Photography Induction Part 1 - Experimenting with Shutter Speed, ISO and Aperture.

When we got set the task of going and taking photos reflecting experimentation with shutter speed, I became most interested in creating a "zoom in" dizzy effect, which I achieved with the shutter speed slow, and I took a photo whilst zooming in fast on a middle focus point.

First experimentations:

When used looking down at my feet, it creates a dizzy, vertigo feeling when you look at it, like you as the spectator is falling down.

I then experimented with depth of field with piano keys;

I was very impressed with these shots, using the rule of 3rds to create effective compositions on focussing and blurring.

I then began to elaborate further with the zoom in slow shutter speed effect;

This gives the effect you are flying down the corridor.

I love this one because of the focus on the middle stair, which makes for a great composition and an effective image.

Vertigo effect on the stairs.

I love the white effect and over- exposure on the corridor, it actually adds to create a creative shot with the person as the focal point.

Production Diary 1 - Render test of bending down motion

To get a better insight into how my motion looks at its full potential rendered, I rendered it out for a test.

I was overall very happy with the motion, It is as fluid and realistic as it can look for 12fps, there is nothing I feel I can improve on, so I now will begin to add this sequence into my animation;

I made my video layer into individual frames in my timeline so they can be easily manipulated;

I then added my next scene;

and even key framed my "parallax" effect to create the feeling of 3 Dimension.

As you can see, my astronaut has been very much simplified in comparison to my initial sketches. I decided to get rid of the backpack as he was distinguishable enough by the big helmet. I have also taken away shading and will add it (if I have time) in post production. I am focussing mainly on making the animation great, that is my priority and then at the end if I have time I will add nice details to make it more aesthetically pleasing.

Set Series Sequence - Playing with loss of sight

Inspired by the artist's John Batho and David Ryle and how they demonstrate "presence and absence" through their mediums.

I began to explore this idea as it relates to my experience with glasses, "loss of sight" and how things fade from your vision, which leads you to need glasses to fill in those holes.

I began to explore with different mediums that can get this "fading" effect too.

Charcoal, ink, sellotape.

I tested inks where I experimented with a corroding effect with water (which enhances the fading aspect, like its crumbling away) and watering it down bit by bit so the ink physically fades, and played with applying this to the human form, the thing we see the most of in our day to day lives;


I finally then created some finished productions as part of my 24 with these ideologies.

Set, Series and Sequence - Idea Exploration

I began to delve deeper into the aspect of fragmentation and distortion, an element of "loss of vision" which relates to needing glasses. I also found when looking through glasses, that distortion and fragmentation occurs when you look just over the top of the glasses.

Here are some of my idea sketches:

As you can see I was interested in fragmenting the human form in some drawings.

Also playing with this perspective warp I created some initial character sketches:

For this character I drew out 2 human forms, one larger than the other (magnified) and sliced up the image. With this, I then re-arranged the slices and created a character that was a juxtaposition of magnification.

The results were very interesting! I loved the juxtapose effect its a very unique and interesting character, which could be moved using paper cut outs, paper cut outs that don't even need to be attached as the slices offer a freedom of movement to his form, which would be very interesting to animate!

The sequential art of Serena Perrone

What instantly drew me to perrone's work is the use of the bold red over a monochrome setting.

Her work is like a storyboard installation, each tile revealing a new narrative in the sequence which pans across the whole room , you walk and read her story of images. 

They are beautifully painted, the combining of drawing painting and printing is visually impressive, the bold contrast of colour goes beautifully together, surprisingly. 

It was interesting to find out in this interview; 

http://www.pifmagazine.com/2012/10/serena-perrone/

That she includes bits and pieces from her own life experiences. Adding a whole new depth , a personal one, we aren't just looking at a sequence of images showing a narrative. We are looking at images that reflect her own autobiographical narrative which is a whole new depth. 

When asked what her interests are she said;

"I’m most often looking inward towards memories, narratives, and fragmentary recollections I wish to expound upon.  I use my work as a way to synthesize and digest a lot of what I experience in order to create something physical and real.  My work often involves serial imagery and a loose narrative – I tend to think of my work as a vast endeavor, wherein each piece is just a means of communicating one small aspect of an overall image. The larger picture or idea is something that is elusive and always changing, so my work is a constant pursuit, excavation, and examination of that fleeting and intangible thing."

Here, Perrone describes how her work as 'fragmentary reccollections' which exposes to me how dreamlike her works are. Some are quite abstractly placed for example a chair outside under a fallen down tree, like they are drawn straight from a narrative of a dream, the bold colour scheme intensifies this mystical, fantasy element. 

Production begins!! Animation Line test 2

Using my visual aid I made my most important keyframes. These will help me achieve fluid motion with about 3 inbetweens from each, and maintain scale. My first keyframes I kept to humanoid sketches I made from my visual aid;

I then elaborated on the humanoid form and made my characters form ontop in a darker translucent pencil.

Then once I had my keyframes all rendered in my characters form I began with the inbetweens;

Then finally 

Tang Kwok-Hin - Art with layers!

Tang Kwok-Hin has come up with a very unique and interesting way of creating art, by using glass to create a certain layered, 3D, vellum effect. 

I feel these pieces really play with your perception, the layered effect creates a "foggy" feel to the pieces. This creates a "dream-like" state, which adds a mystical element to her piece. However it also has the opposite effects and creates a "cold" and "austere" atmosphere, the characters are surrounded in this fog, further enhanced by the plain white background, which is slightly claustrophobic. Further complementing this is how the characters are translucent, and ghost like, like your watching a scene from the past through someones memories, memories which are fragile and intangible and have that "translucent" effect in you head as they fade with age.

I was interested in this artist in relation to my project because of how they manipulated the medium of glass to create art with dimensions.

Visual Aids for Animation 1 - Bending down to rock

To help capture a realistic movement for my animation, I used a visual aid (of myself..) to help me examine the movements frame by frame and apply this to the movements of my astronaut.

This is my visual aid:

The movement in my visual aid takes 3 seconds, which suits my animatic time-scale perfectly.

Using my visual aid I made my most important keyframes. These will help me achieve fluid motion with about 3 inbetweens from each, and maintain scale. My first keyframes I kept to humanoid sketches I made from my visual aid;

I then elaborated on the humanoid form and made my characters form ontop in a darker translucent pencil.

Then once I had my keyframes all rendered in my characters form I began with the inbetweens;

From this, I studied the movements frame by frame and was able to create a realistic, initial line drawing animation of my astronaut;

I am very happy with my first line test for his bending down and back up motion, it is very realistic and fluid! Now I will go over it with a darker line and start rendering.

Interim Crit Feedback

The overall feedback from my presentation was very positive, which I am very happy about. I managed to present a wide variety of my development work within the 5 minute slot and even had time for some Q and A's, but no one had any questions or feedback.

I was happy with my confident approach during my presentation, I feel I caught the audience and involved them successfully into my world of work.

The positive feedback I received from my tutor was;

Nice development sketches

and good Moonling development.

However I also received some constructive feedback:

How to maintain the shading style throughout the animation. I never actually considered this but, thinking about it, yes I will be able to apply this to each frame effectively, It will take a lot of work but I will try.

To make the moonlings scale more visible... This was also an important feature than I never noticed:

So I instantly edited a frame into my animatic, I got rid of the Moonling keyframe sweep, and added a long shot side view of both the characters to add the element of scale.

I also extended the looking up scene and made the rock fall to the floor, a continuity error that I noticed.

The next piece of feedback I got for my next step was, begin animating!

I also had a chance to ask my piers which one looked best between the dark green and lighter green Moonling:

Dark Green

Light Green

And they decided that the dark green looked better, it had more emphasis about it! Which is great to find out.

Creating Suspense Analysis 2 - Alfred Hitchcock

Hitchcock has directed and produced many top world renowned thriller films such as "psycho". Known also by the title "Master of suspense" as he has pioneered many suspense techniques in his psychological thrillers.

In this video I found it really fascinating and interesting finding out Hitchcock's theory of cinematic tension and its importance in making a thriller a thriller. How he "works" the audience into getting in a state of distress as they worry over their characters on screen and how their traumatic storyline will develop.

In the video, "the bomb" that Hitchcock describes is a metaphor for the big plot twist that will explode the audience into a frenzy. The bomb exploding unknowingly is a surprise, it gives the audience no relief or release.

With the addition of suspension, the audience "work" and get into the film to warn of disaster. This is what he aims for, and you can see evidence in this through his films.

I can incorporate this element into my animation, by not showing the alien and creating this suspense around it, I will "work" the audience into imagining the alien, feeling quite frightened about what it will look like, and then this suspense heightens and heightens till a complete flop as the alien is revealed to be pathetic and harmless, the opposite of what your imagination conjured of it, creating humour.

Style Sheet/line Testing

Dark Green Moonling Style Sheet

Lighter Green Monline Style Sheet

For my upcoming crit I have produced 2 style sheets to show my peers so they can help decide which colour Moonling looks best... (even though the difference would be very little to them) but to me it matters greatly.

Moonling line test

After noticing that the Moonlings don't play a great part in my animation I decided to animate a short walk sequence of the moonling to show a bit of their characteristics. Their legs grow, bend, change shape and struggle to support the weight of the rock, dragging spindly arms behind him. Their movements are also very laboured, yet again showing the effort to support the rock and the effects of the lack of gravity on the moon.

I decided that my astronaut will have very mechanical movements, like astronauts tend to on the moon when cladded with so much clothing and apparatus. But it also intensifies this inhuman feel you get with my character as he has no facial features to connect with because of his helmet.

Further Character Development - Astronaut

Line tests

To get a feel for my character I produced an A3 line drawing sheet testing him in a selection of poses.

Rendered Edition

I then rendered him to get a feel for how he will look all polished. I also shadowed on him with the blur brush (Same technique I applied to the shading of my Moonlings) so they coexist in their environment.

Rendered with background edition

I added the background in which he will be situated to see if he coexists. Which is does nicely.