Jasmine Masters, BA (Hons) Computer Animation Arts, UCA Rochester.

In this exercise I looked to create a basic run cycle using methods learnt from doing the prior walk cycles. This included using a squish method on the parts that are down (bent knees) and stretch on the parts that are up (straight knees), as well as ensuring the follow through and timing in the short can be as accurate as possible.

Maya Brief 2 - Set Design: ... by Jasmine Masters on Scribd

Maya Brief 2 - Set Design: ... by Jasmine Masters on Scribd

'What if?' Metropol... by Jasmine Masters on Scribd

For this exercise, I looked to expand on my Basic Walk cycle animation and create a 'silly walk' using my actions as reference ready for when I animated it in Adobe Animate. Reference video: Getting the positions before shifting animated frames to put the walk cycle into real time. Silly walk in real time.

Black Narcissus (1947) was adapted from a novel written by Rumer Godden and was then altered to be a film that was then directed, and screen written by Michael Powell and Emeric Pressburger. The film displays themes of religion, underlying ideas of exoticism and female sexuality as suggested by Tim Dirks “Black Narcissus (1947) is a provocative, dazzling and rich-colored psychological-religious and sexual drama” (Dirks, 2019) that is then portrayed through the convents nun characters as they begin to dwell into personal pleasures whilst residing in the isolated environment the Himalayan mountain side provides. (Fig 1. see below). Fig. 1 Black Narcissus (1947) [film poster, Advertisement] At the time Black Narcissus (1947) was made, World War Two (1945) hadn’t long ended and women being able to work in the workforce had risen since they had been a key part in the war effort; particularly in the labour force as the more men were required to go to war – this included farmer

Maya Brief 2 - Set Design: Applying the UV’s. by Jasmine Masters on Scribd

For the 'What if?' Metropolis project that follows on from Invisible Cities project. I looked to refine my establishing shot so that when it comes to 3D modelling parts of the scene I have as much information as possible to create an informed model combined with a matte painting. For the Matte painting however I will look to improve the current background; which will then allow the model to standout from backdrop. I chose this particular shot because I found it will enable me to use Maya in way that will allow me to broaden my Maya skillset and knowledge; as well as form organic and geometric shapes as seen with the spherical observatories and free flowing buildings that reside within the city. I would also think it'll be interesting to see the outcomes of some of the buildings when put into a 3D space. Process of making. Completed Outcome.

1. Warm up - 5 Minute Quick gesture sketches. 2. 15 Minute Sketch - Focus on tone. 3. 15 Minute Sketch - Focus on tone. 4. 10 Minute Sketch - Shade and Tone. 5. 25 Minute Sketch - Use of Colour & Direction of the muscles/flow (arrows). 6. 20 Minute Sketch - Colour - flow & Shape.

For this exercise I looked at a typical walk cycle of a person, with this I found it difficult to judge the placement of the leg and arm placements. This possibly due to one leg staying in one position and the opposite moving from one place to the next; when I then started to bring the frames closer together my understanding became more coherent of how to animate a walking character. To achieve the characterized walk sequence I used a curved upper line as well as having two parallel lines to keep the correct height of the person. Through the addition of the curve it allows the character to stand straight when at its full height and shrink when the characters knees bend, creating a 'strutting effect when put into real time. Getting the leg and arm placements right - Creates a gliding Effect. Putting the walk sequence into real time.

Production Designer by Jasmine Masters on Scribd

From the creative mind that is Tim Burton comes Edward Scissorhands (1990); directed by Burton and co-written with Caroline Thompson as screenplay writer, together they create a suburban world full of prejudice and curiosity as well as create a visual full of   “special effects and visual tricks to create sights that have never been seen before.” (Ebert, 1990). Within the feature Burton appears to focus mainly on exaggerating suburban life in a small town ranging from the 1950’s to the 90’s and looks at various stereotypes and common archetypal themes that take place in a skewed and distorted society. (Fig 1, see below) Fig 1. Edward Scissorhands (1990) [Film Poster, Advertisement.] Within the feature film, Burton explores the theme of suburbanisation heavily through the mise-en-scene of the street layout, depicting very uniform houses that vary in pastel colours to show individuality of the occupants living there (Fig 2, see below). Through doing so it creates this

Maya Brief 2 - Set Design: The Barn ‘Pipeline’. by Jasmine Masters on Scribd

1.  5 Minute Quick Gesture Drawings - Pencil. 2.  15 Minute Sketch - Pencil. 3. 15 Minute Sketch - Pen . 4. 20 Minute Sketch - Pen and Pencil. 5. 30 Minute Sketch - Pencil.