For this semester, our class was given the challenge of creating a group animation using Blender which was a good opportunity for all of us to collaborate and apply the skills we’ve consolidated over the year in a creative project. The first week was primarily focused on brainstorming ideas and exploring different concepts that we’d be interested in making. One of the initial ideas that emerged was a “food chain” concept, where we would have a small animal eaten by a bigger one and then a bigger one and so on. However, we quickly realized that this idea might be a bit too complex to complete within the time frame we had due to it requiring a significantly larger amount of models. After some further discussion, we decided to shift gears and explore a more light-hearted and straightforward concept, with a comedic charm.

‘Fried or Freed’ is the concept we settled on, it follows the story of a chip awaking in a food truck where he realises his ultimate fate and makes a daring escape. We envisioned a cartoony style for the animation, aiming for exaggerated expressions and movements to enhance the comedic effect. To conceive and visualise the idea, we created concept art and storyboards, mapping out key scenes and character designs. This pre-production phase was crucial in establishing the tone and direction of our short as early stages saw a much darker and bloodier hunter’s cabin idea. Presenting our initial ideas to the class and receiving positive feedback was a significant confidence booster. Feedback played an instrumental role in refining our animation. Regular reviews with peers and instructors provided fresh perspectives and highlighted areas for improvement. The enthusiasm and encouragement, especially after we showcased our 3D pre-vis validated our concept and motivated us to push forward with greater determination. This support was instrumental in cementing our ideas and solidifying our commitment to the project. The process of iteration – making adjustments based on feedback and re-evaluating, was essential in heightening the quality of our animation.

After considering a few different artistic approaches, we decided on a cartoony style characterized by bold outlines and vibrant colours that would fit in with the simple characters guideline. To achieve this, we used Blender’s Grease Pencil tool, which allowed us to draw directly within the 3D viewport. This technique enabled us to create stylized line art and add depth to our scenes. This approach not only enhanced the visual appeal but also contributed to the storytelling by making the characters more engaging and expressive.

With the visual style established, I began the process of modelling the seagull. The character needed to be versatile, capable of both standing and flying poses. To achieve this, I made two different models by employed Blender’s subdivision surface modelling technique, which allowed for smooth, organic shapes suitable for a cartoon character. With this I also used reference images. I paid close attention to the topology to ensure clean edge loops, making rigging and animation later on as easy as possible. However, for the flying seagull used in the final scene I opted for a simpler model as it would only be seen for a second, not including eyes or a separated beak, rather a sharp head shape to emphasise the malicious outcome and a focus on the wings, body and tail.

Other than stylistic inspiration, we also sought practical guidance. YouTube was the old rock everyone can always lean on for tutorials on Blender techniques. They provided solutions to challenges we encountered and introduced us to new tools and methods that enhanced our animation. In addition to online resources, I revisited tutorial videos provided by our lecturers. These resources were tailored to our coursework and often addressed specific issues we faced during production. The familiarity of these materials allowed for a streamlined emergency assistance, they were particularly effective in helping us troubleshoot problems and refine our techniques.

Once the model was complete, the next step was rigging. Learning from the tilt cube rig task from class I aimed to live up to the lesson. I created an armature with bones corresponding to the seagull’s limbs, wings, and head. This rigging setup enabled the character to move naturally and expressively. Weight painting was a critical part of this process. They ensured smooth deformations during animation. This step was essential for achieving realistic movements, particularly in areas like the wings, which required precise control to convey the gull’s actions convincingly.

With the model and rig in place, I turned my attention to texturing. I employed a smooth UV mapping process to unwrap the model efficiently then moved to substance 3d painter for the textures. there, I layered a few textures atop one another to achieve as close to feathers as I could get. This technique allowed for the application of details and depth, enhancing the character’s appearance. I only ended up texturing the first seagull as he’d be seen up close.

Lighting played a central role in shaping the mood and narrative of Fried or Freed. Beyond visibility, it served as a storytelling tool, guiding the audience’s emotions and highlighting key moments. To introduce our short with the desired tone, I employed strategic lighting on the title. By placing the light source under the title text, I succeeded in making it look slightly more dramatic. This technique added an element of mystery and anticipation, setting the stage for the unfolding tragedy. The decision to set our scene during the golden hour was one of my favourite aspects of our animation. This period, shortly before sunset, is known for its warm, soft light that bathes the environment in hues of gold and orange. According to photography experts, the golden hour produces a warm glow that enhances colours and textures, creating a nostalgic and cinematic atmosphere. In our narrative, the golden hour mirrored the chip’s fleeting moment of freedom. The soft shadows and warm tones not only highlighted the beauty of the scene but also symbolized the chip’s brief escape before the seagull’s intervention. Inside the food truck, lighting was essential for character visibility and ambiance. I utilised a point lights to illuminate the interior, ensuring that the characters were well-lit. The chip, central to our narrative, was emphasised using lighting techniques. By placing a subtle point light beneath the chip, I created a soft glow that helped him stand out as the camera was further. This not only aims to draw the audience’s attention but also to help the viewer connect to the euphoria of the freed chip. To add a layer of realism and visual interest, we incorporated the bloom effect throughout the short. This effect simulates the way bright light sources bleed into surrounding areas, amplifying the warm tones and enhancing the overall aesthetic. 

Throughout the animation process, our team faced various challenges that tested our problem-solving abilities. For example, during the descending camera movement after the title you could see the void beyond the modelled scene. To get around this I angled the camera up so that it focused on the sky instead of the empty horizon. Then during the descent of the camera I covered the void by modelling the water-tower and vents atop respective gaps to cover the void. Animating the seagull presented several more challenges. Personally I am still familiarising myself with Blender’s animation tools and workflows. One of the significant hurdles was understanding camera movements and cuts. At first, I found it time-consuming to set up shots and transitions, leading to delays in the process. (Additionally the occasional crashes didn’t help.) However, as I gained more experience and confidence, I developed a more efficient workflow. I learned to plan my shots and use Blender’s camera tools to create dynamic movements and smooth transitions. This improvement significantly enhanced the visual appeal and flow of our short film. Throughout the project we also applied various Blender features to enhance our animation. For instance, we used shape keys to create a facial expression slider for the chip and chef which contained expressive pre-sets that could be cycled through using a bone, it was like magic. Moreover, understanding that animation is an iterative process, we embraced feedback and made continuous improvements. Regular reviews helped identify areas for improvement, whether it was refining a character’s movement or adjusting the timing of a scene (which plagued me, render after render). This commitment ensured that our final product met the standards we set for ourselves.

Towards the end of production, sound design emerged as both a challenge and a learning opportunity. While we wished to include sound elements that would enhance the comedic and emotional aspects of our narrative, time constraints and resource limitations hindered our ability to achieve the desired impact. As the project progressed, it became clear that our focus had to shift towards other critical aspects. Consequently, sound design received less attention than we intended. We turned to basic sound libraries and free resources to form a rudimentary audio track, the results were good enough however. Despite the limitations, our experience underscored the significant role that sound design plays in animation. Sound is not merely an accessory to visuals that is quickly done at the end; it is integral to storytelling and must be carefully considered. 

Effective communication and streamlined collaboration were paramount. Having honed our teamwork skills over the course of the year by working together on most group projects, we had established a strong foundation of trust and understanding. This synergy made the process not only efficient but also enjoyable. Given the constraints of remote collaboration on days we weren’t in the university, utilising digital tools was vital for maintaining workflow efficiency. Platforms like OneDrive facilitated seamless file sharing, while Discord enabled real-time communication. We chose Discord as our primary communication platform, creating dedicated channels for different aspects of the project. This organization allowed us to keep discussions focused and relevant, minimising information overload. It ensured that all team members stayed informed and engaged throughout the project’s duration. In addition to digital communication, we also held regular in-person meetings. These interactions were crucial for brainstorming sessions, reviewing progress, and making collective decisions. They fostered a sense of camaraderie and ensured that everyone was aligned with the project’s vision and goals. On OneDrive we organized our files into structured folders, categorising them by character models, animations, textures, and other relevant sections. This logical hierarchy made it easy for team members to locate and access the files they needed. We also implemented consistent naming conventions, which further enhanced file organisation and retrieval. OneDrive’s version control feature was particularly beneficial as it allowed us to track changes made to files, revert to previous versions if necessary, and collaborate on documents in real-time. This capability was crucial for maintaining the integrity of our work and ensuring that everyone was working on the most up-to-date versions of files.

Looking back, this project was not only a technical endeavour but also a journey of personal growth. Creating the seagull character for Fried or Freed was a multifaceted journey that encompassed concept development, modelling, rigging, texturing, and animation. Each stage presented its own set of challenges, but through perseverance and collaboration, we overcame them and produced a piece we are proud of. This experience not only honed my technical skills in Blender but also reinforced the importance of teamwork and adaptability in the creative process. The lessons learned and the satisfaction of seeing our ideas come to life on screen will undoubtedly influence my future projects in animation. The challenges we faced and overcame have equipped me with valuable skills and insights that I will carry forward into future projects. The experience has deepened my appreciation for the intricacies of animation and the importance of collaboration. Moreover, it has sparked a desire to explore more complex narratives and animation techniques, pushing the boundaries of my creative capabilities. While there are always areas to improve upon, our team’s strengths in communication, workflow management, and technical execution were pivotal in the successful completion of Fried or Freed.