LIEW XIAO HUI / 0353121
BACHELOR OF DESIGN (HONOURS) IN CREATIVE MEDIA / LIGHTING INTERACTIVE DESIGN
Assignment 03: Final Production and Project Presentation
JUMPLINK
Lecture Summaries
Instructions
Assignment 03: Final Production and Project Presentation
Feedback
Reflections
LECTURES SUMMARIES
Week 06 /
During Week 6, Mr. Shakir taught us how to mask objects using masking techniques and track matte masks. He also introduced the Reptile effect, which helps in duplicating and extending patterns. Additionally, he demonstrated a simple way to use Puppet Tools for animating human figures. He also guided us on importing our created videos into the digital mockup template he provided. This mockup allows us to visualize our projection mapping in a room view, replicating the final presentation setup, where our work will be projected onto three walls and the floor.
Week 07 /
During Week 07, Mr. Shakir introduced us to Resolume Arena, a software that truly opened my eyes. This powerful tool is commonly used in concerts and exhibitions, allowing users to adjust projected content, control audio volume, modify transparency, and create smooth transitions between visuals. I found it incredibly efficient, as it eliminates the need to pre-render every piece of content into a video, which would require significant storage space. Resolume Arena makes real-time adjustments seamless and convenient, enhancing the overall projection experience.
Assignment 03: Final Production and Project Presentation
In this assignment, we are required to produce the final projection mapping animation/video along with a presentation slide that effectively communicates our design process, concept, and storyline. This ensures that viewers can understand the narrative before watching the projection mapping video. Additionally, we need to create a separate, more detailed slide deck covering the iterative design development, final concept, design refinements, and technical execution. This will provide deeper insights into our creative and technical decision-making throughout the project.
Progress
During Week 05, after completing Assignment 02, I experimented with After Effects to practice creating a particle-based human figure, falling particles, and light effects. My goal was to gain a basic understanding of how to create visual assets, which would save time when exploring After Effects features later on.
In a previous module, I had only learned basic animation techniques such as adjusting opacity, scale, position, and using the Puppet Tool. However, since this project required a one-minute projection mapping video to be presented to students and lecturers at Muzium Telekom, I felt that simply relying on basic animations like opacity and scale adjustments would not be sufficient. One of the reasons I chose this module as a free elective was to challenge myself and learn something new beyond my core specialization while still staying within the realm of design. This was a great opportunity for me to practice and improve my skills in After Effects. To achieve this, I searched for YouTube tutorials on creating particle animations.
CC Particle World
Figure 1.1, 1.2 Video tutorial.
I began by following a tutorial on creating falling particle lines using CC Particle World in After Effects. The process was relatively straightforward, requiring me to memorize the steps and practice adjusting parameters to achieve an effect that fit our concept.
Figure 1.3, 1.4 Progress screenshot.
Initially, I assumed we would be creating all visual elements from scratch in After Effects, so I planned to incorporate falling particle lines in the background of Scene 01.
Figure 1.5 Falling particle lines.
Trapcode Form
As I explored further, I discovered that generating a 3D particle human figure required a plugin called Trapcode, which is part of the Red Giant suite by Maxon. Fortunately, they offered a 14-day free trial for new users, allowing me to download and use it to complete the projection mapping within two weeks.
Figure 1.6, 1.7 Maxon plugin.
To create and experiment with the particle-based human figure, I searched online for a free 3D human model, as I had no prior experience in 3D modeling. I found a model on Free3D.com and imported it into After Effects.
Figure 1.8, 1.9 3D human model.
By following YouTube tutorials, I managed to generate the particle human figure.
Figure 1.10, 1.11 Video tutorial.
However, I was still unfamiliar with the Trapcode plugin settings, so I initially replicated the values from the tutorial. One of the challenges I faced was adjusting the camera to film the 3D model properly, as the animation needed to align with the camera movement.
Figure 1.12, 1.13, 1.14 Progress screenshot.
Besides creating the particle-based human figure, the video tutorial also covered the use of the Glow feature, which allowed me to add different lighting effects to enhance the appearance of the figure.
Figure 1.15, 1.16, 1.17 Progress screenshot.
After completing the practice of creating the particle-based human figure, I rendered it as a video to gather feedback from Mr. Shakir and Mr. Zeon. I aimed to get their input on refining the animation, particularly in making the figure's movements more fluid, such as its hands, legs, and head. Additionally, I want to share the practice result with my teammates so we could discuss and finalize the visual style, making necessary adjustments based on the current outcome.
Figure 1.18 Particle human figure.
Scene 01
Besides that, I also began animating Scene 01, as I was concerned about having nothing to present to Mr. Shakir and the limited time available to complete both the visuals and animation in under two weeks. According to the annotations, Scene 01 starts with the main character wearing a BCI ring on their head, transitioning into a black screen before entering a dreamlike space.
To begin, I imported the canvas template provided by Mr. Shakir to ensure that the visuals would align properly with the projection setup. I brought the Adobe Illustrator file into After Effects and pre-composed each wall (left, center, and right) for individual animation. However, I encountered an issue where the composition sizes were larger than the designated walls. I was confused about why this was happening, so I reached out to Bernice to check if she faced the same issue or had a solution. Unfortunately, no immediate fix was found.
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| Figure 2.1 Canvas issue. |
To resolve this, I reopened the Adobe Illustrator file and manually added rectangular shapes corresponding to the exact wall and floor dimensions specified in the projection setup. Afterward, I re-imported the edited file into After Effects, converted the rectangles into pre-compositions, and began animating within each composition.
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| Figure 2.2 Rectangle shape. |
Since the first scene starts with a gradient background to signify the transition when the main character wears the BCI ring, I decided to use bright colors while maintaining the overall style established in our mood board. To ensure the background wasn’t static and dull, I searched for tutorials on creating gradient effects in After Effects.
Figure 2.3, 2.4 Video tutorial.
Following the tutorial, I applied a four-color gradient effect to the composition, adjusting the colors to match our desired aesthetic. I then used keyframes to animate the colors' positions over time. Additionally, I added an adjustment layer with Turbulent Displace and Motion Tile effects to create a dynamic swirling effect, making the gradient transition feel more fluid and visually engaging.
Figure 2.5, 2.6 Progress screenshot.
Following the tutorial, I encountered an issue with the gradient background. Since we have three walls that require animations, each wall has its own pre-composition. However, when I created the gradient effect for the left wall, the other walls and the floor did not share the same blending effect. Instead, each wall had its own separate twisting animation that didn’t seamlessly connect across the entire projection. I couldn’t find a solution for this, so I decided to leave it for now and consult Mr. Shakir during the upcoming Week 6 session.
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| Figure 2.7 Blending issue. |
Next, I decided to integrate the particle-based human figure into the Scene 01 project file, aligning it with the storyline and annotations. I researched ways to animate the 3D model and found that Mixamo could be used to rig and animate models without prior experience in 3D animation. Mixamo allows users to import a 3D model, place markers on key body parts (such as the chin and wrists), and then apply pre-set animations from its library. The system automatically animates the uploaded model based on the selected movement. However, I needed an animation where the character puts on a headpiece, but Mixamo’s library didn’t include such an action. This caused my progress to stall since I couldn't find a direct solution.
Meanwhile, I continued working on the falling particle lines that appear after the main character enters the dreamlike space.
Figure 2.11, 2.12, 2.13 Progress screenshot.
Since the video cannot be viewed in full screen during editing and the background is entirely black, I rendered the animation to check the visibility of the falling lines. Unfortunately, they were difficult to see due to the dark background, which posed another challenge that I needed to address.
Figure 2.14 Week 05 progress.
During Week 06, we received suggestions and feedback from Mr. Shakir. We presented our basic storyline and concept, along with our storyboard. Mr. Shakir mentioned that the storyboard visuals were well done and could be used for the final projection mapping. He advised us to apply basic animations, such as adjusting position, scale, and opacity, to bring the visuals to life. To optimize performance and reduce the rendering load in After Effects, he suggested incorporating online sources, such as particle or silhouette videos. He recommended using Envato for high-quality assets and using the Rotobrush tool to remove backgrounds before integrating them into our projection mapping video.
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| Figure 3.1 Envato. |
Regarding my issue with separate pre-compositions for each wall, which prevented smooth blending across the entire projection, Mr. Shakir suggested an alternative approach. Instead of dividing each wall into different compositions, he advised creating a single composition that fits the entire canvas (3840px x 1700px), covering all walls and the floor. This way, the elements could be placed within the designated wall sections without overlapping between walls.
After the consultation, our group had a brief discussion. While Mr. Shakir's suggestion to use storyboard visuals directly for projection mapping was valid, Bernice and I felt it wouldn’t fully meet our expectations in terms of work quality. We decided to still render some visual assets ourselves. Bernice wanted to refine and redraw some elements from the storyboard as she felt certain parts were blurry or not well-defined. She used Procreate to enhance the visuals and sent me the files in PSD format. This allowed me to import them into After Effects with separate layers, making it easier to animate individual elements.
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| Figure 3.2 Visual PSD. |
I placed two white rectangles in the Adobe Illustrator file to serve as visual guides to determine the height of the left and right walls and to measure the width of the floor. This helped ensure accurate placement and alignment of elements when importing the file into After Effects for animation.
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| Figure 3.3 White rectangle. |
Once I received the updated Scene 01 file, I imported it into After Effects. I also redid the gradient background at the beginning of Scene 01 to ensure it animated smoothly as a whole rather than in separate pre-compositions. I incorporated a fade-to-black transition between the gradient background and the dreamlike space. Apart from using the gradient for the beginning of Scene 01, I applied the same technique to create the background after the main character enters the dreamlike space. By adjusting the colors and their positions, I was able to achieve a similar effect to the storyboard visuals, ensuring a cohesive and immersive atmosphere.
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| Figure 3.4 Gradient background. |
For the human figure in Scene 01, I removed my previous attempt as Bernice planned to create the character animation in Blender. My task was to focus on the background and transition effects first, then integrate the main character once Bernice completed the 3D animation.
For the transition into the dreamlike space, I placed the visual assets for the flowing lines and floors. To ensure a smooth reveal, I used masking techniques so that the lines would gradually appear rather than suddenly popping into view. Additionally, I applied a feathered mask to soften the edges and create a more natural effect.
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| Figure 3.5 Progress screenshot. |
Figure 3.6 Progress screen record.
I added four independently rendered flowing lines, which I created using Trapcode Form. By adjusting the particle count, fractal field, and other settings, I achieved the desired flowing effect, ensuring the number of particle lines matched our concept.
Figure 3.7, 3.8 Progress screenshot.
Figure 3.9 Progress screen record.
I then rendered the animation as a video and placed it into the digital mockup provided by Mr. Shakir to visualize how it would appear when projected onto the walls and floor.
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| Figure 3.10 Progress screenshot. |
This helped me assess the overall effect and make any necessary adjustments to ensure the visuals aligned seamlessly with the intended projection space.
Figure 3.11 Week 06 progress.
Scene 02
After completing Scene 01, I proceeded with Scene 02 using the PSD file provided by Bernice. Since some visual elements were the same as in Scene 01, I duplicated the After Effects file for Scene 01, renamed it as Scene 02, and imported the new PSD file. I then adjusted the keyframes for each element to ensure a smooth transition between the two scenes.
Based on the shot sizes defined in the annotations, I rescaled the particle lines and changed their colors. As the shot zoomed out, I adjusted the opacity to fade in the necessary elements while fading out others. To enhance the transition effect when the main character touches the particle lines, I applied Gaussian blur to the visual elements as the world began to transform.
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| Figure 4.1 Progress screenshot. |
As the environment shifted, new flowing lines appeared. I used opacity adjustments to create a smooth fade-in and fade-out effect for these transitions. I also imported an updated file from Bernice, in which she had redrawn the floor grid.
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| Figure 4.2 Progress screenshot. |
To make the scene feel more dynamic, I varied the opacity of the particles to create a blinking effect, which aligned with the storyline where a weak and flickering figure would appear.
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| Figure 4.3 Progress screenshot. |
Next, I worked on animating the pulsating band of light on the floor. Initially, I wanted the particles to gather from the left and right, moving forward in sync with the main character's steps. However, achieving this effect in After Effects proved challenging. Instead, I modified the animation so that the particles gathered at a single point before moving forward. Still, I felt the animation might be unclear to viewers, so I added another layer of yellow, round particles. These particles would blink momentarily when moving forward, simulating the effect of the main character stepping on the floor and creating a pressure-induced glow.
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| Figure 4.4 Progress screenshot. |
In this scene, the main character's father appears, so I searched for a free 3D model that clearly depicted an old man with a beard or a hunchback. However, after exploring various platforms that offer free 3D models, I couldn’t find one that met my expectations.
Figure 4.5, 4.6 Free 3D model.
To solve this, I decided to use AI to generate an image that matched the style and characteristics I envisioned for the old man. Then, I used another AI tool to convert the generated image into a 3D model.
First, I used Jimeng AI to input specific requirements and style preferences for the character. I experimented with different prompts multiple times to refine the output and get a result that closely matched my vision.
Figure 4.7 - 4.10 Generate image.
Once I had the desired image from Jimeng AI, I uploaded it to Tripo3D.ai, which automatically converted the image into a 3D model.
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| Figure 4.11 Chosen image. |
After generating the model, I downloaded it as an OBJ file and imported it into After Effects to proceed with creating the particle human figure.
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| Figure 4.12 Generate 3D model. |
Figure 4.13 Week 06 progress.
In Scene 03, I followed the same approach as Scene 02 by duplicating the After Effects file and renaming it for Scene 03.
To animate the 3D model raising his hand to indicate he is trying to connect with the main character, I used Mixamo. Since there was no exact animation in Mixamo’s library, I browsed through various options and selected "Searching Files High" as the closest match. I then adjusted the frames to isolate the movement where the character raises his hand and reaches out.
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| Figure 5.1 Animate 3D model. |
I realized that Mixamo exports animations as FBX files, but Trapcode Particular (the plugin I’m using for the particle effect) only supports OBJ files. After researching online, I found that I needed to convert the FBX animation into OBJ sequences, where each frame is saved as a separate OBJ file.
Figure 5.2, 5.3 Video tutorial.
To achieve this, I imported the FBX file into Cinema 4D. Followed a YouTube tutorial to export the animation as an OBJ sequence (one OBJ file per frame). Imported the OBJ sequence into Trapcode Particular in After Effects. When loading file0000.obj, Trapcode automatically recognized the sequence and applied the animation.
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| Figure 5.4 Progress screenshot. |
Once I created the particle human figure, I wanted to cut off the bottom part of the body. Initially, I tried using masks, but since Trapcode Particular is a plugin, masking didn’t work. After researching, I found that using Track Matte was the best solution to hide the unwanted parts.
Figure 5.5, 5.6 Progress screenshot.
For the pulse connection, I didn’t want it to be a static image. I wanted an animated effect showing the particles moving along a path to represent the connection forming. To achieve this, I searched YouTube tutorials on how to animate particles following a path.
Figure 5.7, 5.8 Video tutorial.
Followed a tutorial using CC Particle System II and null object in After Effects. Adjusted the settings and parameters to ensure the particles didn’t fade out as they moved forward.
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| Figure 5.9 Progress screenshot. |
This approach made the pulse effect more dynamic and visually engaging, enhancing the storytelling in Scene 03.
Figure 5.10 Week 06 progress.
Transitions
During Week 07 consultation, Mr. Shakir suggested adding transitions between frames to make the video smoother. Initially, I didn’t include transitions because the shots were mainly changes in shot size rather than actual scene transitions. However, after receiving the feedback, I researched After Effects transitions to find a suitable way to enhance the flow between shot changes.
I initially explored MotionArray, a platform that provides pre-made transitions.
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| Figure 6.1 MotionArray. |
However, the free version offered only limited options that didn’t meet my expectations, so I decided to create transitions using built-in effects in After Effects. I found that Camera Lens Blur works well for transitions between different shot sizes, as it creates a natural depth-of-field effect instead of an abrupt cut.
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| Figure 6.2 Video tutorial. |
I applied Camera Lens Blur to the transition frames. Adjusted the blur intensity based on the shot size difference. Used keyframes to gradually increase and decrease the blur, ensuring a smooth transition. This approach made the shot transitions feel more cinematic and aligned with the overall dreamlike aesthetic of the project.
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| Figure 6.3 Progress screenshot. |
3D Model
I then received the 3D model animation from Bernice, which she saved as a video file. I imported it into the scene and adjusted its size to match the shot composition. To remove any unwanted areas, I applied masking to crop out the extra parts.
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| Figure 7.1 Progress screenshot. |
Online Source
Following that, I downloaded particle animations from online sources, as suggested by Mr. Shakir.
Figure 8.1, 8.2 Online sources.
Most of these animations had a black background, so I adjusted the blending mode to make the background disappear seamlessly.
Figure 8.3, 8.4 Progress screenshot.
Scene 07
Once I completed the scenes I was responsible for, I began working on the word dissolve effect for Scene 07. Since Bernice was handling the 3D model animations, I took on this task as I was already familiar with particle effects.
First, I searched for video tutorials on creating floating letters in the scene. I wanted to avoid manually placing and animating each letter, so I looked for automated methods.
Figure 9.1, 9.2 Video tutorial.
After successfully generating the floating text animation, I attempted to apply the dissolve effect. However, it didn’t work as expected because the floating letters were created using text animation, whereas the dissolve effect required a plugin, making the system unable to detect the animated text.
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| Figure 9.3 Progress screenshot. |
To resolve this, I used Block Dissolve, a transition effect I had previously explored while researching transitions. I then combined it with Trapcode Particular, adjusting the emitter behavior, particle size, and other settings.
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| Figure 9.4 Progress screenshot. |
However, the outcome didn’t fully meet my expectations. Due to time constraints, I decided to keep this version for now and improve it later if time permitted.
Figure 9.5 First attempt.
After completing all my assigned tasks, I revisited the word dissolve animation. This time, I changed the way the letters appeared and floated.
Figure 9.6, 9.7 Video tutorial.
Using a different video tutorial, I applied Trapcode Particular and set the particle type to sprite, using a pre-composed text layer as the source.
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| Figure 9.8 Progress screenshot. |
However, I still couldn’t find a way to make the floating letters dissolve smoothly. As a workaround, I reused the Block Dissolve effect but fine-tuned the parameters and adjusted the particle settings to achieve a smoother animation.
Figure 9.9 Second attempt.
Scene 05
Next, I proceeded with making the particle human figure fade out as the story transitioned to Scene 05. Similar to the previous approach, I used Trapcode Form to create the particle human figure. To enhance the effect, I adjusted the particle color over time, transitioning from green to red. As the human figure turns red, I applied a fade-out and dissolve effect, making the particles gradually disperse. This created a smooth disappearance effect, aligning with the story’s progression.
Figure 10.1, 10.2 Progress screenshot.
Compilation
After completing all the scenes, we sent them to Xinran, who helped compile the video by adding transitions and sound design.
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| Figure 11.1 Compilation. |
She then shared the outcome with us for review, and after watching the video, we provided feedback. She promptly made the necessary adjustments based on our suggestions.
Presentation Slides
With the projection mapping completed, Bernice and I assisted in refining the presentation slides prepared by Haohan. We noticed that some of the content was inaccurate and required our explanations, as we were responsible for creating the projection mapping video.
Figure 12.1 - 12.4 Content to refine.
Bernice took on a larger role in modifying the content, while I focused on refining the layout design and typography to ensure the slides were visually polished and well-structured.
Projection Mapping Video (Refinement)
On the day of our projection mapping video presentation to our classmates and instructors, we received positive feedback from Mr. Shakir and Mr. Zeon.
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| Figure 13.1 Presentation day. |
Mr. Shakir pointed out a minor technical issue in Scene 4, where the edges of the hand needed some feathering to make it look more natural. Following his feedback, Bernice improved that part by adding feathering to soften the edges.
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| Figure 13.2 Refinement. |
Process Documentation
For the final project slides, Bernice and I worked together to add content and make adjustments based on our refinements. She primarily typed out the content, while I focused on rearranging and refining the layout design to ensure a polished and professional presentation.
Figure 14.1, 14.2, 14.3 Process documentation.
Final Production and Project Presentation
Miro Board
Link to Miro
Figure 15.1 Final Presentation Slide.
Projection Mapping Video (Presentation Day)
Figure 15.2 Resonance Projection Mapping.
Projection Mapping Video (Refined)
Figure 15.3 Resonance Projection Mapping (Refined).
Final Process Documentation
Figure 15.4 Final Process Documentation.
Final Digital Mockup
Figure 15.5 Final Digital Mockup.
Week 06
Mr. Shakir mentioned that the storyboard visuals were well done and could be used for the final projection mapping. He advised us to apply basic animations, such as adjusting position, scale, and opacity, to bring the visuals to life. To optimize performance and reduce the rendering load in After Effects, he suggested incorporating online sources, such as particle or silhouette videos. He recommended using Envato for high-quality assets and using the Rotobrush tool to remove backgrounds before integrating them into our projection mapping video.
Regarding my issue with separate pre-compositions for each wall, which prevented smooth blending across the entire projection, Mr. Shakir suggested an alternative approach. Instead of dividing each wall into different compositions, he advised creating a single composition that fits the entire canvas (3840px x 1700px), covering all walls and the floor.
Week 07
Mr. Shakir suggested adding transitions between frames to make the video smoother. Mr. Shakir also suggested using online sources to download free videos that fit our projection mapping. By incorporating these pre-rendered particle effects, we could save time on rendering and enhance the visual appeal of the projection mapping with dynamic, moving particles. This approach helped us achieve a more polished and engaging final result without overloading the rendering process.
Presentation Day
The animation turned out well, and it was unexpected that we could successfully create 3D model animations. Using different software to solve problems and achieve the desired outcome is an effective approach to meeting expectations. There was a minor technical issue in Scene 04, where the human hand could be improved by adding feathering to make the edges appear smoother and less cut out.
REFLECTIONS
At first, I was a bit worried about how we could render all the visual assets within such a short time. Rendering particles and elements required reviewing video tutorials, and the process used a lot of memory, which added to our time limitations. However, after Mr. Shakir mentioned that the animation would only require basic adjustments such as opacity and position changes, it helped relieve some of my stress. Bernice and I shared the same vision and decided to still create some of the visual assets ourselves to ensure the final outcome met our quality expectations.
This assignment taught me a lot, especially in using After Effects for particle effects, transitions, Gaussian blur, and more. These were all new skills for me. Although I’m still not completely familiar with After Effects, I can see the difference between my first day using it and now. The improvement in my skills and speed in producing animations is noticeable.
I also learned how to create 3D model animations, even though I didn’t animate them manually. Using different software to achieve the desired results and effects was a new and valuable skill for me. Despite the rush to complete the projection mapping video near the presentation day, I feel truly proud of what we accomplished and how much I’ve gained from this experience.
Initially, I wasn’t particularly interested in immersive design and didn’t see myself attending projection mapping exhibitions. But after working on this project, I’ve come to appreciate the charm and creativity behind immersive design and projection mapping. I’m grateful to my groupmates and our instructors for guiding us throughout this journey, helping us produce such a great outcome.
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