This week, we started working on the Advanced Animation Shot (Blocking) assignment. The focus was on creating the first clear version of the animation, where the most important poses and acting choices had to be visible. At this stage, the animation did not need to be smooth or polished yet, but the main idea of the performance had to make sense.
For my blocking, I focused on placing the key poses first. This helped me understand the structure of the shot and where the important acting beats needed to happen. I tried to think about the character’s intention, body language and timing, instead of immediately focusing on small details. The goal was to make sure the movement was readable from the start.
This stage was useful because it showed me how important strong poses are in animation. If the blocking is unclear, it becomes much harder to improve the shot later. By working in blocking first, I could test the timing and the general performance before adding more breakdowns, in-betweens and polish.
The session focused on Harvard referencing conventions and continuing the development of the thesis proposal. This was useful because the proposal is not only about having a strong research idea, but also about presenting the research in a clear, academic and properly referenced way.
A key part of the session was understanding the expectations for thesis writing. The guidelines explain that the thesis should use an appropriate methodology, cite scholars where relevant, and consult peer-reviewed texts such as academic books and journal articles. They also warn against relying on personal blogs, film reviews or YouTube as academic sources, unless they are being used for a very specific animation reference.
The session also helped me understand how to use formal academic language. The guidelines explain that academic writing should avoid emotive language, sweeping generalisations, slang and vague words. Instead, it should be objective, precise and carefully worded. For my proposal, this means I need to describe my topic critically rather than emotionally, even though the subject itself is serious and difficult.
Another important focus was Harvard referencing. The resource explains that any quotation or paraphrase from a scholar, critic, film, TV show or other source must be clearly referenced in the text and included in the reference list or bibliography. This reminded me that even when I write an idea in my own words, I still need to cite the author if the idea comes from their work.
We also looked at how to reference different types of sources. Since my project may include film, animation, images and possibly media references, it was useful to see that films, TV programmes, images and games all have different referencing conventions. The guidelines explain that films should be listed in a filmography and that the first reference to a film should include the title, director and year.
For my thesis proposal, this means I need to be organised with my sources from the beginning. I should keep a clear record of academic texts, films, animations, images and any other references I use. This will help me avoid confusion later when creating the bibliography, filmography or image list.
At the beginning of the session, we looked at different FMP projects. This was helpful because it showed how other students developed their ideas from a concept into a finished project. It also helped me understand how an experimental project can still have a clear structure, visual direction, and critical meaning behind it.
This week, we continued developing the next stage of our project by adding heatmaps to our MediaPipe setup. After successfully connecting the hand and body detection, we wanted to create a stronger visual representation of the subject’s movement and activity.
The heatmap allowed us to show where the subject was moving the most on screen. This added another layer to the project, because the body was no longer only being tracked through points and lines, but also through areas of intensity. The more movement happened in one area, the stronger the visual effect became
At the end of the session, we wrote a project statement to clarify the overall concept. This helped us define the purpose of the work more clearly. The project is not only about making an interactive visual system, but also about questioning how digital systems measure and simplify human behaviour. The system may be able to detect movement, but it cannot understand emotion, intention, or context.
This week, we worked with RealityScan, which is a photogrammetry tool from Unreal Engine. The aim of the session was to scan a real object using photos and turn it into a 3D model.
I first tried to scan my nose spray. I took photos from different angles and imported them into RealityScan. However, the scan did not work very well. The software was able to detect some of the images and camera positions, but the final result failed and did not create a clear 3D model of the object.
After that, I tried again using my Ice Tea Peach bottle. This worked slightly better, and the software was able to create more visible geometry. However, the scan still was not good enough. Because the bottle was already half empty, some parts of it became slightly transparent, which made it harder for RealityScan to read the object properly. The reflective plastic and liquid inside also made the scan more difficult.
Once the scan was generated, I used a selection tool, similar to a lasso tool, to delete the unwanted geometry around the object. There were a lot of extra pieces and messy shapes around the scan, so cleaning it up was an important part of the process
From this process, I learned that photogrammetry works better with objects that have a clear surface, strong details, and no transparency or reflection. Smooth, shiny, or see-through objects can confuse the software because it struggles to match the same points across different photos.
Overall, this session showed me how real-life objects can be turned into digital 3D models, but also how sensitive the process is. Even small issues, such as transparency, reflections, bad lighting, or not enough angles, can affect the final result.
After this, we started working on our own TouchDesigner project. Our project idea was called Data Extraction. The concept was about how human behaviour can be transformed into data. We wanted to create an interactive system where movement would be detected and converted into visual information, such as numbers, labels, graphs, and digital feedback. The idea was that the participant would appear as if they were being analysed by a machine.
We began by exploring how to use tracking inside TouchDesigner. We worked with the MediaPipe plugin because we wanted to use body or pose tracking to detect movement. We also looked at using the NDI 6 tools, as the plan was originally to bring in a camera feed through NDI. However, we had several technical issues with connecting the camera input correctly. Some nodes were not showing the image as expected, and it was confusing to understand how to connect the different operator types together.
One issue we came across was the difference between TOPs, CHOPs, and DATs in TouchDesigner. Some nodes were video/image based, while others were data based, which meant they could not always be connected directly. This made the setup more complicated, especially when trying to connect the camera feed into the MediaPipe system. We also had problems with the image segmentation and pose tracking not producing the live output we expected.
Because the NDI/camera setup was taking too much time to troubleshoot, we decided to simplify the workflow and use the webcam directly instead. This allowed us to keep moving forward with the project rather than getting stuck on the technical setup. Using the webcam still worked for the concept because the main idea was about detecting movement and translating it into data.
After switching to the webcam, we focused more on how the project could function visually and conceptually. The system would take the participant’s movement and turn it into a kind of data interface. Visually, we imagined the screen showing surveillance-style graphics, labels, metrics, and fake analysis such as “Subject Detected,” “Movement Data Extracted,”. These labels helped communicate the idea that the system is reducing a real person into simplified categories.
After completing the MediaPipe setup, we moved on to the next step: adding line graphs to visualise the subject’s movement data. Since MediaPipe was already detecting the body and hands, we wanted to translate that tracking information into a more data-driven visual layer.
We focused mainly on the hand detection, using the position values from the tracked points to create live line graphs. These graphs respond to the subject’s movement in real time, showing how the hand position changes across the screen. This helped us make the project feel more like a system that is actively analysing and collecting behavioural data.
By adding these graphs, the visualisation became more dynamic. Instead of only showing the detected skeleton or tracking points, we could now show the movement being converted into data. This connects well with our concept of data extraction, where the subject is not just being observed, but also measured and categorised through visual information.
The session focused on the next steps for progressing the thesis proposal. The resources helped clarify what needs to be developed after receiving feedback on the draft literature review, and how that feedback can guide the proposal towards a stronger final structure.
A key point from this week was the importance of checking the Turnitin feedback from the draft literature review. This feedback should be used to guide the development of the proposal, especially when refining the research title, research question, chapter structure and bibliography. The resource explains that the first step is to refine the research title or question so that it is viable and deliverable for the final research premise.
The session also focused on developing a general outline for each chapter. The resource explains that chapter topics should be organised in a logical order, with a reliable range of perspectives to create a balanced argument. It also suggests revising or expanding literary sources as the chapter topics develop. For my thesis, this means I could structure the chapters around media narratives, animated documentary, memory and trauma, and the visual strategies of stylised 3D animation.
Another important step was the research methods outline. The resource explains that this should include approaches, methods and sources beyond literature, such as case studies, interviews, exhibitions or other primary sources. For my project, this could include analysing animated films or visual examples, looking at media imagery, and connecting those references to my own FMP animation development.
The guidelines for thesis writing and referencing were also useful. They reminded us to use an appropriate methodology, cite scholars where relevant, and use peer-reviewed books or scholarly articles. The resource also warns against relying on personal blogs, film reviews or YouTube as academic sources, unless it is for a specific animation that is unavailable elsewhere.
This is important for my topic because I will be discussing war, media and civilian experience, so the writing needs to remain formal and carefully referenced. The same guidelines also explain that Harvard referencing should be used for quotations and paraphrases, and that clear referencing helps support arguments and avoid plagiarism.
This week focused on finishing the Creature Locomotion assignment and starting the planning for our next Advanced Animation Shot. The week felt like a shift from completing previous technical exercises into planning a more personal animation idea that could connect to my FMP.
On Thursday, we worked on the Creature Locomotion Polish assignment. At this stage, the aim was to refine the movement and make the creature animation feel more believable. The polish stage was important because lions have a strong sense of weight and power in their movement, so small changes in timing and body mechanics can make the animation feel much more natural. By studying real lion references, I could better understand how the legs, paws, shoulders, hips, head and tail work together, which helped me improve the overall realism of my animation.
On Friday, we started planning the Advanced Animation Shot. For this assignment, we were told that from Week 16 to Week 19 we would work on a more advanced animation shot of our choice. This week was about submitting the shot planning for review. The planning had to include the type of shot, the context, the rig being used, video references, and any rough thumbnails or blocking that could help explain the idea.
For my idea, I want to create a short pantomime / acting shot that connects to the theme of my FMP. The shot will show a young character during their morning routine, brushing their teeth in a mechanical and tired way. While they are getting ready, siren lights and sounds interrupt the moment. The character pauses briefly and notices the disturbance, but instead of reacting with fear, they give a tired sigh, as if this kind of chaos has become normal. They then put on headphones.
The main focus of the animation will be subtle acting and body mechanics. I want to work on the repetitive brushing movement, the pause when the sirens appear, the sigh, the shoulders dropping, putting on the headphones, and the character’s detached body language. I want the movement to feel emotionally numb and slightly robotic, rather than dramatic or scared.
This idea connects to my FMP because I am interested in how people become emotionally distant from violence and conflict through constant exposure to media, news and everyday chaos. The scene shows the contrast between an ordinary daily routine and signs of conflict happening around the character. Instead of showing a big dramatic reaction, I want to show desensitisation through a small, quiet moment.
Initially, I wanted to use the Ray rig, but it is no longer available to download. Because of this, I had to look for another suitable rig that I could use for my animation work.
The feedback I received was that the idea was good and possible to animate, but that I should make the shot more focused. Instead of trying to animate the whole action, I was advised to choose only one clear section. This could either be the first half, where the character brushes their teeth, reacts to the siren and sighs, or the second half, where they put down the toothbrush, put on their earphones and walk away.
This week, we explored how to create a 360° environment using an existing 3D scene. We started by downloading an environment asset from Fab. I chose a western-style map, with desert surroundings, wooden buildings, saloons, and mountains in the background.
After adding the map into Unreal, we worked with Off World Live. We added a 360 camera to the scene so that the environment could be captured in a 360° view instead of a normal camera view.
We then created a material for the 360 image. In the material graph, we used the 360 texture and connected it so it could be displayed properly. This helped us understand how a 360 image can be used inside Unreal as a material.
After that, we created a 360 HUD widget. In the blueprint, we used Event BeginPlay, Create 360 HUD Widget, and Add to Viewport, so the 360 view would appear when the project starts.
Once the HUD widget was working, we used the Sequencer to create a small animation. We added movement/keyframes to test how the 360 camera and environment could be animated over time. This allowed us to turn the setup into a short video sequence instead of only a still 360 image.
At the end, we imported/exported the sequence through Adobe Media Encoder. This allowed us to render the Unreal animation as a video file.
The final render had a visible black line in the centre, which was most likely caused by the 360 camera or export settings. This showed me that 360 workflows can be quite sensitive, especially when working with materials, widgets, and video export.
Alongside, our group worked on developing the visual direction of the project further. We looked at different references connected to artificial intelligence, data visuals, glitch effects and digital installation work. Through these references, we discussed what kind of visual style would best support our concept and make the project feel clear and engaging. This helped us make stronger decisions about the overall look of the piece and create a more unified visual identity.
A key focus of this week was the thesis proposal structure. The proposal submission date is 18th June 2026, and the proposal should explain the plan for the research I intend to conduct. The resource explains that a research proposal should show how and why the research is relevant to the field, and whether it fills a gap, supports existing research, or adds new knowledge to the academic discussion.
The proposal also needs to explain the methodology that will be used, including the tools and procedures for collecting, analysing and interpreting information. It should also consider any limitations or constraints connected to the project. This is important for my own thesis because I need to be clear about how I will use academic sources, case studies and visual analysis to support my argument.
The resource also outlined the main structure of the research proposal. It should include a research title or question, draft introduction, keywords searched, draft literature review, research methods outline, chapter outline, draft chapter and indicative bibliography. This helped me understand that the proposal is not just one written text, but a set of connected sections that show the direction of the full thesis.
The session also made me think more carefully about the introduction. The proposal introduction should introduce the topic, state the problem or question, provide context, explain why the research is necessary and show how it connects to established research. For my topic, this means I need to explain why the gap between media narratives of war and lived civilian experience is important, and why animation could be a useful way to explore that contrast.
Another important part of the proposal is the chapter outline. The resource explains that each chapter outline should identify the purpose of the chapter, the research questions driving it, the key thinkers or ideas included, and how the chapter helps answer the main research question. This is useful because it helps me see how the final thesis could be organised into clear sections rather than one broad discussion.
This week focused on continuing two main projects: the Dialogue Shot and the Creature Locomotion assignment. The week felt like a transition from research and blocking into more finished animation work, especially because the dialogue shot moved into the polish stage.
On Thursday, we looked again at Lip Sync Demo material. This was useful because the dialogue shot now needed more detailed facial animation and mouth movement. The demo reminded me that lip sync is not just about matching every word exactly, but about making the performance readable. I had to think about the jaw opening, the main phoneme shapes, and how the mouth connects smoothly between sounds. This connected back to the previous lip sync lesson, where we learned to animate the sounds rather than the written words.
We also worked on the Dialogue Shot – Polish assignment. At this stage, the goal was to finish the shot and refine the animation. Since I had already worked on the body movement, facial expression and blocking, the polish stage was about making everything feel more connected. I had to check the timing, smooth out the movements and make sure the facial performance supported the character’s intention. This stage made me realise how much small details matter in a dialogue shot, especially around the eyes, brows, mouth and head movement.
On Friday, we started the Creature Locomotion Blocking assignment. The task was to use one of the provided rigs and create a locomotion animation for the creature. We were also expected to attach reference videos and show different views of the locomotion. Even though it is called “blocking,” the brief explained that for creature animation this stage should already feel more like blocking plus, around 70% finished and splined.
I also researched several lion locomotion videos to get a better understanding of how the movement should work. This helped me observe the timing, weight, body mechanics and rhythm of the walk cycle more clearly. By looking at real lion references, I could better understand how the shoulders, hips, legs and head move together, which helped me when planning and improving my own animation.
We also had a demo on Cycle at the Spot & Walk Out, which showed how a locomotion cycle can be built first in place and then translated forward. This was useful because it showed the importance of making a clean cycle before trying to move the character through space. Even though the demo example was not a fish, the idea still applies: the movement needs to loop clearly first, and then the travel or direction change can be added.
This week, we also had to present our Fish Locomotion work. For this task, we showed the progress we had made and explained how we approached the movement of the fish. The focus was on understanding how a fish moves through water and how the body should not move as one stiff object, but more like a flowing wave.
This week, we received feedback for our TouchDesigner project idea, Data Extraction. The main concept suggested was that everything you do is turned into data. This gave us a clearer direction for the project, because it connects human movement, sound, and behaviour with systems of measurement and digital interpretation.
We were advised to research Rosa Menkman, especially her work around data, glitches, errors, and digital visualisation. Her practice could help us think about how data can be represented visually, not only in a clean or scientific way, but also through distortion, abstraction, and broken digital forms. We need to study how she gathers data and how she visualises it, so we can apply some of these ideas to our own TouchDesigner experiments.
Other possible research areas include neuroscience, Kinect, and Leap Motion. Kinect could allow us to track full-body movement, while Leap Motion could focus more specifically on hand gestures. These tools would help us make the interaction more physical and responsive. We also want to explore sound analysis, where music or voice is turned into visual data inside TouchDesigner.
