This week during we class, we learned how to utilise unity in order to create an Augmented Reality three-dimensional object appear via photo recognition.
The initial step requires using a website called Vuforia Engine (https://developer.vuforia.com/), finding an image online and saving the same image to a mobile device. Then log into the Vuforia engine and upload the chosen image with the correct aspect ratio and size for the device you intend to utilise with the AR camera.
The downloaded files from vuforia can then be imported into unity as a package, that can be attached to an AR camera as a database. This then displays the previously saved image in unity that a 3D object can be placed onto (I have created a cube), which then appears once the AR camera viewpoint is opened.
Trying to achieve dramatic spotlight light sources to enhance my performative drives for the short sequence. Due to my personal lack of experience with using the Arnold renderer and lighting in general, I decided to follow a tutorial regarding the utilisation, intensity and spread of the Arnold area light.
Youtube Tutorial on Arnold Lighting
Following the above tutorial I was able to create a ‘spotlight’ look with the Arnold area light, however, did not direct the viewer’s attention to any one character due to the larger spread of the light.
Area Light
By Adjusting the attributes associated with the spread and normalising features, a spotlight effect can be created with an Arnold area light which exemplified the character figure in a better light.
Low Spread Area Lighting Effect
Utilising this by adding three area lights into the scene to create a 3-dimensional lighting set-up, I also used a Key frontal light to act as the main primary source light. As stated in the book Advanced Maya Texturing and Lighting (Lanier, 2015) “In the standard 3-point lighting scheme, a strong key is placed to one side of a subject” and in doing this ” a fill light is placed on the opposite side and is at least half the intensity of the key” then “A rim light is placed behind the subject so that it grazes the subject’s edge” (2015, pp. 11). Applying this to the below images created the effect I wished to make the character under the spotlight effectively stand out.
The image above highlights the finalised rendered look that I intend to complete the film with going forward. While the increased number of lighting set-ups within the scene may increase the render time, I will try to effectively plan my render timing so that I can complete everything to the highest quality I am able to.
Visual Tests
One of the initial things I did once the environment and lighting were set up, was to re-create frames of my storyboard within 3D to really start pushing for my finalised look development. In the below render tests the images had a much lower exposure than in the Arnold render view, however, I took this opportunity to play with editing to see how the look can be manipulated in post-production.
‘Trapdoor’ Tests
Taking these test renders into Da Vinci Resolve, I was able to play around with different colour correction settings to figure out the best exposure, gain and lift settings would be to make the black and white edit look effective while retaining image detail. While this looks ‘old’ and creates a ‘vintage’ effect, I still feel that the image appears quite flat, and there is not enough lighting at the back of the stage to create an effective depth of field. Going forward with my renders I will add an additional area light on a lower intensity that will light the stage enough to leave the impression of the mesh that is further back.
Video Tests
Due to the fact, that my project is very music reliant, I took some of my tests renders and moved the skeletons in key poses to time with the beat of the music used within my animatic to get a sense of motion and timing later on during the animation process. I also utilised this time to test the ‘vintage film’ effect tutorial within Da-Vinci which emanates the effect of film rolling, that has slight scratches and dust over the lens. I think this editing style is effective, however, the quality of the initial render will need to be improved for further image clarity.
In order to do this I will add the additional lights mentioned earlier, and test out what will be the lowest but best quality render sampling settings going forward.
For the initial premise project, my intention is to use three people to explore performance, style and storytelling devices in order to get a better scope when focusing on my final piece. Looking at how I intend to start my documentary, set the pace, and scene and introduce the interviewees in a way that cross-examines and compares the drastically different days that ended in months of confinement within one’s own home.
Documentary and Relationships to Video Game Landscapes
While not directly explored within my premise project, some of my recorded content involves people’s experiences with video games and lockdown which I find a very interesting visual identity to explore within the realm of animation. Below highlights a clip from The Midnight Gospel (Trussel, 2020) that discusses a person’s experience playing video games, and while they are recounting it there is violent imagery showing that matches that of the description in a way that visually matches the identity of playing a game without directly matching the spoken content.
In this light the film Molotov Alva and His Search for the Creator: A Second Life Odyssey (2008) utilises the video game space of second life to address a mans experience within the game itself. I like the idea of taking direct videos from video games and incorporating them into my film also, showcasing directly the virtual world within a virtual world.
Documentary Footage Edits
Below is a rough edit of my introduction to start considering how and what the overall tone of my film will be. I intend to explore and use this cross-story cutting to answer specific questions one at a time to allow for aesthetic contrast between different interviewees but similar content.
However, adapting these interactions for my premise project, I have decided to use these specific clips and turn them into animated works over the next few weeks to start exploring different visual concepts and narratives.
Interview 1
I feel this clip has a lot of potentials to explore my first aesthetic consideration of utilising police interrogation rooms as the overall tone is more serious and dark in nature. For this, I intend to adapt the performance to a semi-realistic world where there is real-world accuracy to the approach of overall character performance, however, remains stylised enough that it does not breach into aesthetic realism. I still wish to present this world as something that feels ‘fake’ and plastic but resembles reality in its direct mimetic substitution.
Interview 2
I feel this video leaves space to explore the secondary and alternate aesthetic test as it mentions travel and different locations which allows ample room to explore my visual environments from last week. Due to this, I want to try and explore the incorporation of 2D and 3D virtual environments and how I will effectively work on this going forward.
Documentary films watched for further Consideration
Well’s expansion of animated documentaries’ coherence through performative modes of actuality, bring to attention further considerations in the categorisation of animated documentary and what this entails in terms of subjectivity.
An interesting point Wells initially brings to attention is the idea that Norman McClarends Neighbours (1950) constitutes an animated documentary. Despite being created via live-action, the method of ‘pixilation’ in live-action contexts classifies this in technicalities as a form of animation that manipulates real-world aspects (1997, 41). Wells also argues that this film perfectly fits into Grierson’s idea of the “creative treatment of actuality” as while being represented via fictitious means and a pre-determined plot’ it represents something that is wholly real in the nature of human behaviour and war (1997, 41).
McClaren, 1950. Neighbours
I think this provides an insightful opening into the loose categorisation and definition of what an animated documentary can and has the potential to be. This being said, here are Wells’s 4 primary modes of animated documentaries.
The Imitative Mode
In its essence, the imitative mode of the animated documentary is the simplest form to understand, that it attempts to replicate live-action documentary. A point Wells makes abut the use of animation in this context is that it is effective in “clarification through simplification” (1997, p.41). I also think this can be applied to aesthetic considerations concerning the relationship animation has with educational videos taught to younger children. Wells links this further with the ideals of John Halas who described animation as ’penetrative’ in its methods of depicting the unseen and impossible to visualise (1997, 41). A Key film Wells mentions that relates to this mode is The Sinking of the Lustiania (McCay, 1918), as it directly attempts to conceptualise a real life event in a realistic style.
The Subjective Mode
Wells states how the imitative mode and the subjective mode are hybridised within parody and can be defined as ’mock documentary’ (1997, 42). Using key examples of animations that fit into this category, he includes the parodies of MGM by Tex Avery such as The Isle of Pingo Pongo (1938), Detouring America (1939) and Cross Country Detours (1940). I think whats interesting to consider with TheIsle of Pingo Pong (Avery, 1938) is that it uses the authoritative ’Voice of God’ audio that is reminiscent in early animated documentary history, and visuals that make fun of the reality they portray at every turn, yet use these in combination that bring attention the realities of human prejudices and stereotyping of the time period.
Avery. 1938. The Isle of Pingo Pongo
Wells expands on the subjective representation that is availble within the tool kit of animation:
“Animators enjoy exploiting the fine line between the plausibly ’real’ and the overtly ’surreal’ because it exposes the false-hood of objectivity, and further, and much more importantlty, challenges the homogenous ideological certainties and illusionary cultural stabilities” – (1997, 43)
I think this provides and interesting perspective, and further discusses my point about The Isle of Pingo Pongo ( Avery, 1938) as by pushing itself as a ’Mock-umentary’ it not only inherently parodies the non-fictional form itself with its forced performance of fact and its exaggeration, but applies this to the concept of all documentaries and the potential absurdity of their ’implied objectivism’. In terms of more subjective experiences he discuses the work of Marjut Rimminen’s work ’Some Protection’ (1988) which spotlights a young offenders experience with prison and allows room for viewer empathy and engagement with a ‘morally incorrect’ member of society.
The objective goal of the documentary form provides insight into experience, but as Wells states the irony surrounding the subjective documentary form is that it ”moves beyond the basis as the expression of an individual voice and find correspondence in viewers to the extent that is articulates social criticism”(1997, P.43). I think in application of Some Protection, it states a valid point which is often misunderstood when faced in a live action presence due to predetermined bias and that is the ability to have full control of the aesthetic capabilities of expression. Wells expands on the Idea that this voice allows room for the ’Feminine Aesthetic” as it conceptualises the visual experience of women within the ”patriarchal agenda seemingly at the heart of live-action filmmaking” (1997, p.43). This offers thought on how the capabilities of the animated medium can bring forward misrepresented and repressed societal realities.
Rimminen. 1988. Some protection
The Fantastic Mode
“This effectively is a model of documentary which is re-locating the ’realist’ mode within a seemingly non-realist context” (Wells, 1997, P.43)
Wells indicated a prime example of the fantastic mode of animated documentary is the work of Jan Svankmajer, who displays topics of real social context in a wild, disturbing and Unworldly manners while utilising worldly objects. I think reflectively looking at this lens of documentary making it pushes the boarders further on what can be classified as document, and is similar in the way McClarens neighbours could be considered
Svankmajer. Dimensions of Dialouge. 1982
The Post-Modern Mode
The post-modern mode, in relation to Paul well’s description, rejects the ’notion of the objective authority and asserts that ’the social and therefore ’the real’, is now fragmentary and incoherent” (1997, P.44)
A clear example Wells accentuates is Paul Vester’s” Abductees” (1994) as it documents people proposed experiences of alien abduction without condescension but also without factual basis. It amplifies the voices of social experience artistically through the lens of several different arts which help distinguish each story with the rough drawings created by the interviewees themselves and adds personality to subjective experience. Wells argues how animation is “the most important art form of the 21st century” and pushes itself within the documentary genre only to further secure its spot as such.
Vester. Abductees. 1995
References:
.Wells, P. (1997) ‘The Beautiful Village and the True Village: A Consideration of Animation and the Documentary Aesthetic’, in Wells, P. (ed) Art & Animation. London, United Kingdom: Academy Group. pp.40-45.
The main aim of conducting a survey is not only to highlight which elements of animated documentaries successfully engage audience’s, but primarily underscores how the re-enacted subjective can either be detrimental or beneficial to the animated documentary genre. By looking at viewer engagement it could ultimately determine what is defined as an effective documentary, and could be in support of the argument regarding animated documentaries validity.
Assessing ultimate conclusions based on the survey plan, I predict that viewer engagement will inevitably be tied to specific subjective experience and audio. The film It’sLike That (Southern Ladies Animation Group, 2005) provides a great example of this as animation is utilised to exaggerate the real, creating caricature colourful birds to juxtapose and compliment simultaneously the innocent voices of refugee children. With the grounding foundation of a direct child talking, it could potentially stir more viewer empathy overall. The Videos of Syrmor, I believe, have the same effect without the inherent performativity of animated films. By seeing people in a seemingly ‘unprofessional’ and casual environment such as the video games, it adds a further level of authenticity.
Sybil Delgados ” If truth be told, can ‘toons tell it?’ (1997)
Looking at the key text, ”If truth be told, can ‘toons tell it?’ (1997), Sybil Delgado goes on to argue that, in light of Bill Nichols description being “too abstract” and has tendency to ” lose sight of other issues” (Nichols, 1994,pp.95) , the “reflexive” is the most self aware and “utilises the devices of other documentary, foregrounding such devices in an effort to empathises them” (1997, pp.191). This gives implications that perhaps in relation to the subjective translation, the reflexive mode offers an interesting stance tied to viewer association with other documentary forms. Nichols also goes on to state how ” Reflexive techniques, if employed, do not so much estrange us from the text’s own procedures, as draw our attention to the subjectivities” (1994, pp.96). This further insinuates how to reflexive documentary mode can be beneficial when representation subjective stories and opinions.
Delgaudio also discusses ethical dilemma with representing’s versions of factual evidence through animated documentary. They state that the film Evolution (Max and Dave Fleischer, 1925) “provoked Wrath of Fundamentalists who objected to a Darwinian view of creation ” (1997, pp.192). This anger could perhaps stem from the accessibility and popularity of the animated cartoon, especially companies such as Fleischer, and how in the eyes of such fundamentalists, this could lead to mass spread of ‘misinformation’. Delgaudio goes on to discuss how the reflexive mode of documentary is best suited for animation in its form of “metacommentary”(1997,pp.192), and how the reflexive mode can underline the “epistemological doubt” that is seen in the presentation of scientific theory through artistic mediums (1997, pp.193).
Delgaudio’s main arguments surrounds that despite what the film is portraying, all film creators are aware that the film itself is a fabrication.
Paul Ward’s “Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)”
An interesting ’documented’ piece Ward brings attention to is a stop motion animated feature called ”The Ten Mark” (Sheehan, 2010) which references the murders of John Christie. Its evocative, still and silent nature brings to attention, in my opinion, Bill Nichols mentions of the performative documentary in which there is more atmospheric implication than overtly stated fact (Nichols, 1994). While the piece does not inherently inform, it provides evocation for its context. This expands on Bill Nichols “Fantasamatic subject “as the empty spaces highlights how ” a lost object haunts the film” (2016,Pp.38). The presence that is missing says more to the viewer than what is shown to them, and the ‘re-enactment’ of a reality tinged with horror that “take on a meaning that is not their usual meaning” (Nichols, 2016, pp.35).
References
Delgaudio, S. (1997) If Truth Be Told, Can Toons Tell It? Documentary and Animation. Film History, 9(2), pp. 189-199. Available at:https://www-proquest com.arts.idm.oclc.org/docview/2191209/abstract/3E9AC3D7CE22475 6PQ/1?accountid=10342# (Accessed 15/06/2022)
Ward, P. (2011) ‘Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)’, Animation, 6(3), pp. 293–305. doi: 10.1177/1746847711420555.
Partaking in both qualitive and quantitate research methods, I wish to create a survey which will aid in the findings of viewer engagement with animated documentary.
Survey Design
My survey has two potential designs which could be combined if time allows. The first is to place my own animated re-creations of live action interviews I have taken against each other and see which of the two versions engages and/ or informs viewers more effectively. The second idea is to categorise several documentaries within the different documentary modes defined by both bill Nichols and Paul Wells. This includes the “Expository”, “Performative” mode (Nichols, 1994), and in regards to animated documentary “Imitative” and “Fantastic mode”. These documentary’s will be ones that either particularly express the subjective or have cultural relevancy within the animated documentary medium. One of the core things beings assessed is participants overall awareness of performance and re-enactment with the material. The other core thing being assessed is the participants ability to recall information from the clip/ documentary they witness. There may be potential issues in gauge emotional engagement due to contextual investment that is created by longer form films.
Considering a previous study conducted by Annette Hill, There are several factors to consider. Hill assesses her participants within different class brackets and has a more restricted range of people. She states in her conclusion that perhaps the shortcomings of her study is that there is not enough range of cultures being tested against different documentary elements (Hill, 2008). These are things I will consider going into the survey building. For this I will try to gain as much research from various different ethnicities and cultures residing within the United Kingdom to help me get a more well rounded general opinion withing stretching the participants to a significantly larger amount of data to handle.
When assessing the aesthetic values of a documentary, I predict smoother, and more imitative forms of stylised animation will be preferable due to the audience associations with Disney animated features. However, generally animated documentary tends to drift away from that aesthetic; In examples such as Waltz with Bashir (Folman, 2008), Tower (Maitland, 2016) which are key academically praised films within the animated documentary genre, oppose this. I intend to try to use this opportunity to gain and create exposure, however, to less academically dominating films, and use a variety of cultures where I can within the subjective experience.
References
Hill, A. (2008) ‘Documentary Modes of Engagement’ in De Jong, W. and Austin, T. (eds) Rethinking Documentary: New Perspectives and Practices. Buckingham: Open University. Pp. 218- 231
In order to effectively shape and style my animated documentary, it is imperative to hone down on a particular style and overall theme to match my documentary topic and address it with an ethically correct yet thought-provoking standpoint.
Interview in Documentary
Traditional documentaries such as ‘The Social Dilemma” highlight the use of interviews and animation in their way of conveying the dangers of online social media presence. the documentary itself uses re-enacted scenes that depict serious scenarios of being overtly online and I think this draws to attention an interesting relationship between the tonality re-enactment can provide within context.
Subjective Experience in Documentary
Some Protection (1988) Could use jerky, not animated frames to convey ideas of things that are occurring in time and space.
Some Protection
The Expressive and hyper stylisation of both some protection and Yael’s Story is something I want to consider utilizing for my documentary while having ‘rudimentary’ art styles that replicate pencils, pens and mediums that can be associated with childish natures, they both take themselves seriously and do not make light of their topics. Due to the serious nature of my own, I want to adopt this.
Taking this into consideration, and comparatively looking back at my portfolio there is a particular drawing I created in which I would like to see how I can develop this style, given its bright colourful and fun nature and see how I can use this in a more serious context.
Adapting this to my Three interviewees
Taking on some of my old pieces of conceptual art, I wanted to translate the different interviewees into stylised animated characters that I could translate into 3D models or 2D rigs later date. I wanted primarily wanted to explore shapes, and differentiate between the characters and their environments.
Animation Test Style
In order to explore the 2D to 3D translation, I created a quick 2D animated gif that visually represents a speech bubble, giving a visual and graphic indication of which character is speaking at any given moment. Due to the graphic and sketchy nature of the style produced here, I found it an interesting challenge to try and produce this in 3D.
3D Development Tests
My first very rough and initial test for this style was produced by using polygons with manipulated vertices to try to make them appear like a line-drawn piece of art. However, I feel this rendition looks particularly lacklustre and does not have the same graphic feel to it. Researching further into this, I found I could use an Arnold shader called the AI Toonshader, which I intend to explore in the following weeks to see what effect I can create.
My ideas surrounding the ‘looser’ and floating pieces of mesh were that they could metamhorpsise into various shapes that are contextually relevant to the speech. For example in one of my interview auidos, a person states how they packed and bag and made a very long road trip to go and spend lockdown with a specific person. In this light, the speech bubble could turn into a bag. However, I do not think this will be the most effective method when using 3D software, as it complicates the way in which mesh is formed. I am potentially thinking, however, that I can utilise blend shapes to create this, and model two separate meshes that blend into one another to create the smoothness of a 2D transition.
In order to add a further level of realism to my environment, and expand on passive animation further, I wish to make cloth simulations out of the theatre stage curtains that will rustle slightly in what would be a slight breeze caused by movement and general atmosphere. In order to achieve this, I need to make sure I effectively understand colliders and wind strength as well as constrain types for Ncloth simulations. If this is not achievable, I am considering creating an opening sequence in which the curtains open and introduce the audience to the scene.
Using a Transform Constraint to Make the Top the Simulation Leader
Below is the first example test of the curtain opening simulation, however, there are several issues with the cloth weight and stiffness that feels unrealistic, despite the desired ‘heavy felt’ feel of the intended curtain models. This proved to be due to a lack of correct subdivisions that would provide better and more detailed deformation in the mesh.
Next, I wanted to test its collision with objects in place of the rope I intend to model and added a passive collider to a polygon torus to explore how the simulation would fall and settle. As seen in the example below, the mesh deformation does work however in order to improve this I will need to somehow get the cloth to be contained within both sides of the torus and use the actual rope mesh so that I can get an accurate idea of the shape in which it needs to fall within.
Collision In Place of Rope
N Cloth Lessons and Considerations:
. The transform constraint works effectively and will prove useful in creating an animated curtain movement scene, and could very well be utilised to introduce the scene and characters going forward.
. The additional idea of creating passive animation in the curtains (if time and rendering allow) for an extra realistic touch to my project.
Rope Modelling
My initial rope models from the previous week felt very flat and not detailed enough to be hugely discernible as rope, so in order to fix this, I researched several different modelling techniques to try and recreate the ‘braiding’ effects present within real ropes.
My initial ideas were to create an editable curve trail to extrude four polygons around and apply a twist effect to it. However in practising and attempting this method (with the use of locators” the path followed made the rope look very square and deformed the mesh in an undesirable way.
Moving on from my initial method, I followed the referenced tutorial below to achieve the desired ‘twisted’ effect of rope within the model. I feel that this created a simple lower poly rope that worked with the overall aesthetic intentions of my simplistic stage model.
Step 1: The initial step was to create four polygons in a chain and multiply these upwards to create a long tube, ensuring to connect the vertices afterwards to create a smooth piece of mesh.
Step 1
Step 2: The next step was to take the piece of mesh and apply a non-linear twist deformation to get the appearance of a braided piece of mesh.
Non-Linear Twist Deformer
Step 3: Next step was to create a CV curve, and after selecting to rope and the curve, create a curve warp so that the mesh adapts to the curve shape.
Rope Creation
While not perfect and beautifully accurate, the effect will suit fine considering what I want to achieve within the time limit provided and looks a lot more effective and realistic than the former approach.
Applying this method directly to my modelled environment, I created a CV curve and used my previously created rope set-up to apply and deform around the specific shape.
In doing so, and by enlarging the rope, I was able to cover and create an effect that works well with the curtains and is ready to be tested as an N-cloth passive collider.
NCloth Application Tests
Considering passive animation testing, I then utilised one of my models and converted it to a Ncloth material while adjusting the present and thickness to match that of a heavy curtain.
Creating a spherical passive collider, I was able to test the reactivity and weight of the cloth and how it would react as a passive animated piece to accentuate the overall realism of my film. I feel the heaviness and weight of the cloth is correct, however, there is some clear mesh collision issue that implies the thickness of the curtain mesh is not wide enough. However, in the context of slight wind simulations, I think this would work effectively.
Material Test Render
The next essential step for the accuracy of the curtains is the texture. Exploring various Arnold shaders, I found a velvet preset that I blended at 75% with the aistandard surface and accentuated the weight and changed the specular colour to add a ‘purple’ sheen to contrast the highlights with the rest of the cloth and help add an exemplification of the cloth mesh deforms. This will assist the process later on when translated into black and white.
Considering colour theory in relation, in various black and white Hollywood films they used specific colours to accentuate and contrast versions of elements within the show. By having a red curtain and a purple or ‘violet’ sheen to them, the drapery will be more accentuated when edited in post-production.
https://dustyoldthing.com/makeup-tricks-of-old-hollywood/Arnold PresetVelvet Texture Development Render Test
To get an understanding of spatial considerations in my production, I have placed an updated version of my skeleton model within my complete environment to get an idea of the staging. As seen below, there is not enough space for both of the skeletons to dance and perform efficiently which leaves me with the options of scaling the environment up or creating a scalable rig.
Rigging
Beginning the rigging process, I have begun to place the joints within the skeleton mesh and think about various ideas on how I will create them in a way that detaches. Researching I found a forum on the Autodesk website which addresses exactly the method I could use to create this effect, which aligns well with my initial plans and ideas of execution. I will explore this rigging process further in the next week.
Primary and Secondary Research: For the critical report the last term I had to find more information that expanded outside the general arguments for the validity of animated documentary as a genre. I also had to expand my research into areas such as traditional documentary and re-enactment.
The research for both of these subject areas was secondary and qualitative research as I was finding theories that are already pre-existing to understand the fundamentals of animated documentary film-making and arguments.
Getting Started with Research
an online article I found recently was the following link: 10 Great Animated Documentaries | PBS | Independent Lens. One of the initially attached imagery is the Disney created film Victory through airpower. The Film originates in 1943 and was created as a form of war propaganda about the strategic ariel bombing. The original film can be watched at these archives here: Victory Through Air Power: Walt Disney Studios: Free Download, Borrow, and Streaming: Internet Archive.
Where to Look
Exploring the UAL library there are several key authors that are relevant to the field of filmmaking, documentary and animation which will assist in the theoretical development of my thesis writing. Arguably the most essential author for my thesis will be Annabelle Honess Roe who has written extensively on animated documentaries but also in areas of the film due to her background in traditional film studies. This also applies to authors such as paul wells, who has written about ost areas surrounding the practice of animation and delves not only into an animated documentary but all animation practices which can be useful to apply when assessing the value of an animated creation. Brain Winston is also an author to consider for my thesis writings as he has written about traditional documentary filmmaking without ignoring the existence of the animated documentary and CGI’s relationship around this subject.
