After feedback from Phil, I decided to return to my renders, those focused on using script and failed renders as a way of texturizing a model, in an attempt to push the idea of them continuing to exist in a 3D space, searching for a way of combining the ideas of substance and surface into one rendered product.
Tuesday, 17 October 2017
Monday, 16 October 2017
After working more on utilizing the ideas of texturizing the script editor and failed renders, I feel as if I've opened a doorway into an aesthetic that feels specific to this project and could continue to shape the remaining work I'm yet to create.
For sake of ease of viewing I've arranged these next few renders into a 'lookbook' type experience, as I feel the images lend themselves naturally to being viewed as a series that has been directed by me, something to keep in mind as I go on to work in further experiments.
These particular models are essentially utilizing the successful areas of each of the various experiments that have taken place so far, with a combined deformation that stems from the bend and twist tools an essential structure is established to be worked upon before layering up results from different rendering software that has been used to gather results around the viewport, wireframe and a final well lit model. Once these layers have been gathered and composed in Photoshop, an additional layer of script has been applied and edited to suit the aesthetic of the scene as well as completely fitting the goals of the project.
Sunday, 15 October 2017
After beginning to incorporate the idea of using the script editor as a way of texturing, I have continued this further whilst also starting to work with the idea of a 'broken' render, as this seems to fit the running theme of my project also.
To further develop these ideas I have again rendered my creation, formed through a use of deformations, using three different renderers, Maya Hardware 2.0, Mental Ray and Maya Vector, before layering them up and composing the results in an attempt to further derive a natural aesthetic...
The results I'm getting are encouraging and are beginning to push me towards adapting these sculptures to suit other software and search for their respective primitive states, whether that be sound or animation.
These next few renders are aiming to find use in the idea of a broken render, as in itself it begins to create an aesthetic that naturally lends itself to the work created in this project, pushing the idea that models and renders taken from Maya have an artistic life of their own regardless of faults or errors...
Wednesday, 11 October 2017
In a further attempt to showcase the inner workings of Maya I've began to work with the script editor as a way of texturing my experiments, by creating a model and then viewing its data in the script editor I was able to take a screenshot of said data and apply that to the model on top of a material, forcing the hidden structures behind the models to literally be the thing that is decorating it.
By applying this information taken from the script editor and then layering it with a render of the model's wireframe I feel as if I'm beginning to open up options in terms of a final outcome, as with each new render I take I'm able to see my project's goal taking shape in front of me. This technique I have begun to utilise is certainly something I want to continue on with, as it feels as if its subtly yet effectively beginning to showcase areas of the software that are almost always hidden, something I'm keen to develop more as the project continues.
Something I've taken into account in the above renders is that the script of the model changes as the structure itself changes, meaning that the texture applied would essentially need to be different for each key frame (if the end goal incorporates movement of some kind), whilst achieving this may be more difficult down the line, its something I can continue with as the structures stay static artifacts.
I'm looking to continue this method of updating the script as the models are altered as it's helping me to achieve an aesthetic within my project that showcases the workings of Maya in a number of different ways. As the wireframe, physical structure and script applied are all updating with changes in the model I'm beginning to effectively show the behind the scenes workings of Maya in rendered outcomes that, with cinematography taken into account and improved render settings, could not only achieve my projects goal of using Maya's inner workings as an aesthetic, but also effectively display the complexities of the software.
With these methods taken into account I want to apply them to the moments of broken Maya I found in earlier stages of my project that focussed on deformation experiments. The little breaks in the structures I created are what I want to apply this method too, creating renders that focus on incorporate a shifting structure, a changing wireframe, an alteration in the models script and a break in frame of the model.
This idea of focussing in on the more damaged areas of the model that have naturally occurred through even steps taken in increasing the values of a deformation is something that suits my project and could create some interesting works that potentially haven't been showcased before. This next render shows the kind of work available through the combination of the before mentioned techniques...
This render, as already mentioned, utilises three different renderers, incorporating the data from the script editor appropriate to this specific deformation, the scene components surrounding the model, the broken model effected by a deformer tool and the shifting wireframe. I think this render is a strong example of the work I'm going to continue creating, with the goal of exploring the disguises in Maya as creations themselves before incorporating sound and animation.
This next render is applying a layer of failed rendering over the previous outcome, something that could naturally occur, although this example was intentionally escaped, and could give a new dimension to some of my experiments, not something I'm currently choosing to create but still something to keep in mind for future renders...
Tuesday, 10 October 2017
After reflecting on the previous renders and what they were delivering in terms of aesthetic, I have decided to try and force more of the backstage elements of Maya into the foreground, starting with the models wireframe...
I think these wireframe renders really start to open a window into the internal workings of the software and how the program builds a structure from its foundations. It is also worth noting the difference in wireframe's belonging to models that have been tampered with less and those that have higher values in deform tools, the more 'broken' models show a much less dense wireframe and harbor small amounts of detail because the model is collapsing in on itself.
After producing these wireframe renders I turned to a different renderer, Maya Hardware 2.0, as I discovered that this particular renderer could include elements of the scene into the render, something that I have previously stated an interest in doing, as it will showcase more components in of software and its building mechanisms.
With more experiments recently completed, focusing on blending tools together, I'm going to visit some of those structures and highlight some of the moments in them that present the building blocks of a Maya model, picking out broken moments and the inner workings of the software.
After taking some renders of a model (fig 1) and having time to reflect on them, I have a few thoughts. The aim of my project is to cause Maya to effect models naturally and present those results as works in their own right, whether they be aesthetically pleasing or not, they are what Maya naturally wants to create. Now with the above image I'm finding that it just isn't showing enough of the reasons for my disliking of the software, I'm finding it too 'nice', and I want to incorporate more of the backstage moments of Maya into the next renders, which may mean finding a way of including physical incantations of the tools applied to the model. The below image shows some elements that I want to find a way to include...
The vectors surrounding the model and the grid running through the screen are both notions I identify with existing in Maya's core and working behind the scenes of every structure created in the software, notions I want to include in the naturally forming aesthetic of the project. With this in mind, my next steps will be discovering ways of incorporating these technicality's in my creations.
After further conversations with Phil and more thinking time based around the next steps of my project, sound seems like an aspect that could lift my creations into a completely different world and not only effectively carry the same ideals as my models, but also simultaneously improve the quality of my outcome. Whether that outcome will serve as a minor project submission or major project submission remains to be discovered through more work.
An idea that would really boost the deliverance of my final outcome exists in creating a sound that is a primitive shape in its purest form, essentially accompanying my models with their most basic sound and then being altered in coherence with the change in the sculpture itself. This sound is known as an Acousmatic sound and originates from the idea of Musique Concrete, a term passed to me by Phil. Film Sound.org defines the term as this: "Acousmatic sound is sound one hears without seeing their originating cause - a invisible sound source." (Film Sound.org, Originally from Michel Chion's book Audio Vison, 1994). Interestingly this is a polar opposite to what the models themselves will be embodying, as they will thrive to present their origins precisely.
This idea is something that would potentially rely on connecting values of a primitive model into different elements of particular sound, so the shapes sonic identity is discovered through plugging values into a blank canvas rather than be altered to 'sound like a sphere'.
This idea is something to keep in mind as the project evolves, as it could really aid me in pulling the final pieces of my various experiments together in the final stages of either my minor or major project.
Chion, Michel, 1994, Audio-Vision: Sound On Screen, http://filmsound.org/chion/acous.htm, Accessed on: 10.10.17
Monday, 9 October 2017
As the first two sets of experiments yielded encouraging results, I've decided to blend the two deformation tools of bend and twist together in a singular model to push for more 'broken' results as well as to force the twist function into making something more interesting...
After a discussion with Phil concerning the next few steps of my project, A few different avenues are still available for me to go down, whether that be centred around animation or installation. With this in mind, I'm continuing on with my tests, now combining the deform tools of bend and twist together, as it was clear that the twist function could create much more interesting results when linked with another already applied tool.
An aspect of the models I have already created that I want to explore more exists within the broken faces/edges of the various sculptures, these flipped or reversed faces have often been something to actively avoid when modelling and in keeping with the motives of my project I instead want to, as Phil said "Hang a lamp on it".
With the combining of the two different deformation tools comes a much larger opportunity to have an effect on the causation of these, as I'm calling them, rips. As the two different tools combine, the different models geometry struggles to cope with the drastic changes in its structure and essentially tears, making for moments that I want to highlight upon and force into a limelight that the software doesn't want it to be in.
After some different tests that promote and encourage these results, that will mostly follow the same formula as the previous experiments (evenly increasing different variables), I'm going to take the different chronological models into After Effects or Premiere in an attempt to create an even more detailed creation which has stemmed from logical steps taken from its most pure form.
After spending so much time taking logical steps to reach a new point in a model's aesthetic, I'm keen to carry this formula into After Effects, taking different values from the models essential structure and plugging them into different tools in After Effects that can encourage further results that stem from an identical methodology. The results of these experiments that begin to tread in the lands of a different software will ultimately determine future steps these creations take, if the results suggest that the models thrive in an animation based environment then they will continue to exist in that realm, if not, then different software will be ventured into, potentially concerning audio as to help craft a richer environment for these models to own.
These next few images are an example of the kinds of renders I can take from the models I've created so far, this model in particular (depicted above also) has both the bend and twist deform tool applied to it and has a curvature of 500 and a start angle of 500...
After initially liking the look of these first few renders I decided to take a few playblasts of these creations forming to see what the process looks like in real time...
This first look at what my creations look like as living forms is extremely encouraging in terms of future process' and could definitely have an impact on the next few methods I use to create my structures.