Unit 9 Reflective Journal - Lim Lin Year 2 Production Arts for Screen
For the final unit in our second year, we were given the option to choose between a film or game related project. There would be an introduction to SketchUp and AutoCAD for the film project with the final outcome being a set plan and 3D model, while an introduction to Maya and Unreal Engine is given for the game project with the outcome of a combat interaction using the game software. I chose to do the game project as I wanted to improve in 3D animation and needed to learn fundementals in Maya and Unreal Engine. As I want to enter the game industry after graduation, having knowledge in these software would greatly benefit the works I could produce in my portfolio. We were given a introduction to the basics of Maya animation through the graph editor.
After using the graph editor to animate a sphere, we then animated a walk cycle with a premade model of Homer Simpson to familiarise ourselves with using the graph editor to edit keyframes. This exercise helped to show the basics of a walk cycle which can be edited more efficeintly using the graph editor, as compared to animating in Blender, the option to select and adjust individual curves helped in creating a smoother cycle, well as learning how to adjust gradients of the curve for more fluid movement.
For the animations we would later use for the combat interaction, the AZRI model was used. After adding constraints from the hand to the sword, it was possible to create animations for combat with the weapon attatched.
Using the AZRI model, we were shown how to animate the movements needed for the combat interactions. After doing a walk cycle and idle movement, we were then shown how to animate a run cycle and sword swings.
I tried animate hair movement in the first sword swing, but did not have time to do so for the other AZRI animations.
The sword swings and run cycles were difficult to animate as I was unsure of the timing of the actions, especially on how to make the sword movement look more impactful.
For the run cycle, I struggled to make the arm movement look natural, and for the hair to move with the character's head. As such, the end result looked choppy and stiff.
In our introduction to Unreal Engine, we were shown how to use the third person template. While working on the animations on Maya, we instead used premade animations and models on Mixamo.
Using the mixamo animations, we were taught how to use blueprints and create blend spaces for character movement.
Afterwards, we were shown how to export Maya models to FBX for Unreal Engine. After importing the animations, we repeated the steps on the Mixamo models to the AZRI model.
I then downloaded the Urban Warrior model made by Marc with K.
Model: @OtyMark Rig: @kaiakim_art
Using this model, I tried animating the character movements using the AZRI model and Mixamo animations as reference.
For these animations, I tried to animate the cape behind the character as the player would only see the back view of the model for majority of the gameplay. On hindsight, I should have picked a different model for the playtest as it was difficult for the cape to move fluidly. Even with the run cycle that had more movement with the cape, the result did not look good in the actual gameplay.
We were also shown how to make an event for the player to sprint on the map by pressing the shift key, and how to use sockets with the skeleton of the mesh. The attack range can also be previewed when testing the game.
After creating the animation blend space, blueprint and montage for the warriot character, a combat test was then done on Unreal Engine then recorded on OBS.
However, even though the imported model was working in the viewport, after importing the animations, there was a glitch on the back of the model's neck. I tried to reimport the mesh and animations but was unable to remove the stretched areas.
Overall, this unit helped us to understand these industry standard software better and I was able to be more familiar with using the graph editor for animation. If I had more time, I would have tried to animate the cape more realistically as well as the other accessories. I hope to conitnue working with Maya next year as it is a powerful software that can be utilised greatly for animation, and to light and render scenes better as I was unable to do so this unit.
ESSAY:
A company I would like to work for is Fortiche Production SAS, a French animation studio best known for their animations in partnership with Riot games. It currently has three locations in France and Spain, with its headquarters in Paris. The studio was founded in 2009 and started with commercials for companies such as Panasonic and MTV. The studio’s incorporation of 2D and 3D elements continue to be shown in music videos produced for artists such as Gorillaz. It is through this creative direction that video game studios began hiring Fortiche to work on game trailers in the form of short films and music videos.
The reason why I want to work for them is because the art direction behind their trailers and music videos have been the inspiration behind my personal projects for years. I first discovered their works through the game League of Legends, as the studio has been creating animations based on the game. Recently, the company has received further recognition for the award-winning Netflix series Arcane. The show has received a critical success for both its retelling of the lore behind in-game characters, and its painterly stylisation of 3D animation. Not only has Arcane given the franchise a wider audience who discovered the characters through the show, it also pioneered a new approach in stylisation along the Spider-Verse movies. The dark and mature themes of the League franchise is also reflected in its environment and character designs which has also influenced my art style. As such, if possible, I would like to work as a 3D generalist or 2D illustrator for their productions. This relates to my overall aspirations as I would like to work in the gaming industry after graduation and would like to specialise in 3D environments.
Based on their previous job postings on both their website and LinkedIn, the company mostly advertises positions available for mid to senior level artists who already have years of experience in the industry. If I were to submit an application, it would have to be done through the “unsolicited application” section of the website. As stated on their page, the studio would require links to the applicant’s LinkedIn profile and portfolio website. The application would be directed to HR for an interview if successful, then interviews from direct managers and creative tests. The applicant is also encouraged to send a demo reel and CV that showcases their skills and experience. While it may not be possible to receive and offer from this company at my current level, I would like to try to apply for a position in the future. Aside from this company, there are also other studios such as Goodbye Kansas Studios and M2 Animation that specialise in game trailers and cinematics. As most of the companies require knowledge in software such as Maya and Houdini, I would need to continue practicing fundamentals on the software I am comfortable with such as Blender, then build on this knowledge on industry standard software, as well as working on digital illustrations that can be used for professional work.
CV pdf: Lim Lin CV.pdf
Portfolio website: https://limlin2563.wixsite.com/digitalvfxportfolio











