Valley shot rendering
Final outcome
I first export alambic cache from MAYA and devided them by material. Then import them into Unreal Engine. Then I will rebuild the camera in Unreal Engine.
Poster
Cloth Simulation
Blanket simulation
Wizard’s coat simulation
The blanket is thicker than the coat, and is harder to deform. I also add some wind to make the coat look softer.
Categories
FMP 06
Animation
Storyboard for the fighting scene
Previs
Character Modeling and Rigging
Modeling
Rigging
I use advanced skeleton for the rigging.
Texturing
I seperated the head, the armor and the body, and use substance painter for the texturing.
Hair- Xgen
The final outcome in Unreal Engine
Environment
major resourses I use
· Battlefield
lighting
- I also use Meshy AI to generate some other resourses for the scene
· Valley
Environment
· Bedroom
Modeling in Blender
Lighting and rendering in Unreal Engine
*I use Ai to write a script to help me import all the texture and material into unreal.
Previs, first edition.
Giant’s rig
I use advanced skeleton to generate the controllers, then bind each part to the bones.
Background Story & Characters’ design
Character rig and texture I already have
Previous work
ⅠExperimental Animation
Bingrui Li & Xiaomeng Jiang
We made a video essay about prompt writing in AI generated animation.
I’m responsible for the preproduction, the character design, part of the animation making, and editing the video essay.
Ⅱ Animation Showreel
Chapter1: Mythology as Creative Resource
The main focus of this chapter is on the significance of myths as a source material in the creation of films, animations, and games. Starting from the definition of culture and narrative structure, it discusses how culture can transcend specific cultural and historical contexts, and why creators choose mythological stories for adaptation and creation.
Chapter2: Reinterpreting Chinese Mythology in Contemporary Media: Nezha and Black Myth: Wukong
This chapter mainly consists of case studies, with the analysis focus on the Animation Nezha (2019) and game works Black Myth: Wukong (2024). These two works are among the most successful Chinese animation and game productions in recent years, and both draw inspiration from Chinese mythological stories. This chapter will take these two works as the core cases, concentrating on the portrayal of character images and the adjustment of narrative structure in these works, as well as the specific mythological elements they have utilized and the modern elements they have incorporated. It also examines the efforts made to adapt to internationalization. The chapter will summarize the specific choices and coordination made by the creators when creating these two works.
Chapter3: Constraints and Opportunities in Cultural Production
This chapter discusses the practical pressures that Chinese creators encounter in the adaptation of myths. Firstly, it concerns the expectations of contemporary audiences. What kind of themes can resonate with the audience? The creators need to integrate contemporary issues into the stories of traditional myths to create fantasy works suitable for contemporary audiences. This part mainly discusses the creators’ balance between contemporary society and traditional culture. Secondly, it addresses the conventions of the global market, including visual effects, narrative structures, worldviews, etc., that conform to global market aesthetics. It discusses the cultural anxiety that creators face when facing globalization and how to make their culture be seen and accepted by the entire world.
Chapter4: Creative Negotiation Between Tradition and Global Influence
This chapter works a conclusion. It answers how the creator should continuously make choices, adjustments, and negotiations under various influences. Firstly, it addresses how to maintain Chinese characteristics while creating, and what kind of elements should be retained during creation; secondly, it explains how Chinese works adapt to globalization and the international market; at last, the chapter highlights the role of the creator as a cultural intermediary.