Industry Report – Immersive Storys VR conference

This weekend, Feb 24 – 25th, I attended the DIFF VR conference.
Speakers went through games being made currently in VR, and its future abilities.
Something that stuck out to me was the idea that VR doesnt just have to be a medium for a game or e-learning, but also a tool to create, such as with the Quill Animation software by Oculus Rift.

Goro Fujita makes incredible paintings come to life as 3D animation.

Become my patron and tune in to my Quill stream tomorrow on my patreon!
Starting at 8AM pacific time! https://t.co/SlPqayaDNy pic.twitter.com/Vay6EXahPK

— Goro Fujita (@gorosart) February 25, 2018

DIFF VR Conference – “The Immersive Stories Conference brings pioneering international and Irish thought leaders on Virtual and Augmented Reality to Dublin to chart new ways of storytelling on immersive platforms, developments that are already revolutionising the way we produce and consume entertainment.”

Industry Report – Interview with 3D lead

Olive media are an Irish media production company. They set up in 2009 and have studios in Ireland, UK, UAE and USA.

The team specialise in creating immersive experiences using the Oculus Rift for e-learning and brand marketing, with clients such as iCandy, DAA and Lidl.
Mark Whitty works as lead 3D developer in the virtual reality department.

My email interview with Mark –

Industry Report – Piranha Bar

Some incredible work by Piranha Bar, an Irish 3D animation company I’m researching for my industry report.  I first noticed them at Offset 2016, when they designed the main titles. Since then, whenever I’m struck by an Irish advert, I inevitably find out its their work. I’m looking forward to seeing more from them, and Offset 2018 in a few weeks.

Opening titles for Offset 2016

The making of the opening titles

Bord Gas Networks Advert 2016

123.ie Advert 2018

Industry Report – Keyframe

Keyframe, a seminar for people in the Irish animation industry, is being held this week (Feb 5th – 7th) in Colaiste Dhulaigh, with speakers from Brown Bag, Boulder Media, Jam Media, Gingerbread Animation and Irish Comics.

I particularly liked Kyrstal Georgiou presentation – ‘how composition and framing effects the story and characters in animation.’ I found it very interesting, and relatable for 2d and 3d animation practices, as framing will always effect the end result.

Kyrstal currently works for Gingerbread animation as a story board artist, and previously on the shows Mr.Bean and Miffy’s Adventures (a cgi show I love!)

Her advice for getting into the industry – “Watch everything, observe all sorts of media. Take notice and adapt.”

One of Kyrstal’s story board panels from Mr.Bean

Miffy’s Adventures

Interlude !

For the last month I took a break from the course to do some freelance animation work that popped up. The work was a stop motion advert for Dulux, where I assisted making the characters and the majority of the props. It was a tight turnaround, which also means its being released soon, in the next week or two. I’m looking forward to seeing it aired, and seeing everyone’s hard work come to fruition.

McVerry Trust – Final Animation

https://vimeo.com/251316512

Caravaggio + Rembrandt

I have finally whittled down the massive oeuvres of Caravaggio and Rembrandt’s work into 6 paintings I will focus on in my essay.
I think they represent some of the strongest uses of chiaroscuro.

Man in Oriental Costume (The Noble Slav)

The Descent from the Cross

Jeremiah Lamenting the Destruction of Jerusalem

The Entombment of Christ

Narcissus

The Calling of Saint Matthew

New Thesis Statement + Structure

Although the design of death as a character in cinema really interested me, I couldn’t find much academic material that could support an essay.
So I went back over one of my other ideas, which was the use of chiaroscuro lighting in cinema to communicate emotion.
My film relies predominantly on visual cues as there is no dialogue and is also set during the baroque period. During this period Rembrandt and Caravaggio were creating work that used chiaroscuro, a form of dramatic lighting in their paintings. I hope to implement some of these techniques in my own film, and my essay will be a look at its use from painting into cinemtography.

Chiaroscuro as Visual Storytelling in Cinema (working title)

Intro
State aim of my essay, to discuss chiaroscuro lighting as an important element in visual story telling.
Mention my project being set during baroque period and this how this research can inform my work (my film has no dialogue and is visually driven)

Chp1
Baroque Painting:  Brief background with focus on two painters, Caravaggio and Rembrandt.
Discuss one painting from each in terms of the use and effect of chiaroscuro.

Chp2
Transition to cinema: Speak on early years in german expressionism, american film noir to contemporary cinema.
Discuss the use of similar techniques in cinematic terms and show how they are effective in creating mood and supporting the story visually.

Chp3
Case Study:  An analysis of one or two films by one cinematographer that uses this technique.
Either Rodger Deakins ( Blade Runner 2, Prisoners) or Robert Elswit ( There Will Be Blood, Nightcrawler)

Conclusion
Restate the object of my essay and summarize the points brought up in each chapter, and how this can inform my own film.

Milia animatic v002

https://vimeo.com/246797891

Colour Tests

I’m trying to develop a colour palate for my project along side concept designs.

My film takes place outside, with lots of dappled soft light from the sky and trees. I want the faces of my characters to glow slightly, to emerge from the background, similarly to barque portraits painting.

Below are some colour bars I made from shots to understand the sense of mood and how colours can work together. (blade runner, the handmaids tale, and Evan Walkers photography.)