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In the contemporary context of digital representation, 3D animation has reached levels of realism that increasingly approach photographic rendering. However, alongside this trend, there has been a growing interest in visual languages that embrace imperfection, materiality, and the handcrafted qualities typical of analog techniques. Among these, stop-motion stands out as one of the most significant references, as it is capable of conveying a strong emotional component through discontinuous movement, tangible textures, and a distinctly “physical” perception of the image.

This project is situated within this field of research and proposes the creation of an animated short film in a digital environment that simulates the aesthetics of stop-motion through the use of 3D software. The entire production pipeline—including modeling, texturing, materials, and animation—was carried out entirely by me. In particular, the project was developed using Autodesk 3ds Max for modeling and animation, and Corona Renderer for the rendering phase, with the aim of constructing a coherent visual language that combines digital precision with controlled imperfection.

The short film, titled “MoonWake,” presents a brief symbolic narrative set within a child’s bedroom during the nighttime hours and the first moments of dawn. Through a simple narrative structure devoid of explicit dialogue, the project explores themes related to memory, loss, and the processing of grief, using visual and lighting elements as its primary expressive tools. The rocket, the story’s protagonist, takes on anthropomorphic qualities and becomes the vehicle through which an emotional connection between the child and the maternal figure—symbolically represented by the moon—is established.

The overall visual framework is strongly influenced by a gothic and fairy-tale aesthetic, characterized by handcrafted environments, high-contrast lighting, and particular attention to imperfect details. In this sense, the project draws indirect inspiration from the cinematic imagery of Tim Burton, reinterpreting its visual codes within a fully digital workflow. The main objective of this project is to investigate the possibilities offered by digital tools in simulating traditionally analog techniques, with particular reference to stop-motion. This objective is articulated through a series of sub-goals involving technical, aesthetic, and narrative aspects.

From a technical perspective, the project aims to develop a structured workflow capable of integrating modeling, texturing, lighting, animation, and rendering within a coherent process. The entire production—including materials, modeling, and animation—was carried out entirely by me. Particular attention was given to frame rate management, intentionally reduced to approximately 12 frames per second in order to achieve a less fluid motion, closer to the typical perception of stop-motion. In addition, micro-imperfections were introduced in both the camera and the objects, with the aim of simulating the presence of manual intervention.

From an aesthetic point of view, the research focuses on constructing an image that does not pursue photorealism, but rather a form of “expressive realism,” in which materials, lighting, and geometry contribute to defining an emotional atmosphere. In this sense, the use of light plays a central role—not only as a technical element of illumination, but as a true narrative device capable of guiding the viewer’s gaze and establishing symbolic relationships between the objects within the scene.

From a narrative perspective, the objective is to develop a short yet meaningful story based on a clear and readable visual structure. The absence of dialogue requires a conscious use of framing, depth of field, camera movement, and editing rhythm. Each directorial choice is therefore aimed at reinforcing the emotional content of the story, avoiding superfluous elements and privileging visual storytelling.

Finally, an additional objective of the project is to demonstrate how 3D animation can be used not only as a technical tool, but as an expressive medium capable of integrating languages from different fields, such as cinema. In this sense, the project represents a synthesis between digital skills and narrative sensibility, positioning itself as an example of the application of contemporary technologies in the field of digital architecture and visual representation. I used AI tool just to produce the clip from 0:00:38 to 0:00:41, from 0:00:57 to 0:01:02, from 0:02:58 to 0:03:16. This video represents my final project and serves as the conclusion of my Master’s degree in Digital Architecture.