Thesis Idea 2A

Idea 2

Part 1

My thesis will be a series of fully textured (and possibly rigged) models of different monsters based on the combination of real life animals, themes, elements, and mythologies, to explore the interaction of an animal’s musculature and a combining element.

Part 2

My thesis will be a series of fully textured (and possibly rigged) models of different monsters. These beasts will be the result of combining different themes, elements, mythologies, and real life animals. The primary inspiration of this thesis is the game Monster Hunter which has a number of fantastical beasts with great design and originality.

Some creatures, like the Seltas, are simply an animal, or in this case, an insect, taken to an extreme degree. Others, such as the Zinogre, are the combination of two elements, a wolf and electricity.

The work pipeline for creating these creatures would start with experimenting and combing elements in Photoshop to create an interesting creature. Drawing from references and even briefly sketching a real life creature that I will be using will add realism and believably. Included in the references will be charts with the skeleton of the animal and the predominant muscles that the animal uses. Once a design or concept has been settled on, 5 views would be created and box modeled through to texturing (and maybe even rigged).

Part 3

The key part of this project is interaction. The way two forces, objects, ideas, or concepts affect each other has been examined by people since the dawn of time. Science, economics, health, engineering, every field of study is fundamentally about the interaction of two or more forces. However, it is only in art that we are not bound by the rules of physics or economics. We are free to experiment with whatever forces we wish. How does the art affect the viewer? What if heavy objects were light? What if you were to see a vast array of bright and beautiful colors depicting something dark and horrific? Some experimentation is centered around the interaction with human psychology like those just mentioned. But the experimentation I’m interested in here is much more spontaneous. The importance of what is, is now subject to what could never be. But for us, the act of creation is never truly novel or original. We are limited by what we have experienced, by what we’ve seen, heard, and lived, and how we experience that. In this study, I will take something firmly rooted in reality, animals, and combine them with different ideas. In doing so I will see how far I can go. What are the limits of my imagination? How far can I take an idea but keep it grounded in the realm of believability. By extension, what are the limits of our believeability? At what point will we outright refuse to acknowledge something and dismiss it instead of finding endearment, interest, or fear in it?

That is the ultimate of this thesis. Through the interaction of two or more forces, what are the limits of my imagination, and what are the limits of the common believability?

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Thesis Idea 1A

 

Because of the length, this post will only contain Part 3 of the Thesis Introduction. The other parts remain the same.

 

Part 3

The core concept that I want to

Voice-over Dialogue:

There are many gifts that humans have.

The gift of existence, the gift of thought, the gift of free-will.

But perhaps one of the most important gifts, is the gift of imagination.

With it, we can dream of worlds that once were, worlds that are, worlds that will be, and even worlds that will never be.

*(With it, we can birth our greatest aspirations, our goals, our hopes, our dreams.

We can realize our fears, fight our vices, and struggle within ourselves.)*

All of this can be yours.

But only if you have the courage to use it.

 

Story Board: Voice-over within *()* do not currently have shots.

Unless noted, transitions are hard cuts.

Scene 1:

Shot 1: A slow pan revealing the world’s scenery, which will be a dark craggy earth, to clarify the setting. Voice-over: “There are many gifts that humans have.”

Shot 2: Eye level shot facing emerging figure. A cloaked figure emerges from rolling black mist/fog. Voice-over:”The gift of existence.”

Shot 3: Close profile shot of figure’s face. Figure raises head and opens eyes. Voice-over:”The gift of thought.”

Shot 4: Over the right shoulder shot of the figure. Figure raises arm towards him looks at hand, and clenches fist. Voice-Over:”The gift of free-will.”

Shot 5: Same position as Shot 2 slow zoom out. Figure releases fist and looks forwards again. Voice-over:”But perhaps one of the most important gifts, is the gift of…”

Shot 6: On the word “imagination”, quick and expansive zoom out along eye level. Dark, rocky earth begins to shine with light piercing through cracks in the earth. Light eventually turns screen white. (Transition)

Scene 2:

Shot 1: Slow pan at eye level. Scenery has changed. If Roman battlefield, soldiers with have minimal animation, moving only a couple inches. If Roman city, civilians would also have minimal animation. Camera may also move up buildings.  Voice-over:”With it, we can dream of worlds that once were.”

Panning around person or shining light can provide transition.

Scene 3:

Shot 1: Low angle shot looking up at skyscrapers, camera moves forward. Scenery has changed to modern city on a sunny day with some clouds. Voice-Over:”Worlds that are.”

Car driving over the camera can provide transition.

Scene 4:

Shot 1: Panning shot. Scenery has changed to space. (Possibly a futuristic city) Pan reveals spaceships and stations. Voice-over:”World that will be.”

Transition can either be a star’s light whiting the screen or a passing ship.

Scene 5:

Shot 1: Zoom out revealing some fantasy setting. Quite possibly a fantastical battlefield or scene otherwise impossible. Voice-Over: “And even worlds that will never be.”

Scene 6:

Shot 1: Scenery returns to high camera shot of original scenery. Slow pan. Scenery is dark except for a brightly lit area containing the imagery shown previously.

Ending A:

Shot 3: Profile shot of figure and the lit area. Voice-over:”All of this can be yours.” Then lit area dims to black.

Shot 4: Close up shot of figure’s face. Voice-over:”But only if”

Shot 5: Same as shot 2 in Scene 1. Figure turns and walks back into the black fog. Voice-over:”you have the courage to use it.”

Ending B:

Shot 3: Profile shot of figure and the lit area. Voice-over:”All of this can be yours.” Lit area dims to black.

Shot 4: Close up shot of figure’s face. Voice-over:”But only if”

Shot 5: Same as Shot 6 in Scene 1. Figure suddenly raise both arms. Voice-over:”you have the courage to use it.” Camera zooms out rapidly, light bursting through the ground and the earth rupturing into white light.

Transition to credits.

 

Digging Deeper

So yesterday was the first day where we went over some of the ideas people had for their thesis myself included. We only managed to cover my third idea, the realistic interior scenes, but we spent 30 minutes of the hour long class talking about the it.

Well, strictly speaking we didn’t talk about the idea for 30 minutes, but we talked about the really specific things. For example we talked about what realism actually meant on a base level. What was the difference between photo-realism and realism? What do we quantify as real? What defines the very base things we say in everyday life? Words like ‘chair’ and ‘table’ are just words. But we have attached preconceptions to them and as a society, have a mostly unified idea of what each of the words represent.

And we took it further. What about the way colors and pixels are represented on the screen? There are different color formats that exist that have their own parameters and limits to what colors they can show. There is even a color format, Rec 2020, that won’t be able to be shown completely on most monitors because the technology in the monitors themselves isn’t advanced enough to show all of the colors contained within Rec 2020. So even with Rec 2020, possibly the most expansive color format, can I attain true ‘realism’ with my thesis?

Even in my previous ideas I used terms like ‘high quality’ and ‘dream-like realism’ without really digging down and getting the specifics of what I meant by them. So these next couple of posts will expansions and include Part 3. I’m really going to get digging and find the core of what I want to show with each of these ideas.

The Third Idea – Realism and Interiors

Part 1

My thesis will be a series of images of interior environments with a strong emphasis on realism to the point where they should be indistinguishable from real photos.

Part 2

My thesis will be a series of interior environments. The goal here is to try and achieve the greatest level of realism as possible. To do so will involve research into the math behind how different materials interact with light and also exploration into different rendering methods. Models will be kept primarily simple so there is more time and effort placed on the materials, textures, and lights.

The primary programs that will be used are Maya and Photoshop. Possibly Unreal.

The Second Idea – Monster Extravaganza

Idea 2

Part 1

My thesis will be a series of fully textured (and possibly rigged) models of different monsters based on the combination of real life animals, themes, elements, and mythologies, to explore the interaction of an animals musculature and a combining element.

Part 2

My thesis will be a series of fully textured (and possibly rigged) models of different monsters. These beasts will be the result of combining different themes, elements, mythologies, and real life animals. The primary inspiration of this thesis is the game Monster Hunter which has a number of fantastical beasts with great design and originality.

Some creatures, like the Seltas, are simply an animal, or in this case, an insect, taken to an extreme degree. Others, such as the Zinogre, are the combination of two elements, a wolf and electricity.

The work pipeline for creating these creatures would start with experimenting and combing elements in Photoshop to create an interesting creature. Drawing from references and even briefly sketching a real life creature that I will be using will add realism and believability. Included in the references will be charts with the skeleton of the animal and the predominant muscles that the animal uses. Once a design or concept has been settled on, 5 views would be created and box modelled through to texturing (and maybe even rigged).

The First Idea – Imagination Cinematic

This will probably a set standard on how I present and evaluate my ideas.

Part 1 will be but a single sentence encapsulating the entire thesis.

Part 2 will go into more detail and talk about inspirations, methodologies, etc.

Part 3 will be even more specific and could be a page or two long. It will contain a shot by shot description, the models required, time needed, etc.

But without further ado let me present my first idea.

Idea 1

Part 1

My thesis will be an animated sequence with a voice over about the power of the imagination and the courage needed to use it.

 

Part 2

My animated sequence will try to have the same graphical quality as Final Fantasy or the League of Legends trailers. In line with those I hope to have a primarily realistic style but also have it be very dream like in terms of lighting, effects, and transitions.

The setting will be in a vast, dark, craggy crater. There should be little or no plant life, and the ground will be rock, not dirt or soil. A dead volcanic crater would be a good real life comparison. Additionally, the inspiration for this particular setting comes from the League of Legends cinematic “Worlds Collide: The Finale”. As the sequence progresses with the voice over, the setting will change to different places and times to match the voice over. The overall setting will still be the volcanic crater but different scenes such as a Roman battlefield or a Sci-Fi city will appear within.

The animation will be very basic with most of the emphasis placed on the camera movements. Different actors, characters, or object will move in their respective scenes, but movement will be minimal, as if they were in slow motion.

While a large portion of lighting will be a part of the scene, I would also like to experiment with the incorporation of 2D effects similar to the style of Guild Wars 2’s cinematic trailers. This can give the 3D a more painterly stylization which can help bring the visuals further when combined with the realistic yet dreamlike qualities in the lighting and modeling.

The presentation of the different scenes will be as if one were to walk through a set of figurines, very much like Halo 3’s trailer “Believe”.

The programs used would be Maya, Photoshop, and After Effects.

Videos for reference:

Halo 3 “Believe” Trailer: https://www.youtube.com/watch?v=Hy_WkqgN2mI

Guild Wars 2 – Point of No Return Finale Cinematic: https://www.youtube.com/watch?v=rRRfS9Gp0xQ

Project Overdrive (League of Legends Trailer): https://www.youtube.com/watch?v=jB1XvMyEBNA

Worlds Collide: The Final (League of Legends Trailer): https://www.youtube.com/watch?v=8Dlyp6wkM6c

FINAL FANTASY XIV: A Realm Reborn – End of an Era: https://www.youtube.com/watch?v=39j5v8jlndM

The Beginning of the End

Ah, the beginning of my thesis. The apex of my work in school. The culmination of my years here. It’s almost poetic until I consider that this may also be my most stressful project I have to complete here. But hopefully with good planning, pre-visualization, and organization it won’t have to be.

For the record, I am a 3D Digital Design Major. So I do things like create 3D models, texture them, and do other things like lighting the scene.

Of course, I haven’t decided on a final theme or project to complete as my thesis. I only have two ideas so far and the next posts will detail them in their own greater detail. Picking the right project to do is just as important as how you execute it.

This blog should serve as a record of my progress. My successes and failures. It may also serve as a list of things to do, an organizational tool. Who knows? I don’t, but I’m sure that I’ll be finding out really soon.