Below is some images of the development of the piece and then a preview animation, though the final animation will take place in a similar environment to the heaven one in a post below.
Wednesday 30 April 2014
Stage 5: Flower City
Below is some images of the development of the piece and then a preview animation, though the final animation will take place in a similar environment to the heaven one in a post below.
Monday 14 April 2014
Heaven and Hell
For my new team "squelch animation (wip)" I am creating some work for a showreel but I am also going to use variants of the scenes in my final animation to replace the space element scene which I decided against. Below is a progression of both scenes.
Heaven
Hell
I used a boolean to cut a landscape out of a cube
I then created several mountains that had a 360 degree bend so they went round in a tube to give interesting effects.
I then duplicated the mountains and rotated them and moved them further back
I added a blueish and red light, I liked the dark blue on the rocks but not so much the red.
I changed the redlight to a volumetric orange light I felt this worked quite well.
I added a black spiky orb I'd modelled to act like a sort of pupil and changed the blue light into a volumetric one and added a pretty intense glow to the background, I do like this render but it wasn't right for the scene.
I was quite happy with the lighting in this scene and decided to continue working on other elements in the scene
I tested a fresnel displacer on the orb as in my experience this can create quite interesting effects when combined with complex geometric objects.
I then applied a gradient displacer to the orb and changed how it was mapped to get a more randomised dispersed effect.
I then added another lower intensity volumetric blue light, and added a camera, I then animated the camera and the eye.
Here is the video of the animated environment. which should loop once composited in the showreel animation.
Heaven
Initially I tried to make a beautiful natural fertile looking landscape.
I then added clouds and some lights but quickly realised the materials and lighting would need alot of work. I created the clouds by duplicating spherical landscapes under a connect and rotating and scaling them.
I thought one large light in the center would be quite effective, I tried some variations of fog textures of the clouds but was not happy with the effect.
I duplicated the clouds and added another pinkish light in the foreground to lighten the scene making it seem less sinister.
I finally got a material I liked on the clouds, just a slightly transparent matte material.
I then filled up alot of the gaps with clouds, and added visible spotlights to try and create a more heavenly light.
a close up of clouds, I think I was testing the visibility of a spotlight.
I decided I liked the water better as space.
I then tried out a highly reflective surface.
and then settled on something inbetween. I then started animating the clouds and lights and it is currently rendering a preview.
here are some renders I messed about with in photoshop.
here are some renders I messed about with in photoshop.
Thursday 3 April 2014
The History of Motion Graphics and Definition of Terms
The History of Motion Graphics: From Avante-Garde To Industry in the United States
author: Michael Betancourt
page 11
"Contemporary 'motion graphics' first emerged from experiments with kinetic abstraction in the late nineteenth and early twentieth centuries. The nexus of abstract film's synchronized geometries with live action outside the framework of narrative, the conventions of sychronized sound and image, and finally the development of kinetic typography shows that motion graphics are more than animated graphic designs."
Some of the first motion graphics consisted of abstract films created in 1909 by Futurist painters, these experiments were unfortunately lost, however they did not simply appear they were established from a larger context that produced abstract art generally. The core of the development of motion graphics was and is synaesthesia which is a term used to describe the visualisation of music and is most obviously demonstrarted in commercials, animated logos, and title sequences. "The aesthetic principles that organize and structure the relationship of image to soundtrack, originates with the earliest abstract films, and before them, with color music."
Page 12
"Prior to the 1980s, motion graphics were almost entirely limited to media made by artists. 'Synaesthesia,' as a term for connections between sound and image, is used in both psychology and art history:
In psychology, where it identifies a specific perceptual phenomena where one sense simultaneously produces two sensations, most famous as seeing colors when one hears sound.
In art criticism and art history, to define art works where (most often) visual forms are produced as an analogue to music: in synaesthetic abstraction, these connections are explicitly made by the artists in their work."
Page 40
The origins of motion graphics lie within abstract film which provided a foundation for the conventions of how images should interact with sound. By tracing developments of abstract motion pictures during the twentieth century three distinct phases can be identified that mark its place as a genre of animation. The first phase starts with the creation of motion pictures and "ends with Art in Cinema exhibitions organized by Frank Stauffacher at the San Francisco Museum of Art in 1946." This marked the beginning of the second phase characterised by the development and consolidation of organisations that are dedicated to presenting films as an art form, unrelated to Hollywood and commercial cinema. The third phase began in the 1970s with a historical focus, "the abstract film and video were institutionalized by the art world that selected canons of major artists in avant-garde film generally; abstraction based on synaesthetic concerns was relegated to a minor position within this history."
Page 79-82
Oskar Fischinger (1900-1967) is one of the artists most closely associated with motion graphic production, often taking a very direct approach of synchronizing note to form. Fischinger established a connection between sound and abstraction-in-motion after most of a decade spent experimenting with "automating and reducing the labor required to produce animations." One of the pieces that best demonstrates Fischinger's ability to create engaging and communicative pieces with basic shapes and the synchronization of note to form is An Optical Poem (1938), to create this complex series of shapes flying through space he constructed a scaffold and manipulated the shapes with wire. The piece is shown below.
Page 90
Len Lye and a collaborator Laura Riding wrote a paper "Film-making" in 1935 in which "Lye proposes a tentative framework to think about motion as form:
1. Form in movement-compositions is the total effect of accidental design created by cross-movements, perspective movements, timing, accenting - all the varieties of action whether in natural juxtaposition or not.
2. There is a possibility of isolating a movement-consciousness by reverting to such reflex-spontaneities as hereditary instincts are composed of. It might even be said, perhaps, that this gift of physical immediacy, which is the gift of a consciousness of movement, is discoverable through the brain in blood, organs, tissues, nerves: that a physical time-sense can be physiologically cultivated.
3. Consciousness of movement may be purely receptive, as a passive sensing of the vibration-pattern: so we might speak of a sense of movement just as we speak of a sense of telepathy, meaning a receptive intuition of other people's thoughts, or a theosophic sense, meaning a receptive intuition of things unknown."
author: Michael Betancourt
page 11
"Contemporary 'motion graphics' first emerged from experiments with kinetic abstraction in the late nineteenth and early twentieth centuries. The nexus of abstract film's synchronized geometries with live action outside the framework of narrative, the conventions of sychronized sound and image, and finally the development of kinetic typography shows that motion graphics are more than animated graphic designs."
Some of the first motion graphics consisted of abstract films created in 1909 by Futurist painters, these experiments were unfortunately lost, however they did not simply appear they were established from a larger context that produced abstract art generally. The core of the development of motion graphics was and is synaesthesia which is a term used to describe the visualisation of music and is most obviously demonstrarted in commercials, animated logos, and title sequences. "The aesthetic principles that organize and structure the relationship of image to soundtrack, originates with the earliest abstract films, and before them, with color music."
Page 12
"Prior to the 1980s, motion graphics were almost entirely limited to media made by artists. 'Synaesthesia,' as a term for connections between sound and image, is used in both psychology and art history:
In psychology, where it identifies a specific perceptual phenomena where one sense simultaneously produces two sensations, most famous as seeing colors when one hears sound.
In art criticism and art history, to define art works where (most often) visual forms are produced as an analogue to music: in synaesthetic abstraction, these connections are explicitly made by the artists in their work."
Page 40
The origins of motion graphics lie within abstract film which provided a foundation for the conventions of how images should interact with sound. By tracing developments of abstract motion pictures during the twentieth century three distinct phases can be identified that mark its place as a genre of animation. The first phase starts with the creation of motion pictures and "ends with Art in Cinema exhibitions organized by Frank Stauffacher at the San Francisco Museum of Art in 1946." This marked the beginning of the second phase characterised by the development and consolidation of organisations that are dedicated to presenting films as an art form, unrelated to Hollywood and commercial cinema. The third phase began in the 1970s with a historical focus, "the abstract film and video were institutionalized by the art world that selected canons of major artists in avant-garde film generally; abstraction based on synaesthetic concerns was relegated to a minor position within this history."
Page 79-82
Oskar Fischinger (1900-1967) is one of the artists most closely associated with motion graphic production, often taking a very direct approach of synchronizing note to form. Fischinger established a connection between sound and abstraction-in-motion after most of a decade spent experimenting with "automating and reducing the labor required to produce animations." One of the pieces that best demonstrates Fischinger's ability to create engaging and communicative pieces with basic shapes and the synchronization of note to form is An Optical Poem (1938), to create this complex series of shapes flying through space he constructed a scaffold and manipulated the shapes with wire. The piece is shown below.
Page 90
Len Lye and a collaborator Laura Riding wrote a paper "Film-making" in 1935 in which "Lye proposes a tentative framework to think about motion as form:
1. Form in movement-compositions is the total effect of accidental design created by cross-movements, perspective movements, timing, accenting - all the varieties of action whether in natural juxtaposition or not.
2. There is a possibility of isolating a movement-consciousness by reverting to such reflex-spontaneities as hereditary instincts are composed of. It might even be said, perhaps, that this gift of physical immediacy, which is the gift of a consciousness of movement, is discoverable through the brain in blood, organs, tissues, nerves: that a physical time-sense can be physiologically cultivated.
3. Consciousness of movement may be purely receptive, as a passive sensing of the vibration-pattern: so we might speak of a sense of movement just as we speak of a sense of telepathy, meaning a receptive intuition of other people's thoughts, or a theosophic sense, meaning a receptive intuition of things unknown."
Defining terms
Experimental Animation
Is typically non character based and does not include narrative but instead creates meaning through visuals and the movement of them, to truly experiment though requires the animator explores the unknown to attempt to create something that has not been done before. Experimental animation also often uses synaethesia in order to give music form.
Experimental Animation
Is typically non character based and does not include narrative but instead creates meaning through visuals and the movement of them, to truly experiment though requires the animator explores the unknown to attempt to create something that has not been done before. Experimental animation also often uses synaethesia in order to give music form.
Non-Objective Animation
Non-objective animation differs from traditional animation because it does not attempt to be representational of life and is more expressive creating forms and the movement associated with them that are purely imaginative.
“Non-objective animation is without a doubt the purest and most difficult form of animation. Anyone can learn to 'muybridge' the illusion of representational life, but inventing interesting forms, shapes and colors, creating new, imaginative and expressive motions — 'the absolute creation: the true creation,' (1) as Fischinger termed it — requires the highest mental and spiritual faculties, as well as the most sensitive talents of hand.” William Moritz 1988
Non-objective animation differs from traditional animation because it does not attempt to be representational of life and is more expressive creating forms and the movement associated with them that are purely imaginative.
“Non-objective animation is without a doubt the purest and most difficult form of animation. Anyone can learn to 'muybridge' the illusion of representational life, but inventing interesting forms, shapes and colors, creating new, imaginative and expressive motions — 'the absolute creation: the true creation,' (1) as Fischinger termed it — requires the highest mental and spiritual faculties, as well as the most sensitive talents of hand.” William Moritz 1988
Wednesday 2 April 2014
tenth Supervisor meeting
My tenth supervisor meeting wasn't a particularly long one. I talked about how I'd started reading more about experimental animation and how my first focus group went. The main issue that arose was that I still need to properly define all the terms I am using, which is the highest priority right now and that is why I am still reading at the minute to better define what I mean by the terms I am using, I also need to get my first draft of my dissertation to Ken as soon as possible, this means I will largely be focusing on it this week. I also need to do my other focus group but I want to get my dissertation draft in first because it is worrying me the most and I will need Ken's feedback on it.
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