Heres another shot on the progress of my animation. I’m not really sure what else to do at this point, because I feel as though it’s finished.
I understand that the theme for the final is ‘Visual Music’, and this might not fit the standard criteria, but I feel like the definition of music is subjective and a variety of sound compilations could be considered ‘music’.
So, here is what I have so far on my final animation. I mixed together the various sounds at my disposal in Audition, and created a kind of narrative. For some reason, in Photoshop, the playback lags badly when each flower appears. I’m not sure why this is.
I’ll be adding the other elements on the palette during my next work session.
Animation tests for my contribution to the final.
I created the swirls originally on paper. I scanned them, painted them in with Photoshop. I then made a template layer, copied that, and then on that layer I created a mask. I filled the entire mask with black, and erased the very first portion I wanted to show. I copied that layer, and then erased more. Rinse, repeat, etc. I created the smooth lines by using 50% flow and a Dry Media brush.
FINAL PROJECT; VISUAL MUSIC
Featuring: Evan, Lucas and Kerstin
Color Palette: Browns, Greens, Blues (and accent colors).
Shape Palette: ‘Organic’ shapes (Leaves, flower, rocks, swirls/vines), ‘Industrial’ shapes (buildings, hard lines, etc.)
Our full animation will have an abstract narrative, and will progress from peace, to chaos, to peace once again. The intro (Kerstin) will consist primarily of soothing color tones and vines, with accent leaves and flowers, as well some of the industrial shapes. This portion will feature soothing sounds of chimes and ukelele, and will softly fade to quiet and the imagery will fade to white, giving the feeling of cleanliness and calm.
With a BANG(!), the next sequence (Lucas) will erupt with layered, claustrophobic sounds, with the industrial shapes building up on top of each other, falling over each other, and crumbling. This segment will mostly feature the industrial shapes, but will be accented by swirls and the other organic shapes. The chaos will break itself down, and then build itself back into a crescendo and suddenly in black and silence.
The closing sequence (Evan) will fade in from the black with prominent sounds of wind and chimes, and the organic shapes playing dominantly. It will play on the concepts of regained peace and tranquility after chaos and war. The industrial shapes will be featured here as well, but as a minor part, becoming obscured by the organic shapes.
The final sequence will blur into obscurity and credits will roll.
In Lichtspiel Opus I, an abstract animation to the tune of an original score, painterly strokes and flashes of color are used to imitate the way music sounds. Fabric-like shapes flow past the screen in time with the music, reflecting the soft sounds of violins, while large, swelling shapes fill up the screen like an inflating ballon like how a cello fills up a concert hall. Later on, ghost shapes inch past the screen while other painterly shapes flow by, like a traveling creature being pestered by flies. Frequently, piercing angular shapes (triangles) stab into the screen, much like sharp notes of the violent pierce the listener’s attention. Sharp edged brush strokes slash through the screen, occasionally cutting off the softer strokes, like a hawk taking down a songbird mid-flight.
Towards the end, a single bold shape of color sways back and forth across the screen like a pendulum, and then transforms into a single circle, in which the ghost shapes try to reach with their swelling bodies. The ghosts merge together mid-screen, and then shrink to the bottom. Then tumbling squares reflect the turbulence of the music, and then after that the colors turn from bright and bold to somber and cold, with only the occasional flash of warmth. The pace speeds up, the strokes move by the screen faster as the composition comes to an end, Finally, it ends on a single red circle that collapses in on itself, much how the animation started on flashing, swelling circles.
Lichtspiel is German for Light Play, which makes sense for this animation, because it is very playful, and feels very much like light flashing back and forth across a wall, like when a car passes by an open window.
Scene #1 contains moving layers, and layers that fade in and out, as well as a stationary layer in the far background to create depth.
Scene #2 is with the same concept as #1, except with the trees warped slightly to give depth. The samurai was created in a separate file to have the static effect, and then he was imported into the file.
Scene #3 is essentially a copy of scene #1, except the man is perceived to not be moving; and the camera is moving around him.
Some images from alternative source.
Background art by me.
In between part C & D of the current project, I took it upon myself to explore the new animation tools in Photoshop. I’m actually familiar with Keyframes and Tweening–I used to goof around with Flash Animator back in the day. So these concepts are not alien to me, and once I realized this it became easier to do a simple animation. However, I don’t think that Photoshop has the Morph feature that Flash had, allowing one shape to morph into another (as seen in many of the rudimentary Flash animations on the Internet in the early 2000’s).
This gif was just a test and a warmup. I think it relates slightly to part D, since we have to do some kind of a walk sequence. I had the background move as well, remembering the painted-slide technique used in classical animations such as Bambi by Disney.
…and then we watched the video I was just mentioned later in class. I swear I’m not psychic.
And here’s one with smoke, in order to experiment with opacity changes.
And another one with additional animation at the end, including style/transform changes.
I was a little confused by the prompt for the second study, so I hope I met the requirements?
I took 4 screenshots of the original gif and glitched them by following the steps outlined here. It took a few tries to finally get some results, but my perseverance got me through to the end. I used those four glitched screen grabs and worked them into the existing gif. I altered some colors and embellished the head. Overall I gave the gif a rather spooky feel, like something you’d see in a movie.
For this exercise we were instructed to take at least eight frames of a drive-in movie ad and create some sort of animation in the spirt of George Melies. I separated Mr. Suit’s head from his body and placed them on separate frames, where I applied clipping masks and vector masks to change the color and clean up the edges. I used the repair brush and healing brush to clean up his severed neck and give the illusion of an empty suit. I also adjusted the overall color scheme of the film clip, because the orange was killing my eyes.
I’m already familiar with this version of Photoshop’s animation tool, although I haven’t used it in a long time. This exercise was a good warmup for the rest of Project 3.
Using this clip was strange, because this man looks very much like my late Grandfather…