I have been attending the Maya refresher course which has been hosted by Dylan, master's student for last year. I may not have the most exciting models to show for it but its definitely been good to go over it all again. Today was UV mapping which is something I strangely enjoy. Next week I'm going to start modeling Sant'Elia's train station and hopefully finish modeling Tom so watch this space for bigger things!
Thursday, 27 October 2011
On Tuesday we had another mind-mapping session which was very useful and opened the possibility of my approaching this project from a more practical rather then theoretical stance to balance the rationale behind the project. What emerged from this session was my need to begin to explore the commercial world of architectural visualisation companies and contact them with regards to their approach to client projects. In order to address this void in my knowledge I have created a list of potential questions to contact some professional companies with to help me to get a better understanding of the industry.
1. How many members of staff are there within your company and how is the workload divided?
2. How do you approach creating an initial storyboard to fit the clients needs, do you use 2D or 3D tools to create it and how much of a narrative or story do you include?
3. How long (on average) does each stage take to complete and how many stages are involved in the completion of a final visualisation?
4. What program (s) do you employ in the texturing process?
5. When it comes to compositing the piece of architecture into the environment do you use live-action film, 3D or a combination to depict the existing situation?
6. What is the extent of your influence in changing the designs, ie. do you collaborate backwards and forwards directly with the architect's throughout the modeling process?
7. In which stage would you be most likely to encounter any difficulties or anomalies?
8. What do you feel is the most important factor which a client should take from a completed visualisation?
9. Do you take any inspirations from other visual effects companies or cinematic sources in your approach or work ethos and if so which would you say was the most influential?
Wednesday, 26 October 2011
I spent yesterday afternoon trying to create my first ever basic match -moving tests of the site using Autodesk Match-mover and After Effects. I've never done this before so these tests are really rough so that I can get some feedback as to what i am doing wrong etc. Also excuse the quick and dodgy masking, I didn't have a lot of time and apologies to edinburgh in advance!
Monday, 24 October 2011
Turn the volume up and listen to the madness. There is no picture.
"The Futurist Manifesto of Architecture"
"No architecture has existed since 1700"
"This architecture cannot be subjected to any law of historical continuity. It must be new, just as our state of mind is new"
"The utter antithesis between the modern world and the old is determined by all those things that were formerly non-existent"
"We have lost our predilection for the monumental, the heavy, the static, and we have enriched our sensibility with a taste for the light, the practical, the ephemeral and the swift. We no longer feel ourselves to be the men of the cathedrals, the palaces and the podiums. We are the men of the great hotels, the railway stations, the immense streets, colossal ports, covered markets, luminous arcades, straight roads and beneficial demolitions."
This is a poor recording I made earlier of the Futurist Architecture Manifesto written by Sant'Elia [and most likely Marinetti] in 1914. The original manifesto accompanied Sant'Elia's New Tendencies exhibition and is a mad and enigmatic piece of writing. I recorded it in order to help me begin to formulate a narrative to my Master's film, so I could listen to it on the move while at Waverley itself and to get across some of the frantic speed and language used by the Futurist's. I hope at some point to get a professional or fellow male student to record it and play around with some typography/ sound bites for the film. The youtube link below is a similar idea but is a recording of the original Futurist manifesto from 1909. Love it or hate it it is certainly dynamic stuff!
Friday, 21 October 2011
Friday, 14 October 2011
Baby steps towards modeling Tom and Ada in Maya for Leap Year. Its been a while and I have lost the model three times but its a learning process and one which i am starting to enjoy! Once they are modeled I can't wait to test out 2D textures onto them and fellow animator and friend Rudy has offered to help me rig them, a lot of tea and pints will be heading his way! However advice is needed as I really don't have much clue how I should be doing this!
Wednesday, 12 October 2011
Monday, 10 October 2011
I have begun to storyboard. This is going to be a long process as I am still unsure what the final message of the film is going to be. For now I am focusing on drawings of shots to get my head around the behemoth, to aid story-boarding, get myself drawing on paper again, figure out the scale of the building and get some concept art all in one. As with most 2D objects the drawing is much prettier in reality...
Thursday, 6 October 2011
Wednesday, 5 October 2011
This is a video of the presentation I gave on Alex Roman's film The Third and The Seventh to the Master's class on 28.09.2011. The brief was to choose a film or artist who inspired us and critically review the work to explain why we find it inspirational and how the piece will influence the work we will be doing in the coming year.
Apologies for the quality of the picture and the sound. It will be re-recorded at some point in the future. As always, thanks for watching.
Full film : http://vimeo.com/7809605
Full making of: http://vimeo.com/8200251