Task 1: Individual Research
The Spectacle – Rice University USA – 2012
The Spectacle is a sound and light show conceived for Rice University's centennial and performed under the stars in Rice's Academic Quadrangle in Houston. The German artist group URBANSCREEN designed the performance, which is projected onto three of Rice's historic buildings. This video contains three different camera angles stitched together from the multiple performances during the centennial.
Art and Design Principles: I think this projection mapping has one of the best introductions I have seen whilst doing my research. The anticipation created with the sound effects, and then the silhouette was a very interesting idea. While being very simple, it still managed to create emotion.
Formal Qualities + Function: Overall, the projection maintained a very good finish, especially when it came to architectural mapping. There was also a good colour scheme and balance. I liked the idea of keeping it low saturated for most of the time, which continued to emphasize the propaganda behind the event, the 100 year anniversary of the university. When colour was used, the combination of black and white and mainly pastel colours (8:55) gave the overall production a refined look.
Elements of Design + Form: The visual effects and graphics were of a very high standard (11:00), very balanced, neat and precise, which in my opinion are the main features of a good projection mapping.
Although personally I fell it is a little bit too long, the fact that it was a 3-sided projection must have given the users a very immersive experience, which probably cannot be experienced by viewing it on a computer screen.
Formal Qualities + Function: Overall, the projection maintained a very good finish, especially when it came to architectural mapping. There was also a good colour scheme and balance. I liked the idea of keeping it low saturated for most of the time, which continued to emphasize the propaganda behind the event, the 100 year anniversary of the university. When colour was used, the combination of black and white and mainly pastel colours (8:55) gave the overall production a refined look.
Elements of Design + Form: The visual effects and graphics were of a very high standard (11:00), very balanced, neat and precise, which in my opinion are the main features of a good projection mapping.
Although personally I fell it is a little bit too long, the fact that it was a 3-sided projection must have given the users a very immersive experience, which probably cannot be experienced by viewing it on a computer screen.
TOKYO STATION VISION | 3D Projection Mapping
Again, the introduction to this projection mapping was very original and exploited architecture illusions to capture the attention and interest of the viewers.
Art and Design Principles: Although the overall projection did not have a particularly specific identity, Japanese influences can be seen at different instances, (08:40). There was no direct user interaction, but a very interesting feature was the inclusion of a hand, interacting with the architecture (10:40 - 11:40).
Elements of Design + Formal Qualities + Form: When it comes to colour and form, there was a wide range of different schemes, shapes and themes used, from monochrome to multi-color (11:40), from vector colour-filled areas (09:00) to linear laser light (13:20). For most of the time, vector graphics were used with some patterns and little or no texture. The use of 3D was used occasionally with a sense of style, and not in with the usual cliché effects such as spilling water and 3D animals, giving the whole animation a good balance between the use of 2D and 2D work.
Function: With the use multiple art styles and themes, this projection had something to interest any viewer of all tastes, which might symbolise the fact that a train station is used by all kind of people.
Art and Design Principles: Although the overall projection did not have a particularly specific identity, Japanese influences can be seen at different instances, (08:40). There was no direct user interaction, but a very interesting feature was the inclusion of a hand, interacting with the architecture (10:40 - 11:40).
Elements of Design + Formal Qualities + Form: When it comes to colour and form, there was a wide range of different schemes, shapes and themes used, from monochrome to multi-color (11:40), from vector colour-filled areas (09:00) to linear laser light (13:20). For most of the time, vector graphics were used with some patterns and little or no texture. The use of 3D was used occasionally with a sense of style, and not in with the usual cliché effects such as spilling water and 3D animals, giving the whole animation a good balance between the use of 2D and 2D work.
Function: With the use multiple art styles and themes, this projection had something to interest any viewer of all tastes, which might symbolise the fact that a train station is used by all kind of people.
Light Matters: 3D Video Mapping, Making Architecture The Screen for Our Urban Stories
This projection mapping is different from the others; it does not recount a story or an occasion, but an installation that uses light and shadows to interpret the architecture.
Art and Design Principles: The aesthetics of this projection are not the ones we are used to in projection mappings. All forms are geometrical simple. It has a unique identity, a combination of light and sound in perfect synchronization.
Elements of Design: The colour scheme used is extremely minimal; only white light and a slight touch of red on one occasion. However, the main feature of this projection is not colour, but the shadows created by the light on this complex dome. One cannot say that there are 3D elements. Although there are instances where most probably 3D software was used, the effects produced go in seamlessly with the rest of the visuals.
Formal Qualities: The precision of this projection is impressive. Technical wise, it uses a number of projectors overlapping each other in coordination with several other light sources, and everything is projected perfectly to the nearest centimetre. There are no textures used, and all the effects are created by the ambient occlusion and shadows projected on the architecture.
Function: This projection does not have a particular event to commemorate, but it is an entertaining installation. With its very unique style, it may please some viewers while by boring or annoying for others.
Form: For most of the time, all of the projection is symmetrical (with multiple lines of symmetry). It is very ordered and geometric, sometimes a digital visual representation of the sound.
Art and Design Principles: The aesthetics of this projection are not the ones we are used to in projection mappings. All forms are geometrical simple. It has a unique identity, a combination of light and sound in perfect synchronization.
Elements of Design: The colour scheme used is extremely minimal; only white light and a slight touch of red on one occasion. However, the main feature of this projection is not colour, but the shadows created by the light on this complex dome. One cannot say that there are 3D elements. Although there are instances where most probably 3D software was used, the effects produced go in seamlessly with the rest of the visuals.
Formal Qualities: The precision of this projection is impressive. Technical wise, it uses a number of projectors overlapping each other in coordination with several other light sources, and everything is projected perfectly to the nearest centimetre. There are no textures used, and all the effects are created by the ambient occlusion and shadows projected on the architecture.
Function: This projection does not have a particular event to commemorate, but it is an entertaining installation. With its very unique style, it may please some viewers while by boring or annoying for others.
Form: For most of the time, all of the projection is symmetrical (with multiple lines of symmetry). It is very ordered and geometric, sometimes a digital visual representation of the sound.
Analysis of Our Task
As I looked back at our own project, I could point out some issues and problems that we had to tackle.
First, we had to come up with a very compelling narrative. At this stage we were not given the script by our clients, we simply knew that the themes involved were to be related to Christmas, New Year’s Eve and Malta.
Then there were several issues regarding the location. The Architectural Façade proposed was the Grandmaster’s Palace in Valletta.
First, we had to come up with a very compelling narrative. At this stage we were not given the script by our clients, we simply knew that the themes involved were to be related to Christmas, New Year’s Eve and Malta.
Then there were several issues regarding the location. The Architectural Façade proposed was the Grandmaster’s Palace in Valletta.
- The architecture of the palace features several doors and windows, which as seen in the inspirational videos, need to be covered to obtain a good final product.
- As the place from which the final product will be projected is quite a large distance, good professional hardware is needed, so that the visuals will look strong across the area
- Technicalities such as the size and resolution of the projection, and whether bottom part of the façade might not be used due to people blocking the projection, had still to be determined.
- Time is extremely limited
Location Visit
A location Visit was scheduled on the 22nd of October. This visit had two main purposes; to take photographs and measurements to create a digital version of the façade, and also take a tour of the interior of the building so to take inspiration and photographs for the creation of concept art.
In this moment in time, we did not have the needed 3D laser scan of the façade, and neither the proper measurements of the buildings, so we had to collect the data ourselves. While a group of the class was taking measurements of the façade, I was lucky enough to be with Mr. Camilleri taking actual photos of the façade. We hired a high-up in order to be able to take pictures of the whole altitude of the building with the minimum perspective and lenses distortions possible. The façade was virtually divided into around 10-12 vertical sections, and with the help of the high-up we took around 10 photographs from top to bottom of each section.
The aim of this exercise was to merge everything into one photograph of the whole frontal façade. We spent around a day working on this using the measurements and an Illustrator file template, to try and merge all the photographs together. However due to unforeseen problems, we were not able to produce the desired result and had to start looking at other means to solve this problem.
In this moment in time, we did not have the needed 3D laser scan of the façade, and neither the proper measurements of the buildings, so we had to collect the data ourselves. While a group of the class was taking measurements of the façade, I was lucky enough to be with Mr. Camilleri taking actual photos of the façade. We hired a high-up in order to be able to take pictures of the whole altitude of the building with the minimum perspective and lenses distortions possible. The façade was virtually divided into around 10-12 vertical sections, and with the help of the high-up we took around 10 photographs from top to bottom of each section.
The aim of this exercise was to merge everything into one photograph of the whole frontal façade. We spent around a day working on this using the measurements and an Illustrator file template, to try and merge all the photographs together. However due to unforeseen problems, we were not able to produce the desired result and had to start looking at other means to solve this problem.
Some photos of the Interior of The Grandmasters Palace
Creating the Script
In parallel to the research process, the we were working on the script. After looking at inspiration, we were divided into separate design teams, with the aim of creating a narrative for the final project.
For this task I was in the team entitled La Vallette; with Lara Formosa, Luke Cuschieri, Kurt Bullock, Redeemer Caruana and Shirley Mallia. Together we came up with the following story line:
EXT. DARKNESS - NIGHT
Darkness fills the horizon, except for a few snow flakes
visible to the naked eye.
The sound of rocks being dragged across the ground can be
heard. Chunks of the Grand Master's palace fade in from the
distance, and find their place to form the building.
EXT. GRAND MASTER'S PALACE - NIGHT
The exterior of the Grand Master's Palace is barely visible.
The windows are closed, streaks of light visible in any
openings.
One by one, starting from left to right, the windows open
revealing the light inside of the building. Silhouettes are
visible: people (or elves) are hard at work producing various
toys.
One window reveals a particularly fat and hearty man sitting
down, checking a list while smoking a pipe.
EXT. GRAND MASTER'S PALACE - NIGHT
Two pillars sprout from the ground as the snowfall
diminishes. The snowflakes become bigger until two stick onto
the tips of these new pillars. We can now see that the
snowflakes are actually Maltese lace (bizzilla).
The tips of the laces start to glow in various colors. They
spin, gaining momentum. The lace patterns turn into the
structure of ground fireworks, shooting sparks in every
direction.
The central point of the circular fireworks morph into the
aerial view of a folk dancer, performing on the outer wall.
The dancers move around, leaving lines behind, which evolve
into the floral patterns typically found over the doors on
the older Maltese houses.
EXT. STREET - NIGHT
The new patterns slither on top of newly emerged doors
(different levels of height can be used). Each one opens
briefly, displaying different patterns and possibly
silhouettes performing certain actions (knitting, jumping
rope, etc).
EXT./INT. GRAND MASTER'S PALACE - ANYTIME
The very last door to open reveals a lion head fountain,
which emerges from the wall, spitting water. Two more heads
emerge as the same wall is pushed back, revealing the insides
of the palace. Arches are on the sides,The water level inside the palace rises, and a conga line of
luzzus comes in from the side to be filled with sacks of
presents before they depart again. This routine repeats
itself until the highest point of the water level, where the
silhouette of Santa walks into view, gaining full color, and
jumps onto the very last vessel.
The wall that was pushed inwards is shoved back into place,
spilling the water outwards.
FADE DOWN
EXT. STREET OF HOUSES - NIGHT
The facade morphs into a typical residential building.
Rope lights slither in and take their positions around the
windows, light bulbs pop in from the rocks. Model Santas are
seen hanging on two windows. One of them moves, and starts to
climb towards his window.
Optional: A dog barking is heard in the distance. Santa is
startled and takes a static position. He then looks around
quickly and continues to climb towards destination.
Santa pulls himself towards the window and enters the room.
PAUSE
The inside of the window glows. A large ribbon erupts from
the window, moving towards the others.
CHRISMAS
As the surface is filled with color, the words spin into
existence, hovering just outside the palace.
"AWGURI U XEWQAT SBIEH GHAL DAN IL-MILIED."
COUNTDOWN
During the final ten seconds of the year, the windows open
one by one, revealing a canon accompanied by a number.
As the final number is reached (zero), the cannons fire. The
new year is displayed in hovering text on the palace.
The main idea behind this narrative was to combine foreign and local Christmas themes and traditions together with the visual side and aspect of the Maltese culture, with the latter not being standing out as the main visual style, but integrated subtly in the whole narrative. Thus, as a group we brainstormed and came up with several aspects of the Maltese culture; the folk dancers, our traditional bizzilla, floor tile and iron-work patterns, the traditional fireworks, the luzzu etc… Then, with the personal inspiration from different videos in mind, we started creating connections and transitions from one idea to the other, until finally coming up with the narrative above.
We also tried to keep in mind the fact that this was not a simple animation, but an Architectural Projection. This was something that was fairly taken out of consideration in the previous similar projections locally, and we intended to do something entirely different.
The script contains several ideas which were partly inspired by the videos I mentioned earlier on. I liked the fact that the projection starts with a low tempo using mainly silhouettes, similar to how both the Tokyo and the Rice University projections started.
The idea of the doors, opening after each other showing different Maltese culture visuals was inspired by the Tokyo station projection (08:50). As was the snow effect (09:30).
A presentation was done to the whole class, pitching our ideas and presenting inspiration and visual style. My main job was to explain scene 4 (in the script shown above). This was practically because mainly I came up with the initial idea for this. A sketch below is shown to further explain this.
Regarding the creation of the presentation itself, my task was to download and cut all the videos seen in the presentation.
For this task I was in the team entitled La Vallette; with Lara Formosa, Luke Cuschieri, Kurt Bullock, Redeemer Caruana and Shirley Mallia. Together we came up with the following story line:
EXT. DARKNESS - NIGHT
Darkness fills the horizon, except for a few snow flakes
visible to the naked eye.
The sound of rocks being dragged across the ground can be
heard. Chunks of the Grand Master's palace fade in from the
distance, and find their place to form the building.
EXT. GRAND MASTER'S PALACE - NIGHT
The exterior of the Grand Master's Palace is barely visible.
The windows are closed, streaks of light visible in any
openings.
One by one, starting from left to right, the windows open
revealing the light inside of the building. Silhouettes are
visible: people (or elves) are hard at work producing various
toys.
One window reveals a particularly fat and hearty man sitting
down, checking a list while smoking a pipe.
EXT. GRAND MASTER'S PALACE - NIGHT
Two pillars sprout from the ground as the snowfall
diminishes. The snowflakes become bigger until two stick onto
the tips of these new pillars. We can now see that the
snowflakes are actually Maltese lace (bizzilla).
The tips of the laces start to glow in various colors. They
spin, gaining momentum. The lace patterns turn into the
structure of ground fireworks, shooting sparks in every
direction.
The central point of the circular fireworks morph into the
aerial view of a folk dancer, performing on the outer wall.
The dancers move around, leaving lines behind, which evolve
into the floral patterns typically found over the doors on
the older Maltese houses.
EXT. STREET - NIGHT
The new patterns slither on top of newly emerged doors
(different levels of height can be used). Each one opens
briefly, displaying different patterns and possibly
silhouettes performing certain actions (knitting, jumping
rope, etc).
EXT./INT. GRAND MASTER'S PALACE - ANYTIME
The very last door to open reveals a lion head fountain,
which emerges from the wall, spitting water. Two more heads
emerge as the same wall is pushed back, revealing the insides
of the palace. Arches are on the sides,The water level inside the palace rises, and a conga line of
luzzus comes in from the side to be filled with sacks of
presents before they depart again. This routine repeats
itself until the highest point of the water level, where the
silhouette of Santa walks into view, gaining full color, and
jumps onto the very last vessel.
The wall that was pushed inwards is shoved back into place,
spilling the water outwards.
FADE DOWN
EXT. STREET OF HOUSES - NIGHT
The facade morphs into a typical residential building.
Rope lights slither in and take their positions around the
windows, light bulbs pop in from the rocks. Model Santas are
seen hanging on two windows. One of them moves, and starts to
climb towards his window.
Optional: A dog barking is heard in the distance. Santa is
startled and takes a static position. He then looks around
quickly and continues to climb towards destination.
Santa pulls himself towards the window and enters the room.
PAUSE
The inside of the window glows. A large ribbon erupts from
the window, moving towards the others.
CHRISMAS
As the surface is filled with color, the words spin into
existence, hovering just outside the palace.
"AWGURI U XEWQAT SBIEH GHAL DAN IL-MILIED."
COUNTDOWN
During the final ten seconds of the year, the windows open
one by one, revealing a canon accompanied by a number.
As the final number is reached (zero), the cannons fire. The
new year is displayed in hovering text on the palace.
The main idea behind this narrative was to combine foreign and local Christmas themes and traditions together with the visual side and aspect of the Maltese culture, with the latter not being standing out as the main visual style, but integrated subtly in the whole narrative. Thus, as a group we brainstormed and came up with several aspects of the Maltese culture; the folk dancers, our traditional bizzilla, floor tile and iron-work patterns, the traditional fireworks, the luzzu etc… Then, with the personal inspiration from different videos in mind, we started creating connections and transitions from one idea to the other, until finally coming up with the narrative above.
We also tried to keep in mind the fact that this was not a simple animation, but an Architectural Projection. This was something that was fairly taken out of consideration in the previous similar projections locally, and we intended to do something entirely different.
The script contains several ideas which were partly inspired by the videos I mentioned earlier on. I liked the fact that the projection starts with a low tempo using mainly silhouettes, similar to how both the Tokyo and the Rice University projections started.
The idea of the doors, opening after each other showing different Maltese culture visuals was inspired by the Tokyo station projection (08:50). As was the snow effect (09:30).
A presentation was done to the whole class, pitching our ideas and presenting inspiration and visual style. My main job was to explain scene 4 (in the script shown above). This was practically because mainly I came up with the initial idea for this. A sketch below is shown to further explain this.
Regarding the creation of the presentation itself, my task was to download and cut all the videos seen in the presentation.
After listening to all the ideas presented by all the groups, it was time to see the script produced by the clients: Past, Present Future by Jean Paul Magri. We were asked to analyse the script, and the following is what I wrote on the Schoology group.
In my opinion, the overall outline of the script is not that bad, however, I don't think that it is ideal for a projection mapping in the Christmas/NYE period... It uses very little architecture mapping, and aside from the Maltese flag, it has little to do with Malta.
I don't really like the idea of starting from space. I feel it is over used... the show could either start from the under water part, or with a completely different theme, such as we proposed in the La Vallette group... (more Christmasy and using architecture)
In the second Cut, there is no transition; at one moment you are under water, and suddenly you find yourself in Valletta.
Personally, I like the idea of the building collapsing and the soldiers matching out of the debris. However the dancing sequence is something that we do not have the means to do, apart from being too long...
The flag bearing part needs no words. It has nothing to do with Malta, it is something that you have to watch live to appreciate, (it makes no sense watching some 3D characters dancing), and makes little sense watching people dance on a projection mapping... In our presentation we have suggested multiple examples of how to add a Maltese flavour to the show, which are much more ideal for a projection mapping.
The only thing I like is the twist where Santa appears instead of the World War 2 planes. I think that it is something we could include...
The NYE countdown is again too cliché, with party hats and champagne silhouettes, (it looks like a clip-art image)... The Santa's parcels popping is not a bad idea, but again, we could use architectural aspects such as the windows opening, revealing numbers or cannons or trumpets as we suggested in our group...
After everyone passed on his feedback, Mr. Camilleri came up with the final version of the script. As a group we were quite proud, because a lot of our ideas were included in the final script; the silhouettes in the windows, the falling bizzilla/snow flakes, the door sequence and the Christmas father on luzzu in the courtyard filling up with water.
It was now time to start working on the actual final design.
In my opinion, the overall outline of the script is not that bad, however, I don't think that it is ideal for a projection mapping in the Christmas/NYE period... It uses very little architecture mapping, and aside from the Maltese flag, it has little to do with Malta.
I don't really like the idea of starting from space. I feel it is over used... the show could either start from the under water part, or with a completely different theme, such as we proposed in the La Vallette group... (more Christmasy and using architecture)
In the second Cut, there is no transition; at one moment you are under water, and suddenly you find yourself in Valletta.
Personally, I like the idea of the building collapsing and the soldiers matching out of the debris. However the dancing sequence is something that we do not have the means to do, apart from being too long...
The flag bearing part needs no words. It has nothing to do with Malta, it is something that you have to watch live to appreciate, (it makes no sense watching some 3D characters dancing), and makes little sense watching people dance on a projection mapping... In our presentation we have suggested multiple examples of how to add a Maltese flavour to the show, which are much more ideal for a projection mapping.
The only thing I like is the twist where Santa appears instead of the World War 2 planes. I think that it is something we could include...
The NYE countdown is again too cliché, with party hats and champagne silhouettes, (it looks like a clip-art image)... The Santa's parcels popping is not a bad idea, but again, we could use architectural aspects such as the windows opening, revealing numbers or cannons or trumpets as we suggested in our group...
After everyone passed on his feedback, Mr. Camilleri came up with the final version of the script. As a group we were quite proud, because a lot of our ideas were included in the final script; the silhouettes in the windows, the falling bizzilla/snow flakes, the door sequence and the Christmas father on luzzu in the courtyard filling up with water.
It was now time to start working on the actual final design.
Task 2: Working on the Project
3D Work
For this part of the task, the whole group was divided into separate teams, according to our strengths and abilities. I became part of the 3D team, formed of 6 people in total. Our main task was to break down the whole script. In consultation with the rest of the class, which had also been divided into groups working separately on each scene of the script, we agreed on what parts of the narrative would be produced in 3D visuals. These consisted from brief 3 second shots, to more complex animation including cloth effects, and also lighting.
As I was one of the members that had most knowledge of Maya, I took the initiative of providing tutorials to the other colleagues. These included tutorials in working with Ncloth for Lara Formosa, and Charlene Delceppo with environment building.
Together with Graziella Bonavia, I was assigned with the task to do all the lighting for the whole animation. While Graziella started working on 2.5D lighting in After Effects, I started to work on the lighting scenes involving the 3D animations, and all the other shots were the façade was to be projected in 3D.
My work in November consisted of mainly 3 phases:
Working with Luke Cuschieri and Mr. Camilleri to build the Façade of the building
Together with Graziella Bonavia, consulting with all the other groups to decide when and what kind of lighting they needed
Creating the actual light animation in Maya
The Façade – This task was mainly did by Luke Cuschieri. We were given the 3D model which was used in last year’s projection. The main task was to fix the various defects and imperfections of this model, which had great discrepancies with the blueprint we had of the façade. However, even the blueprint did not comply with the measurements we took on our location visit. So, together with Lara Formosa (another member of the 3D department), I went to the location again to take the final measurements. This was done on November 16th. These new accurate measurements were used to modify the blueprint, and afterwards the 3D model. Mainly the main differences were found in the width of the doors, and the distance between them.
As I was one of the members that had most knowledge of Maya, I took the initiative of providing tutorials to the other colleagues. These included tutorials in working with Ncloth for Lara Formosa, and Charlene Delceppo with environment building.
Together with Graziella Bonavia, I was assigned with the task to do all the lighting for the whole animation. While Graziella started working on 2.5D lighting in After Effects, I started to work on the lighting scenes involving the 3D animations, and all the other shots were the façade was to be projected in 3D.
My work in November consisted of mainly 3 phases:
Working with Luke Cuschieri and Mr. Camilleri to build the Façade of the building
Together with Graziella Bonavia, consulting with all the other groups to decide when and what kind of lighting they needed
Creating the actual light animation in Maya
The Façade – This task was mainly did by Luke Cuschieri. We were given the 3D model which was used in last year’s projection. The main task was to fix the various defects and imperfections of this model, which had great discrepancies with the blueprint we had of the façade. However, even the blueprint did not comply with the measurements we took on our location visit. So, together with Lara Formosa (another member of the 3D department), I went to the location again to take the final measurements. This was done on November 16th. These new accurate measurements were used to modify the blueprint, and afterwards the 3D model. Mainly the main differences were found in the width of the doors, and the distance between them.
Consultation with the other groups – As my task involved work throughout the whole duration of the animation, I had to consult with all the other group leaders, what kind of light was needed in every cut scene. The following is a list I compiled together with Graziella Bonavia describing the lighting needed in every shot.
Scene 1 – Christmas of the Past
Faint blue moon light is reflected on the façade. Almost no details showing.
A light at the end of a stick, carried by Majsi to light his lanterns. – Reflects dim yellow light on his silhouette, and big shadows on the façade.
The two lanters are lit. – The light increases drastically, and much more details on the façade can be seen.
A streak of light leaves one of the lanterns and starts flying around, lighting every window of the building. – An animated light streak has to enter windows, allowing them to be lit up. This will further increase the light brightness of the whole scene.
As the sound of the bombs is heard, lights are switched off, and a strobe light effect is scene, representing the search lights and explosions. – White light replaces the previous yellow atmosphere, huge shadows projected on building.
Flag ribbons – standard lighting of the façade, projecting shadows to show the architectural beauty of the building.
Scene 2
Rebuilding the façade – Interesting coloured lighting, with shadows used to show architecture.
Bizzilla Snow - More light and less shadows
Revolving Doors – Standard colourless light, so that focus is kept on the animation of the coloured doors.
Scene 3 – The Elf Factory
Window decorations – 2D light
Elves appearing in windows – Coloured light to create a fun mood. A standard amount of shadows.
Sweet factory inside – 2D light
Courtyard scene – 3D light for façade opening. 2D light on Santa and luzzu section
Flying Luzzu – 3D light (coloured) on façade. 2D light on luzzu
Christmas Three – Blue Light on the façade, dark shadow to create dramatic atmosphere. 2D light coming from star and cross.
Christmas Special
Blue Light on whole façade.
All other light sources will be in 2D
New Years Eve Special
Neon Lighting – 3D lighting with neon colours replicating the 2D lights, to create interesting visuals using shadows.
All other lighting was done in 2D.
Scene 1 – Christmas of the Past
Faint blue moon light is reflected on the façade. Almost no details showing.
A light at the end of a stick, carried by Majsi to light his lanterns. – Reflects dim yellow light on his silhouette, and big shadows on the façade.
The two lanters are lit. – The light increases drastically, and much more details on the façade can be seen.
A streak of light leaves one of the lanterns and starts flying around, lighting every window of the building. – An animated light streak has to enter windows, allowing them to be lit up. This will further increase the light brightness of the whole scene.
As the sound of the bombs is heard, lights are switched off, and a strobe light effect is scene, representing the search lights and explosions. – White light replaces the previous yellow atmosphere, huge shadows projected on building.
Flag ribbons – standard lighting of the façade, projecting shadows to show the architectural beauty of the building.
Scene 2
Rebuilding the façade – Interesting coloured lighting, with shadows used to show architecture.
Bizzilla Snow - More light and less shadows
Revolving Doors – Standard colourless light, so that focus is kept on the animation of the coloured doors.
Scene 3 – The Elf Factory
Window decorations – 2D light
Elves appearing in windows – Coloured light to create a fun mood. A standard amount of shadows.
Sweet factory inside – 2D light
Courtyard scene – 3D light for façade opening. 2D light on Santa and luzzu section
Flying Luzzu – 3D light (coloured) on façade. 2D light on luzzu
Christmas Three – Blue Light on the façade, dark shadow to create dramatic atmosphere. 2D light coming from star and cross.
Christmas Special
Blue Light on whole façade.
All other light sources will be in 2D
New Years Eve Special
Neon Lighting – 3D lighting with neon colours replicating the 2D lights, to create interesting visuals using shadows.
All other lighting was done in 2D.
Creation and Animation of 3D Light in Maya
As this was my first experience in using complex lighting in 3D, I had to watch several tutorials to familiarise myself with the technical aspects of lighting in 3D, and rendering using Mental-Ray.
Digital Tutors - Introduction to mental ray in Maya 2009 – 3hours 40 minutes - 20 lessons
http://www.digitaltutors.com/tutorial/3609-Introduction-to-mental-ray-in-Maya
This tutorial helped me familiarise myself with:
http://www.digitaltutors.com/tutorial/3609-Introduction-to-mental-ray-in-Maya
This tutorial helped me familiarise myself with:
- Global Illumination
- Final Gather
- Working with Mental ray architectural materials
- Subsurface Scattering
- Understanding Render Passes
- Utilising Photographic exposure controls
Digital Tutors - Introduction to Lighting in Maya 2012 - 1hour 46 minutes – 17 lessons
http://www.digitaltutors.com/tutorial/45-Introduction-to-Lighting-in-Maya
This tutorial helped me familiarise myself with:
http://www.digitaltutors.com/tutorial/45-Introduction-to-Lighting-in-Maya
This tutorial helped me familiarise myself with:
- The different lighting types in Maya: point light, directional light, ambient light, spot light etc…
- Using and rendering shadows – Depth Map and Ray Trace shadows
- Light and Shadow Linking
Scene 1
In this scene, my task was to replicate the light motion created by the artists of Scene 1. I received the AfterEffects animated file, where I had the silhouette of Majsi, walking and lighting up the lanterns.
Using the After Effects tracking tool, I tracked the paths of the hand-held lantern, and the lighting stick in his other hand. This was sometimes a tricky process, as the standing lanterns created conflicts with the tracked objects, which created several errors until the tracking was done correctly. The tracked pattern was then attached to a null object. Using the script AE3D_export found on
http://www.urbanspaceman.net/shared/AEscripts/AE3Dexport/AE3D_Export.jsx,
I could then export the null objects into markers in Maya.
In Maya, I attached point lights to these markers, which produced the required result of the animated lights in perfect synchronisation with the 2D animation.
After the lanterns were lit, I also created the animation for the beam of light that left the lanterns and lit the windows. I created a CV curve, which I guided around the windows in the upper story. Another point light was attached to curve, and animated accordingly.
Using the After Effects tracking tool, I tracked the paths of the hand-held lantern, and the lighting stick in his other hand. This was sometimes a tricky process, as the standing lanterns created conflicts with the tracked objects, which created several errors until the tracking was done correctly. The tracked pattern was then attached to a null object. Using the script AE3D_export found on
http://www.urbanspaceman.net/shared/AEscripts/AE3Dexport/AE3D_Export.jsx,
I could then export the null objects into markers in Maya.
In Maya, I attached point lights to these markers, which produced the required result of the animated lights in perfect synchronisation with the 2D animation.
After the lanterns were lit, I also created the animation for the beam of light that left the lanterns and lit the windows. I created a CV curve, which I guided around the windows in the upper story. Another point light was attached to curve, and animated accordingly.
the point lights attached to
the markers imported from
After Effects, animated in
synch with the 2D Majsi’s
lantern and lighting stick.
the markers imported from
After Effects, animated in
synch with the 2D Majsi’s
lantern and lighting stick.
After the lanterns were lit, I also
created the animation for the beam of
light that left the lanterns and lit the
windows. I created a CV curve, which I
guided around the windows in the upper
story. Another point light was attached
to curve, and animated accordingly.
created the animation for the beam of
light that left the lanterns and lit the
windows. I created a CV curve, which I
guided around the windows in the upper
story. Another point light was attached
to curve, and animated accordingly.
The above are some screen shots of the process of lighting manipulation, where I tried to achieve the lighting effect of a lantern
Other Scenes
For the other scenes, I had more lighting variations then animations. The following images show some experiments using different lighting and colours.
Unfortunately,
most of this work was not used in the final production. This happened due to
unforeseen difficulties when rendering large resolutions with mental ray. It
was taking more than 15 minutes to render every frame, while the same process
was taking less than half the time in 3D Studio Max. In the end we opted to
render everything in 3DS, which unfortunately I do not have knowledge of, and
the whole process was done again by Mr. Camilleri.
As I was consulting Mr. Camilleri throughout the whole process, most of his work is very similar to what I did. However I would like to point out one aspect where I do not totally agree with his final outcome. In the scene where Majsi is lighting up the lanterns, in my opinion the lighting is a slightly too bright. In my opinion, the use of less white light and more shadows, would have helped to create a more dramatic beginning to animation.
As I was consulting Mr. Camilleri throughout the whole process, most of his work is very similar to what I did. However I would like to point out one aspect where I do not totally agree with his final outcome. In the scene where Majsi is lighting up the lanterns, in my opinion the lighting is a slightly too bright. In my opinion, the use of less white light and more shadows, would have helped to create a more dramatic beginning to animation.
Other work
Although the final demolition was done in 2D, I did some experiments using a plugin-in for Maya:
Pull-Down-It.
However, as this was just a demo version, it did not allow us to render the produced work.
Pull-Down-It.
However, as this was just a demo version, it did not allow us to render the produced work.
Taks 3: Manifesto
This task was done with Lara Formosa. We started off by finding inspiration and creating our own personal manifesto phrases, and I came up with the following. Some are my own and some inspired from other manifestos such as the one created by Steve Jobs for Apple;
We will do it in our own way
I will not compromise on quality
I’m probably a lot like you.
The Impossible Isn’t
Are you telling a good story with your life? Would anybody want to read it?
We must work on our lives the way we would work on any other project. Instead of knowledge, pleasure, or happiness, the purpose of life is to create something meaningful that will endure after we’re gone.
Your work will inspire people to pursue big adventures of their own.
We want to help people, and make their life better. Enhance Each Life We Touch
We believe that we’re on the face of the earth to make great products.
We don’t settle for anything other than excellence in any group in the company.
Kill desire by work.
Learn. Knowledge makes everything simpler.
Afterwards we started working on the design. Our initial idea was to work using an accordion effect, but we saw another group working on a similar project, we decided to change our plan.
Our new idea was to work on a game, and snakes and ladders came to mind. However, instead of a board game, we wanted to create an immersive game, something similar to 'Spin the Bottle'.
We decided that instead of snakes, we could use coffee spills as the 'bad factor' and lighting bulbs as 'good factors'. Coffee spills represent working late at night, and lighting bulbs representing bright ideas.
We also chose to represent parts of the manifesto on the boxes. We also created a list of 'good' and 'bad' design facts to be placed in the boxes where there are spills an lightings. The following is the result:
We will do it in our own way
I will not compromise on quality
I’m probably a lot like you.
The Impossible Isn’t
Are you telling a good story with your life? Would anybody want to read it?
We must work on our lives the way we would work on any other project. Instead of knowledge, pleasure, or happiness, the purpose of life is to create something meaningful that will endure after we’re gone.
Your work will inspire people to pursue big adventures of their own.
We want to help people, and make their life better. Enhance Each Life We Touch
We believe that we’re on the face of the earth to make great products.
We don’t settle for anything other than excellence in any group in the company.
Kill desire by work.
Learn. Knowledge makes everything simpler.
Afterwards we started working on the design. Our initial idea was to work using an accordion effect, but we saw another group working on a similar project, we decided to change our plan.
Our new idea was to work on a game, and snakes and ladders came to mind. However, instead of a board game, we wanted to create an immersive game, something similar to 'Spin the Bottle'.
We decided that instead of snakes, we could use coffee spills as the 'bad factor' and lighting bulbs as 'good factors'. Coffee spills represent working late at night, and lighting bulbs representing bright ideas.
We also chose to represent parts of the manifesto on the boxes. We also created a list of 'good' and 'bad' design facts to be placed in the boxes where there are spills an lightings. The following is the result:
The final result seen above is a draft version of what we wanted to create. Due to the small size for print and screen, we were limited in the amount of information and illustrations to put in, in order to create a confusing interface. We would have like to create a much more complex and interesting game, but were limited to time restrictions.