Character Performance Assignment

06/08/24 - 26/08/24

Introduction

This blog post showcases the journey throughout this module’s assignment to create a character performance with lip sync using audio clips. The assignment is designed around the ‘11 Seconds Club’ competition which I was really looking forward to entering, however, the competition is currently on a break and will return in the autumn, which is unfortunate. I did find another competition from the Agora animation community, however, this month’s competition was to animate the character ‘Deadpool’ from the Marvel universe who doesn’t have a mouth when in costume. Although lips sync does not need a mouth for the purpose of this project I wanted to showcase lip sync through mouth movements in addition to body motions, despite the body motions being the most important.

This blog will show my complete journey from preproduction to completion to show the research and resources I have gathered or created that have helped me create my final outcome. 

Through the module’s teaching I have explored and practised a range of key teachings that include in my final outcome :

• Trust the animation process from blank scene to final outcome.
• Show what is the character thinking to drive his actions.
• Analyse the dialogue to find the accents and key mouth shapes.
• Contrast the accents within the character poses. (Soft and hard, exaggerated and non exaggerated.)Allow the character’s personality to drive how the character should be animated.
• Explore distinctive gestures that let you know a characters personality e.g. and eyebrow twitch to show they are unhinged.
• Repeat acting out the scene to find the best version of the idea through reflecting on what works and what doesn’t work.
• Body posing driving the lip sync and more important than the mouth shapes alone.
• Lip sync poses should be 2 frames ahead of the audio.
• Contrast in the lip sync poses so that some are larger than others to create emphasis.
• Lip sync starts with the jaw - open on vowel and close on consonant sharply.

Project Management

This module is extremely enjoyable, however, has occurred during a particularly busy period of my life! I was currently juggling : 

• Continuous and regular physiotherapy appointments and home exercises to continue my recovery from my shoulder industry.
• Busy end to the academic year in my teaching role.
• Undertaking external quality assessment of other college’s in my freelance role for an exam board.
• Exam moderation in my principle examiner role for the same exam board.
• A few weeks planned vacation as some down time.

The only slight respite from this was I had 5 weeks annual leave from my teaching role which enabled me to devote more time to this my Masters study. So to keep myself organised I made a production schedule that mapped out what I was going to do and when so that I could deliver this module’s assessments. You can see this in the image below.

I continued to use Kanban production management techniques to visualise my workload using Trello. This will help maintain my focus and allow progress to feel positive.

Audio and Analysis

Below are the two audio clips that I will join together in two scenes using two characters.

• "Is anybody there?" - 3 seconds 
• Accessed from Movie Sounds (no date a)
• Originally sourced from (Clements et al., 2015)
• "Hello? I've just shot somebody. I did it on purpose!" ~ 9 seconds
• Accessed from Movie Sounds (no date b)
• Originally sourced from (McTiernan et al., 1993)

I returned to some reading I had done recently (Goldberg, 2015), in addition to the module’s teaching, to refresh my memory of key elements of lip sync in character performance. One of the key things that was most important to me here was making sure that I create contrast the poses. I can tend to over exaggerate all my poses meaning that none of them stands out. Therefore, on this animation I want to plan my key poses so that there are clear accents to enable the extreme to really stand out.





Next I wanted to gather visual references to phonemes and visemes so that I had reference to how initial mouth shapes should be formed. (LearnEnglishAndSpanishOnline, 2013)


I also reviewed my copy of 'Stop Staring' (Osipa, J. 2010), which had some useful phoneme and viseme imagery, however, also had a breakdown and justification to the theory behind how these should be used.









Now that I had a solid foundation I wanted to analyse the mouth shapes within the audio clips to :

• Find the words that should have the most exaggerated poses.
• Create thumbnail sketches to plan the mouth shapes that should be used.

The image below shows my process, informed by the above research. I used a simple shaving mirror so that I could speak the voice lines and study my mouth shapes. I had my copy of Stop Staring to see what the base mouth shapes would look like too. I then used my iPad to sketch the shapes.



Below shows the outcome I created of my final audio clip analysis with mouth shape thumbnails. I used the lines above the words and mouth shapes to show how the accents would flow together.

Concept Explanation

The idea is that the first character says the first line: "Is anybody there?" and then a second character responds with "Hello? I've just shot somebody. I did it on PURPOSE!". Neither character can see one another and the first character will be shocked and quickly but silently try to leave the scene without being seen.

The scenario for this is that the first character hears a gunshot-like sound from down the sewer pipe on their farm. This is unusual so they investigate by leaning into the pipe and asking if anyone is there. The pipe goes into a sewer where the second character hears the faint dialogue from the first. The second character is holding a gun and responds with a 'hello' and shouts that he has just shot a man on purpose. We will see the feet of the man they have shot offscreen. This startles the first character and they run away out of shot whilst we faintly hear the echo of the second character's line "I've just shot somebody. I did it on PURPOSE!".

Scenario Questions

I’m also aware that sometimes my animations don’t read as well as they could so I tried to think about any elements that might not make sense and explore what has happened to ensure that they do make sense. I thought if I explored this early on then it would build a strong foundation for the overall scenario’s believability.

Q - Why is the first character investigating?
A - Whilst working on the farm they hear a strange gunshot-like noise echoing out of the sewer pipe.

Q - Why has the second character just shot somebody?
A - Kidnapped a person they believed was trying to steal their girlfriend. Shooting them to remove the problem.

Q - Why does the first character run away?
A - Due to their innocent and childlike nature, the scenario they hear sounds scary so they are running away to inform their parents who will be better equipped at dealing with the situation.

Q - Why does the second character confess that they shot somebody?
A - They are trying to scare away any potential onlookers. If anyone is there they are so confident that they would kill anyone who has seen them and is a potential problem. In this scenario they haven't been seen as the person they hear is above ground and talking into the pipe. There is also no way to prove that the second character was the person who killed the man after they vacate the scene.

Environment Planning

A sewer outflow on a farm and inside a sewer seemed to make the most sense for this concept. This image below is a mood board that I made to help visualise what I wanted the set to look and feel like.



To add some further insight into my thought processes I annotated the images to explore why I chose these particular elements and what Ideas I wanted to incorporate into my sets.



Once I had explored the ideas for the set I wanted to see if I could source 3D assets to bring that vision to life. I found these rusty pipes from FrodoUndead (2022), which will work well for the pipes above and inside the sewer.



I planned to create my own walls, however, use a concrete texture that I could tile across them. This would allow me to create the base of the space any size or shape I needed. This was sourced from Rob Tuytel (2019).



I needed a gun prop as one of the key elements and I came across this beautiful model by 8sianDude (2024) that I felt would fit the style of my character rigs well.



Lastly I needed a rural background for behind the first shot where the character is looking into the pipe that I could easily composite together. I used one of my photos I took from north wales and applied a a simple blur to create some fake depth of field.

Character Profile and Rigs

In the interest of developing characters with distinct personality with the intent of using this to shape how the characters should move and behave, I wanted to create character profiles that would explore some backstory to the character to hopefully give them a little more substance. This was some the the animators as Disney truly believed made believable characters as illustrated in the Character Development chapter of Illusion of Life. (Thomas and Johnston, 1995)

This was the profile template I developed in order to create the character profiles.

Name :
Type of Person :
Age :
Alignment :
Occupation :
Family and Relationships :
Likes :
Dislikes :
Background :
Goal/Motivations :

First Character - "Is anybody there?"

Sam Rig (Salas, no date a)

Name : Rufus McCladdon

Type of Person : Slightly child-like, dim witted but curious.

Age : 28

Alignment : Good - they are fairly harmless!

Occupation : Farm hand for his whole life - needs to be told what to do by his Dad who owns the farm. Able to do manual labor to a satisfactory but slightly 'slap-dash' quality.

Family and Relationships : No spouse or romantic relationship. Son of a farmer - his Dad owns the farm. His Dad instructs him what to do and can sometimes become frustrated if his son doesn't understand him properly, however, his Dad is unable to do much strenuous physical activity due to age and weak legs so he has to rely on Floyd to do the more physically demanding tasks. Has a sister who is much smarter than him, however, they get on well and she helps him with intellectually taxing tasks. Mother utterly adores him and is very patient.

Likes : Investigating things. Working on the farm. Smelling flowers. Being with and talking to the animals.

Dislikes : Anything that requires a lot of thought. Anything 'scary' or against what his parents have taught him is right or wrong. Taking care of the family farm.

Background : He has worked at his family farm since a young age. Whilst he has attended school he'd didn't achieve many qualifications other than physical Education.

Goal/Motivations : He wants to take care of the farm and is proud of everything related to it (family, crops, animals, machines etc.). In this scenario he has heard something out of the ordinary coming out of the sewer pipe located on their farm and goes to investigate.

Second Character - "Hello? I just shot somebody. I did it on purpose!"

David Rig (Salas, no date b)

Name : Artemis Huckleberry

Type of Person :Confident. Enjoys having lots of money. Selfish. Extremely jealous - makes them behave irrationally. Controlling - they spend lots of money on their girlfriend and believe they have the right to control what she can and cannot do!

Age : 37

Alignment : Evil - they are only ever on the look out for themselves. They want the finest things in life from possessions to relationships. They make it happen and remove anyone in their way.

Occupation : Company owner (Classy Hotel). Inherited from parents, however, Artemis doesn't do any of the work himself and instead allows the existing staff to. The staff are often working hard to cover up his mismanagement to ensure the business is successful. Artemis often takes stock and drinks in the bar with his lavish, similarly inept, friends.

Family and Relationships : They have no family - their parents died when they were a teenager and they are an only child. Their parents were wealthy and left a fortune and the family business (Classy hotel) to Artemis. Artemis has a young (22) girlfriend who equally enjoys the lavish lifestyle. His girlfriend is equally as selfish and relies on him for money.

Likes : Money. Drinking. Entertaining wealthy guests. Fancy cars. Cigars. Golf. The city.

Dislikes : People challenging him. Doing any actual work. People he considers beneath him (this is most people other than the super rich). The country.

Background : After losing his parents as a teenager, Artemis inherited the family business of running a classy hotel in Los Angeles (Hotel Huckleberry). They love having money and the lavish things in life but rather than running the hotel properly they leave it to the staff. Whilst the staff are working hard to hold the business together they entertain equally selfish other wealthy people such as actors and musicians. They are dating an extremely beautiful but talentless actor who is equally selfish and money-loving. Their films have all bombed and they rely on Artemis for money. If she doesn't get her own way she will aim to annoy Artemis by casually flirting with other men in order to enrage him.

Goal/Motivations : Maintaining his lavish lifestyle and having the finest things in life. In this scenario - he has just killed a man that he believed was trying to steal his girlfriend. The person was a local fuel station worker and wasn't trying to steal their girlfriend but had only paid her a compliment when she was paying for her fuel. Artemis had kidnapped the man and taken him to the country where this this sewer location exists beneath a farm with the intention to kill them and remove the potential problem.

Research

Now that I had explored who the characters were I wanted to source some research that would support my understanding of these characters could move. My process was the review the characters movements and make notes on what I found.

Firstly I looked at the source material of the second character’s voice line from 'The Last Action Hero' (Last Action Hero — Mr. Benedict's theory, 2019). I thought this would be good to understand how this actor delivered the lines and if there were any distinctive characteristics I could borrow for my animation.

- Confident - moving with clear intent and not holding anything back.
- Head kicks to punctuate the words he is stressing.
- Straight, upright and solid poses.

Secondly I wanted to look at some mime footage of angry characters. Mime is incredibly important for animators as it communicates ideas through body motion alone, without the need for speech. In this case I found a clip of Charlie Chaplin (Charlie Chaplin - The Kid - Fight Scene, 2020) and a aggressive character fighting that felt most similar to my aggressive character.

- Head kicks to punctuate points similar to the previous but this time not heard and done through mime.
- Pose to pose - snapping into poses.
- Exaggerated motions that are clear - often one limb is leading.
- Cliché movements like arms on hips when annoyed and rolling sleeves up.
- Faces drop when worried - up for positive, down for negative.
- Contrast in timing from larger, faster motions to slower and smaller ones so that the big accents are clearly seen.

Next I came across another Charlie Chaplin (Charlie Chaplin - Food Fight - The Great Dictator, 2017) sketch that explore confident and angry characters.

- Punctuating on accents and key words.
- Similarly exaggerated poses - particularly leaning and the hand poses.
- Secondary actions - eating whilst arguing.
- Lots of head motions whilst talking.
- Anticipation - holding a pose before snapping into the next. Such as when he throws something into the soup dish in the middle.
- The more angry they are the faster and sharper the motions. Characters who are calmer have softer motions.
- Snaps into facial and body poses very quick.

Next I explored a Laurel and Hardy clip (Laurel & Hardy - There's going to be a fight, 2010) that also explored angry characters and had similarly exaggerated character performance to Charlie Chaplin.

- Similarly exaggerate poses to Charlie Chaplin. Making the poses clear.
- Large arm motions on the walking swings.
- Head kicks to punctuate the words - particularly on the stressed words.
- Contrast in facial poses to allow the accent words to be clearly seen and pop out from the others.
- Big accents are exaggerated to land comical effect like knocks on the head and when one character falls over.
- Big arcs on arm motions such as pointing to exaggerate more simple motions.

I then explored some footage of Basil Fawlty from Fawlty Towers (Fawlty Towers: Naughty boy, 2017) who become irritated quickly and has extremely exaggerated actions.

- Quickly goes from calm and professional to angry.
- Exaggerated and leading into poses.
- Becomes more and more exaggerated and shaky motions as he gets more angry.
- Anticipation - hanging a pose before it punctuated a point.
- Stressed fingers that curl up and punch out fast to further accentuate points.
- Exaggerated poses like the knees leading in to make interesting silhouettes.

Next I wanted to explore some confident characters to understand how they held themselves and moved. I explored Leonardo DiCaprio’s character from 'The Wolf of Wall Street' film who I felt was confident but also slightly unhinged, which is what I wanted for my character in the second shot.

Clip 01 (The Wolf of Wall Street (2013) - I always wanted to be Rich, 2019) :

Clip 02 (Steven Madden's Secret To Success | The Wolf Of Wall Street (2013 | Screen Bites, 2019) :

 

- Confident character with clear swagger.
- Holds himself confidently with all motions having clear intent.
- Exaggerated facial poses - often smiling and smirking when discussing more risky topics like drugs.
- Large open poses - he clearly enjoys being worshipped.- Smooth and almost 'rolls' into poses.
- Poses are often forward and advancing rather than retreating.
- Says what he thinks.
- Contrast between smaller and bigger poses to ensure accents land.
- Unhinged banging himself on the head.
- Calm to unhinged poses - really good reference.
- Anticipation, slow hang into heavy accent.

The previous shot reminded me a little of the 'Caledon Hockley' character in the 'Titanic' film who was extremely jealous and went from calm to angry in a split second. I felt this unhinged behaviour would be good to study for my second character.

Clip 01 (Titanic - Cal gets angry, 2019) :

 

Clip 02 (Titanic Cal's Jealousy (SOUNDTRACK-James Horner) Film Version, 2019) :

 

- Jealous motivates his anger
- Starts calm and ends angry.
- Holds himself very posh-ly by tilting his head up and only exerting the energy he needs.
- Anger contrasts the posh poses with large angry poses.
- Evil, maniacal grins as he performs evil deeds showing he is unhinged.
- Firing shots are exaggerated with arms out powerfully.

Further to this reference I wanted to explore some animation from past ‘11 Seconds Club’ successful submissions to help understand what quality animation looked like within this type of task. This would give me a quality bar to aim for to help drive the quality of my own outcome.

• Deal with the fool Robot! (Kwon, no date)
• The Restaurant (Forsgren, no date)
• Chat in the Park (Panganiban, no date)

- Clearly snaps from one pose to the next.
- Clear exaggeration with some more subtle poses and larger ones on the accents.
- You can see the character thinking and their thought process as they deliver lines and move from one pose to the next.
- Exaggerated poses that bounce from one pose to the next.
- Poses are clear with good staging that accentuate the point of the dialogue
- Moving holds ease in slowly and often pop fast out. Not all parts of the characters stop at the same time to create overlapping action.
- Body poses and motion are often the main part to convey meaning and emotion with the lip sync being secondary.

Whilst I wasn’t doing the Agora Community competition they launched this support video (How To Make Fan Animations | Tips from Agora.Community, 2024) alongside the current competition. The advice here was also applicable to my assignment so I felt this was useful to review.
 

- Study the intellectual property and allow people to feel the character they know and show that you've studied the character and how they move.
- If rendering - make sure it also matches the style or it will stand out.

Pose Research

To build on my video research I wanted to explore so pose reference for a couple of the key poses. I wanted to explore the gun pose to ensure that the pose I created was grounded in reality.

This first image (Almeida, 2016) shows a strong pose idea that was similar to what I was imagining, although the angle doesn’t allow me to see the body posing clearly.



This next image (Alamy Limited & Di Studio Photography , 2015) showed a pose at a better angle and had some confidence, however, I wanted a more forward leaning pose rather than slightly relaxed.



This image below (satinka, no date) had a strong confident pose and I particularly liked the staging shown through the camera angle. I wanted to create a similar camera angle for my shot where the character is holding the gun standing over the person they have just shot to add a real focus to the gun.



Next I wanted to find a pose of a character that has a gun held up but not directly pointing at anything. This pose (Alamy Limited & YAY Media AS , 2011) was good as it showed that the gun was readied but the character was a little more relaxed.





Lastly I wanted an image of someone that was lying down and fairly lifeless as if they had just been shot from the front and this was how they had landed as they fell backwards. (Alamy Limited & Dex Image, no date)

Treatment

Now that I had the concept explored and supported by research I wanted to create a treatment for each scene to build a foundation for how the scene would play out. After I’d done this I could create thumbnail sketches and act out the scenes to complete the planning process.

Shot 01

• The camera is located inside a pipe.
• A distant gunshot sound echoes from within the pipe.
• A hand reaches out at the end of the pipe.
• The hand grasps down on the edge of the pipe.
• The second hand reaches out.
• This second hand also grasps down.
• As the second hand grasps down the person (Rufus) pulls their body up.
• They peer into the pipe.
• They lean into the pipe and say "Is anybody there?"

Shot 02

• We see the sewer scene with the character (Artemis) stranding in a strong shooting pose over a dead body. This is an establishing shot and we see the full character.
• The dead body is on the floor to screen left and we only see the feet.
• The character is in a side on position and has a gun in their hand pointing at the body.
• There is an echo of "Is anybody there?"
• The character reacts into a more upright position with their gun raised slightly.
• The character says "Hello?" inquisitively, confidently and focusses.
• The character is looking around in small motions.
• The camera moves closer to a medium-long shot to focus on the second character
• The character says "I just shot somebody."
• The character punches their gun upward and outwards slightly to accentuate the word 'shot'.
• The character says "I did it on purpose!"
• The character twists the other way and punches their fists down as they raise their body upward.

Shot 03

• Return to the pipe scene from shot#1 from the same camera angle.
• We faintly hear
• The first character (Rufus) reacts to what he has just heard whilst we hear the faint echo of the second character (Artemis) saying "I just shot somebody. I did it on purpose"
• The first character pulls a shocked face and flinches backward.
• The first character leans slightly to screen left to anticipate their exit.
• The first character exits by zipping off to screen right.

Thumbnailing

Now that I'd researched the idea and planned the concept through the treatment I moved into the next phase of pre-production. Essentially visualising the treatment through thumbnails to plan the key poses.

Shot 01


Shot 02


Shot 03

Acting Reference

Next I acted out the scene multiple times to practically explore the idea and work out anything that didn't flow or read correctly. This is the final stage of preproduction for this project and alongside the thumbnails, research and treatment gives me a solid basis to build the animation.

Shot 02

Shot 03

 

Animation Development

The following playblasts show the development of each scene over time throughout the various stages of animation.

Shot 1 - "Is anybody there?"

Layout and Blocking :
  

Blocking Plus :



Spline with Offset :
  

Facial Animation :

 

More Facial Animation :

Facial Animation Refinement :



I used this tutorial (Maya UV Mapping: How to Unwrap Curved Surfaces, 2021) to explore how to unwrap curved surfaces, make the UVs straight so that I could map a tile-able texture to the pipe in the scene. This helps make the simple environment a little more realistic. I used the same texture from the pipes I'd sourced earlier from FrodoUndead (2022).

 

This shows the outcome of the texture on the pipe.

Shot 02 - "Hello? I just shot somebody. I did it on purpose!"

Scene Setup :

Layout :

 

Layout Pose Refinement :



Blocking Plus :
 

Spline Pass :
 

Spline Refinements :
  

Spline Refine Plus :

  

Spline Refine Plus Plus :

 

Polish Pass :

 

Face Cam :



 

Further polish based on feedback from Alex Williams. Feedback highlighted to tighten up the poses and delay the reaction of the character to the voice coming down the pipe.

Facial Animation - Mouth :

 

Final Facial Animation :

 

Shot 03 - Reaction

Layout :



Blocking and Spline :


Spline Refine :



Spline Refine Plus :



Polish Pass :



Facial Polish Pass :

 

Lighting and Rendering

This section explores the construction of the lighting and rendering of each scene. Shot 01 and Shot 03 use the same lighting setup.

Shot 01 & Shot 03

This HDRI image (Sergej Majboroda, 2024) was used in a Skydome to create similar colour lighting to the first scene.



This image below shows my lighting setup. I'm using 2 area lights, with one light lighting everything and another just focused on the character as a fill light. I then have a directional light that is being used as a rim light to catch the silhouette of the character.



This is a photo I took in North Wales that I planned to composite behind the pipe to give the illusion of depth to the scene.



This is an example of how the final render will look.



This shows the addition of the rim light to help make the character stand out further.





Shot 02

I used the following video (Volumetric Scattering in Maya using Arnold, 2021) to understand atmospheric lighting in Arnold Renderer. I wanted to create the effect of light coming through a sewer grate.

 

This shows the first experimentation with lighting in this scene. It needed to be dank and dark, however, it is challenging to make the character stand out.







To help make the character stand out a little more I added a rim Light.





This image below shows the lighting setup for the second shot. I'm using a spot light and cookie geometry to create the striped shadows to give the illusion of green light coming through a sewer grate. This uses a little light decay and atmospheric nodes to create volumetric lighting to make it more realistic. I'm then using an additional green light, using light linking, just on the character from the same angle as the spotlight to add additional emphasis on the character. I have another directional light pointing just at the character, using light linking again, as a fill light to brighten up the character and prevent it from being too dark. I'm finally using another directional light from behind with a slight red tint as a rim light to help make the character stand out from the background.

Final Shot

 

Conclusion

This assignment has been extremely enjoyable and my skills have developed significantly. It was disappointing that the 11 Second Club was on a break during this module, however, I have utilised dialogue to create my own animation in the style of the 11 Seconds Club. The outcome I have produced tells a short story using dialogue clips.

I've brought two characters to life who both behave differently using convincing character animation. My processes from preproduction to production and post production have been well explored to create a good pipeline that has attributed to good outcomes. The process of thinking, researching, thumbnailing and acting scenes out has helped me understand the different characters and plan out my animation well. When animating I've used the process of blocking and refining with the support of my preproduction materials to produce an outcome I am proud of.

This has been my strongest character animation to date. The exploration of the units in this module and feedback from peers and tutors has been monumental in supporting the quality of my work. It has been a challenging module in terms of balancing time across work, home life and the masters, however, I feel I have handled this well through keen organisation of the workload over time.

I believe I have met the learning outcomes because I have :

• Researched a vast array of sources that have been used to inspire and support my outcomes.
• Explored acting out scenes myself prior to animation.
• Practised an array of preproduction techniques to support my outcomes such as thinking, thumbnailing, character profiling and acting.
• Animated two characters with distinct personalities.
• Developed a narrative that spans across two scenes using voice clips and sound effects.
• Reflected on my outcomes and sourced feedback from peers and professionals to develop the quality of my practical character animation.
• Presented work of a professional standard through lighting, rendering and the integration of audio to support the narrative.

Learning Outcomes

Knowledge and Understanding :

• Demonstrate a systematic knowledge and understanding of specialist approaches, processes, and techniques of character performance in 3D Animation.
• Demonstrate a systematic knowledge and understanding of enquiry, methods, practices and theories in acting and character performance in 3D animation and its interrelationship with other relevant disciplines.

Intellectual, Practical and Transferable Skills :

• Analyse and problem solve in unpredictable and complex contexts applying creative and specialist techniques in the animation of character performance.
• Develop and critically evaluate their work with informed reference to theory and current practice in 3D animation of character performance.
• Effectively employ acting and character performance animation techniques to communicate narratives or information and evoke emotive responses in audiences.
• Show a critical awareness of current practices, structures, audiences and registers of communication of character performance in 3D animation and adopt a critical reflective, informed approach to creative development.

References

1. 8sianDude (2024) Norinco QSZ-92G 9mm Handhun, February 9th [Sketchfab]. Available at https://sketchfab.com/3d-models/norinco-qsz-92g-9mm-handgun-9552035434514828b7f57b6738f5fb7a (Accessed: 25 July 2024).
2. Alamy Limited and Dex Image (no date) Asian businessman lying flat on the ground stock photo, Alamy. Available at: https://www.alamy.com/asian-businessman-lying-flat-on-the-ground-image2097347.html (Accessed: 25 August 2024).
3. Alamy Limited and Di Studio Photography (2015) Man in business suit shooting with handgun isolated on white background stock photo, Alamy. Available at: https://www.alamy.com/man-in-business-suit-shooting-with-handgun-isolated-on-white-background-image366320431.html (Accessed: 25 August 2024).
4. Alamy Limited and YAY Media AS (2011) Gun control concept - businessman with handgun, isolated on white stock photo, Alamy. Available at: https://www.alamy.com/stock-photo-gun-control-concept-businessman-with-handgun-isolated-on-white-51663472.html (Accessed: 25 August 2024).
5. Almeida, H. (2016) Man aiming a handgun stock photo. image of energy, male - 183155996, Dreamstime. Available at: https://www.dreamstime.com/man-aiming-handgun-powerful-young-gun-image183155996 (Accessed: 25 August 2024).
6. Charlie Chaplin - Food Fight - The Great Dictator (2017) YouTube video, added by Charlie Chaplin [Online]. https://www.youtube.com/watch?v=dLyd7v0RwNI (Accessed: 25 July 2024).
7. Charlie Chaplin - The Kid - Fight Scene (2020) YouTube video, added by Charlie Chaplin [Online]. https://www.youtube.com/watch?v=Z7-QdoofMq8 (Accessed: 25 July 2024).
8. Fawlty Towers: Naughty boy (2017) YouTube video, added by Fawlty’s Vault [Online]. https://www.youtube.com/watch?v=0TO5vbXVtDU (Accessed: 25 July 2024).
9. Forsgren, D. (no date) ‘the restaurant’ from the may competition, 11 Second Club. Available at: https://www.11secondclub.com/competitions/may122/winner (Accessed: 25 August 2024).
10. FrodoUndead (2022) Modular Sewer Pipes, November 3rd [Sketchfab]. Available at https://sketchfab.com/3d-models/modular-sewer-pipes-c83bcb9d892741d5ad90353239212691 (Accessed: 25 July 2024).
11. Goldberg, E. (2015) Character animation crash course! Los Angeles: Silman-James Press.
12. Hello? I’ve just shot somebody. I did it on purpose! I said, I have murdered a man, and I want to confess! (no date b) Movie Sounds. Available at: https://movie-sounds.org/action-movie-sound-clips/quotes-with-sound-clips-from-last-action-hero/hello-i-ve-just-shot-somebody-i-did-it-on-purpose-i-said-i-have-murdered-a-man-and-i-want-to-confess (Accessed: 25 August 2024).
13. Hercules (2015). Milano: Walt Disney.
14. How To Make Fan Animations | Tips from Agora.Community (2024) YouTube video, added by Agora.Community [Online]. https://www.youtube.com/watch?v=rb-CZ_6DN2U (Accessed: 25 July 2024).
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