In Week 01 of Advanced 3D Computer Animation, Professor Ting Liu taught me cinematography foundations and how visual composition supports animation storytelling. The session focused on framing rules such as rule of thirds and golden ratio, alongside shot sizes including long shot, medium shot, close-up, and extreme variations. Camera movement methods like pan, tilt, dolly, truck, and boom were demonstrated through examples to show how motion changes emotional reading of a scene. I studied how angle choice shifts character perception and how composition guides audience attention within a frame. Storyboarding practice formed a core part of the session, where I analyzed structure and sequencing of frames before moving into practical work.
Step 1: Describing the Favourite Short Animated Film
This animated short is set during the Indian festival of Makar Sankranti and follows two young boys flying kites on their terrace. What begins as a playful competition slowly turns into a moment of separation when one child chases a kite too far and gets lost. The story resolves when friendship and a shared symbol, the kite, help guide him back home. The narrative is simple, culturally rooted, and visually driven.
On a personal level, this film affected me deeply because it reminded me of my own childhood. I used to fly kites regularly, and over time, as I grew older, I unknowingly stopped engaging in such activities. Festivals slowly became less about joy and more about routine or competition. Watching this film made me reconnect with a version of myself that was energetic, curious, and emotionally present. It reminded me how cultural festivals once brought genuine excitement and bonding among friends. Another strong emotional connection was seeing my own hometown reflected in the animation. The houses, temples, and locality felt familiar, almost like watching my memories translated into a 3D space. This emotional connection is one of the reasons this film strengthened my interest in animation as a medium that can preserve personal and cultural memories.
From a technical perspective, the film is extremely impactful. The camera language is one of its strongest elements. There is confident use of dolly shots, follow-through camera movements during chase sequences, and handheld-style camera shakes that add urgency and realism. The framing and composition are carefully designed, using depth, leading lines, and frame-within-frame techniques to guide the viewer’s attention. Focus and defocus are used effectively to separate characters from the environment and to emphasize emotional beats without relying on dialogue. The pacing of the animation is also very strong; fast cuts and dynamic movement are used during action sequences, while slower shots allow emotional moments to breathe. Even within a stylized, low-poly aesthetic, the film achieves a cinematic feel through smart camera placement, controlled animation timing, and thoughtful shot transitions. Overall, the film demonstrates how strong visual storytelling and camera choices can carry emotion and narrative effectively in animation.
Step 2: Choosing the Reference
I worked on a Storyboard task based on The Incredibles. I selected a short sequence and broke it into key frames, focusing on identifying narrative beats and camera logic.
Step 3: Developing the Story Board
Step 4: Customizing the Story Board
Later, I developed a second version with adjusted framing, altered camera positions, and modified pacing to explore visual storytelling alternatives. This helped me understand how cinematic decisions affect meaning even when the narrative remains the same.
Step 5: Receiving the Feedback
After submitting my story boards, I received good feedback from Professor Ting that:
“Your storyboard shows strong observation skills and fast drawing ability, but you need clearer control over camera intention in each frame.”
I reflected on this by recognising that speed in drawing is not enough for cinematic clarity. I needed to prioritise consistency in camera logic and ensure each frame supports a defined narrative purpose rather than stylistic variation. I focused on improving intentional framing decisions in later iterations.