3D Stereo // Dreams // Animation Tests // Animation Stills
3D Stereo (2009/ 2010)
Click on image to play clips; Viewing with Red/Cyan Glasses*
Stereo Animation/ Autodesk Maya/ Next Limit RealFlow
How can we create fully immersive 3D stereo painting where large scale moving paint marks and textures would appear to exist in real space? How can artist influence new technological initiatives and push the expressive capabilities of existing 3D tools and 3D Stereoscopy towards new pictorial space? What is the significance of a stereoscopic 3D (S3D) cinema in contemporary art painting and design practice today? Should painting expand the aesthetic experience by opening to new methods, other disciplines and to a different audience? This research is continuation into exploring digital image making methodologies.
Rooted in the years I worked as a painter and sculptor as well as driven by studies in digital image methodology these experiments were driven by limitations of the two- dimensional painted canvas as well as disappointments of flat digital print as output for works done in Maya. Learend from Internal External installation experiences was that even on the translucent substrate light and color could not compemsate for the fact that the imagery is static and flat once formtaed in 2D print. Concluded was that regradless of print substrate, digitaly evolved and alorythmically painted cnavas or any 3D pre-visualized art has to stay within digital projected video media. Stereo 3D experimental animation explores possibility of virtually creating immersive polysesnory hybrid painting or painted sculptures.
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Stereo and Animation by Joshua Tan and Khoo Yi Hui
Project ID: ADM09037, Student: Tan Cheng Quan, Category:1 Title: Digital Imaging: Anatomy of 3rd dimension, AY 2000/10
for more on methdology please see PDF file
The project seeks to identify and experiment with 3D stereoscopic methods and techniques by utilizing 3D packages and compositing software. The following research is formed as collaboration among faculty, students and researchers from the School of Art, Design and Media and the School of Electrical and Electronic Engineering who share an enthusiasm for painting, emotive animation and 3D stereoscopic fabrication processes
* Anaglyph Filter Method: The final composit is made by taking the red out of the left image and adding it to the blue green of the right image. When you put on your red-cyan glasses, your left eye is only able to see the red light off of that image, and your right eye is only able to see green portion of that image. Using red-cyan as a filter the color of the image gives limitation to color spectrum. There is problem due to color of the object- if the object is predominantly or overly red color the left eye would see it well but the right eye would hardly see any image..this would break the stereoscopic impact. The bellow imagery is black and white so there is no problem due to color
Abstract Composition
Stereo Animation/ Auto Desk Maya/ Next Limit Real Flow
Anaglyph composite viewed with passive Red/Cyan Glasses, standard 3D glasses
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Stereo and Animation by Ajin
In the Next Limit Real Flow, particles are generated using emitters; fields are then created to influence, move and sculpt them, resulting in the creation of abstract shapes and form. Due to the erratic nature of these particles, trial and error is required to get the desired effect. A layer of polygonal mesh is generated over them to materialize its surface and shape, these are then exported out as *.bin files and imported into Auto desk Maya via a plug in. Resulting animated works will have a unique look and feel
Auto desk Maya/ Next Limit RealFlow/ Adobe AfterEffects
Short animated tests using anaglyph method were completed in January of 2010 and are to be finalized in first 2D short animated film titled Emotion Study to be projected in gallery setting as a large live painting in motion. The concept and theme behind all of the short clips is theme on images that would evoke various emotive states, part of ongoing emotion study and abstract painterly methods. The pieces on view are using algorithm and meshes in Real Flow to mimic dripping paint. By dialing in variables and assigning the particles a life span and colors to change over their life, the outcome is very often very random. Responding to environmental variables such as flow, gravity, turbulence and wind results in unpredictable dynamics similar to expressive art of painting. Test are running the animated simulations that could result in the many variations of the new painterly canvas. It is a random and unorthodox process of animating and it could take a couple months to complete an animation. Because particles are created to simulate physics, they synthesize a very realistic quality of motion.
Emotion Study, Part I: Gloom
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Animation by Khoo Yihui, Ajin and Ivan Yew
Emotion Study, Part II: Torment
Animation by Ivan Yew
Emotion Study, Part III: Fear
Animated by Chan Yinn Fong, Ivan Yew
Autodesk Maya (Paint Effects)/ Adobe AfterEffects
Emotion Study, Part IV Loneliness
Animation by Choon Khee
Emotion Study Part III Loneliness