I completely forgot about these experiments that never seen the light of day when creating the pools film. I thought about possibly interspersing short elements of treetops that I filmed and have these otherworldly orbs float amongst and behind the tree trunks to encapsulate and cocoon the texture, colours and nature with the forestry into mini universes. These orbs were created by using the filmed footage from the Pools film and turning it into image sequences and applying them to spheres within Maya, then adding lots of depth to them by applying bump and displacement maps. Displacement and bump maps basically calculate the white and black of texture maps within a 3D space and in turn raise or decrease the geometry to extrude and add depth, without these maps the sphere would have been a basic sphere. As I was editing the pools film I knew they weren’t going to make the cut and it was best to leave it be. Still enjoyable to play around with though! Especially with its uncertainty and since the filmed footage is basically plugged into the spheres and changes frame by frame it would have been really interesting to see what happens when finished rendering I can imagine those water ripples causing Synesthesia like effects. Maybe something will happen with them in the future, even to just full-fill my curiosity…
I have always wanted to learn how to use cinema 4D as its stylistic animation possibilities seem endless, so I made these cute little houses as a starting off point and couldn’t help but turn them into sims houses with the famous green plumbob and using the parallel camera to render.
I was watching the very beginning series of Tom and Jerry with my niece and was completely blown away by the gorgeous watercolour background paintings while Tom and Jerry run amok in their usual debauchery. So inspired by the paintings I have decided to adopt a similar more analogue and painterly approach, I think bringing down the complexity of many previous attempts of skies that I painted brings more attention and focus to the foreground elements and works better, that same yellow and pink that Tom and Jerry adopted works well for the Meadow scene, which is a pinnacle part of the film and where the beauty of nature of this world needs to really hit home.
〰️ Tom and Jerry Background Paintings 〰️
Some more experimental renders from Ersilia. I am currently animating the climax scenes where the intensity is ramped up and the music pulses and throbs. More updates to come 〰️
Ersilia is starting to flourish as I continue to work on it which is a refreshing way to go about things as in this manner figuring it out as I go is proving enjoyable. I really love editing to music where a piano cord or violin screech effects how I interpret the edit, making it so that the music drives the edit and overall feel of the film and that is very much the case with the music accompanying the film created by Sergey Cheremisinov. The song which is entitled “Sleepwalker“ has sporadic, creaks, fizzes and pin drop like spot sounds which adds another layer of texture to the music and invigorates a visceral response when animating the accompanying visuals.
The music starts off slow with a mesmerising hum that gradually builds up to water and bird song heard in the distance before transforming into something more violent and throbbing with surges and pulses echoing throughout. I am about to move into the more complex scenes which is the second half of the film and where the music swells and grows as will the visuals and is the part I’m most excited about.
I think because this film doesn’t have any moving characters and isn’t plot driven I want it to feel more ambiguous, more abstract and up to the viewers own interpretation. What I want to accomplish with this film is to feel like you are just experiencing the music, like the film is rhythmic and an extension of the music to embellish the song and work in tangent with it. It is all completely new territory for me and one that is proving invigorating.
⌇I have been chipping away at plopping out the worlds for The Green Glider. It has been a bit of a journey to get the Oasis up until this point, in truth I wasn’t a fan of the way the Oasis was sprawling out before me with a previous hodgepodge of attempts, The greenery of the world felt too CG, the treetops resembled blobby forms of plasticine and looked a bit sad. I decided to take a step away and revert back to my kit of tricks and influences, the first being taking a long and thoughtful walk in the crisp Autumn morning, when the air is fresh and the dew sticks to my beard…
I’m fortunate enough living in London that an open tree filled park being that of Gladstone park is a stones throw away from me. As I meandered my way among the many trees I took my time to stop and think about the canopy of trees above me; I noticed where I was going wrong with my previous attempts was that of two things, the first being – Light travels through trees, with the previous renders the greenery was a solid mass of geometry making it so that light couldn’t pass through and the second being… I am a bit baffled that I didn’t realise this, texture! When you really look at untouched nature, flowers, grasses and bark, it is bursting with texture that intertwine and lace to form brush strokes of patterns, Phil Gets it with photographs of his many excursions where the photographs end up looking like a painting filled with brush strokes of pure unfiltered texture.
〰️ Gladstone park 〰️
This can sometimes be something that happens with me and my work, I get so in the zone and have this pin precise tunnel vision of getting stuff done that I don’t take a step back, look and see if I am answering the question that this world is asking. When I was in uni I was modelling a car, I remember distinctly Alan Postings coming up to me and saying “the way that you are thinking is a problem” I needed to hear it because it was, the car was looking like shit because I was clouded by just getting it done. I always think it’s good to remind yourself if this piece is doing it’s job by asking those questions and using everything in your kit of tricks to get it that way – it is something I am getting used of catching and making the necessary steps to remedy, I think intuition gets better with age.
With this in mind I used another trick up my sleeve, my tried and true – alpha maps. I love alpha maps because they are like smoke and mirrors, a magic trick to the eye. Old school video games would use alpha maps to bulk out the background of a scene where the player isn’t supposed to go, so why use resource heavy plethoras of polygons when you can do the same job with just one piece of geometry? Thats the mentality I like to use when making these ambitions worlds in my head a reality, reeling them back to smoke and mirrors to make it look right but at a fraction of the time and when it comes to it – cost.
Making these alpha maps is simple, I used a single continuous line brush stroke painted in photoshop – 1 with colour and 1 with just back and white, then apply that to the geometry of the Trees and what’s lovely is because the geometry is a mound the alpha map wraps around it, it is always a pleasant surprise to see how it turns out! What it gave me was a lot of texture – a single brush stroke that looks imperfect, less CG and more true to nature. It also aloud other flora to peep through and behind it which rings true for my own excursion to Gladstone park.
Because I like that this world is teetering more into the illustrative side I am going to have to dial up the same illustrative style with the other worlds – The Metropolis and The Wasteland so that it all feels cohesive and that they do belong on one single planet – more on how that plays out later…
I was also really inspired by two artists that are also apart of my kit for this project (And many more that is on my ever growing Pinterest board) – Eyvind Earle and Marie-Laure Cruschi, Earles pieces are these stunning whimsical landscapes with a vivid, palpable colour palette, Cruschi’s pieces are these gorgeous illustrations with the plant life in these universes having chunks missing to show a lot of shapely charm.
Now that I understand how the Oasis will look I just need to continue to place the plant life on a shot by shot basis, and finally getting onto opening excel and planning out those shots. ONWARDS 〰️