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Critical analysis
The entire project as been fun but challenging. Various issues through out the project continued to arise such as twisting of the polygons when the Maya file was opened up and paints weight continuously influencing areas that I though had been removed.
The mesh took the most time to make due to the continuous twisted polygons problem when opening Maya and by week 6 I decided to start again because the problem would not go away at all and this resulted in 2 weeks lost of work.. The character when finished looked cartoonish and didn’t seem to fit what I imagined he would look like.
The texturing of the character was kept simple as the character. All the textures were made in Photoshop and imported into Maya and mapped on to the character. The rigging was tough as I had to continuous adjust the axis points so the bones would move naturally and bend in the right direction. The movement of the rig is limited as he can moves his arms freely round his sides but when it comes to touching his head which I intended him to do it wasn’t possible as the arm would bend in awkward angle and not look like natural movement.
The animation overall leaves a lot to desire as the character moves very robotic and feels a stiff at times. The head movement doesn’t really feel like he’s human and more like a robot. I blame this problem squarely at the rig I made as I build with out thinking bout the movement of the arms and ended restricting his entire movement. The lip synch is probably the only thing I feel I got right to a point but I didn’t have enough blend shapes for other possible expressions
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The U.S. flag is presented to Jo Ann Hunter following the funeral service for her cousin, U.S. Army Air Forces Sgt. James Murray, in Section 71 of Arlington National Cemetery, Arlington, Virginia, April 15, 2026. Murray was captured and died as a prisoner of war (POW) during World War II. His remains stayed unidentified until Sept. 23, 2024 – more than 80 years since his death on Nov. 22, 1942.
From a Defense POW/MIA Accounting Agency (DPAA) press release:
In late 1941, Murray was a member of the 93rd Bombardment Squadron, 19th Bombardment Group, when Japanese forces invaded the Philippine Islands in December. Intense fighting continued until the surrender of the Bataan peninsula on April 9, 1942, and of Corregidor Island on May 6, 1942.
Thousands of U.S. and Filipino service members were captured and interned at POW camps. Murray was among those reported captured when U.S. forces in Bataan surrendered to the Japanese. They were subjected to the 65-mile Bataan Death March and then held at the Cabanatuan POW Camp #1. More than 2,500 POWs perished in this camp during the war.
According to prison camp and other historical records, Murray was buried along with other deceased prisoners in the local Cabanatuan Camp Cemetery in Common Grove 816. Following the war, the American Graves Registration Service (AGRD) personnel exhumed those buried in this cemetery and relocated the remains to a temporary mausoleum near Manila. In 1947, the AGRS examine the remains, attempting to ID them. One set of three from Common Grave 816 was identified. Those unidentified were buried at the Manila American Cemetery and Memorial (MACM) as Unknowns.
In 2019, as part of the Cabanatuan Project, DPAA exhumed the Common Grave 816 remains and sent them to the DPAA laboratory for analysis. Using dental and anthropological analysis, as well as circumstantial and mitochondrial DNA, DPAA and Armed Forces Medical Examiner System scientists identified Murray’s remains.
Jo Ann Hunter, Murray’s cousin, received the U.S. flag from his funeral service.
(U.S. Army photo by Elizabeth Fraser / Arlington National Cemetery / released)
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Critical Analysis
I am now in my third year of study and feel that during the course of this very interesting module I have turned a corner. Before this point I felt that I was still familiarising myself with the intricacies of Maya whilst also trying to soak up as much information from Jason as to how to create subtle animations. Having now a relatively solid understanding of most of the essential elements in Maya needed to create standard animations, I have been able to focus nearly all my attention on the art of animating.
With this animation I have tried to tell a story rather than simply produce something that has no meaning. In other words, I wanted it to appear as though you were joining the action partway through an unfolding situation. This I feel I have achieved.
I was also very keen to build on my success from the angry rocket animation completed part way through the module. In practice, animating a full blown character well is a completely different proposition. That said, I feel that I have made a reasonable attempt at it. I would suggest that for the most part I have managed to show that my character is angry and that he is thinking about his actions. It was a conscious effort on my part not to use any facial animation at all but rather to rely entirely on body language alone. To make this work I needed to try to produce some nice arcing motion to his movements and be very accurate with the timing. For me, the animation feels snappy and quite well timed throughout. The fluid motion could be greatly improved if I am honest. It is there in some parts whereas other transitions still seem a little stiff.
As a finished animation I feel it works reasonably satisfactorily. However, ideally I could spend another four weeks on it to really fine tune everything which I fully intend to do during the summer.