“Where do you put the camera?” –> What is this scene about? –> What do you want to say?
1.Focus 2.Focal Length 3.Geometry in Frame 4.Camera Movement
Week2
THE “SWBST” Somebody: The Protagonist (Who is driving the story?) Wanted: The Motivation (What is the internal/external goal?) But: The Conflict (What is the “Antagonistic Force”? ) So: The Action (What choice does the character make to solve the “But”?) Then: The Resolution (What is the new “Stasis”? How has the world changed?
Quick way to create overlap by shifting keys in Graph Editor
The build-up of force before an action. All movement comes from forces. Famous quote: “Any animation consists of anticipation, action, and reaction.”
Acting in Animation: Objective (goal), be specific (why the character moves), personality, thought process (let it breathe). “Acting is reacting.”
Squirrel reference
Tailed_Anime
Ultimate Version
Acting_JuiceBox
Golden Pose
Week4
Basic Polish in Animation
Adujust Tail animation.
Juice Box_Acting_Polishing
Golden Pose_Franky
Week5
Walk Cycles & Weight Distribution
Course Record
Everyone’s walk is unique (influenced by character, age, gender, health, etc.).
Walking = “a process of falling over and catching yourself just in time” (The Animator’s Survival Kit pp. 102–163).
Center of Gravity (COG): Check balance by drawing a vertical line through the middle of the pose — equal positive space on both sides = balanced.
Strong silhouette and line of action in poses.
Pose-to-Pose Animation basics: Blocking key poses first, then connecting them.
Tools: Animation pickers (Studio Library, AnimSchool Picker, MG-Picker) to speed up posing.
Walker
Ultimate Version
Pose to Pose
Week6
Critique previous weight shift assignments + introduction to Basic/generic Walk Cycle
Core walk structure: Key Poses (Contact poses), Breakdowns (Passing position), Extremes (highest/lowest points of the arc).
Walk Cycle
Pose to Pose Polish
Reference
Hand Pose
Week7
Week8
Body Mechanics Planning + Final Walk Critique
Key Points
Body Mechanics = the mechanical foundation of any shot (weight shifts, foot placement, posture, balance). This is the first layer; acting comes second.
Strong emphasis on Reference! — Analyze hips, weight center, arcs, timing, etc.
Planning tools: Paper sketches / 2D animation tests for poses and timing + video reference.
Everything is a ball — use proxy methods (basic shapes) to test timing and movement.
This project was developed as part of the LCC × ETC Audi Ring brief, which asked students to respond to Audi’s brand identity through the reinterpretation of the iconic four rings.
Rather than treating the Audi rings as a static logo or a purely graphic element, I approached the brief as an opportunity to explore how Audi’s core values—control, precision, and engineered performance—can be communicated through motion, environment, and narrative.
My background is primarily in CG, game-style trailers, and cinematic previs, so instead of following a conventional branding template, I chose to lean into what I am most familiar with: dynamic storytelling, physical systems, and camera-driven experience. This project therefore takes the form of a short cinematic concept, closer to a game or CG trailer than a traditional brand animation.
The initial concept for this project focused on Audi’s engineering identity, treating the Audi Ring as a result of precise mechanical coordination rather than a purely graphic symbol.
Visually, this approach was grounded in industrial and mechanical imagery—rotating components, circular assemblies, and internal systems working in synchronisation. The narrative structure moved from micro to macro: close-up views of individual parts gradually assembling into a coherent system, eventually resolving into the four rings.
This version aimed to communicate:
Precision engineering
System-level coordination
Audi Ring as an engineered outcome
While this approach aligned well with Audi’s technical reputation, I began to recognise that it sat very close to existing brand CGI references, particularly those already used in official Audi F1-related content. As a result, the concept risked feeling familiar rather than exploratory.
PlanB- Snow, Skiing, and Control Under Extreme Conditions
This prompted a shift away from mechanical interiors toward the environment in which control is tested.To make it as an animation rather than an advertisement-like video.
Snow became a key conceptual pivot.
Snowy terrain represents an extreme condition with low friction, reduced visibility, and constant instability—precisely the type of environment where Audi’s engineering philosophy, particularly around control and traction, becomes most meaningful. In parallel, skiing operates on the same physical principles: balance, momentum, surface interaction, and continuous micro-adjustments to maintain control.
In this iteration:
The Audi vehicle demonstrates engineered control within an unstable environment
The skier, moving in coordination with the vehicle, represents human-scale control
Control is framed as a shared system rather than a single object
Rather than constructing the Audi Ring mechanically, the rings emerge through movement, trajectories, and circular paths formed by motion in the snow. The logo is revealed as a natural consequence of the system in action, not as a predefined visual starting point.
Plan Decision
At an early stage of development, we explored two different directions for the Audi Ring brief. The first concept focused on internal automotive systems — energy generation, torque distribution, suspension response — gradually revealing the Audi Rings through mechanical synchronisation. The second concept moved toward a more cinematic and environmental narrative, combining snow terrain, motion, and human–machine interaction to express control under extreme conditions. Personally, I was more drawn to the second direction. It aligned more closely with my interests in cinematic CG and game-style storytelling. The idea of building tension through environment, movement, and atmosphere felt more natural to my way of working. I was particularly interested in exploring how control could be expressed through unstable conditions rather than contained mechanical space. However, after discussion as a group, we decided to move forward with the first concept. The skiing direction would have required complex character animation, environmental simulation, and a larger production scope. Given our timeframe and current resources, we realised that attempting this might reduce the overall finish and clarity of the project. Choosing the mechanical system approach was therefore a practical decision. While it was not initially my preferred direction, it offered an opportunity to focus more deeply on rhythm, structure, and controlled motion. Instead of relying on narrative and character performance, the challenge became how to communicate engineering precision through minimal, deliberate movement.
At this stage, I began translating the mechanical system concept into a structured visual sequence. The storyboard focuses on the transition from isolated mechanical components to coordinated system movement, eventually resolving into the Audi Rings.
The sequence opens with a gear assembly, presented in partial motion. Rather than immediately revealing a complete system, the camera isolates fragments — bolts, plates, circular components — to establish a sense of construction and mechanical precision. The motion is subtle at first, allowing the viewer to register the materiality and weight of the parts.
The second stage shifts attention to a larger circular housing structure. The camera begins to move more deliberately, emphasising alignment and connection. This introduces the idea that individual elements are not random, but structurally interdependent.
The third and fourth scenes focus on the piston and crankshaft system. I intentionally slowed the camera movement here. The vertical piston motion contrasts with the rotational movement of the crankshaft, visually demonstrating how linear force is converted into rotational energy. This mechanical translation becomes an important thematic bridge in the sequence. In the middle section, the motion becomes more rhythmic. The pistons operate in synchronisation, and the camera gradually pulls back. This shift from macro detail to wider framing allows the viewer to perceive the system as a whole rather than as isolated parts.
The final transition moves outward from the internal assembly to the wheel structure. The wheel hub becomes a central circular form, and through controlled camera dolly-out movement, the circular geometry becomes more pronounced. By this stage, the visual language has already established repetition, symmetry, and rotational balance.
The Audi Rings then emerge not as an imposed graphic, but as a natural continuation of the circular logic developed throughout the sequence. The fade-out and fade-in transition reinforces this transformation from mechanical reality to brand identity.
While the concept itself is mechanically driven, the storyboard process made me more aware of rhythm and pacing. The challenge was not in showing complexity, but in deciding what to omit. Each frame had to communicate motion direction, camera intention, and structural clarity without overloading detail.
Through drawing the storyboard, I realised that the strength of this direction lies in restraint. The circular forms are introduced gradually, so that by the time the Audi Rings appear, they feel structurally inevitable rather than decorative.
Previs
After finalising the storyboard, I began building the previs for Scene 1 and Scene 2. This was the first moment the project shifted from drawing and planning into actual spatial and temporal construction.
Unlike the storyboard, which exists as static frames, the previs immediately exposed problems of pacing, scale, and camera logic.
In Blender, I began blocking out the motion by animating the outer components moving inward along the X-axis. The movement is restrained and slightly eased in the graph editor to avoid abrupt mechanical snapping. I wanted the motion to feel engineered rather than dramatic.
I continued blocking out the animatic for Scene 1 through Scene 5. At this stage, the focus shifted from simple assembly motion to more complex mechanical behaviour, particularly in the piston and crankshaft system.
The main challenge during this stage was constructing the constrained motion of the piston. Unlike the earlier shots, where components mainly moved along simple translation paths, the piston system required a hierarchical relationship between several moving parts. The piston itself moves vertically, while the connecting rod follows a rotational motion driven by the crankshaft. This meant that the motion of one component was dependent on the transformation of another. Understanding and organising these dependencies quickly became cognitively demanding. At first, I struggled to manage the hierarchy of objects while keeping the motion mechanically believable. Small mistakes in the parent relationships or pivot points would immediately break the motion, making the system behave in unexpected ways. To resolve this, I simplified the structure by introducing empty objects as control points. These empties acted as intermediary references that allowed me to separate rotation control from positional constraints. Using Blender’s tracking and constraint tools, I was able to link the piston movement to the rotation of the crankshaft while maintaining the vertical sliding motion inside the cylinder.
By the end of this stage, the animatic for S1–S5 was functioning as intended, allowing me to review the overall pacing and transitions before moving further into refinement and visual development.
Lighting and Rendering Development
After completing the animatic, I moved on to the lighting and rendering stage. At this point, I began to notice that the earlier scenes (S1–S2) felt visually too simple and lacked depth.
To address this, I introduced additional gear motion into the scene. This not only enriched the visual complexity but also helped reinforce the mechanical rhythm of the sequence. At the same time, I adjusted the metal material properties, increasing the reflectivity to give the surfaces a more polished and expressive look. These changes made the scene feel less static and more visually engaging.
Dealing with Black Background and Visual Separation
As I continued working on the later scenes, I encountered a recurring issue: the use of a predominantly black background often caused the subject to visually blend into the environment.
This lack of separation made it difficult to clearly read the form of the objects, especially in areas where the model itself contained darker materials.
To solve this, I introduced volumetric fog into the scene. The fog helped create depth by subtly separating foreground and background layers. In addition, I applied rim lighting to the main subject. This edge light enhanced the silhouette of the object, making its form more readable against the dark background.
This combination significantly improved the clarity and atmosphere of the scene, while maintaining the intended dark visual tone.
Camera Movement and Cinematic Control
For the camera movement, I aimed to achieve a smooth and controlled motion that complements the mechanical aesthetic.
To do this, I used a circular rig (ring structure) to constrain the camera’s path. This allowed me to generate a consistent and fluid orbiting motion around the subject without introducing unwanted jitter or irregular movement.
After establishing the basic motion, I further refined the shot by adjusting the depth of field and focal length. These changes helped guide the viewer’s attention and added a stronger sense of cinematic depth to the render.
As a result, the final shots feel more dynamic and visually layered, rather than purely functional.
During the development of Scene 6, I attempted to incorporate a dolly zoom (Hitchcock zoom) effect to enhance the visual transition toward the final reveal.
Initially, I tried to achieve this effect manually by keyframing both the camera movement and focal length. However, no matter how I adjusted the values, the result felt visually inconsistent. The relationship between camera distance and focal length did not align correctly, causing the perspective to feel unnatural and slightly disorienting.
At this point, I realised that the dolly zoom is not simply a stylistic camera move, but a precise mathematical relationship between distance and field of view.
To solve this, I began exploring Blender’s driver system. Instead of manually keyframing both parameters, I used a driver to link the camera’s focal length directly to its position. By introducing a simple expression, I was able to maintain a consistent framing of the subject while the camera physically moved through space.
This approach allowed the dolly zoom effect to behave correctly and automatically, producing a much more stable and convincing result.
A title’s primary functionis to define precisely and concisely the topic. A legitimate secondary function is to stimulate the reader’s interest. Two-part titles are common: a main title to stimulate interest and somehow imaginatively ‘encapsulate’ the topic, and a subsidiary title to specify or focus the topic.
The Emotional Power of Cinematic CG Trailers in Game PromotionSub: How Visual Storytelling Shapes Player Anticipation and EngagementQuestion How do game CG trailers employ cinematic visual language and narrative techniques to convey emotion? How do these visual and emotional strategies influence players’ interest and anticipation towards characters or game content? What role does emotion-driven visual design(CG/PV) play in player psychology and consumption behaviour?
Project Rationale
Consider and explain why you wish to research the subject? A short introduction to the topic, why it is of interest, and why the research is worthwhile. Clarify the central question you are addressing, what will your argument, (your hypothesis) be? (Max 200 words)
In the contemporary game industry, CG promotional videos have evolved from simple marketing tools into emotionally engaging visual art forms. Through cinematic language, narrative rhythm, and atmospheric lighting, these trailers allow players to emotionally connect with characters and story worlds within seconds. This research aims to investigate how these emotional mechanisms operate, revealing the balance between artistic storytelling and commercial intent in CG promotion, and offering insights for future visual design and marketing strategies in the game industry. Editing
Keywords and keyword phrases used for research
Experiment with connecting key words and phrases relevant to your topic and research objectives on academic sites. You can optimise key words/phrase searching by reading around your topic.
Cinematic CG trailers; Visual storytelling; Emotion design; Player engagement; Game marketing; Lighting; Composition; Anticipation; Consumer behavior
Situate your proposal in relation to key texts, issues and debates.
Produce a draft review establishing and explaining the views of relevant authors and how they can support the presentation of your argument to answer the research question. Use Harvard referencing (Max 300 words)
The “cinematization” of CG imagery has become a central topic in visual culture studies. Bordwell and Thompson (2010) emphasize that film narrative depends on the organization of visual information and shot design, while Jenkins (2004) highlights how contemporary games adopt cinematic structures and pacing.In addition, Calleja (2011) argues that emotional immersion lies at the heart of gameplay, often shaped by audiovisual cues.
Identify any materials or data that will be examined
Include names of material examples to be examined such as films, artworks, games, events, directors and artists, or any other relevant media. sources that might provide pertinent data or statistics to support research objectives. All material should be referenced using the Harvard Style
League of Legends – “Awaken” (Riot Games, 2019) Genshin Impact – “Teyvat Chapter Storyline Preview” (miHoYo, 2020) Final Fantasy XIV – “Endwalker Trailer” (Square Enix, 2021) … Overwatch Cinematic Trailers (Blizzard Entertainment, 2016–2023)
Bibliography
List recognised academic books, journals and articles, that you may use to support the research you wish to undertake. This list should be referenced. Harvard Style – For guidance on how to reference correctly (using your UAL login) See appropriate examples on https://www.citethemrightonline.com/
Bordwell, D. and Thompson, K. (2010). Film Art: An Introduction. Jenkins, H. (2004). Game Design as Narrative Architecture. Calleja, G. (2011). In-Game: From Immersion to Incorporation.
feedback
Had a tutorial today, and honestly, it was a total wake-up call. I thought I was on the right track, but my supervisor really pushed me to dig deeper. I’m feeling a mix of “information overload” and “total clarity.” Here’s the breakdown of what I need to fix:
My supervisor told me my thesis is still too descriptive. I’ve been spending way too much time explaining how CG trailers are made. I need a punchy Argument.
The big question was: “What does the reader gain from this?” It’s not enough to just analyze pictures. I need to show that my research changes how we understand game marketing. I’m basically arguing that these trailers use mini cinematic storytelling to manufacture hype through emotions rather than just showing gameplay mechanics.
Movies vs. Games: The Rivalry. I need to stop looking at game PVs (promotional videos) in a vacuum. I should compare them to film trailers and animated shorts.
The key difference: Film trailers usually build narrative suspense (what happens next?), but game PVs are all about emotional immersion. I need to dive into this comparison in its own chapter.
Loving the “Micro-narrative” concept! This term is a lifesaver. It perfectly fits my theme. It’s all about how these short, condensed videos manage to deliver a full emotional arc in just a couple of minutes. This is going to be the backbone of my analysis.
The “Editing” Blind Spot. I realized I’ve been obsessed with the visuals (lighting, composition, etc.) but totally ignored the rhythm. My supervisor was right—the “feel” of a trailer comes from the cut. I need to incorporate editing rhythm into my framework. It’s about the heartbeat of the video, not just the pretty frames.
Fixing that “vague” title. My old title about “shaping anticipation” was way too “flowery” and hard to prove. How do you even measure anticipation, anyway?
The pivot: I’m changing it to something more concrete, focusing on how cinematic editing and micro-narrative structure create emotional immersion. It’s much more “academic” and, more importantly, actually provable.
Week6:Mise-en-Scène
Analysis_Snow White (1937)
Scene: The the old witch gives Snow White the poisoned apple.
Settings & Props
The scene takes place at the doorway of a dark, shadowy cottage.
Props like the basket, apple, and window frame symbolize temptation and entrapment.
Costume, Hair & Make Up
The witch’s dark cloak and grotesque face contrast sharply with Snow White’s bright, innocent appearance, visually symbolizing the conflict between good and evil.
Facial Expressions & Body Language
The witch’s hunched posture and sneaky gestures oppose Snow White’s open, trusting movements.
This contrast exposes the tension between innocence and malice.
Lighting and Colour
The witch stands in bright light while Snow White remains in shadow.
The red apple glows between them, symbolizing seductive danger.
The color contrast enhances the tension of the scene.
Positioning of characters/objects within the frame
The witch stands on the left foreground, while Snow White is positioned deeper in the frame on the right.
The medium shot emphasizes their physical and emotional distance.
The window acts as a natural frame, directing focus to the apple between them.
What role does the shot choice (Cinematography) play in the scene?
In this scene, the shot choice enhances tension and psychological symbolism.
The use of medium shots and a slightly low angle makes the witch appear dominant while Snow White seems smaller and more vulnerable.
Analysis_Anomalisa(2015)
The scene uses an overhead (high-angle) shot, positioning the viewer as an observer looking down on the characters. Their bodies are symmetrically arranged on the bed, creating stillness and emotional distance.The two characters lie side by side but maintain a small physical gap, symbolizing emotional separation despite physical proximity.And about the color,it use the warm, dim lighting creates a soft yet claustrophobic atmosphere. The muted color palette reflects monotony and emotional emptiness in the characters’ lives.
36mins Screen scene from Rebecca
Can you describe the relationship between the characters?
It seems the relationship between the two characters is tense and unequal.Their interaction( such as character’s position and eye contawct…) reflects a power imbalance and emotional intimidation.
How do we know what the relationship is?
We can tell from their body language and eye contact. The RightLady sits and looks up, while the LeftLady stands, looking down at her—creating a clear hierarchy. Their contrasting expressions—nervous versus calm—immediately signal dominance and submission.
Can you describe how the mise-en-scene works together to tell us what the relationship is?
The mise-en-scène emphasizes their power dynamic through composition, lighting, and spatial arrangement. BlackCloth woman stands on the right, slightly elevated and brightly lit, while the LightCloth woman sits lower and in shadow. The lamp and flowers in the foreground act as visual barriers, suggesting her confinement and unease. The vertical composition and lighting contrast visually communicate dominance and fear.
Week5:Social and Political comment in animation.
I finally got my head around the Auteur Theory. Basically, it means the director isn’t just a manager; they are the “soul” of the film. Think of Hayao Miyazaki—you can tell it’s his work just by looking at one frame. That’s what we call a signature style. It’s cool because it shows that animation is a serious form of art, not just a product made by a factory.
We talked about Abstraction, and it’s way more than just weird shapes.
Formative Abstraction is like “visual music”—using colors and rhythms to make you feel something directly.
Conceptual Abstraction is like a riddle. It uses symbols to talk about big, complicated stuff (like memory or social issues). It’s not about what you see, but what it means.
This was the most “mind-blowing” part of the day. Who knew animation could be used for Documentaries?
It’s actually perfect for telling stories where there’s no footage—like someone’s internal dreams or traumatic memories (like in Waltz with Bashir).
Also, animation is a “powerful tool” for Politics. Because it looks “cute” or “innocent,” it can hide subversive messages or criticize the government without being too obvious. It’s like a “sugar-coated” way of talking about serious social problems.
Animation is a “distinctive vocabulary.” It’s not just for kids; it’s a way to “make the absurd plausible.” Whether it’s a political protest or a deep abstract feeling, animation lets us see things that a normal camera just can’t catch.
Week4：The Avant Garde. Experimental, abstract constructs and analysis
Today I explored the concept of the “Auteur” in animation. An auteur is more than just a director; they are the “primary creative force” whose personal style and thematic preoccupations are evident across their body of work. I learned that:
Creative Control: An auteur often maintains significant control over the script, visual style, and even technical innovation.
Signature Style: Just like authors have a unique voice, animation auteurs use “distinctive visual languages” to tell stories that reflect their personal worldview.
Moving beyond traditional character-based narrative, we looked at how “Formative Abstraction” uses the basic elements of art to create meaning.
Non-Objective Elements: Instead of recognizable characters, this approach focuses on line, shape, color, and texture.
Visual Music: I found the idea of “visual music” fascinating—where the timing and rhythm of abstract movements evoke emotions just like a musical composition. It challenges the 5-Act structure by prioritizing “sensory experience” over a linear plot.
The most important takeaway today is the synergy between these concepts. An Auteur might use Formative Abstraction (unique shapes and colors) to express a Conceptual Abstraction (a deep philosophical idea).
Week3:The Language of film; Editing
I learned that a successful narrative isn’t just a random series of moments; it must handle its medium competently to present a “chain of events” that engages the audience and reaches a satisfactory conclusion. For character-based stories, the actors must perform “convincingly,” and it is the director’s job to extract that potential to communicate the story effectively.
The Five-Act Structure: This is widely used in novels and films.
Act 1 (Exposition): Setting the time and place while introducing characters and conflict.
Act 2 (Rising Action): The protagonist encounters obstacles and complications.
Act 3 (The Climax): The turning point with the highest suspense.
Act 4 (Falling Action): Wrapping up plot twists and unknown details.
Act 5 (Resolution): The final outcome where the plot is revealed and lessons are learned.
Week2: Visual culture and Language
•Animation was starting to catch the eye of the modernist movements who stated ;
•Cartoons—which rebuff so ferociously painterly realism and filmic naturalism—are set-in a universe of transformation, overturning and provisionally.
A blend of medieval fantasy and realistic lighting, emphasizing emotional atmosphere and natural illumination.
Time：Late Afternoon
Region：Interior + landscape
tower room perched on a cliff, where the girl gazes out toward the vast open sky.
Weather：Soft Fog and Dust—— Good weather
Description：Camera slowly tracks in from behind the girl, revealing she before a big window. The light pours in, illuminating floating dust and the soft movement of her dress. Suddenly, a dragon’s shadow glides across the clouds — reflected faintly on the glass. She lifts her head slightly, eyes shimmering with longing.
Reference/Mood board
2D Concept：Composition
Draft
Draft Version2
2D Concept：Storyboard
Character Design
Name: Aeralith
Race: High Elf
Meaning:
Aera -> air, sky
lith -> existence, form
Character Tone:
Reserved
Observant
Quietly Rebellious
Noble but Restless
Though calm and composed on the surface, Aeralith carries a quiet restlessness within.Her longing for the world beyond is not simple curiosity, but a subtle rebellion against a life already decided for her.As a child, she listened to stories told by her grandmother — tales of vast skies, distant lands, and dragons that once crossed the heavens freely. Those stories became the first cracks in the walls that confined her world.
The dragon represents motion, freedom, and choice — everything her world denies.To Aeralith, it is not merely a creature of legend, but a promise of another way to exist.
