IT IS - ANIMATION

// SHINTA ARDIANA SARI // s3920286

IT IS INBETWENNESS of memory, imagination, and remembrance

intro.

It tells a story about self-discoveries. The story is intended to speak without an actor. Indeed, the book and bear are the actors, as camouflages of ME. This camouflage through the journey, act as ‘ME’ within memory and imagination action of ‘ME’.

These communicate indirectly to convey emotion from ME and direct an open interpretation, instead of explicitly telling the blunt meaning.

The journey is made through a real-unreal situation. Fading the fake and the reality, trap in-between self-conscious and unconscious.

The message is stressing of what is unconscious, somewhat to be forgotten but it’s leaving traces of memories.

And it actually is a part of self, and it always is there to recall.

THE STORY :

THE STORY BEGIN FROM THE OBJECTS: Out of the 10 object there are 3 categories based on my perspective THE FRONT: 1st. THE MEDIUM

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The things that essential for working, and always kept in front of me.

THE BACK : 2nd. THE BODY Essential daily stuff which have many other options. So that, somehow it slips of mind that it also meaningful, but cause the other option it doesn’t become the priority.

3rd. THE MIND The very meaningful one, with a strong memory attached. They are either exist or gone but the memory still.

THE FIRST EXHIBITION

The front layout Books, and devices Flying object inside the mind

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The special corner for the most memorable things, located inner directional from the entrance

WHY IS IT CALLED ‘THE MEDIUM’?

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The things before ME are the things that used to create some design. Mostly the laptop.

However, when creating this layout, the front / medium are actually what people usually see from me. But the mind and body, somehow I don’t realise that they are attached on me (physically / mentally).

PART OF PROCESS - THE BUBBLE

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To communicate the things inside me (the memories on each item), i used the back layout and shape many colors of layerred bubble as a resemblance of foldered memories inside my head.

Color Code : Camera movement / Cinematic transition Scene important note Audioscape

NARRATIVE, SCENARIO, AND STORYBOARD

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This is something that is need to be decided before starting sketching the animation. It is a guidance to the story, the start and the ending. During creating the animation, I realized that the storyboard can keep changing (due to technical issues or incoherent storyline), so the storyboard need to keep tracj of the cahnges. So that, I still follow the guidence of the main idea.

Previous Storyboard: Unclear, doesn’t have any detail for camera movement, transition, audio schedule, and modelling notes.

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SCRIPT AND AUDIOPLAN: Audioscape

The Audio Plan and Scripted Narra are essential information along with storybo

It shows the timer (targetted), so t it easier to edit and prepare the au len

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The planned SFX or song/mu

The planned for editting (within A Premiere or need to have other s softw

that udio ngth

usic

Adobe sound ware)

fascinated enchanment

Timer : 00.00.00 Audio (Background Effect): Titled

00.48.00 (Audio fades out)

It is In-between ME-mory & IAMagination A chance to ask: Who is and what is

‘I’m drawn to this’ Beyond any doubt. Got inspiration ‘Ambiguous, this front row’ Enjoyment upfront requires an ensembled puzzle

00.13.00

00.51.00 (Dark ambiance) Play : The creature +00.10 (into the void gone) Hoop!

Don’t you feel tired?

“Yes, even for the lines” Won’t you just dive away?

Leave the lines (audio : SFX click mouse sound) Transition 00.20.00 To this unbounded, untied, on a loose, 00.24.00 (audio : start cinematic, happy sound) Play : Into The void 00.30.00 (camera rotation) Audio : SFX Mouse Click to the supreme of infinity and a celestial city allure mysterious attraction a magnificent hall of attention 00.45.00 (Audio : edit reverb)

Taken you back To the ‘writings’ 00.59.00 “Is this all?”

Go closer Hoop!

(Purple ambiance) Audio : The creature fade out +00.10 (gone) Play : The Feels 01.10 “Where is Me” “Are all of me?”

(Near the end) Set volume The start point Perspective frame in between To be found To be remembered Never lost

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ative the oard

NARRATION & AUDIO PLAN (mm.ss.ms)

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GOING THROUGH THE TRAP The scene portray how physically bounde to the computer. The darkness resemblance the feeling trapped inside the computer.

Eventhough, there is intention to break free from computer but it also feel fascinating and intoxication to continue working to all of the possibilities inside the technology. This where all the imagination can flow out to be communicated to the world.

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. chapter1

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final render

1st trial render mood

glass and gold

THE FLOW OF IMAGINATION

The scene intended to create this atmosphere, with a dreamy mood, violet color resemblance the important ‘amethyst’ gift that accompany every dream and wishes. The memory unconscious gathering along the way. It rises and sets with shining material, contrast but blend in with the crystal glass.

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The computer technology and all the possibilities could take designer/architect to continue work with overflow idea into the virtual space or inexistence world.

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The Camera Movement and Angle :

Taken from the top. The camera path moving through the spiralizing stairs. The intention before was to create a moving stairs while the camera move. But, the limitation of animation in Rhinocerros, it needs to install plugin to make the object moves, or editing frame by frame. To overcome this, I create different point location so that the camera have different angle and rotate while move into the path.

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Trial Render Camera Movement and Angle: https://www.youtube.com/watch?v=x1NoKW6PIBY

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The flying p

The scene transition

Inside the computer, we can jump from one screen to another. Also, we can easily jump from one device to anothere device, e.g. Airdrop. This vast hall of flower resemblance the sweet and beautiful imagination with a lot of portal to connect everywhere.

THE CAMERA ANGLE : The camera moves in 360 degree angle, with the placement in the center. It tells the infinite boundaries looks alike, but essentially still in the same place.

THE SCENE TRANSITION: Horizontal posterized blur effect to crreate a horizontal swipe like what we can actuallly with smartphone, ipad, and macbook to jump from one scene (application) to other space (other application).

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portal

blip. blip.

Oh. Someone there Oh. Something there Oh. Someone beside me Wait, One sec Flap!

Ugh it’s empty. Still.

Blup.

Yep only you

Still mono Mono . .

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Blip blip Oh! Hi there!

Yes, it’s back Yes, it’s stereo

EXPLORE THE POSSIBILITIES OF THE IMPOSSIBILITIES: The build environment (city) model portrays the design process that I’ve done inside the computer. It is upside down as it can be anything in the inexistence world, ensemble the overflow imagination.

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read this conversation : ‘ (text) ’ : ME text : MEMORIES

.chapter2

‘I’m drawn to this’ Beyond any doubt. Got inspiration?

‘Ambiguous, this front row’ Enjoyment upfront requires previous puzzling process

THE DARK MOOD AND HOLE: The memories that help (unconsciously through the imagination process) are fragile. / SHINTA ARDIANA SARI

“

The Chapter 2 It tells stories about how sometimes the infinite possibilities, make you lost who you are: the identity, the background. To keep awake and find myself back , the shaken realization to the imaginary must be done. It needs to have a change perspective.

It actually ties with a lot of emotion and experience on the previous phase of life. This is also when the imagination can suddenly breakdown to more serious fact when changing the perspective.

/ SHINTA ARDIANA SARI

This scene intentionaly to have a dark mood with greyish shade and dimmed light of purple (Amethyst) as a continuation of mood in the beginning. The vast space of universe as the setting make a statement that the location can be anywhere hardly reach physically. The floating head with object portray how the memories flying here and there. Sometimes it forgotten but sometimes you can grab them easily as it flie near you.

The purple boxes are the storage and sensory trigger.

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THE HEAD AND BUNCH OF OBJECTS:

“

Taken you back To the ‘writings’ “Is this all?”

Go closer

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“Where is Me” “Are all of me?”

Blurriness of all object except for the bear.

read this conversation : ‘ (text) ’ : ME text : MEMORIES

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The Infinity Reflection : A guidance to the bear, the many reflection create the vague of the real and unreal situation. As the bear is acrucial memories but the physical object no longer exist. It only depends on the remembrance

The setting with the bear in the center to guide the audience attention that, bear is important object during the stories.

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The bear is part of the conversation between ME and Memories. The huge indication that the one directed all the scenarios are the memories.

Infinite space even insde the cube

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Darker color of Violet

THE BLINKING TRANSITION :

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Securing the spot as important object at exhibition

The transition intends to emphasize realization to the change of situation from the previously dreamy imagination mood into a more personal approach .

.chapter3 Where all the ‘writings’ come from .

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The starting point.

“

The start point Perspective frame in between To be found To be remembered Never lost

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‘WRITINGS’ = TRACK OF MEMORIES

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‘ME’ portrays as a book, but this only a chapter of ‘ME’. There are a lot of past of ‘ME ‘ on the shelves together with the object.

Inside of the book, the writings are the traces of what memories has. It stored perfectly on each pages, but sometimes the FORGOTTEN is on which page they actually are.

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THE ME AND MEMORIES:

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A SKETCH OF GIRL HOLDING PANDA AND PANDA HOLDING THE BOOK

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This is an indication that all of the stories are actually roots on a book from many books.

The shelves actually in the same room with the computer. But due to the perspective, it sometimes forgotten on the back. Rotating the view are the transition pulled to saw the location. .

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the process

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THE PROCESS Camera movement / Cinematic transition

scene 1

The beauty of animation done on Rhinocerros is that the camera can pass continously, even though I can’t made the object moves freely, however the stage design for the modell can be arrange upside down to have the camera continuation.

Previously, I created model separated in many files, to get the mood that I want and a consistent camera angle was really hard. It is better to have a row of model, line up, and the camera moves.

Model to be separated on different files are the ones with a really different environment such as dark ambiance and light ambiance.

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SAFE TIME : It is also save more time to test render on the first frame and the final frame instead of trying to test render all animation in draft quality.

Set design reflection

Test render first fra

ame

the camera path

scene 2

move down

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the view for scene 1

scene 3-5 Model orientation to camera path and scene

for looking down, change direction

360 degree path

the line guidance

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for looking down, change direction

360 degree path the center Guidance points

Camera path

THE PROCESS Camera movement / Cinematic transition

The hardest part in the animation is to create a decent camera path and the camera target.

Not all od the scene can be continuosly build with a single camera path and target. That what we need to consider if do not want to have a massive post-productiction transition editing in Movie Editting Software.

Transition from one scene to another need to adjust the camera target. For smooth transition, the target from the beginning of the next camera render should precise with the previous one. This apply also on the camera location.

Camera path

The upside down set

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Therefore, I create many line guidance and point to locate where the camera on the previous scene. It will be nice if we could label the point.

THE PROCESS Camera movement / Cinematic transition

THE FRAME RATES: Refelction to my animation: to measure the camera path distance and how many frame rates to go with.

I have 7 scenes, due to the unmeasure camera path distance and FPS (rates), I had to adjust several time the speed and duration of each video compiled.

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This took several time due to the differences of each video. Some probably go with 80% speed redundant but there are also a video that go beyond 80%.

The different tone render: There were times that I redo my render process due to different tone render. However, I realized that can be managed with editing in Adobe Premier Pro such as color, saturation, contrast, filter light, masking and many else. / SHINTA ARDIANA SARI

This is the first time doing editing in Adobe Premier as I used to Filmora before.

THE PROCESS Audioscape

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The soundscape: It is a lot of easier to edit audio separated with the animation file. Beacuse I was not use with the linked layer of Adobe Premiere so, it takes time to cancelled and redo unwanted effect caused by the linked editing.

The transition: I spent time looking for preset for a transition. However, it is easier to pay with simple geometry masking and keyframe on the ‘effect control’ panel.

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// Shinta Ardiana Sari // s3920286