MA 3D Computer Animation Blog

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3D Computer Animation Fundamentals Immersion

Week 6 Unreal Engine – Control Rig

In this lesson, we went over the control rig in order to create dynamic character animations. This involved setting up skeletal meshes and exploring animation tools like inverse kinematics and spring constraints. Like most things in UE, the process is quite layered but offers a lot of flexibility in how you approach it. I found it interesting how the system blends technical rigging with creative control, letting you focus more on getting the movement right rather than wrestling with the tools.

I started with skeletal mesh setup – you can either get these from Quixel Bridge or make your own. What I found interesting was being able to convert static meshes into skeletal ones, which means you can animate pretty much anything.

Forward and Backward solving was particularly intriguing. I’m fairly familiar with forward solving from playing around in C4D, but backward solving, where bones control the controllers, is a novel approach that’s really useful for extracting animation data. The IK setup really surprised me with how natural it felt. In other programs, I often find myself fighting with IK chains to get them to behave properly, but here it just clicked. I could get limbs moving exactly how I wanted without that usual back-and-forth tweaking that eats up so much time.

Working with the IK chains turned out to be surprisingly straightforward. As I experimented with different movements, I found the system really intuitive – you can adjust limb positions and joint rotations without having to think too hard about the technical side of things.

The spring interpolation system was definitely the highlight for me though. I was testing it out with some simple animations and realized how perfect it would be for the “Burlap Friends” project. Getting those fluid, unsettling movements for the monsters would be much simpler with this setup. Instead of spending ages manually animating each frame, you can create natural-looking motion just by moving the main body. It works great for things like tentacles or tails – the kind of movement that would take ages to animate frame by frame.

The ability to rig complex models like dragons or octopuses shows how versatile the system is. Adding aim constraints for targeted movements (like making a head track an object) feels natural in the Unreal environment. This week gave me a good look at how Unreal handles animation. There’s still plenty to learn with the new terms and workflow, but I can see how it’ll be useful for creating responsive animations.

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3D Computer Animation Fundamentals Animation

Week 6 Animation – Walk Cycle

This week we explored weight shifts a bit further and also started work on our walk cycles, two key components to a good character animation! Weight distribution and timing are aspects that must work together in harmony in order to give a character life.

A structured pose-based blocking approach helped me visualize how my character is going to walk across the screen. Making sure that the knee controllers were placed in a way that didn’t cause them to pop during the movement was a challenge I didn’t expect, but helped me understand anatomy and physics that comes into play.

Subtle hip swaying can leverage otherwise insignificant aspects of a simple rig in order to convey personality, I’m making sure to keep things simple for this exercise though. I intend to utilize parts of the rig I overlooked such as the toe roll in order to give it a better and more refined look.

Feedback gave me a helpful look into some aspects I didn’t include in this attempt, rotating the body downward to better portray its intention and weight while moving ahead, and also progressing the animation slightly as the knees pass each other in a swinging motion will communicate a sense of momentum.

Raising the heel as the character moves upward adds spring to the movement, and acts as overlapping action with the knee raise.

I notice that the right knee here doesn’t look right, I think I mean to convey a sense of weight shift but it ended up looking unnatural and pop-y. This will be changed in the next iteration, the character also moves too straight for it to look at all relaxed and natural.

Here, I focused on the main poses and had the character move between them. By playing around with the keys and changing a few of the poses I intend to make this weight shift a lot more dynamic and realistic.

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3D Computer Animation Fundamentals Immersion

Week 5: Unreal Engine Physics

This week, we focused on physics-based materials and dynamic simulations.

Fracture Mode

Fracture mode in Unreal reminded me a lot of Cinema 4D’s Voronoi Fracture, but with a built-in focus on physics and interaction. The concept is the same: take an object, break it into pieces, and configure physics attributes. You can control how an object breaks: uniformly, radially for glass, or in clustered chunks.

For one experiment, I simulated a bullet piercing glass, tweaking the radial fracture’s origin point until the crack radiated out convincingly. I loved how easy it was to customise.

Chaos Simulations

When we wanted to simulate dynamic interactions between objects, Chaos Physics came into play. I then set up some cubes to collide mid-air, adding a Chaos Cache Manager and recording the simulation. This is an essential step if you want to render these effects later, as the cache converts the live physics into an editable sequence.

The process of “directing” this chaos was both thrilling and challenging. Everything had to be captured perfectly—from the cubes’ initial collision to the way fragments settled on the ground. It reminded me of C4D’s simulation baking, but in Unreal, the tools for editing and playing back the chaos felt more versatile and tailored for rendering final sequences.

Constraints

Physics constraint actors allowed us to attach objects to each other and control their movement. I did a few pendulum-like setups with objects swinging around their anchor points. It was even more exciting when applied to skeletal meshes. I simulated a mannequin hanging from its hand, the rest of the body responding to the forces in a very natural way.

It reminded me of building dynamic rigs in C4D, where you have to carefully balance movement constraints to make the simulation feel natural. In Unreal, it felt like the system handled a lot of that heavy lifting for you, letting me focus on refining the storytelling. I found myself imagining scenes where characters cling to ledges or objects tumble in chain reactions—a creative spark I didn’t expect from what started as a technical experiment.

Working in Unreal this week felt like building on everything I’ve learned in Cinema 4D but taking it further. The tools in both programs share similarities—whether it’s PBR materials, dynamics, or constraints—but Unreal integrates these tools into a cohesive, real-time system that feels alive.

It made all the difference when in Unreal there was instantaneous feedback, especially while fine-tuning material properties or fracture settings. It was like rendering in a C4D viewport, only without the waits for an age for a preview to load. It’s this real-time responsiveness that kept it flowing, allowing for more experimentation without it feeling bogged down.

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3D Computer Animation Fundamentals Immersion

Unreal Engine – Immersion Project – 2 – research

In this post I want to outline some research I’ve conducted in order to get a clearer image of what I want to create.

FNAF 4 is set in a bedroom, with restrictive movement that creates a feeling of isolation.

I chose some elements I like and want to build upon

  1. Having drawings/ paintings on the walls both adds visual complexity and can also be a storytelling resource. Perhaps using them as a mechanic or just a way to lead the eye towards important subjects could be beneficial.
  2. A clock could be a useful object to have in order to represent time. The absence of one is also an interesting concept, I like how in FNAF 4 we see a digital clock that doesn’t even work, which has symbolic implications regarding the story.
  3. Toys strewn out on the floor both adds ambiance and could be used as a game mechanic. The toys having eyes here is something I may want to implement into my project, the eyes can be used to draw attention or to unsettle.
  4. In Five Nights at Freddy’s 4, the closet is a game mechanic and requires you to check it periodically in order to progress without getting a game over. I, however am considering having a red herring of sorts, with an inaccessible closet that is slightly ajar that prompts the player/ viewer to give it undue attention.

The light source here is from the player, a flashlight is pointed where the character looks, and there aren’t other light sources.

Silent Hill 4 – The Room uses the protagonist’s apartment as a disturbing, claustrophobic environment. The player will initially see it as a safe space but over time realises that it is actually very unsettling and even hostile.

This desk lamp being a light source is something I really want to experiment with, most horror rooms I’ve seen have some sort of lamp in it – maybe I should grant it some importance above simply being a prop. (Notice the ghost in the dresser)

The game’s haunted items (e.g., the doll, bloodstains) represent a slow build-up of dread. In my game, augmenting “Burlap Friends” toys with minor, eerie movements or unsettling noises can reinforce their presence. A slight twitch or a sudden tilt can keep players constantly on edge.

An example of a burlap friend twitching

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3D Computer Animation Fundamentals Animation

Week 5 Animation – Weight Shift

In week 5, we learned about the fundamentals of weight shift. The key principles here are anticipation and overlapping actions, and through starting off with blocking techniques, we established key poses and timing.

One notable thing I learned from this session is the importance of balance/ symmetry, in the introductory presentation there was a part which revealed how characters could be split in the middle and show a balance on either side of the split. This struck me as something both benign and highly influential to the way a character is displayed in any medium, both invisible and so visible. I love aspects of art and design like this, things that most people wouldn’t even notice yet plays such a massive role in what makes a good artwork.

Not sure why this stuck with me but it’s great

As you can see, the ball makes a small preparatory movement downwards in anticipation of the step. As it rises again in order to move its leg out for the movement the rest of the body catches up, creating a feeling of lag which fits with the overlapping action principle.

  • Neutral standing pose.
  • Prep pose with the ball squashed and tilted.
  • Step pose with one leg extended forward and the ball leaning over it.
  • Follow-through pose where the back leg pushes off the ground.

Upon analysis of my blocking, I can see that I’m not utilising the rig to its fullest potential, and also made a few errors in this animation. For one, you can see a foot is not staying at the same spot on the Y axis, I want to implement foot rolls to add bounce and life to the animation in the next iteration. Integrating foot drag would also add to the overlapping action.

Another aspect to this class was making realistic poses using principles touched on in our previous session, I opted for a character sitting on a bench with their elbow raised over the backrest. I chose this pose because I want to get better at creating relaxed, life-like animated characters.

Here is the feedback from our animation tutor, emphasizing the importance of flow. I notice how the annotated pose is a lot more wavy, creating a line that starts from the head, flows through the torso and continues down to the legs. The upper body also shows a more dynamic tilt, by having the torso back and the head leaning a little forward. This seemingly creates more tension and interest in the pose. The arms are also a lot more exaggerated, with waves instead of straight lines – I notice this feature is lacking in my life drawing too actually. I tend to make my human figures seem like mannequins which is something I’ve been trying to work on through frequent practice. The legs are also more dynamic here too, with a stronger tilt and rotation in the lower leg and ankle.

I initially thought my posing showed signs of relaxed ease but it only shows how much there is for me to learn.

I want to experiment more with more exaggerated movement, we covered how you cant portray a character’s personality through the way that they move and the idea of exploring that further is exciting.

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3D Computer Animation Fundamentals Immersion

Week 4 Unreal Engine – UE Materials and Sequencer

In this session we explored more complex uses of sequencers and covered material blending in Unreal.

  • Master and sub sequencers were touched on again, emphasizing the importance of layering to maintain a level of organisation within your project. To keep track of each sequence’s purpose, we organised them into colour-coded folders, making it easier to navigate projects as they become more complex.
  • Camera and shot setup allows for arrangement and rearrangement of transitions and camera cuts. We practiced adding cameras and animating them independently, linking them to the master sequence. Working in multiple viewports at once enabled me to experiment with perspectives and ensure continuity.

  • Master material creation allows for customisation on many levels of a material, combining multiple textures with adjustable parameters like roughness, normal, color etc.
  • By creating instances of master materials, real-time adjustments can be made to properties such as tiling without reopening the master material

  • Texture sampling was explained too, showing how RGB channels are used for ambient occlusion, roughness and displacement and how it interacts with lighting. I knew normal maps affected how light reflects off an object but was unsure of how each colour directs light left-right, top-bottom etc. Adjusting the normal map strength allowed the lighting to create a sense of dimensionality and depth, even across flat surfaces, mimicking the way materials might look after rain or under direct light.
  • We were also shown how to blend textures to create materials with node logic, allowing for direct and complex manipulation of texture attributes UE.

Overall, this week sharpened my understanding of both the structural and artistic sides of Unreal Engine.

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3D Computer Animation Fundamentals Animation

Week 4 Animation – Ball and Tail

This week we went over the ball and tail animation, exploring the importance of secondary motion to produce more lifelike and realistic movements. Follow through, overlapping action and essentially just the relationship between primary and secondary elements was the main focus here.

Maya’s motion trail function made it a lot easier to see each component and how they moved, creating sets of different curves on the screen. It was a little difficult to make sense of, which I guess will get easier as I put more practice in. By looking at real life references I was able to build on my current understanding of motion, observing curves and other consistencies in movement. George guided us toward achieving fluid movement rather than mechanical precision in our work.

In my initial experiment, I did a simple, non wavy set of movements on the tail, just to see what it would look like. I changed a few things here and there to make it look less mechanical though. It was simple and looked alright but it only made me more excited to see how the application of wave principle will improve everything.

I then created a more natural sequence. Using reference footage helped me understand how the tail should respond to the ball’s movement. The relationship between the two elements became clearer as I worked.

Getting the curves and keyframes right took some trial and error. The tail’s timing needed special attention during follow-through moments, which proved tricky with the rig setup. Still, adjusting the animation curves helped me achieve the movement I was looking for.

Through analyzing reference videos and applying feedback, I refined the final animation. The exercise revealed how timing between moving parts can create complexity in a simple concept. Each adjustment brought more life to the movement. (You can see at the end there the tail doesn’t follow the correct curve, I did not complete this task to a standard I’m completely content with but I will endeavor to keep improving)

Starting with fundamental principles and working through each challenge helped me grasp effective animation techniques. The process of receiving feedback and making improvements showed me the gap between initial attempts and polished animation. These first weeks have helped me develop a stronger approach to animation.

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3D Computer Animation Fundamentals Immersion

Week 3 Unreal Engine – Sequencer

In this lesson we focused on UE’s sequencers to translate film techniques into an environment, creating and organizing cinematic sequences.

We started by identifying the differences between film’s linear and overlapping shot techniques, and how Unreal Engine differs by relying on a sequence-based approach with level sequences, nested sub-sequences, and multi-camera tracks.

Project structure: each project in UE serves as the location, and different levels are stages. There are also sublevels that handle assets and can be shuffled in and out depending on your needs.

  • A master sequencer manages the film’s final output, utilising and managing multiple separate level sequences for things like lighting, cameras, asset animation etc.
  • Possessable actors only appear when needed within the scene, being that they can be spawned in on trigger for example. Spawnable actors are constantly visible in sequencers, allowing for control over what you want to have permanent or transient.

  • Camera properties and placement are very customisable through Unreal, allowing for full control over focal length, aperture and focus settings. Manual focus distance allows for precise control over depth of field, creating emphasis on key props in a scene.
  • Using multiple viewports to your advantage is key, giving a strong overall view and allowing you to understand how camera placement affects the perception of a scene.

  • Post-processing adjustments within cameras are shown in the final product, while scene-level post processing also exists and can be toggled based on the scene’s needs.
  • Keyframes enable animations for camera movement, and curve editors can offer more control and refinement for easing etc.

This tutorial ended with techniques for rendering and adding complex movements to scenes using the curve editor to refine them further. I’m eager to continue experimenting and becoming more adept at using the sequencer as it’s a new and challenging tool, very different to what I’m used to in C4D.

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3D Computer Animation Fundamentals Animation

Week 3 Animation – Tail

In this week, we dove into the essentials of animating a “ball and tail”. Using the principles overlapping action, follow-through and secondary motion, and utilising the lessons learned from week 1’s bouncing ball, I strove to produce a fluid and lifelike animation.

Overview of the Exercise:

In order to simulate realistic motion that complies with physical rules, the ball with tail animation assignment requires animating a ball that is attached to a tail. This practice emphasises:

  • Overlap and Follow-Through: This technique shows an understanding of momentum and inertia by animating the tail to follow the ball’s movement organically.
  • Secondary Action: Adding delicate tail motions to the ball’s primary action to give it more depth and realism.

As well as being an appendage that trails behind a body, moving tails in animation should convey a sort of lifelike quality. This can be done through the use of anticipation, but being careful to make it not look like the tail is propelling the body forward.

Here is a rough sketch of my plan, making note of how the tail should be positioned at different stages. The tail was innacurate which I realised after my review session with George, being that the resting state should be in more of an S shape than a C shape.

As you can see, the tail movements weren’t as exaggerated as they should have been, prompting me to conduct further research into how a “wave action” should work.

I recognised that even though we are at the blocking phase, the animation should clearly explain the intended action, even without frame-by-frame detail. To improve my understanding, I did additional research on wave motion, hoping to depict a more dynamic, genuine movement in the tail. Additional anatomy work helped me improve my knowledge of realistic motion. This iterative approach underlined the significance of successfully stacking animation principles, with the goal of creating an animation that is both structurally sound and visually appealing.

A little loop I created to get the hang of the movements.
Some pose anatomy drawing practice, as it was part of our weekly assignment.

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3D Computer Animation Fundamentals Immersion

Unreal Engine – Immersion Project

My project idea for this unit is to extend upon the stories I’ve been developing in the past couple years, being the Burlap Friends! short films. The premise of these stories revolves around these small plush toys called burlap friends that are inspired from “ugly” plush toys from the 80s and 90s.

A screenshot from my original horror short film “Burlap Friends!”, showing one of the antagonists.
An example of an “ugly” toy from the 80s
Boglins, among other vintage toys that have captured my imagination.
I like the idea of these antagonists coming in threes, with different designs and personalities.
The opening sequence to the sequel, Burlap Friends! 2 Inheritance. This short film is set almost entirely in one bedroom, emphasizing a feeling of isolation in a place where you should feel comfort.
The final scene of Burlap Friends! Where a monster leads the viewer down a hallway and to the end of the video.
In my planning, I observe the importance of lighting to create ambiance. I want to set this scene at night, so lighting can be much more dynamic and suited to my needs. I really enjoy the idea of an old room, this would create a feeling of both comfort and feeling misplaced in a sense. Like staying over at your grandma’s house.
On the right here, you can see the asset I used in BF2 Inheritance. The original asset was a photogrammetry done in the day time which I set up to also work at night. I experimented with the idea of a ceiling fan, creating a constant drone/ ambient sound that maintains a feeling of unease. Could I remove this sound after a while? What is the value of giving and taking away?
Here I play around with the idea of having an inaccessible door. I like the idea of there being a whole room that can’t be seen or has never been seen. I plan to implement this into my scene and grant it a level of importance, potentially revolving the whole narrative around it.
Windows are also a portal of some sort, windows and doors are both a source of comfort and way in which a monster can enter a room. Do I offer them as sources of reprieve? Or sources of anxiety? I love the idea of pairing a spotless room with a derelict, destroyed room. People have always had a fear of abandoned places.

In terms of narrative elements this project aims to integrate symbolic features like inaccessible doors and windows to imply hidden environments/ worlds to spark viewer’s curiosity and fear. I want to have the viewer question the surroundings and prompt them to question the nature of these spaces. This, paired with unsettling creatures that pursue has the potential to really frighten and engage people. I have plans to maybe develop this as an interactive experience to really create that feeling of unease.