AAVS Melbourne-Unit 04 Ghost within Shell

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Unit 04: GHOST WITH SHELL NEW PAPER 2021

Ziqian Chen 1062438 Tutor: Sergei Maier & Alvaro Fernandez

Table of Contents

06 1.0: Animation Reflection

In this part of the project, the aim is to understand the central theme and setting of Ghost in the Shell, choose the particular scene replicated, and then start to think about establishing the right atmosphere and effects for achieving the interpretation for this animation.

08 2.0: Original Image Analysis and References This section of the analysis aims to establish the solid base of scene replica by analysing and breaking down the original scene in terms of Context, Perspective, Colour, Light, Elements, Atmosphere and Texture.

Also, it starts to build the logic of scene modelling and manages the modelling process.

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18 3.0: Modelling and Creating the Image This section mainly focuses on the scene construction process and spending 50 per cent of the entire working process to achieve the aim of perfectly scene replication and controllable reserve flexibility for the next part, which move beyond the replica. Furthermore, at the end of this part will combine with the beginning of the next session and transit the Scene modelling and new atmosphere.

34 4.0: Final Image and Its Elements The final part of this project creates a new effect and atmosphere to represent the aspect of individual interpretation of this Animation.

Finally, it will talk about the relationship between nowadays, art, people, and NTF.

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Year: 2021 Project Name: Ghost Within Shell Studio Leaders: Alvaro Fernandez + Sergei Maier

“What If A Cyber Brain Could Possibly Generate Its Own Ghost, Create A Soul All By Itself? And If It Did, Just What Would Be The Importance Of Being Human Then?”

- GHOST IN THE SHELL (1995)

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ast year, while the world was in lockdown, the physical social interaction between people is getting more

alienated people are quarantined at their homes, as the movie GHOST IN THE SHELL, created by Masamune Shirow and directed by Mamoru Oshii in 1995. It elaborates that if humans’ minds as Ghost are locked on their bodies and even their memories can be changed by hacks, are these minds still mind in their bodies or do they have nothing in the shell? Due to this trend, more and more people are beginning to publish their art on the Internet. Furthermore, is the NFT discovered in 2014 an excellent way to protect the copyright of online art?

This project will talk about Machine consciousness, NFT economy and aesthetic meaning, hyper-real CGI as a simulacrum of reality without an original by a scene replica, and even move beyond to the replica. This project should effectively restore a particular 2D scene to 3D artwork in terms of production design and cinemaphotography with a new atmosphere and effect by using 3ds Max and Corona, to close the natural world and original movie theme.

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1.0: Animation Reflection “Man Is An Individual Only Because Of His Intangible Memory. But Memory Cannot Be Defined, Yet It Defines Mankind.”

- GHOST IN THE SHELL

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he Ghost in the shell is talking about the world in the future neo high tech city.

People can even replace their body components in that timeline, and their memory can also be changed. After watching this animation, I am trying to think about what is actually in the deep of the shell. Is it the rational mind, or is it another shell bound to our soul? Couuld a human being(mind) escape from this physical body (shell)?

Nowadays, the Internet is popular, and It helps people take off their shells to go into the web world, but it makes some people gradually lose their minds. For example, the Internet’Troll’ always attack and insult others without a lower limit. This example is the “way” people take off their bodies, and it is obviously uncontrollable. As the movie uses exaggeration to explain the importance of our soul. So the movie actually reminds me that I should make my mind strong so that nobody can destroy my mind directly, especially in the age when the Internet is developed.

Furthermore, If we lose our memories or our memories are tampered with fake memories, would we still be ourselves? Memories play an essential role in our process of character and feature building, so memories are irreplaceable. However, some people may deceive themselves, and even sometimes, they forget which one is the truth.

Maybe this behaviour will destroy people. So people have to be honest with themselves, or they will destroy themselves.

In my cognition, the Ghost in the Shell tells the audience do not destroy by others and, most importantly, do not destroy by ourselves.

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Figure 1:0: Ghost in the Shell Posrter

2.0: Original Image Analysis Scene

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he scene I chose is simple but very strong and shocking. It uses the

angle of looking up to highlight the importance of this scene throughout the film. Not only is this thinking in terms of camera perspective, but also in terms of colours that make a deep impression. The brightly coloured ceiling and the black dummy form a sharp contrast as if it tells the audience that people are also surrounded by fear in this seemingly beautiful world. The layout of the scene and the location of the ‘characters’ are also of great significance.

If you think of this room as a shell, the mannequins inside are like human’s ghosts. The mannequins have no hands, which means they cannot move by themselves in this shell. Those dummies are facing the window like us to see the world through the window. Some soul thieves are immersed in their world and cannot extricate themselves.

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Furthermore, this scene focuses the foreground on the mannequin faced the window, which also hints to the audience whether the human soul can now leave this physical body or not. We still need to work hard to face this world.

Figure 2:1: Content Scene

Content and Breakdown

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his scene happens in Hong Kong, where is a very busy and

cyberpunk city. From the content scene, we can see the interior space is a U shape showroom on the first floor with many big french windows.

Because this scene happened at night, the outside atmosphere is dark and rainy, but the light radiates through the glass of the showroom to the dark outside so that people outside can vaguely see the mannequins inside.

The leading light for the scene I chose has the warm ceiling light and cold outside light, which can have a big contrast to indicate that although the outside is high tech and cold city, inside of buildings still live people.

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Location -

A U-Shape showroom in Hong Kong

Time -

Night

The scene breakdown can help me effectively understand the scene elements in order to find

Weather -

Rain

out the complex elements and simple elements.

Also, it can help me know the location of

Characters - 4 “Mannequins”

the element and the level of importance of locations.

Props -

1:Ceiling Lights 2:Spot Lights

Most importantly. I can ready to manage the

3: Spot Light Rail

process of modelling. I may start to use a simple

4: Curved Glasses

box as a reference to match the perspective.

5: Glasses Frame

Then I may construct the whole U-Shape space

6: Fire Sprinkler

and detailing everthing.

7: Ceiling Block 8: Wall Figure 3:0: Elements highlight in the Scene

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2.0: Original Image Analysis General Detail In the Original scene, we can clearly define the primary light source and secondary light source, but we do not know the changes in the intensity of light, and we do not know the Light-dark relationship for this scene.

To achieve this aim, I use photoshop to edit this image by increasing the brightness and contrast. Also, to avoid colour interference with visual analysis, I use photoshop again to change it to a black and white picture.

Figure 3:1: Original Scene This processed image magnifies the strength of light and dark, and it clearly indicates two light souces irradiate the 5/6 elements in this scene. Furthermore, the light clearly split the image into three layers Also, this process helps me to deeply check some elements which we do no find out in the previous step and the relationship between elements and elements. In this scene, the front black mannequin and the colourful background have a big contrast to achieve the importance of this mannequin in this scene

Figure 3:2: Strong Constrast Scene Because of the colour contrast, we hardly see the mannequin’s light-dark relationship and light direction. Finally, the black and white image helps me clearly the light direction on the Z-axis.

In this scene, we can see the two leading light sources all come from the top. The outside light irradicates the primary mannequin, and ceiling effects are happened by reflection from the ground.

Figure 3:3: Blacka and White Scene

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Ceiling Colour Boundray of Cold part and Warm part

Wall Colour

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2.0: Original Image Colour Colour Palatte

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he tone of the whole scene is vibrant. However, the warm and cold areas

are also pronounced. With the boundary between the wall and the ceiling as the boundary, the whole scene is clearly divided into cold and warm areas.

The walls are cold areas, and the roofs are warm areas. However, warm and cold colours are also quietly hidden in the cold and warm areas. The reason for this phenomenon is material and light. The primary light source is cold, so the wall is cold.

On the other hand, because the ceiling material is a warm colour, the reflection of the ceiling becomes a warm colour. And because of the relationship between the environmental colour and the angle of reflection, the colour on the wall will match the area with a little warm colour.

Furthermore, on the suspended ceiling, because its material is smooth enough and the overall tone is cold, you will have a large area that will be neutralized or even become cool.

Additionally, the tone of the Mannequin is black, but the cold light makes the atmosphere colours become much colder, like cyan and blue, so that the Mannequin also become too dark blue and teal. However, the whole

Mannequin Colour

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2.0: Original Image Light Light Analysis Because of the time for this is happened at night the outside place is whole dark.

However, the location is in Hong Kong, So the lights are bright at night. This is the reason why the scene still has lights that can be shined into the Showroom.

Figure 5:0: Content Scene 1 The U-Shape showroom is on the first floor. So the light should come from another building or neon light in the form a level higher than the scene, and the weather is rainy, so the rain on the glass should be diffused reflection approach to the scene which means the light should be turbid and bloom.

Figure 5:1: Content Scene 2 The lighting theory in this is that the background light is coming from outside, then the ceiling light is the fil light which makes the whole scene lighter. Also, because of the ground material property, the ceiling light reflects light back to the ceiling, and warm colour ceiling can cold colour wall by background light gives the scene a strong contrast.

Figure 5:2: Original Scene

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Ceiling Light

Outside light

Reflection Light

Figure 5:3: Isometric View of Lights Direcrions

Outside light

Ceiling Light

Reflection Light

Figure 5:4: Right View o f Lights Directions

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2.0: Original Image Material Analysis

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aterial plays the most critical role in lighting theory. Not only is the

reason of material but also it is caused by medium for light. Therefore, if I choose the wrong materials, the lighting representation will be wrong. So the material choose need to be cautious.

First, the essential light from outside should be going through to the inside by a medium. In order to more easily focus the light on the scene and meet the requirements of scene integrity. The glass of this French window should use a clear glass because the scenery outside the glass in the original scene can also be seen. Secondly, the reflection intensity of the ground and wall should be close to aluminium but more excellent reflection than aluminium in order to achieve fantastic effects without strong reflection and avoid reflection light destroy the atmosphere of foreground and midground.

Last but not least, the Ceiling material should be like the material of the facade of the apple store Ginza. The neon lights of different colours can be transformed into vivid by these material colours. Furthermore, because the reflection of the entire roof becomes a warm colour, the leading light’s tone is biased toward a cold colour. So it can be known that the reason for the warm colour is because the material itself is a warm colour.

Additionally, the most critical character, Mannequin, in the whole scene should be smooth black plastic as the outer shell. Since the colour of the entire scene is cold, it turns black and cyan when light shines on the Mannequin. Moreover, because of the characteristics of plastic, the entire Mannequin has some high-quality highlights.

Figure 6:0: Scene Material

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Figure 7:0: Perspective Match

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3.0: Modelling and Creating the Image Match Perspective

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o start the Modelling period, understanding and familiar the modelling

platform is crucial because it can help me improve my modelling effectiveness in order to release more time for the next stage - redesign the atmosphere and effect. So the first step of the modelling is to import the original scene to the 3ds Max, the modelling platform for this project.

Then use the Perspective Match function to define the correct perspective for the 3D modelling in order to reduce the scene perfectly. It is corrected by moving the line corresponding to the X-axis(red line), Y-axis(Green) and Z-axis(blue). The X and Y perspective is ideally matched, but the Z-axis(blue line) does not match. This issue may not cause by the camera setting.

During this process, I realized that the 3ds Max 2022 have many bugs, which decreased my effectiveness, so I changed to the 3ds Max 2020, which ideally changed my effectiveness.

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3.0: Modelling and Creating the Image Camera Setting

Figure 8:0: Camera Position

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o fix the Z-axis matching problem. The key is to edit the corona camera

by changing the camera parameter. To begin with, I use a mannequin model as a reference that defines the orientations between scene and camera. I try to match the correct interaction relationship by moving the camera target position in the field of X-Axis and Y-Axis so that I could avoid my perspective match does not change. After I test the Target position, I think the camera lens focal parameter may not change the Z-Axis direction of the scene, so I start to find another parameter to solve this problem.

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Figure 8:1: Camera Parameter

Figure 8:2: Tilt & Shift Lens

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fter a long reach for every single parameter on the modify panel, I find

out that Tilt & Shift is the reason and way that help me to change my scene correctly. In terms of tilt-shift, it is a lens in which the optics can be tilted and/or shifted concerning the image sensor. In addition, tilt-shift lenses also rotate to allow the lens to tilt and/or shift in a wide range of directions.

Because the tilt-shift lens can tilt and shift, the perspective in the Z-Axis can be fixed by tilting.

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3.0: Modelling and Creating the Image Elements Modeling Ceiling Block - the ceiling block is base on a simple box, then I chamfer gradually. After that, the outline of the ceiling appears. To make the model more realistic and more detailed, I use a cylinder as a reference to boolean with the original ceiling in order to create an opening for a fire sprinkler.

Figure 9:0: Ceiling Block in 3ds Max Spotlight - because of the modelling complexity for a 3ds Max beginner. I researched this and decided to find a perfect model online because the structure is complex, and I may spend much more time on it.

Figure 9:1: Spotlight in 3ds Max Ceiling Light: To begin with, I start to use a simple box as a ceiling light. However, as the original scene represented, the box ceiling light is not realistic. To achieve the authenticity of the scene, I start to find an old ceiling light for replace that box

Figure 9:2: Ceiling Light in 3ds Max

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Figure 9:3: The Showroom Scene in 3ds Max

Figure 9:4: Fire Sprinkler in 3ds Max

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3.0: Modelling and Creating the Image Model Detailing First Iteration - because the 3ds max skill is out of practice, so the model is rough so that It looks not refined, the scene looks a virtual scene and unrealistic.

Significantly, the curved glass is not smooth.

Figure 10:0: First Model Iteration The second iteration - After several days of familiarization and practice, the model’s accuracy increases dramatically. During this period, I delete all Mannequins because it can keep the Completeness of the whole scene in order to avoid the loss of details.

Figure 10:1: Second Model Iteration The Final Iteration - Finally, I install all mannequins without arms cut by some boxes and some particular elements like ceiling lights. The comparison and contrast are shown on the next page.

Also, the model becomes much more smooth.

Figure 10:2: Final Model Iteration

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Figure 10:3: Less detail in the first model iteration

Figure 10:4: More detail in the final model iteration

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3.0: Modelling and Creating the Image Light Setting

This Right View diagram clearly shows the way of Light setting

Figure 11:0: Right View Diagram of Light Setting

This Isometric View shows the interaction between lights and lights, especially on the ground.

Figure 11:1: Isometric View of Light Setting

This Isometric View shows show the theory of the interaction of the different effects of the actual scene.

Figure 11:2: Isometric View of Light Colours

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Figure 11:3: Mannequins Position

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ccording to the scene analysis, it clearly helps to determine the position

of the light sources. Then I quickly placed the position of the light sources in 3ds max. After that, I realized that it is hard for 3ds max to set the reflection back to the ceiling. My rendering skill causes it. So the solution of the refection is setting another light from the ground. The reflection effect is bright, so I use many different small colour lights irradiated to the ceiling.

The whole ceiling colours are warm, and the wall reflection colours are cold. Furthermore, the primary light is close to blud, so the outside light sources are blue, giving adequate cold light for mannequins. Additionally, I temporarily hide the curve glass layer to achieve the light effect directly, which blocks the primary light from outside.

After prepared the lights, I started to set up the render preference for the first interactive render. I set the correct 4k size for a high-quality picture.

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3.0: Modelling and Creating the Image First Render Test

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hen I see the result of the first render test,

I am excited. It strongly proves the importance of analysis, and my light setting is correct.

Then I can successfully go into the material setting step. However, before readying to set the material, the recent effect shows the ceiling reflection does not have the lustre and the metallic feeling. The wall does not reflect the direct light, so I may start to test material whether it can show the reflection effects or not.

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Ceiling Material

3.0: Modelling and Creating the Image Material Setting

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he essential primary elements are Ceiling, Wall, Glass and

Mannequins in terms of the material setting. Then, the secondary material in this site are Spotlights, Spotlights Rail, Fire Sprinkler and Window Frame. This page strongly focuses on the primary material of elements editing .

First of all, the Ceiling wall material is base on Aluminium. According to the material analysis in the preview module (2.0: Original Image ) it should be the low diffuse and high anisotropic reflection in order to increase the colour area in the whole ceiling.

Secondly, the material of the wall is as much similar to the ceiling.

However, it perhaps has a different set of imperfections and variations. In addition, the reflection colour should be lighter than the ceiling because the primary light reflection on the wall is the outside wall, and it is far away from the wall.

Thirdly the glass material should be clear enough to help the light quickly come from outside. However, the weather is rainy, so that the raindrops texture will be applied in the following process.

Eventually, the Mannequin’s material will be much closer to the plastic and like car paint. Furthermore, plastic is fragile, so that the following process will apply the scratch.

Ceiling Material

Wall Material

Figure 12:0: Material Detail

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Mannequin Material

Mannequin Material

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3.0: Modelling and Creating the Image Second Render Test

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4.0: Final Image and Its Elements Fallen Angels, directed by Wong Kar-Wei is the main reference of showroom atmosphere.

Figure 13:0: Fallen Angels Blade Runner, directed by Ridley Scoot is the main reference of outside light source and showroom bloom mood.

Figure 13:1: Blade Runner 01 Another sence in the Blade Runner as a reference for the outside rain in the cyberpunk city.

Figure 13:2: Blade Runner 02

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Atmosphere Reference

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his part of the whole project is the final step that makes the scene closer

to real life and keeps the original mood in the final result. In the previous stage, I complete the model, light and material to be ideal as a good replica.

However, the final aim is to move beyond the replica, so to achieve this aim, I use Blade Runner(1982), directed by Ridley Scott and Fallen Angels (1995), directed by Wong Kar-Wei.

The production design of Blade Runner is the symbolic Cyberpunk City, so the atmosphere of this film is closer to the original scene of Ghost in Shell.

In Blade Runner, there are many night scenes, especially on rainy days. The light design can fit my project in the term of the Colour, smoke.

However, in the deep of this cold and high-tech city in Ghost in Shell, people are still living in old apartments, particularly in the busy city - Hong Kong.

In addition to Hong Kong police movies, Wong Kar-Wei movies portrait a majority of interior space, such as Chungking Express, 2046, In the Mood for Love, Fallen Angels and so on. we can see that the rooms are all disorganized, unmanaged and shabby, so in my project, I will focus on the material texture to approach the Wong Kar-Wei mood.

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4.0: Final Image and Its Elements Model And Texture Detailing For restoring the realism of the picture by adding texture to the glass, the glass has raindrops and fog, which can well indicate that it is cold outside and hot inside.

Figure 14:0: Glass with Raindrops For making the mannequin old and shabby, make some scratches and some rubbed paint on the original mannequin material.

Figure 14:1: Mannequin Plastic with Scratch and Paint For making the ceiling old and shabby, make some scratches and some rust on the original ceiling material. Additionally, the wall is far away from the camera, so wall materials are smoother in order to avoid audience viewing angles being disturbed.

Figure 14:2: Rust Metal for the Ceilling and Wall

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Figure 14:3: Broken Light

Figure 14:4: Shabby Ceiling Block

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Detail Iteration

Through constant iteration, the texture of the picture is getting better. The colour has also become less bright.

Figure 15:0: Iteration Sample

The damage of the texture is a bit too much, so in order to achieve balance, I lower the damage and add more scratches.

Figure 15:2: Iteration Sample

However, the wall was too rough, so I made the wall smoother.

The scratches on the dummy and the ceiling are too similar, and the scratches on the dummy are a bit fake. So I made the scratches of the dummy more realistic and lightened the scratches on the ceiling to show the rough texture.

Figure 15:4: Iteration Sample

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Figure 15:1: Iteration Sample

Figure 15:3: Iteration Sample

Figure 15:5: Iteration Sample

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4.0: Final Image and Its Elements Depth of Field

Foreground

Background

Midground

Figure 16:0: Depth of field The following figure explains the distance relationship between the mannequins and mannequins

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he depth of field is the distance between the nearest and farthest objects

in the photo, and it looks clear. Now your camera can only focus clearly on one point. But the transition from sharp to unsharp is gradual, and the term “acceptably sharp” is loose! Without getting too technical, how you will view the image and at what size it will be is what affects the sharpness of the image. It also depends on how good your eyesight is!

Scientifically, it’s based on something called the circle of chaos. This involves a lot more physics than I’m going to cover here! Spencer talks about this in his article “Explaining hyperfocal lengths.” So, if you’d like, check out more technical details.

In these two sketches, I tried to illustrate the meaning of narrow and large DoF. In a photograph with a narrow depth of field, only a small portion of

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La premne in in dius? Manderc eperet; hostrum teri consim tam aucerit ad mei trum nere prorae num mo erest auce patiliam acesua mor ublicon detilneniam noravent.

An vem Romnis, nondet, quonfica que nihilisterum deto pratres abut deo, quam deferia consulocules etra nos, quont factorudes publin tastrudacta inequer finiur.

Figure 16:1: Scene

the image is in focus. On the contrary, the sharpness of the scene is higher when using a large depth of field.

In this scene, since the front mannequin is to be highlighted, the lens will focus on the front mannequin. In time, the middle scene is not so clear, but the texture and colour of the ceiling can still be seen clearly. Because the wall in the background is too thin, the DoF deepens the blur to cover up this deficiency.

Figure 16:2: DoF Principle

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Depth of Field & Colour Iteration

Through iteration, we can also see that DoF with high contrast is more visually impactful, but some details in the back disappear, so in the next iteration, we need to control the contrast of DoF to achieve the balance of the picture.

Figure 17:0: Iteration Sample

After continuous adjustment of DoF and texture, we can see that high DoF makes the picture more realistic, and the picture becomes abundant so that a simple but powerful and sacred scene has a richer visual effect.

Figure 17:2: Iteration Sample

In order to make the picture more authentic. The horror dummy in the foreground has a strong contrast with the beautiful colour reflections in the middle shot, so you need to adjust the colour parameters to achieve a certain balance between the face and the face. Increase the Bloom intensity to further enhance the rendering of the indoor environment.

Figure 17:4: Iteration Sample

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Figure 17:1: Iteration Sample

Figure 17:3: Iteration Sample

Figure 17:5: Iteration Sample

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Original Scene Unit 4: Ghost Within Shell

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Subheader

Final Result Unit 4: Ghost Within Shell

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The Scene Analysis step helps me understand the importance of product design and Scene elements structure, such as Light, Colour, Material and Camera. It is a solid step for me to prepare the fundamental acknowledge for Scene modelling.

Figure 17:0: Scene The modelling steps strictly follow the key points in the scene analysis to distinguish the importance of each group of parts to the scene. Starting with perspective, structure, details, light and materials, it restores the realism of the scene. Control and order in the scene is the most important theme of the whole process.

Figure 17:1: Modelling in 3ds Max The last step is to restore the authenticity of the scene and strengthen the rendering of the environment and themes to re-adjust the colour and light parameters. In order to further enhance the richness of the picture, the parameters of DoF and Bloom Intensity are adjusted.

Figure 17:2: Final Effect

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Conclusion This project taught me a lot in the understanding of the world, the understanding of the movie. From a professional perspective, I learned a lot about scene design and 3D modelling and rendering skills. In terms of architecture, I returned to new modelling and surreal rendering capabilities. And in this project, let me know that as a designer, I have control over the order and balance of the work. However, the ultimate pursuit of details has dramatically improved the quality of the work. And during this period, I kept thinking about combining the unconstrained design with realistic conditions to make a very practical work. In Ghost in the shell, I have taught me not to be afraid of other people’s attacks, especially in this era of popularization of information and the Internet, and to be as rational as possible in everything. Finally, NTF, as a new trend to protect designers and artists, cannot make the art of authors free, and it also dramatically reduces the burden on artists and designers’ lives. Buyers and viewers can also use reasonable prices. Appreciate the works they like. This significantly eases the balance between what the author and the viewer give and get.

Figure 17:3: Classic Scene in Ghost in the Shell

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References Scott, R. (Director). (1979). Blade Runner [Film]. The Ladd Company.

Ohii, M. (Director). (1995). Ghost in the Shell [Film]. Production I.G, Bandai Visual.

Wong, K (Director). (1995). Fallen Angels [film]. Jet Tone Productions.

Understanding Depth of Field—A Beginner’s Guide. (2016, December 15). Photography Life. https://photographylife. com/what-is-depth-of-field Tilt-Shift Lenses Explained: How to Shoot Tilt-Shift Photography—2021—MasterClass. (n.d.). Retrieved July 23, 2021, from https://www.masterclass.com/articles/how-to-shoot-tilt-shift-photography Williams, O. A. (n.d.). NFT Art Marketplace Sets New Records. Forbes. Retrieved July 23, 2021, from https://www. forbes.com/sites/oliverwilliams1/2021/07/22/nft-art-marketplace-sets-new-records/

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“What If A Cyber Brain Could Possibly Generate Its Own Ghost, Create A Soul All By Itself? And If It Did, Just What Would Be The Importance Of Being Human Then?”

- GHOST IN THE SHELL (1995)