Tagged: Process

Photo – 3D process

I began the course looking at translating 2d pencil drawings to 3dimensional objects in software such as Blender. I take a lot of photos in my free time and realises that there were assets amongst my photos that I wasn’t utilising. Using the same process, I made simplistic line drawings of photographs. These photographs are of passers-by in train stations, on beaches, in the street, in galleries, pubs, anywhere really.

In the animation there are a number of 3Dimensional figures made from these photographs. It goes back to one of the first things I did on the course at our laser cutter induction in the old wood workshop (may it rest in peace).

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Here are some images trying to give more of an insight into the process surrounding the figures in my VR animation.

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Equirectangular Renders

After I didn’t secure an Oculus Rift for the final show, I turned to my phone. Luckily, Blender has an option within the panorama camera function for the output to be Equi-rectangular. Which is such a beautiful word. Its process is similar to turning this:

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into this:world_map_outline_header.jpg__1500x670_q85_crop_subsampling-2

Although similar, its not entirely the same, for consistency and ability to read the map, its been altered.

Below are a few examples of rendered frames that have developed along the process of creating the VR side of my work. These images are raw renders (no noise reduction, editing, colour correction, grading… NOTHING!).

There have been a number of alterations along the way with this. It’s been a lengthy, experimental yet very fulfilling and mind-altering experience…. that… if i’m honest… I cannot wait to do again.

I’ve loved it, and feel I’ve found a real home in 360 animation. It’s flexible, manageable and with enough persistence and dedication, anything can be created.

If I’m honest with the final VR Piece, I began to get frustrated with it, but Ed reminded me this week that when you spend too long looking or listening to the same thing, you are first of all its worst critic, and second of all, after multiple setbacks, thinking differently about its outcome. It affects you emotionally, and if it angers you, you’d naturally begin to like it less.

Luckily, I think i enjoy this frustration…. as long as the end result succeeds… but then again… who doesn’t. Its a possibility of failure that excites me alongside a belief that with enough effort and focus, anything (within reason) is achievable. (you also need good resources and in many cases a brilliant team) but if it gets done, it gets done.

My VR piece is now done. So thats positive.

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Updates – New Chapel Designs, Media Plan B, Unity Screenshots 20042016

I’ve been making some big changes to the VR side of my final piece. I’ve (just about) got over the fact that incorporating live news media won’t be possible s0 I’m having to go down other routes. If I’m honest, It’s a real blow. I wonder if I’d continued more ruthlessly with three.js at the end of last year rather than getting interested in Unity whether the outcome would have been different, but time is running out and I can’t afford to keep experimenting without a certain outcome. At least I know that with funding I can do it. Whether that funding went towards hiring a programmer to create a unity script using CEFGlue and scraping browser data, or just buying Coherent UI.

Anyway, I’m over it, and going with Plan B.

I’m going to create video collages of browser screen grabs and news recordings. This does allow more flexibility with theĀ narrative on misinformation and religious technology and media usage.

I’ve been trying to design the chapel for the piece, and have decided to give Cycles render a rest for the design process. Blender Render gives a simple model-like finish. These are the native models without any texturing. I want to complete the basic infrastructure of the level before focussing too much on detail. These details will include altars, figures, pews, satellites and monitors. I hope to begin the texturing at the beginning of May.

I should mention that I’m unsure about the presentation when in VR. Part of me wants to put all the focus on the interior. I’ll decide when its more complete. Conceptually it makes more sense to stay inside the Chapel, but aesthetically, its nice to be outside…. A lot to think about.

The model is far from done, but these are the Blender RendersĀ as of lunchtime today:

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Actually…. I have made a change this then…. i added a window.

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I’ve placed the new model in Unity and here are a few screenshots of it in action. (Lots of work to do). As explained before these are process photos, so theres currently no textures or lighting other than the smokescreen.

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16092015 – Back to School Shoeshine

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My research has focussed on two elements. Digital Beings….. and the Virtual Space they inhabit….. The way I have attempted to represent these ideas has been highly experimental, and the hearty balance of media I wished for at the beginning of the course has yet to reach fruition. The act of researching the alternative to a real being in physical space from the point of view of a physical person naturally promotes a level of balance between the two but practically, in some cases, I’ve found more comfort in digital process over physical. My desire to physically paint has hopelessly diminished over the past 6 months, and instead an interest in combining physical drawings with 3D animation and processing has evolved.

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A mixed media approach has always been my direction, however, their integration with one another is crucial. I feel my successes in the previous year have been in one medium, never the integration of many.  For both the mini workshop and the Interim show, I’ve produced physical canvases, one oils, one inks (and wool)… the concepts behind these works have differed, “Society of Spectacle” visualised the ‘meta-city’ and its disconnected inhabitants, constantly missing the spectacles in front of their eyes whilst focussing on endless handheld distractions. “Congregation” is a composition of red-blooded empty shells of people each captivated by their own individualised sermon being read to the them by their personal devices. These works have focused on information addiction, which maybe goes hand in hand when trying to decipher the definition of Digital Identity, but then again, each individual represents identity differently, and its definitely a horribly broad umbrella term. After spending most of first year looking at the definition of digital identity in a very singular way, towards the end, I began to realise my interest in the representation of religion. I’m not a religious person, but I’m fascinated by religious art. In my eyes, nothing more important could have happened to humanity than the invention of religion. The ethics, arts and evolutions that have come from it are unrivalled. There are of course some very nasty moments in history where religion can be blamed, but I’m looking at it positively. Many of the worlds treasures would not have been created without a belief in God, and in simpler times, the question of the Unknown may have been a much more frightening prospect.

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These thoughts about the online individual, his offline counterpart, how these individuals bunch up together to make communities and their eradication of traditions over facts, have then often been placed in images attempting to visualise the complexity of internet traffic?… The results have been aesthetically complex but conceptually very simplistic. I’ve spread my focus across a number of keen interests, and need to find more depth. Maybe thats the definition of quantitive over qualitative.  But do these ideas not all come hand in hand? If we are to look at the stained glass windows of church interiors, the likelihood is the vast glass areas display what appear to be very complex aesthetics, but the stories behind them are intentionally made to be accessible to the masses. Or in fact maybe its the importance of an ethical question made simple to connect with the masses. Either way, trying to present overly complex ideas only promotes exclusivity, which has been, in my mind, the worst aspect of the contemporary art world in the past century. Then again, overly inclusive themes and concepts can be deemed ‘pop’ and sellable in an increasingly financial art world. As with anything, either side of the spectrum is extreme. I read an interesting article by Guardian art critic Jonathan Jones on Ikeda’s ‘Supersymmetry’ and how he believes that although the work was an impressive spectacle, the perceived complexity of it only strengthened Jones’s belief that Ikeda had no idea what was going on in CERN. Particle physics is complex, and therefore Ikeda represented it with aesthetic complexity…. but unlike Ikeda’s work… the complexity of CERN’s research actually means something. This has brought me back to my own work, and visualising internet traffic… Obviously the internet is a busy place, but empty lines can’t represent its manic behaviour, whats its made up of? what times and when is it used? The lines must be textured with media, or better yet, represent actual data.

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My work with reactive sensors came to a halt over my sheer lack of experience in the area, yet had I successfully completed my aims with the project, I would not have considered the conceptual significance behind the ability to “turn on” a painting with your presence. At first. I felt the crucial aspect was to reflect the necessity for the individual to make an active choice to interact with their tech, and the internet. Now, its about why they want to. There was an interesting sets of stats released in the news about a week ago claiming that collectively people in the UK use their smartphones 1.1 billion times a day…. the average being around 40/50, and some extremists as high as 1000 times a day. What used to be an extension of communication has become an integral part to the way we think about everyday actions. But what are these interactions? Emails? News? Social Media? etc etc… Another approach is the Angler fish, and its use of light to attract its prey. This may be a route I take a little further. Going forward with the light – distance project, I’d love to create physical versions, however for the time being, and the recent success I’ve had with Leap Motion, I’m going to create it digitally. The narratives of these works will be an intersection of anatomy and architecture, fact over faith, the growth of global communications and the rise of narcissism in the online world.

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Digital Architecture – Another vague term I’ve been using… At the start this was to me the information that makes up the web, and the forms they create when moving. This is still the case, however, I want my work to be more accommodating for people, rather than just residing amongst floating bits of spaghetti….

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Its the beginning of 2nd Year, and quite worryingly, I’m beginning to think about my final piece. There a elements of it appearing in some of the work I’ve produced, but the equilibrium is yet to be established both in concept and process. I’m excited to get going, if only I could get into the building! Oh well… More self-obsessed dribble to follow.

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