In my FMP, I plan to create a chase animation set in a cyberpunk city. The story takes place after Earth’s environment has been destroyed, and humanity is forced to live in limited-space, mobile cities. Due to frequent disasters, the cities move to different locations. To make transportation easier, the cities are designed in the shape of containers with buildings on the top and bottom to save space.
In a world with limited resources and a deteriorating environment on Earth, multinational corporations set their sights on interstellar immigration. With their propaganda, some wealthy individuals have already moved to other planets, but labor is needed to support the workforce and colonization efforts. The protagonist, an ordinary person, signed an unequal contract with the corporation, which secretly replaced her original body with a mechanical one. Now, her appearance is a projection based on preferences and DNA calculations, and her true body is fully robotic.
After an unexpected program glitch, she was cut off from the company’s monitoring system. She reached out to the colonized aliens and struck a deal: If she could infiltrate the company’s headquarters on Earth and steal a gene ball containing the DNA of original creatures, the aliens would rebuild her real body. Once she obtains the gene ball, she escapes the city, regains her body, and joins the aliens and other workers to fight back against the company’s exploitation.
However, my animation project will only focus on the segment where she escapes the city due to time limits.
In this shot, I tried to increase the viewer’s sense of immersion by having the character as close to the camera as Ekko is. She spins around in front of the camera and the fly machine is very close to the camera. But in fact, the character’s actions lacked logic, as if she was acting knowing the camera’s point of view.
Also because of the need to get to the camera for the flying machine, the character’s lower body had to be very close to the camera, which makes the scene a little awkward. And because it’s too close to the camera, a few frames get blocked. But the main problem is still that one of her spinning behaviours in front of the camera looks rather strange.
So George suggest me can shot in the begging when the character face to the camera, so she will not turn around, just follow the motion trail looks like below:
Also, there are speed issues. For example, when the police car and the character are about to collide, both sides slow down. George suggested that I could keep the police car from slowing down and make everything happen fast. I plan to adjust the speed this week.
So I adjust it like this:
When editing this shot, I found it difficult to replicate the 2D composition because the camera’s field of view is limited. The character needs to fold their body to fit both the aircraft and themselves into the shot at the same time.
I tried to make the character perform a spiral rotation. I adjusted some keyframes and curves, removing unnecessary keyframes so that the overall animation looks smoother than before.
Moreover, George suggested that I modify the design of the flying machine to be in the shape of a skateboard with some larger planes. That way the character’s lower body can come sideways without having to keep moving horizontally all the time. When the lower body is always facing forward but the upper body is turned sideways, the movement can be a little strange.
The third problem is that the character decelerates for a while after getting out of the way of the police car, and then doesn’t continue to fly in the same spiral direction as before. So I need to get to the bottom of this.
The difficulty with this problem is that the camera is moving at the same time to avoid the character being too small a proportion of the screen. However, when the character and the camera are moving at the same time, cranking out the proper motion trail in normal view doesn’t make the character’s position in the current camera correct. This is because both sides are making coordinate changes. I think I’ll spend some time on this part to make it look normal in camera view.
Also, the speed problem still exits. Before I followed the fast-slow-fast principle, which was simpler and rougher to deal with. After George wrote the notes for me, everything became intuitive. The changes in speed are not averaged over a whole shot, but are based on the character’s trajectory.
In this week, I change some of the order of the shots, and delete the close up shot for character’s eye. I feel the story looks more smooth and connect after I change it. Cause some of the shot gives audience anticipation to what the character will do and why she do this next. That makes the whole action more logic.
This shot I added in week 6, when George and I were discussing how to give the character a close-up, and he suggested that I could jump down an air duct, which corresponded to the episode where she was wanted by police.
I delete the shot of her eyes, and make the shot looks like the fly robot notice the police car is coming.
Then the shot is the police cars fly to her
In week 7, George suggest me she can put the ball into robot body, with the camera went down, so gives audience a signal they notice the police and prepare to escape.
As previous shot the fly robot flies down, so it create a connection of the change of the robot position.
In this week, I edit the movement of the character, Before that, I added a move where the character is about to get hit and spins around in front of the camera to avoid it, and George thought there was something weird about that, it looked like he was dancing, so I got rid of it. It did work a lot better after I removed it. I find that often I complicate simple problems and simplify complex ones.
In this week, George advice me can add a shot shows the door is almost close up, like as the first person perspective. That may make connection between this shot and next shot.
I also drew the character design for the protagonist and the concept art for the flying robot.
She is an ordinary person who has signed an unfair contract with a large corporation and is forced to participate in alien colonization. The company stripped her of her body and transformed her into a fully mechanical prosthetic to work in extreme conditions.
So her current appearance is actually a projection, which is why she has such a strong physique and can navigate through the city. This is because her real body is made of mechanical components.
After an unexpected program glitch, she was cut off from the company’s monitoring system. She reaches out to the colonized aliens and makes a deal with them: If she can infiltrate the company’s headquarters on Earth and steal the gene ball containing the genes of the original creatures, the aliens will rebuild her real body(Her appearance is a projection). After she get the ball, she regains physical body and along with the aliens and other laborers, fights against the company’s exploitation.
However, considering the workload, my animation will only include the segment where she escapes the city.
The little robot is a simple and cute character, with a screen on its face to switch expressions. However, considering the animation, the little robot might be redesigned into the shape of a skateboard.
This week, I need to adjust the narrative sequence of my shots to make each shot feel more connected rather than isolated.
I need to remove the close-up shot of the eyes and make the following adjustments to the sequence of shots 1-5：
The original sequence had some inconsistencies in continuity, particularly in how the protagonist reacts, the cut to the police car approaching, and then the close-up of the eyes. The transitions between these shots felt somewhat disjointed. Additionally, the sequence from a full-body shot to a long shot in the opposite direction, followed by a close-up, created a sense of visual confusion.
George suggested that I could show the reflection of the approaching police car in her eyes instead. I think this could be a great effect to add later in post-production, but for now, I will remove the close-up of the eyes in the previs。
Here are some shots I edited the order:
After adding the shot of placing the ball into the robot, it feels much more coherent. It also shows their reaction to the approaching police car, and then the camera moves down, giving the audience an expectation that they are preparing to escape.
In this shot, last week I tried having the character do a spin in place while avoiding the police car. She would stretch her arms to maintain balance, but I later realized this might feel a bit odd, as someone fleeing wouldn’t perform such flashy movements. It also felt unclear what she was doing.
So, I’ve decided to simplify this shot of her flying out：
In the past few weeks, I have already translated the storyboard into previs shots. So in the coming weeks, my work will focus on adjusting the pacing of certain shots, refining the transitions between them, and fine-tuning the camera shakes.
In this week’s feedback, my shots mainly have the following issues:
1.The original close-up shot lacks dynamism
So I need to add more movement. George suggested that I could have the character jump down from the ventilation duct and make the small machine’s actions more lively. I think I need to consider the interactivity of each character more carefully
2. The issue of flying speed
In Shot 6, the character notices the police car chasing her and quickly jumps onto the flying robot to escape. While reviewing the animation, I realized that the pacing of her flight needs some adjustments. Currently, her movement is too uniform, but to make the animation feel more natural and dynamic, I should adjust it like fast-slow-fast.
The action shouldn’t follow a fixed linear speed. She should jump quickly, then experience a brief slowdown, allowing the audience to see her adjusting on the flying vehicle before accelerating into a high-speed escape. In Shot 6, the middle flight segment feels too fast, so I need to slow it down slightly to enhance the pacing.
While researching animation references, I found that when accelerating, the character’s upper body may lean back slightly, while during deceleration, they tend to lean forward. This principle will help refine my character’s animation, making her movements more physically believable.
3. Distance from the Camera
In this shot, George suggested that I try bringing the character closer to the camera to create a sense of urgency and immersion while also establishing a visual contrast between the character in the foreground and the police car in the background.
After the character escapes, the movement should follow a golden spiral trajectory. However, I encountered some challenges here because both the camera and the character are moving, making it difficult to maintain this trajectory. On the other hand, if the camera remains stationary, the character would appear too small on the screen due to the large scale of the scene and the fast movement of all elements.
So I added a shot where the character moves closer to the camera：
4. Refining the character’s pose on the flying robot
In some shots where the pacing has been finalized, I need to refine the character’s poses, such as adjusting her center of gravity. When she turns, her entire body might rotate accordingly—her feet and the flying vehicle would apply force in the direction of the turn, while her body would lean into it.
5. I need to add an ending.
In the final shot, she escapes the city and look back. However, this feels end suddenly. George suggested adding a shot where she sees the distant landscape ahead and then flies toward the sun. I think this is a great idea because the natural scenery creates a strong contrast with the enclosed cyberpunk city, making the ending feel more complete and less abrupt.
In this week, I add more camera shake and time for each shot, to ensure the chasing speed is not too slow or too fast, this is the previs shot I have edited this week:
Personally, I would like to make everything interesting, I wanted to create a feeling that the protagonist was being chased by a police car but was coping with it easily. But it’s hard for me to mold her movements to react to the fact that she’s a seasoned master in a short period of time. I think I need to refer to some movie and TV works and do some research on 2D pose draft. What kind of moves do confident criminals like to do and what habits do they have.
In this shot, I add a close up shot to introduce my character between the news broadcast shot and the city shot:
Actually, I personally had planned for it to be like in one of those anime where the villain starts out standing inside the shadows and the news is broadcasting her wanted posters. Her initial appearance was with her back to the audience to add some mystery. Because my idea at the beginning was to have the audience focus on the cyberpunk urban setting. I intended for the main character to appear only as a black silhouette. I think the final way of presenting it depends on the choice I make after I have built the scene and tested both narrative approaches.
But considering I’ll be carefully sculpting the character’s face, I think a close-up of the front face is again necessary or I’ll be sorry for the time I spent on modelling hahaha.
In this shot, I edit the movement curve of the character. The common problem with this shot and others is that when the character and the camera are moving together, the adjusted position will constantly become undesirable.
Just like relative motion in physics, if the shift speed is the same it creates the effect of no movement, if the shift speed is different, for example, if the character is moving at a constant speed but the camera is speeding up at that moment, or if it stays at a constant speed but is moving faster than the character, the screen will appear as if the character is decelerating its movement. There doesn’t seem to be any way around this problem other than patiently tweaking it.
Another issue that has been a constant throughout the semester is the distribution of speed. I have a really hard time adjusting my speed, often going too fast at times or too slow at others. And this week George gave me the very helpful advice that my speeds look pretty even. That is, the distance of each keyframe looks the same, which causes the whole shot to move too evenly and lack some variation.
I feel like I need to learn some animation theory because before, I would just think my shots were weird, but I didn’t know what was weird or how to modify them. I’m thankful to Wendy for helping me. Because I had a problem this week, that is, how to modify the speed of the camera, the character and the police car uniformly when they are all moving. Wendy told me that I can select them to create a set. this really solved my huge problem.
For this week, I added this shot of the protagonist flying out of the narrow alleyway because she has to fly towards the outside of the city. However there is a police car waiting for her long outside the alley. As soon as she comes out the police car immediately drives towards her and fires a bomb at her. The protagonist changes course to dodge it.
In next shot, I added a camera follow shot to reference Ekko’s shot. At this stage, I wanted to go for a restoration and add something to my storyboard. I adjusted the placement of the buildings to add a sense of space for the main character to fly through. To give her a reference point for her speed.
Weekly summary:
Since my protagonist has been using a flying machine, the design of the motion trail for the chase was important. In the first few weeks of trying, I went from not being able to plan a route and generating the motion trail directly and adjusting it, to getting the routine and using a blue pencil to go ahead and draw the trajectory she should follow beforehand and then adjusting her position.
At this stage, my main task was to present the storyboard. In the next stage, I think I can build on this to edit the pose of the character’s movement, the details of the action, and think about the connection between each shot.
This week, based on George’s feedback, I added camera shake when the police cars fly by and a delayed tracking effect when the protagonist is flying. I also adjusted the length of some shots.
Problems:
I realized that if every shot is just the police cars chasing and the protagonist running, it will feel repetitive and might bore the audience. So, I thought about how to make the scene more engaging and add more interaction between the protagonist and the police cars.
Solution:
I came up with an idea where the protagonist, after spotting the police cars, leaves a bomb on the crane she’s standing on. When the police cars get close, she detonates it, blocking some of them. This way, the number of police cars keeps decreasing. So, I added this shot:
But in later feedback, this scene of running, stopping, and pressing a button made the audience confused about what the character was doing, so I removed it.
George suggested that I look for movement inspiration in Arcane Season 2, such as having two police cars crash toward the protagonist while she dodges.
So I went to watch the shot in Arcane Season 2, I learned some key poses for characters steering a flying vehicle and how the camera follows the protagonist during flight.
I mainly reference some of Ekko’s dynamics and shots. I noticed there were some great shots.
This shot transitions between the puppet, Ekko, and Viktor, but the cuts are logically connected.
The first scene is a close-up of Ekko flying past a puppet, lasting about 1.5 seconds.
And then, the shot shows the overall scene (front view), with the puppets neatly lined up while Ekko flies in from the distance.
The shot focuses on Ekko’s blade, smoothly transitioning into the next battle scene.
The shot continue to show the overall scene, but in side view.
I think this shot is very good, it shows a dynamic curve and unexpectedly pulls from far to near, the previous shots seem to follow this logic. And Ekko’s transition from far to near is very fast, after about 3 frames. and the whole shot lasts about 1.5 seconds.
Since Ekko’s action is to the right and Ekko is already very close to the camera, it’s natural for the next shot to switch to Ekko’s point of view：
The camera is given to Ekko flying past a golem, and then the golem looks back at him after Ekko has completely flown away.
Top version show the dynamic curve.
Front version:
Side version:
I wanted to go for a scene where the protagonist brushes up against two police cars and it moves in a circle.
For the beginning of the shot, I would like to start with a news broadcast in a building, It shows a scene where the protagonist steals the gene ball from the biotech company. Then, several police cars drive past the front of the building. George suggested that I could add some camera shake since in many sci-fi movies, the airflow generated by large flying vehicles causes the camera to shake.
2.Adjust the time and speed of the shot:
Since I didn’t plan very well at the beginning, some shots were longer while others were over in a second, and I needed to go and balance the timing of the shots.
like in this shot below. It was hard because there were some fast action shots like the police driving by and if I increased the duration it would cause the police cars to move too slow, so I needed to go and increase the animation lines of each police car so that their routes weren’t straight and have some of the police cars leave first and have some of the police cars leave later.
Also, I need to pay attention to the sense of interaction between the police car and the camera, for example in this shot my police car is moving forward, George suggested I make the police car face the camera to appear to be chasing the protagonist.
3. Attention to move curves
George suggested that I should focus on the curve of the motion of the fly equipment, not making it too straight, and work with some camera movement.
This is the shot I modified, I adjust the movement curve and camera move, delay camera movement about 2-3 key frames after the character move.
Last week, we clarified our task planning, and Ben and Lucy helped us establish a detailed plan in Mirror. As a result, everyone had a clear objective for this week. My task was to complete the full production process of the gargoyle.
This is the task allocation table we created in the first week, but in reality, our team members and tasks have undergone some changes. For example, we didn’t strictly stick to the listed responsibilities. Therefore, the specific contributions of each person will be summarized after the final project is completed.
Asset Creation: Gargoyle
Here is the process of creating the gargoyle asset, which I have uploaded to YouTube.
It contains the entire creation process, including low-poly modeling, high-poly modeling, UV mapping, texturing, rigging, and weight painting.
I started by using the default human model in ZBrush for the initial sculpting. After researching reference images, I found that most gargoyles are associated with bats or demons—they typically have thick, muscular limbs, horns, and large, bat-like noses. I wanted to emphasize these features in my sculpt.
Looking at gargoyle designs in games like Elden Ring, I noticed that their head-to-body ratio is still relatively human-like, moving away from the traditional small demon aesthetic. In architectural designs, gargoyles often have more compact proportions, making them appear tighter and more cohesive as purely static decorations. However, in our dungeon, the gargoyle is not just decorative—it will take flight in the third layer. So, I aimed to create a balanced design that incorporates both aspects.
Modeling：
When sculpting the head, I wanted to introduce some variations to differentiate it from traditional gargoyles.
We all experimented with different early-stage designs (Since the team member responsible for the early-stage concepts disappeared—she was a classmate from the 2D animation online course—we had to create the designs ourselves.). Although some ideas were not adopted after discussion, the process of exploration was still valuable and meaningful.
First-Layer Environment Design:
I sketched some pillars, possibly entwined with gargoyles, along with a statue representing “See No Evil.” During our discussions, we initially planned to use three sets of statues to connect the dungeon’s layers, symbolizing “See No Evil, Hear No Evil, Speak No Evil.”
Although this design was ultimately not adopted, I believe Ben’s concept for these statues was excellent. “See No Evil, Hear No Evil, Speak No Evil” can serve as a moral code, representing the avoidance of evil, or as a form of satire, criticizing willful ignorance of reality.
However, we needed to reduce our workload, and Lucy felt that overly open spaces might make the overall scene feel empty. We would either have to spend a lot of time decorating it with assets or risk making the scene look sparse.
Since we discussed the idea of an unattainable treasure, I sketched a small creature design.
Environmental Creatures Concept (connect to Gothic cemeteries and treasures): First floor
Shell man：They were explorers who strayed into the dungeons, perhaps motivated by the desire for wealth or simply by curiosity. However, deep darkness and endless loss have turned them into what they are today. To avoid confronting their own desires, they retreated into their cold shells. However, the darkness within brought no salvation. Their legs have long since withered, leaving only hands to drag their bodies. Now, driven by instinct, they wander in search of golden shards to fill the void within.
Shell gold Shard：The shards of gold that had fallen from the Shell were covered with deep cracks and radiated a faint, warm glow. “The weight of gold will eventually bring down everything, including the soul.”
I wanted to design a tragic fate for outsiders like the knight—lost wanderers who unintentionally stumbled into this place but, driven by greed, never managed to leave. Over time, they retreated into their shells, their bodies deteriorating into skeletal remains.
In the end, this creature wasn’t created because we needed more representative monsters. Additionally, since the first layer is quite dark, adding shell man might go unnoticed by the audience while increasing our workload.
Story Setting
So we all discussed how to connect the story, which helped us a lot in building the scene. In the end, we decided to make the protagonist a knight who encounters an adorable furry creature in the darkness. At first, the knight doesn’t realize that the creature is actually part of this environment and tries to rescue it. However, as the story progresses, when the knight sees the surrounding plants attempting to capture the creature—and when the creature reveals its sharp fangs—he finally realizes that it belongs here.
In the final moment, the protagonist faces a crucial choice, one that determines whether he can successfully escape.
Weekly Conclusion:
In the second week, we clarified our goals, including the story logic, the protagonist’s objectives, and the assets we needed to create. Despite changes in team members leading to role adjustments, everyone adapted smoothly and adjusted their responsibilities accordingly.
For example, Anis took charge of storyboarding, acting like a director to oversee the overall pacing and coordinate the team. Lucy, although primarily responsible for character animation and rigging, also contributed to storyboarding and designed the knight’s concept. Since the team member responsible for early concept design disappeared, Qi Ji and I, who were in charge of asset creation, had to design some environmental creatures ourselves. Meanwhile, Ben collaborated with Anis on post-production and developed a method for team collaboration in UE5 without requiring the same WiFi connection.
As a result, everyone had a clear focus for the week, ensuring steady project progress.
