Project 1
Project 2 (New)
Project 3
Project 4 (New)
Project 5
Final Project

Project 1

Tutorial Animation

Tutorial Modification

Changed background
Tilted rotation axis of planets (Uranus is almost on its side)
Textured planets, moons, and sun

Arnold Render

Animated Camera
Mutliple cuts
Earth and mars have oceans, clouds, and atmosphere







Project 2

Treasure Chest Animation

360 Degree Turnaround

360 Degree Turnaround (Wireframe)

Chest was originally modeled in Maya. A conflict in muscle memory with keyboard hot keys and somewhat restrictive
modeling tools resulted in a moderate simplification of the chest. The material of the chest in the photos appears
to be single-color plastic painted to be weathered, but this did not seem appealing for animation, therefore realistic
wood and metal shaders were created from scratch (with only a few textures from the internet) as well a detailed
modeled sand background. Camera imperfections were added in post production to add realism, such as barrel distortion
and brightness-based chromatic abberation. RTX 3090 GPU model acquired from Sketchfab here.
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Project 3

Bouncing Ball Animation

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Principles of Animation: Beyond the 12: squash and stretch
slow-in and out
traction






Project 4

Rube Goldberg Animation

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Participating physics object:





Project 5 (4/30)

Python Dominos

The domino coloring was achieved by creating a new face on a generated polyCube, not extruding it all, selecting the
new vertices by array slicing, and setting the weight colors to 2 distinguisable colors. The data cannot proliferate
throughout a MASH network, so the code also has some functionality to transfer the vertex weights from the parent domino
to all others in the grid.
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Final Project (5/18)

Advanced Non-Photo Realistic Rendering

This animation is a demonstration of an in-development shader for the fast rendering of cartoon/anime style 3D objects
in a way that unifies the look of hand-drawn digital draughtsmanship and digital rendering.

The model (the fighter jet) responds dynamically the position, intensity and color of moving light sources in the ACES colorspace
to increase the feeling of a wider dynamic brightness range than current industry methods. The model is also affected
by global illumination without the intervention of the artist. All lights are handled in a cel-shaded style with gradients
for added depth and detail in the lighting while maintaining the illusion of a hand-drawn object. Black linework is rendered before
post-procressing effects for further adjustment.
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The effect of global illumination on the overcast scene is quite minimal, but can be better exploited in other lighting
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This stands in contrast to the current paradigm of selecting exclusively 2 colors for cel-shading (one lit and one shadow color)
with heavy post-procressing for increase appeal/detail, which at times can look quite primitive.

Evangelion 3.0 + 1.0 (2021)

Beastars (2019)
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Anarchy in the Galaxy (2014)
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Pacific Rim: The Black (2022)




Other Things of Note - The cel shading is rendered in real-time, but the line art visibility calculation takes a few seconds for the jet model and several minutes for the complex
smoke trail mesh. However, a real-time line art solution is in the works. The main jet model is dynamical deformed to create an illusion of flatness, eliminating a great
deal of perspective distortion and adds a subtle amount of imperfection to the model, giving it a hand-crafted look. This is mostly due to the fact that when it comes to real
drawing from imagination, people tend towards longer focal lengths as only the center of vision is in focus, not the entirety of the FOV of the human eye.
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Also, a variable frame rate was experimented with in my video for the purposes of mimicking the cost
cutting techniques of old, thus leading to a more believable hand-drawn animation with the timing of a human, not a machine. The pattern
to fully achieve this effect requires further investigation

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Complications - The models for both the jet and the smoke trails were carefully modeled to minimize lighting artifacts
caused by rough normal interpolation. In isolation, either elements worked fine, but in tandem, especially the smoke trails mixed
with booleans, created multiple days worth of bugs and delays. A future approach may be to tackle the unique shading of the
trails with textures rather than very complexe geometry
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Principles of Animation: