Month: July 2022

To test different environmental aspects of my designs, I wanted to explore and test various cloud simulations to better understand how they work and see how they can be applied to the aesthetics of my overall film. Since I am utilising 3D software, U thought it would be a good idea to explore different simulation options I could attempt due to my overall lack of experience with using them.

Cloud using areo in Bifrost

My initial attempt to create a simulation was by learning to use the cloud areo feature in Bifrost, as I found a tutorial that looks at creating a more high-density ’realistic’ looking cloud. While stylistically, I am looking to go more ‘cartoony’, I also want to explore and see if a very stylised ’toony’ character will fit in more semi-realistic environments to see aesthetically how that will contrast.

The Initial step was creating a sphere and using a deformer to create random vertex placement; this allows for a more naturalistic-looking mesh that could, in essence, replicate a cloud.

After this, I utilised the geometry paint tools to create further mesh disparity. In using the cloud paint settings, I was also able to create a displacement of several spherical balls that will randomly surround the mesh in a way that will form the ‘look’ of a cloud.

Attaching the Bifrost aero to this collection of the mesh created a simulation which replicates the movement and overall look of the cloud. When using the Bifrost simulation, it became apparent the importance of lighting to get the desired look instead of relying on textures; they were ineffective. This already indicates several issues with my intended stylistic approach to my film as I will not be able to apply a toon-shader to this simulation, and it might look very odd in contrast. Even in an attempt to blend more realistic simulations within the film, the sheer amount of voxel density and lighting required for this simulation will also drastically up the render time, giving me less time to work on the animation itself.

N Particle Test

In a similar light, I attempted to use N Particles to create a more ‘smoke-like’ effect for the chimneys. In this, I used a particle emitter to explore different speeds and effects which I can manipulate to fit different wind speeds and climate conditions. This overall, however, did not create the effect I wanted to achieve as when I applied the toon shader, it once again blacked out even in differing lighting conditions.

Modelled and Animated Clouds

Taking this approach forward, I decided to take a similar approach in creating a cloud-like mesh by using lots of spherical objects clustered together. Due to the fact the aitoon shader does not outline each individual shape or wireframe but only outlines the exterior edge of the overall combined mesh, I thought I could use this to my advantage to create the best overall effect. I also feel this very circular, soft-looking style will help create an environment that is reminiscent of toys/ children’s television shows that will add a contrast to the darker subject matter visually.

Since It proved not effective to add a simulation to this type of cloud, I explored several different methods in which I could animate these clouds in different situations that will be required for my film.

As generalised background passive animation, there should be clouds in most of my shots moving within the sky that is visible to the camera. To explore a really simplistic way of moving these that gives a weightless look without spending an excessive amount of time making the motions replicate that of a simulation.

Another essential use of ‘clouds’ will be the chimney smoke that emits from some of the characters at several points within the film. For this, I began an exploration of motion that gives the impression of expansion and dissipation with the mesh.

Next Week’s Goals:

• I am to work extensively on the storyboarding and animatic process.
• Potential additional conceptual works.

Toying with the concept of lockdown and being trapped within the confines of our own homes, I decided this week to explore the various different ways in which you can characterise and personify a building. As this film intends to be fully 3D animated, it begs the question of how I will create facial expressions and also bodily movements in order to sell the 12 principles of animation.

The image above shows the ‘The Square Head’, which presents a habitable sculpture which is also used as a library. This posed several different aesthetic considerations for me when going forward with my designs, which are:

How can you creatively interpret a habitat?

How can you personify a habitat?

Below I explored my initial moldboard with several images from the interest which sparked my interest aesthetically but also explored strongly with shape and colour from various places across the world. My particular interest in the below moldboard is accentuated in how Pixar personified their character for the film ‘Cars.’ By employing the physical shape of the car, they created expression by implementing the eyes within the front window and using a ‘screen’ to create eyelids and eyebrows, which convey emotional expressivity. For the cars, they have created mouths within the front of the vehicle instead of using the cars ‘hood,’ so to speak.

Applying this concept, I have created some initial ideas as to how a house will appear and interact as a ‘living’ object. While later on, I will potentially make some closer ideas about how eyes can be used within the space of classically presented windows and also how upper facial expressivity will be conveyed. For the time being, I have looked at mouth movements, which can be represented by the door opening and closing, to achieve mimesis. While this may cause a lack of emotive expression, I feel it will fit well within the confines of aesthetic personification in this context.

Regarding location-based designs, I wanted to try and explore how I could encapsulate specific stereotypes associated with locations and find a balance between architectural and characteristic traits. Below is the painting “Two Gentlemen Out Hunting” by Henry Barraud, which seems to capture the stereotypical English gentleman aesthetic I was trying to translate within a more ‘modern’ building to try and match the accents portrayed in my documentary into the character design.

Reflecting this, the below drawing indicates a building with a classic ‘monocle’ and a roof which somewhat resembles a top hat. I also wanted to try to draw parallels between English gentlemen smoking ‘pipes’ and the use of chimney smoke. However, while this concept leaves a lot of space for visual exploration, I feel it adds to a conversation about the animated documentary not being correctly represented. This play on stereotypical behaviours could add to a conversation that helps generalise and strip down the personas of the individual to an extent. I also feel that colonial historical links with the English gentry feel inappropriate in the space of this subjective documentary space.

Considering the modern architecture associated with cityscapes, with the below concept art, I wanted to explore how the skyscraper-type character would walk and interact, as both architecturally and visually, they are typically very stiff. I took heavy inspiration from 432 park-avenue in new york, as it is very tall but very skinny in structure which I thought would be interesting to toy around with. It is also rather iconic within the new york skyline, which sets its modern-day presence.

In order to see how this would work in 3D space, I wanted to create a rough 3D model to try and work out how the leg placement and overall body structure would work within Maya. I also wanted to start the initial rendering exploration and test the look of Arnold’s AI toon shader to create a more primary, simple aesthetic which adds a simplicity that is reminiscent of children’s animations.

Next Week’s Goals:

Going into next week, I would like to explore the various FX I may need when creating the animation, such as clouds and smoke, in order to explore Maya Bifrost systems, as well as find an aesthetic match.

Going forward with my documentary structure, I have taken videos of the different interviews and tried to edit them together to create a coherent documentary narrative structure. Our brief indicates that the final major project should be within the limits of 1-3 minutes; however, the current edit below runs slightly over that. Baring this in mind, I still feel that the current length allows more space for the interviewees to speak more fully about their experiences and adds further emotional quality and informational aspects to the video that I would not be able to cover with less time. I will create space, however, for easily removable sections for contingency and also in case there is a limit that needs to be adopted later on.

The process of editing these clips has given me introspection into the inherent control and interpretation of documentary, considering the ideals of the film inevitably shaped it “in relation to an imagined eventual audience” (Ellis, 2012, pp.64). The process of cutting these clips together made me consider what I inherently want to convey and what I think the audience will gain from the experience of perceiving it. In part, my primary aim is to reflect on the ‘mundane’ of the lockdown that ensued through the coronavirus pandemic, stressing what an everyday experience could be in the eyes of the people around me. However, my other aims also beg the question of a wider viewpoint, what did the pandemic mean, and is it something we should not just brush aside to move on from but hold onto in a space of self-reflection? I feel it is a time period to be remembered and considered in more than just a widely catastrophic way, but to force viewers to focus on experiences perhaps not too dissimilar from their own. Helping incite a connection with not only the animated agents on the screen but also with themselves and who they have become due to this time.

Looking further into the thematic ideals surrounding the aesthetic for this documentary, I want to play on Grierson’s “creative treatment of actuality” (1933, Pp.8) by utilising the animated form to make a more conceptual and abstract version of the video above. An intriguing aesthetic exploration I have taken particular inspiration from is Max Mörtl’s ‘Island’, which aesthetically encapsulated different characterised and stylised environmental aspects that explore a world or reality that feels both alien and earth-like in the way it interacts and behaves. I also feel the way it uses sound to enhance its charm and performance is something I will consider using within my own film, despite its use of the indexical recorded voice. As stated by Honess Roe, the “non-conventional relationship between image and reality in the animated documentary also places greater emphasis on the soundtrack” (2013, pp.2). This heightens my exploration and intrigue into the use of the voice and how I intend to portray it.

Going forward into next week, my aims are to begin character design and development as well as produce more solidified artistic concepts.

References

Grierson, J. (1933) ‘The Documentary Producer,’ Cinema Quarterly, Vol 2. No. 1, Pp. 7–9.

Honess Roe, A. (2013). Animated Documentary. London: Palgrave Macmillan.

Ellis, J. (2012) Documentary Witness and Self-revelation. Abingdon, Oxon: Routledge.

Considering all aspects I will have to consider when producing an animated documentary, I thought it essential to ponder the means I wish to represent its stance in the argument surrounding animated documentaries’ validity. In my thesis, I am exploring animated documentaries’ subjective and inherently performative nature, which can benefit and detriment to overall viewer engagement. Taking this idea into account, I further brainstormed several ideas that could stem from utilising the animation medium and being very intentional with my artistic stylisation; Why choose animation over live action? And how can this be exploited symbolically?

A key and central piece of work that has inspired this train of thought is a fairly recent Aardman animation which, in a similar vein to Creature Comforts, utilising the visual representation of caged animation to create an indexical link between confinement of humans and animals within in the broader context of Covid-19. When using animation, I wish to think about direct correlative imagery that matches and contrasts the subject matter in a way that spins additional meanings.

https://www.bbc.co.uk/news/uk-england-bristol-53553784

In a live-action sense, interesting documentaries that truly push the border of subjectivity are documentaries such as ‘Married to the Eiffel Tower ‘(Piotrowska 2008). Within the realms of this film, various extremist ideas are showcased in a manner that truly allows space for individual experience. It also only gently implies, rather than heavily reinforces, that certain people reach certain extremist views based on traumatic experiences without being condescending. Ideas I want to expand on from this are truly showcasing a person’s experience in a way that can help visually encompass individuality while also retaining anonymity through animation.

Additional Research:

Married to the Eiffel Tower – Bing video

Running For Freedom: My Journey as an Ultra Marathon Runner – YouTube