Research on Wall Painting
After consulting with Ina, I realized that having more Dunhuang Wall painting would be better for this work, because it will give it more traditional feeling and making the 2 minutes more interesting. Hence I did some research, however, the resources online are quite limited. Later I went to the library to find some useful images.
Starting on After Effects/Week 5
When I added the strips to after effects, I want to have the falling down effect, therefore I used Trapcode-Particular. However, I found that the strips should have gradient up to down(opacity 0% to 100%), but the top part still has some colour remains, which means that the border of the rectangle on the top can still be seen. Therefore I had to make some changes for the strips.
After changing the strips and adding the moon in, I found that the particular function does not emit the symmetrical strips, it only produces random strips, which in a way ruins the composition that I designed, shall I just manually do the falling part?
Test out as follow:
Problems to be solved:
- The strips are still too random, which means it does not produce a good composition.
- They still have different sizes even after standardizing parameters.
- USE OF METAPHOR, DONT BE SO LITERAL.
- Use of unconventional approach, not so static.
Although his works are mainly physical, but the use of space and the way he integrated technology with art has really inspired me, giving me the hint of going from liter to abstract, which in a way, solved my biggest issue at this point.
Development on After Effects/Week 6
First of all, I solved the problem I had last week, successfully made strips come down smoothly.
Test with the sand simulation technique, making it more relevant to the Dunhuang theme.
Combined the two techniques, tested with the effect.
Explored the water technique, bringing in more fluid feeling into the clip
- The background painting looks too rigid, and unnatural, there’s a very obvious feeling that the effect at the front and the painting at the back are at two different layers, which means that they did not work quite well with each other.
- Although learned a lof of effects, I was still unfamiliar with the transition, I need to work more on that.
- I need to find a more interesting way to introduce each element.
Development on After Effects/Week 7
Developed the night scene, successfully found the way to introduce the water.
Found a way to introduce the moon, and it corresponds nicely with the water coming from both sides of the screen.
- Do I introduce the moon together with the painting, or introducing it first, letting it illuminate everything? (the tricky part is the painting at the background.)
- In order to have the nice golden and white disperse, I must have something white, but I don’t want it to be so obvious.
Day and Night in Dunhuang-more abstract, calm and mysterious, creating the flow of the journey, traveling from the maritime silk road to the land silk road, visualizing the tension and danger, as well as expressing and revealing the prosperousness in Dunhuang, combining the traditional and modern methods of making art.
1021 Latest Update
- Changed the sequence, because previously the opening sequence of the sea still seems quite different from the sand part, now I decided to use the sand as the opening.
- Slowed down the movement of the sand particles to make it more elegant and less distracting on big screens.
- Added white colour to the sand particle to make it more interesting.
- Added the sand forming the moon part as Ina suggested.
Improvement/Goals before Nov.
- Finish the golden rains.
- Make ripples as the rain fall down.
- Make the rain become really thin to resonate with the vertical elements inside Elphi, and then change to the actual rain and become the sea
- Make the night scene smoothly transitioned from the current scene.
1028 Latest Update
Improvement/Goals before 3rd of Nov.
- Animate the wall painting
- making the rain taller
- finish the ending sequence
Final for now
Final for Elphi
Final for Media Art Nexus