PROJECT 2Bv2: ANIMATION

This animation shows the digital counterpart for the second attempt at creating a surface construct from the movie clips. The intent is to create a surface that acts as both frame and object itself. The walls of the "canyons" are meant to act as a framing device. The "hills" being objects. The hills also act as framing devices for the next set of terrain. While the hills are both object and frame, the canyons only serve as frame. The surface was created from a NURBS plane in Maya through use of the sculpting tools; the animation was also created in Maya.

PROJECT 1Cv2

This is my second attempt at sectioning for Project 1C. I believe the introduction of a sectioning plane in the animations led to a more successful product. I've made several, but I'm not sure which one to use in my final. I'm not sure it if would be productive to put two versions in the final or not. Suggestions on that point?

The first set of animations are of the cave-like model.

This first animation is a crawl along the top, with the camera moving in reverse with respect to it's orientation.



This animation is the first of this series to implement a sectioning plane. Both the sectioning plane and ground plane are white, both are able to receive shadows. The camera is held away from the object to view the entire form as it emerges from behind the sectioning plane.



This animation is related to the previous animation. The difference is in the placement of the camera, which is located within the form. I believe this animation to be the most successful of the series with respect to the idea of sectioning. The sectioning idea reads clearly in looking at the changing form of the opening as the object passes through the sectioning plane.



This animation is a kind of synthesis of the ideas of the previous animations. The camera is placed above the object as it emerges from the form. There is an addition of a "rail" to act as a way point for the observer, seemingly holding up the camera in the animation.

The next set of animations utilizes the lofted form model.



This first animation is a sequence of animations that follows the core and exterior trace points of the model following a path that is in reverse, with respect to the orientation of the camera. The sequence starts at the core of the form, then goes clockwise around the form from the upper right, and ending at the top.



This animation shows the sequences of the previous animation all together.



This animation introduces the sectioning plane to this model. The camera is positioned in the center of the form, and is held in place, similar to the animation of the cave form, where the camera is placed within the cave.



This animation is another sequence animation. The camera location corresponds to the exterior trace points, and follows the same order as the previous trace points. Unlike the previous animation, the camera is not held in place for the duration of a sequence, but rather follows the form as it reaches the point where the camera is located.



This animation displays all the sequences of the previous animation together, showing the emerging form from several view points at the same time.

PROJECT 1Bv2

Since I wasn't impressed with my first attempt at doing an animation focused on framing, I decided to take a second attempt. I believe this second iteration is more successful than the first. This version uses an entirely different model from the first, and introducing a new trace point for the model (at the navel, in bright green below).
The new model takes a different approach from all of the previous versions. Instead of generating one form there are five forms generated. Each represents sections of Yuval's body. The green represents the section between his head and navel, the red his right arm, the yellow his left arm, the cyan his right leg, and the magenta his left leg.
This isometric has the control lines shown as tubes along the long-side edges of the forms.
This a an axo of the forms, without the control lines (all subsequent images will be free of the control lines).
Front View
Top View
Right View



Color

White

I have included a version of the animation with the form in white to better present the shade and shadow. The color is the only difference. At the start of the animation, the object as a whole is framed. The next sequence brings up a framing of the left side of the form. From there, ones frame is adjusted to only include the lower two forms, represented Yuval's legs. The perspective is taken along a path representing a rough version of the path Yuval's legs took in his performance. At the end, the right side of the object is framed. What follows is a framing of the top 3 three forms, representing Yuval's mid section and arms. The path follows the reverse of Yuval's upper body. Notice how this path is more straight than that of the legs. The final segment once again frames the left side of the form, suggesting the sequence is about to start again.

PROJECT 1Av2: DIGITAL MODEL

These are the stills of the new digital models, using the lines from both the old drawings and the new drawings in an attempt to create a more graceful form.

The first set of models corresponds the video where Yuval goes across the screen.

Axonometric viewFront view
Top view
Right view
Isometric view showing the control lines; the darker lines are those used in the first version; all lines correspond to the drawings in the previous post.

The next set of renderings corresponds to the movie where Yuval is going into the background.
Axonometric view
Front view
Top viewRight view
Isometric view with the control lines.

Upon creation of these models, the newer models appear to be more compact and rounded than the previous versions. However, in terms of re-presenting the original animation it came from, the first model is more successful than the second model. The first model has a flowing feel to it, like a ribbon floating in space, while the second looks like a twisted up ball of fabric.

PROJECT 1Av2: BASE DRAWINGS

This is the second version of project 1A. What separates this version from the previous is that I have increased the number of trace points from five to nine. The purpose being to see if increasing the number of trace points would result in a more graceful form in the digital model.

These are the two views showing the new control lines. The red corresponds to the right shoulder, the yellow corresponds to the left shoulder, the magenta corresponds to the left knee, and the cyan corresponds to the right knee.
These drawings show all of the control lines. The older lines are darkened to help separate them from the new lines. Colors are the same as before with the dark red being the right hand, the dark yellow being the left hand, the dark green being the head, the dark magenta being the left foot, and the dark cyan being the right foot.