similarities across different sensory modalities, leading to complementary aesthetic experiences.
Visual Music and Animation
Pioneers like Oskar Fischinger, Len Lye, and Norman McLaren integrated dynamic visual languages and choreographed graphics with music. Animation music ranges from tightly synchronized soundtracks to more freeform applications, exploring sound-image relationships.
Sound and Image Interactions
Concepts like diegetic/nondiegetic and synchronous/nonsynchronous sound shape the narrative and sensory experience of media. Acousmatic sound (sound without visible sources) and its implications for media theory are discussed, with references to Michel Chion’s analysis of sound and its contextual dynamics.
Media Evolution and Theoretical Context
Marshall McLuhan’s tetrad of media effects examines how technologies reshape culture by enhancing, obsolescing, retrieving, or reversing elements of prior media. Debates focus on the sensory dominance of oral versus visual cultures and the role of sound in temporal and spatial perception.
Economic and Technological Influences
The early sound era in cartoons highlighted challenges like rudimentary sound mixing and synchronization, influencing artistic decisions and technological evolution.
Seminar 05: Representation
Disney’s Influence
Disney has been the biggest name in animation for years. Its movies set the standard for what people expect from animated films. While Disney has made amazing stories, it often focused on American and European ideas, leaving little room for other voices and styles to shine.
The Problem with Stereotypes
In the early days of animation, many characters from different cultures were shown in unfair or overly simple ways. These stereotypes made people laugh but hurt how some groups were seen. These images stuck around for a long time, shaping opinions in negative ways.
A Shift Toward Change
As time went on, more people began asking for better representation in movies. Studios started making an effort, with films like Moana and The Princess and the Frog featuring characters from diverse cultures. These were steps forward, but there’s still room for improvement.
Behind the Scenes: Who Tells the Stories?
Having diverse characters on screen is important, but so is having diverse creators behind the scenes. For a long time, most animated films were made by white men, which affected the stories being told. Slowly, more people from different backgrounds are getting the chance to lead, bringing fresh perspectives to the industry.
New Stories, New Voices
Recently, some animated projects have focused on intersectionality—showing how race, gender, sexuality, and disability overlap. Movies like A is for Autism explore disability in new ways, while shows like The Boondocks take a deeper look at African-American culture. These stories show how animation can tell more complex and real-life experiences.
Going Beyond Token Characters
True representation means more than just adding one minority character to a story. It’s about creating real, relatable characters with depth. For example, LGBTQ+ characters are starting to appear in animation, but there’s still work to make their roles feel natural and meaningful.
The Road Ahead
Representation in animation has come a long way, but there’s more to do. Telling stories from different perspectives makes movies and shows more interesting and real. We should support diverse stories and push the industry to keep growing because when everyone’s story is told, we all benefit.
Week 2 The Elements of Art
1. Line
Think of a line as a moving dot. It’s one of the most basic yet powerful tools in an artist’s kit. Lines can define shapes, guide your eyes, or even create a sense of movement. Whether it’s a clean, straight edge or a messy, jagged stroke, lines set the stage for everything else in a piece
2. Shape and Form
Shapes are flat—just length and width. Forms, on the other hand, add depth, making them three-dimensional. A circle becomes a sphere, a square becomes a cube, all thanks to light and shadow. By mastering the balance between shape and form, artists can make their work pop off the page.
3. Texture
Texture is all about how things feel—or at least how they look like they’d feel. Think of rough bark, soft clouds, or glossy metal. Even in a painting, where you can’t physically touch anything, texture can create a powerful sensory experience.
4. Value
Value deals with how light or dark something is, and it’s key to creating contrast and depth. Without value, everything would look flat and dull. Highlights, midtones, and shadows work together to create the illusion of light and space.
5. Color
Color isn’t just about making things look pretty; it’s about setting the mood. Red feels intense, blue feels calm, and combinations can tell entire stories. Understanding things like complementary colors or how to create tints and shades can help you make the most of your palette.
6. Space
Space is what gives a piece breathing room—or makes it feel crowded. It’s the area around and between objects, and when used well, it creates depth. Techniques like perspective and overlapping can make a flat canvas feel like a window into another world.
Showreel & Presentation
Week 11: Plolish of The Jumping
This week I adjusted the curve effect and completed the final polish.
Week 10: Blocking of The Jumping
Based on the references I shot last week, I did some Blocking this week. First, I chose a camera angle, which is very important, otherwise there will be deviations when adjusting certain actions accordingly.

LosING: Week11 Post-Processing
After the main content is basically completed, the post-production and finishing work will be carried out
Add richer sound effects to the project in pr


At the same time, some post-processing effects that are impossible or difficult to implement in UE are further processed in After effects.

LosING: Week10 Rendering
This week’s content is to integrate all the previously produced content, including the arrangement of shots and the adjustment of rendering parameters.
Sequencer
This week’s work mainly involves the proficiency of sequencer. Arranging the transition of shots in advance can greatly reduce the burden of post-editing, and it also takes less time to correct errors.






Rendering
After some testing on the LUTS and adjusting the rendering parameters, the export was carried out



LosING: Week9 Character and Animation
Character

The characters in this animation come from the game Little Nightmares. Because the character design fits the atmosphere of the animation very well, I made some modifications to the characters for use in my animation.


The original model has a face, but I think this would make the character too concrete and not abstract enough, so I deleted the face of the character. This way the look and feel might be more similar to Omen in Valorant.


Most of the models I found lacked a good rig, so I re-rigged the models in Blender and added features to different parts to facilitate animation.
Animation
The animation part is mainly divided into two categories. One is the general action that needs to be reused frequently in many scenes, and the other is the specific action for a specific scene, which is only used once.
General action
In this project, there is only one common action, the walking cycle. For the walking cycle of the intestine, I made a single-segment loop and then called a function for an infinite loop.


Special action
For special actions, refer to the reference and follow the process. In this part, I export specific scenes from UE to animation software for animation production, which will be very convenient for future animation adaptation.




To UE5
Export the animation to FBX format and import it into UE5. After testing, drag it into the timeline for deployment


