During this week’s sessions, we went through the story structure, looking at how different frameworks shape an audience’s experience. We compared classic Western models like the Three-Act Structur and Preytag’s Pyramid with more modern models like Dan Harmon’s 8-Step Story Circle. As for the Eastern model, we saw Kishotenketsu, a four act structe that relies in contrasr and a change in perspective rather than the conflict-driven arcs typical of the Hero’s Journey.
We then moved to the self-study topic of constraints, parenting, and locators in Maya. While parenting creates a rigid relationship where a child object inherits all transformations from its parent, constraints allow for much more control. These tools showed that constraints are unique because they allow for weight blending, meaning an object can gradually transition its influence from one “driver” to another, a feature essential for complex character interactions. I also delved into more advanced animation workflows, learning about the power locators have. These seem incredibly useful for maintaining clean animation channels when a character interacts with props, such as picking up a ball or jumping into a moving vehicle. A major highlight of my study was learning constraint switching, which involves setting up back-to-back keyframes on the weight attributes of multiple constraints. After watching all the videos, I thought I had understood the theory, but when putting it into practice with Stitch and the teapot, I couldn’t get more than 2 things constrained. I understood the theory, but with so many elements, I got confused and couldn’t complete it. Next time Ting will do a demonstration, and I’ll pay close attention.
As for feedback for Hunter to Prey, Ting suggested improving clarity between the scenes and the camera movement. We tried to balance the drama level between them for each shot. Some of the things we focused on were changing the camera in shot 1, adding some new shots, like shot 7, when we see the innocent guy backing up before looking in his pockets; we then added a camera with an aim to give more drama when the stabbing happens, and we see the other guy fall to the floor. We also tweaked the camera movements in the graph editor to smooth the arcs and pacingm which helped the sequence feel more coherent and less like a series of disconnected moves. This process made me more aware of how small camera changes can clarify who holds power in a scene.
Here is the final outcome:
Assessment-wise, we’re starting a new project on heavy lifting and change of mind. The goal for this project will be to combine a heavy object with a clear moment of change of mind in a 12-second video. In my case, i want to lean more into story rather than pure body mechanics, so my idea is to show a character who is both physically and emotionally overloaded: they struggle to move an absurdly heavy suitcase, then realise the “extra weight” is a sentimental object (a plush toy), decide to leave it behind, and, as soon as they do, the suitcase becomes easier to move. This concept ties nicely into what we’ve discussed about story structures, because the change of mind acts as a small “twist” that re‑contextualises the weight.
Reference-wise, I struggled to stick to 12 seconds, and my reference is longer. I ended up recording two separate videos: one focused on body mechanics and another on acting.