Character and Narrative: Study Task 2 - Lip Sync Test

Character and Narrative

Study Task 2 - Animated Lip Sync

• This week we were task to produce a simple lip sync animation using Adobe After Effects to a chosen one of the provided clips. In class, I produced the lip-sync with the provided Phoneme mouth, as a test and then once I had gotten the hang of the idea, I produced my own mouth and character for the audio. I decided to try and use as minimum as possible frames and mouth shapes, reusing some shapes for L sounds, for also N sounds. This made it easier to edit to understand how the software worked. 
• It additionally tested my timing, as I don't usually produce animation with limited frames.
• Here are my notes and the Dope sheet I filled;

Dope Sheet

• I decided to use the time remapping feature I had learnt to try and add some movement to the character, again, with limited frames. I tried to make the emotions match the audio clip, however it was difficult to tell exactly what was implied and I left this to interpretation.
• Overall, the lip sync could be a lot smoother and I think that some of the frames I used for the mouth doesn't work for every sound. I will make note of this in the future when I do lip syncs.

Here is the final clip:

Character and Narrative: Storytelling through Sound

Character and Narrative

Storytelling through Sound

• After completing the animatic, the seminar on storytelling through sound was particularly helpful in helping me improve the non-diegetic track which is playing over our animation. Despite this, I thought that I'd done well with creating more of an ambient track, which doesn't drown out the sound effects applied on top. I used the Ukulele, bongos, marimba and further percussion as part of the track to reflect the tropical landscape which Teddy lives.
• The soundtrack could be greatly improved and when I showed this to the group they suggested removing some of the percussion and adding more unnatural audio to the sound effects, which Afnan will be editing.

The soundtrack work in progress can be heard here: 

Character and Narrative: Title Sequence and Backgrounds

Character and Narrative

Title Sequence and Backgrounds

• This week we had a lecture on Title Sequence design, which looked at a variety of title sequences and how we could incorporate them as part of the narrative itself. Here are my notes on title sequence design, which can be implemented into our work:

• As part of work on the background, we wanted to explore some colour schemes in our group, and also decide how we could use one image for panning, such as in the introduction. I used the book 'The Color of Pixar' again, for inspiration on this. Which can be found through a flip-through video here:

• From looking at the way Pixar had done this technique, we thought that using orange, warm tones for the background would help with mood. In addition to this, using cooler tones for the shadows and sky. This would be a part of the title sequence.

Context of Practise 2: Study Task 5

Context of Practise 2

Study Task 5 - Writing an Introduction

• After creating a prototype question, I created a brief research proposal and summary of the question and research I had done so far. Here is the initial summary and plan:

• The task was then to produce an introduction, using the summary and a series of questions, from Estudio. I decided that I would like to make the written work of my project in 3rd person, to make it simple and consistent throughout the essay. In addition to this, I added some triangulated sources in the introduction, to briefly explain the practical importance of the visuals and how it is used in concept art, setting up for my practical response. The introduction is as follows:

Proto-Question:

How important are aesthetics in creating atmosphere and effective narrative in 2D and 2.5D video games?

“Visuals have become far more important,” according to Concept Artist for 2D Platform game, Ori and the Blind Forest (2015), Simon Kopp (2015), when referring to the aesthetics and visual appeal of 2D video games. When creating atmosphere in 2D and 2.5D video games, Art Directors (those who have full control over the visuals and narrative of the project) have to not only explore visual style, but additionally understand the use of sound design and mechanics of the gameplay. The aesthetics of a game can be established in the concept art stage, where stylistic choices can be made to enhance and drive the narrative the director is trying to convey. Concept designer, Urschel, J (2017), who had previously worked for Ubisoft and LucasArts, states that concept art is, “understood as the visualisation of ideas which currently only exist as written words, or thoughts, in someone’s head.” When exploring the visual aesthetic for 2D Metroidvania game, Hollow Knight (2015), artist, Ari Gibson, created a series of images exploring the character ideas and produced promotional material for public-funded Kickstarter campaign (Figure 1 and 2). Therefore, the impression created of the initial thought process is transferred throughout the production of a game (or product), which then determines the overall style conveyed for the narrative process. A practical and analytical response to the process of creating atmosphere can be explored by a focus on specific atmospheric games and producing a practical outcome from the findings. Through the exploration and analysis of atmospheric video games, researching interviews, video processes and understanding psychological responses to certain aesthetics, would provide the information required to produce an immersive environment for players. This research will focus on 2D-Platform Adventure games, Hollow Knight (2017), Ori and the Blind Forest (2015) and Inside (2016).

Sources for the Concept Art:

Figure 1:

Gibson, A. (2015) Hollow Knight Concept Art. Available at: https://www.rockpapershotgun.com/2015/09/30/hollow-knight-concept-art/ (Accessed 28th October 2019)

Figure 2:

Gibson, A. (2015) Hollow Knight Promotional Art. Available at: https://www.rockpapershotgun.com/2015/09/30/hollow-knight-concept-art/ (Accessed 28th October 2019)

• I think that the introduction could be improved by re-phrasing a few of the sentences, so it flows a little better and makes more sense to someone reading it without previous knowledge.

Character and Narrative: Animatic

Character and Narrative

Animatic

• After Rachel produced the initial draft of the storyboard and worked on the refined storyboard, I then produced an animatic from this. Instead of using images from the storyboard, I redrew each shot, to then time key poses correctly. I had a bit of trouble with this, as Photoshop was having rendering issues and so I have to re-export the animatic several times, to get the timing right.

This is the drafted storyboard:

• This initial export was this:

Then, because the timing was too fast, I went back over the file and adjusted the timings of some shots in the middle and this was the version, without sound. Then, I sent this file to Afnan, who would be editing the sound for the animatic and the final animation.

Character and Narrative: Researching Aesthetic

Character and Narrative

Researching Aesthetic and Style

• Alongside some of the concept work I had been producing, I needed to research aesthetic and visuals for childrens' animation, such as how the animated style used in the 1930s was developed and influenced.

• I made notes on my research and findings here:
• Using Animation: The Global History, by Maureen Furniss, I was able to make detailed notes to help with my concept work.

• The research helped to not only develop the initial narrative ideas to be then made into a storyboard, but it also helped for further research into the visual styles used in Disney, Fleischer Studios, Warner Bros. and the influences of physical and verbal comedy into animated shows.

Furniss, M. (2016). Animation: A Global History. New York: Thames and Hudson.

Context of Practise 2: Study Task 4

Context of Practise 2

Study Task 4: Images, Examples and Theories

• This week, in order to develop our research for our "proto-question", the task was to produce a research poster, triangulating everything that I had looked at so far and draw comparisons and conclusions from the information. This included comparing the research to how it relates to my question and understanding key concepts from the information I had found.
• The written analysis is here:

• I was looking at exploring aesthetics from a production standpoint, then explore it for the visual and narrative purpose in video games. This could then lead me to explore the process of creating mood in video games, through sound, game-play and interaction with other characters. This can link to creating immersive experiences, despite limitations with the media the production team decides to use.