Sunday, October 11, 2009
EXPERIMENT 2 - CRYSIS PARTICLE EFFECT & SKETCH INSTALLATION
The video of creating an animated particle effect in Crysis using "Trackview".
CREATING AN ANIMATED TRAIN IN CRYSIS AS MY INSTALLATION FOR MY FINAL VIDEO
EXPERIMENT 2 - STATEMENT ON 'REALISM'
“Realism” in the visual arts is a style that depicts the actuality of what the eyes can see. The term is used in different senses in art history; it may mean the same as illusionism, the representation of subjects with visual mimesis or verisimilitude, or may mean an emphasis on the actuality of subjects, depicting them without idealization, and not omitting their sordid aspects. Works may be realist in either of these senses, or both. Use of the two senses can be confusing, but depending on context the second sense is perhaps more common.
I AM FOCUSING IN MY FINAL VIDEO FOR EXP2 MAINLY ON "REALISM" AND HOW TO MAKE THE SPACES CREATED WITHIN THE TOWNHALL STATION AS MUCH REALISTIC TO THE VIEWERS AS POSSIBLE AND THAT WOULD BE THROUGH MAXIMIZING THE USE OF ALL TEXTURES AND MATERIALS THAT I HAVE COME ACROSS FROM THE REAL TRAIN STATION, AS I HAVE FOCUSED A LOT ON DETAILING AND MATERIALITY IN MY 3D MODEL.
MANY FACTORS AND ELEMENTS AFFECT THE “REALISM” OF A SPACE, AND AS A “SPACE” IS DEFINED AND CHARACTARISED BY FIRST OF ALL LIGHT EITHER EMITTED FROM A NATURAL OR ARTIFICIAL SOURCE, WHICH THEN GIVES US THE ABILITY TO TRANSELATE THE QUALITY OF A GIVEN SPACE AND BREAK IT DOWN INTO ELEMENTS SUCH AS ACCURACY OF MESURMENTS AND AS In mathematics; space is an unbounded continuum (unbroken set of points) in which exactly three numerical coordinates are necessary to uniquely define the location of any particular point. It is sometimes called 3-space because it contains three distance dimensions, SECONDLY IS MATRIALITY AND DEPTH OF TEXTURES WICH MIGHT BE (SOFT-HARD-POROUS-MATTE-GLOSSY…ETC),
ALSO “REALISM” IN OUR COURSE AND WORK FIELD IN THE FUTURE WOULD PLAY AN IMPORTANT ROLE AS TO HOW ANIMATIONS, IMAGES OR RENDERES THAT ARE PRODUCED TO BE SET WITH A HIGH QUALITY STANDARD AND TO MAKE THEM AS MUCH BELIVEABLE, APPEALING AND REAL TO THE EYE AS MUCH AS POSSIBLE.
AS IT WAS MENTIONED IN THE LECTURE ABOUT “REALISM” IN THE GAME INDUSTRY AND HOW GAMES THESE DAYS ARE GETTING CLOSE TO REALITY AS POSSIBLE AND AS GAME COMPANIES USE THE ADVANTAGE OF THE TECHNOLOGY TO PROMOTE AND TRAIN THE MILITARY FORCES AS AN EXAMPLE ON means of military schemes and strategies which Russell talked about in the lecture “PURE WAR”.
REFERENCES:
http://en.wikipedia.org/wiki/Realism_(visual_arts)
http://whatis.techtarget.com/definition/0,,sid9_gci962691,00.html
I AM FOCUSING IN MY FINAL VIDEO FOR EXP2 MAINLY ON "REALISM" AND HOW TO MAKE THE SPACES CREATED WITHIN THE TOWNHALL STATION AS MUCH REALISTIC TO THE VIEWERS AS POSSIBLE AND THAT WOULD BE THROUGH MAXIMIZING THE USE OF ALL TEXTURES AND MATERIALS THAT I HAVE COME ACROSS FROM THE REAL TRAIN STATION, AS I HAVE FOCUSED A LOT ON DETAILING AND MATERIALITY IN MY 3D MODEL.
MANY FACTORS AND ELEMENTS AFFECT THE “REALISM” OF A SPACE, AND AS A “SPACE” IS DEFINED AND CHARACTARISED BY FIRST OF ALL LIGHT EITHER EMITTED FROM A NATURAL OR ARTIFICIAL SOURCE, WHICH THEN GIVES US THE ABILITY TO TRANSELATE THE QUALITY OF A GIVEN SPACE AND BREAK IT DOWN INTO ELEMENTS SUCH AS ACCURACY OF MESURMENTS AND AS In mathematics; space is an unbounded continuum (unbroken set of points) in which exactly three numerical coordinates are necessary to uniquely define the location of any particular point. It is sometimes called 3-space because it contains three distance dimensions, SECONDLY IS MATRIALITY AND DEPTH OF TEXTURES WICH MIGHT BE (SOFT-HARD-POROUS-MATTE-GLOSSY…ETC),
ALSO “REALISM” IN OUR COURSE AND WORK FIELD IN THE FUTURE WOULD PLAY AN IMPORTANT ROLE AS TO HOW ANIMATIONS, IMAGES OR RENDERES THAT ARE PRODUCED TO BE SET WITH A HIGH QUALITY STANDARD AND TO MAKE THEM AS MUCH BELIVEABLE, APPEALING AND REAL TO THE EYE AS MUCH AS POSSIBLE.
AS IT WAS MENTIONED IN THE LECTURE ABOUT “REALISM” IN THE GAME INDUSTRY AND HOW GAMES THESE DAYS ARE GETTING CLOSE TO REALITY AS POSSIBLE AND AS GAME COMPANIES USE THE ADVANTAGE OF THE TECHNOLOGY TO PROMOTE AND TRAIN THE MILITARY FORCES AS AN EXAMPLE ON means of military schemes and strategies which Russell talked about in the lecture “PURE WAR”.
REFERENCES:
http://en.wikipedia.org/wiki/Realism_(visual_arts)
http://whatis.techtarget.com/definition/0,,sid9_gci962691,00.html
EXPERIMENT 2 - CRYSIS LEVEL TEST
CRYSIS LEVEL TEST:
MODELLING PROCESS OF THE TOWNHALL STATION IN REVIT :
Wednesday, October 7, 2009
EXPERIMENT 2 - WEEK01
Measuring Town Hall Station
The options I’ve decided on for modelling up the town hall train station where firstly measuring up all the internal spaces at the station using a laser measurer for accurate and precise measurements, and then also taking pictures to get a sense of scale from the images and to capture pedestrian flow during a certain time of the day in different locations at town hall station, taking photos to show materiality of objects and sketches of some areas, taking videos to demonstrate and capture light in the station and recording sounds of different elements e.g.:, ticket vending machines, incoming train sounds, announcements, etc... As a conclusion by all means possible ill try to model up and texture the town hall station as much realistic as possible utilising and using all the points mentioned above.
Geometry:- Photos- Counting Tiles- Laser Measurer- Strides- Sketches
Materials & Light:- Photos of ceiling grid layout- Notes- Video- Observations- Sketches
Sound:- Audio recording devices
Interaction:- Observation- Photos- Sketches
The options I’ve decided on for modelling up the town hall train station where firstly measuring up all the internal spaces at the station using a laser measurer for accurate and precise measurements, and then also taking pictures to get a sense of scale from the images and to capture pedestrian flow during a certain time of the day in different locations at town hall station, taking photos to show materiality of objects and sketches of some areas, taking videos to demonstrate and capture light in the station and recording sounds of different elements e.g.:, ticket vending machines, incoming train sounds, announcements, etc... As a conclusion by all means possible ill try to model up and texture the town hall station as much realistic as possible utilising and using all the points mentioned above.
Geometry:- Photos- Counting Tiles- Laser Measurer- Strides- Sketches
Materials & Light:- Photos of ceiling grid layout- Notes- Video- Observations- Sketches
Sound:- Audio recording devices
Interaction:- Observation- Photos- Sketches
Wednesday, September 2, 2009
EXPERIMENT 1: The Physical Effect of an Explosion on Porosity.
The term “Porosity” describes the nature of the edge condition, which exists between the skin of Architecture and the public space of the city. ‘Richard Goodwin’
The interrelationship between Explosion and Porosity is illustrated in my environment with a common concept of explosion’s impact on the environment, either during an explosive state or post detonation; one explosion influences and interacts with the other therefore affecting the objects around them; causing them also to react as a result of the detonation . The set out of explosives is also important as they will have a different effect of being on land rather than being under water. These all affect how the explosions thrive and take place in destruction of objects.
Suitable objects and explosive materials have been placed accordingly in my environment to show and prove the diverse effects and outcomes of porosity more clearly. I have experimented with open and confined spaces to see how the objects will react with each other and interact with the surrounding environment in different situations.
Explosives have ranged from using C4’s as a detonative substance, to using cars and vehicles as a catalytic substance to provoke a chain reaction of explosions; hence reflecting on complex interrelationships between objects, catalysts and space.
Using the platform as a watch tower to observe the different effects of explosions, and the use of diverse explosive materials to demonstrate the notion of explosions on porosity.
Just to make the video more interesting, I’ve put a story line to it and the main characters were myself SERGEANT (SGT): Mik, the guy that lands with the parachute MAJOR (MAJ): Steve, and then from the enemies side LIEUTENANT GENERAL (LTG): Konig and GENERAL (GEN): Adler.
Plot: At the city of Warsaw On September 1, 1939 German troops swarmed across the Polish border and unleashed the first Blitzkrieg the world had seen. So then Britain and France had sworn to defend Poland. Honouring these obligations, the two countries sent ultimatums to Hitler demanding his withdrawal from Poland.
But then in the game (GEN): Adler, refused to withdrawl his troops, and that’s when the war begun.
References:
Soundtrack : Makaveli ft Outlawz, Im a Souljah
http://en.wikipedia.org/wiki/Warsaw_Uprising
http://www.warsaw.world-guides.com/warsaw_maps.html
http://history.howstuffworks.com/world-war-ii/start-world-war-22.htm
Crysis wars file: http://www.filefront.com/14450747/MyMap.cry
Google Sketchup file : http://sketchup.google.com/3dwarehouse/details?mid=16d9106c12fefce045dd24053fd928d1
The interrelationship between Explosion and Porosity is illustrated in my environment with a common concept of explosion’s impact on the environment, either during an explosive state or post detonation; one explosion influences and interacts with the other therefore affecting the objects around them; causing them also to react as a result of the detonation . The set out of explosives is also important as they will have a different effect of being on land rather than being under water. These all affect how the explosions thrive and take place in destruction of objects.
Suitable objects and explosive materials have been placed accordingly in my environment to show and prove the diverse effects and outcomes of porosity more clearly. I have experimented with open and confined spaces to see how the objects will react with each other and interact with the surrounding environment in different situations.
Explosives have ranged from using C4’s as a detonative substance, to using cars and vehicles as a catalytic substance to provoke a chain reaction of explosions; hence reflecting on complex interrelationships between objects, catalysts and space.
Using the platform as a watch tower to observe the different effects of explosions, and the use of diverse explosive materials to demonstrate the notion of explosions on porosity.
Just to make the video more interesting, I’ve put a story line to it and the main characters were myself SERGEANT (SGT): Mik, the guy that lands with the parachute MAJOR (MAJ): Steve, and then from the enemies side LIEUTENANT GENERAL (LTG): Konig and GENERAL (GEN): Adler.
Plot: At the city of Warsaw On September 1, 1939 German troops swarmed across the Polish border and unleashed the first Blitzkrieg the world had seen. So then Britain and France had sworn to defend Poland. Honouring these obligations, the two countries sent ultimatums to Hitler demanding his withdrawal from Poland.
But then in the game (GEN): Adler, refused to withdrawl his troops, and that’s when the war begun.
References:
Soundtrack : Makaveli ft Outlawz, Im a Souljah
http://en.wikipedia.org/wiki/Warsaw_Uprising
http://www.warsaw.world-guides.com/warsaw_maps.html
http://history.howstuffworks.com/world-war-ii/start-world-war-22.htm
Crysis wars file: http://www.filefront.com/14450747/MyMap.cry
Google Sketchup file : http://sketchup.google.com/3dwarehouse/details?mid=16d9106c12fefce045dd24053fd928d1
Tuesday, September 1, 2009
WEEK01 - CREATING ENVIRONMENT IN CRYSIS
THIS IS MY FIRST IMAGE TAKEN FROM CRYSIS SHOWING MY ENVIRONMENT AT EARLY STAGES.
AND THEN THIS IS JUST A GLIMPSE OF VIEW UPON PARADISE
WEEK02 - CREATING PLAFORMS & RAMPS
THESE SETS OF PLATFORMS AND RAMPS, WERE DRAWN UP IN REVIT THEN WERE EXPORTED AS AN .FBX FORMAT IN TO 3DS MAX, AND THEN FINALLY EXPORTED IT AS A COLLADA .DAE FORMAT FROM MAX, BUT UNFORTUNATLEY I LOST THE STRUCTURAL POSTS AND THE "NO MORE WAR" SIGN IN THE EXPORT.
THIS IS A RENDERED IMAGE OF THE PLATFORM SHOWING IT'S BACK SIDE PERSPECTIVE VIEW
THIS IS MY SECOND RENDERED IMAGE OF THE PLATFORM SHOWING IT'S FRONT PERSPECTIVE VIEW, WITH A SLANTED SIGN ABOVE THE START OF THE RAMP SAYING "NO MORE WAR"
THIS IS A RENDERED IMAGE OF THE PLATFORM SHOWING IT'S BACK SIDE PERSPECTIVE VIEW
THIS IS MY SECOND RENDERED IMAGE OF THE PLATFORM SHOWING IT'S FRONT PERSPECTIVE VIEW, WITH A SLANTED SIGN ABOVE THE START OF THE RAMP SAYING "NO MORE WAR"
Subscribe to:
Posts (Atom)