Review:
"Things are more complete in my head than they could be after a thousand lifetimes of using Max!!"
The final version of the video for Assignment 3 as submitted is all that was possible given the time and resources available. Sadly, critical sequences are missing, particularly the sequences represented in storyboard images 16, 17, & 18, that are 'key' to interpreting the remaining footage. A nebulous, grungy background was also intended to give context and scale instead of the solid black but I never did figure out how to use the masks in AE. At around 2:20 the music score does not loop correctly and gives a disjointed and false impression that we are reaching the end of the video. This is not helped by the anticlimactic crescendo when we learn the glass microscope slides, imbued with the characteristics of the preceding images, themselves begin to create an architectural envelope. This would have made a lot more sense if I had been able to model it as intended, and render with the appropriate qualities.
All in all, I believe the course is too short to be able to master Max, After Effects and Premiere, particularly given the time-sensitive nature of the exercises. And the course might benefit from a reduction in the number of tasks & assignments.
I Hate Max!!
And here's why...
After THREE DAYS of attempts trying to import the previous video footage as materials to be assigned to all the different elements in the third act I wasted three days discovering that Max2009 is too "buggy" so had to uninstall it and reinstall Max2008. After all that the above video is the dissapointing result.
And here's why...
After THREE DAYS of attempts trying to import the previous video footage as materials to be assigned to all the different elements in the third act I wasted three days discovering that Max2009 is too "buggy" so had to uninstall it and reinstall Max2008. After all that the above video is the dissapointing result.
Music that will accompany your visualistion:
Main Music:
1. Showdown (Faceoff) - http://music.incompetech.com/royalty-free/Faceoff.mp3
2. Exciting Trailer - http://music.incompetech.com/royalty-free/Exciting%20Trailer.mp3
Overlays:
1. Chase Pulse - http://music.incompetech.com/royalty-free/Chase%20Pulse.mp3
2. Impact Intermezzo - http://music.incompetech.com/royalty-free/Impact%20Intermezzo.mp3
Reference: http://incompetech.com/m/c/royalty-free/index.html?feels[]=Driving
Main Music:
1. Showdown (Faceoff) - http://music.incompetech.com/royalty-free/Faceoff.mp3
2. Exciting Trailer - http://music.incompetech.com/royalty-free/Exciting%20Trailer.mp3
Overlays:
1. Chase Pulse - http://music.incompetech.com/royalty-free/Chase%20Pulse.mp3
2. Impact Intermezzo - http://music.incompetech.com/royalty-free/Impact%20Intermezzo.mp3
Reference: http://incompetech.com/m/c/royalty-free/index.html?feels[]=Driving
300 word outline of intended narrative:
The scene begins with a fairly abstract lighting source in the background, introducing a few titles and credits. The abstract lights flicker and change colour implying some kind of activity. The light sources grow but remain abstract. We have the impression the camera is moving away as the light sources increase in size. The detail begins to increase and we can now see operating elements to the abstract sources – could they be atoms, could they be cells?
The camera retreats from a nebulous cloud of these sprites to pass by a larger version. Here we see the detail more clearly. Other elements begin to appear in the frame seeming like a collection of DNA strands and other abstract entities. There are fairly tight shots around the Bio-organic matter and the camera continues to zoom out taking in a larger scope of debris.
Close-ups of warped bi-mechanical elements in specific and controlled lighting scenarios create disturbing images of mutated and distorted shapes – all still fairly abstract and undiscernible. Characters appearing to be made of bone and metal revolve around in the scene.
A mechanical Barrel with DNA analysis maps is manipulated into form. Several of these begin to align implying they are components of a larger structure. The barrel is self-assembling to a degree. Components of the barrel rotate to expose projections of previous footage onto heir external faces.
Light projections continue to be observed, this time on small glass microscope blood plates. Many of these are aligned, have projections cast onto them, and begin to travel in the similar directions. The camera follows a trail of these to discover a location where several strains of slides intersect creating a temporarily contained volume. The volume may be interpreted as an architectural envelope that is modified by the interactions between the many different elements that are themselves created from the influence of many other components.
Zooming out the camera reveals a larger collection of forms that are all animated and interactive to some degree. There is a fade into a better lighting and we learn that all this interaction is happening within a moderately detailed and ordinary environment.
The scene begins with a fairly abstract lighting source in the background, introducing a few titles and credits. The abstract lights flicker and change colour implying some kind of activity. The light sources grow but remain abstract. We have the impression the camera is moving away as the light sources increase in size. The detail begins to increase and we can now see operating elements to the abstract sources – could they be atoms, could they be cells?
The camera retreats from a nebulous cloud of these sprites to pass by a larger version. Here we see the detail more clearly. Other elements begin to appear in the frame seeming like a collection of DNA strands and other abstract entities. There are fairly tight shots around the Bio-organic matter and the camera continues to zoom out taking in a larger scope of debris.
Close-ups of warped bi-mechanical elements in specific and controlled lighting scenarios create disturbing images of mutated and distorted shapes – all still fairly abstract and undiscernible. Characters appearing to be made of bone and metal revolve around in the scene.
A mechanical Barrel with DNA analysis maps is manipulated into form. Several of these begin to align implying they are components of a larger structure. The barrel is self-assembling to a degree. Components of the barrel rotate to expose projections of previous footage onto heir external faces.
Light projections continue to be observed, this time on small glass microscope blood plates. Many of these are aligned, have projections cast onto them, and begin to travel in the similar directions. The camera follows a trail of these to discover a location where several strains of slides intersect creating a temporarily contained volume. The volume may be interpreted as an architectural envelope that is modified by the interactions between the many different elements that are themselves created from the influence of many other components.
Zooming out the camera reveals a larger collection of forms that are all animated and interactive to some degree. There is a fade into a better lighting and we learn that all this interaction is happening within a moderately detailed and ordinary environment.
150 word theme outline:
Genetic Algorithms are a computational technique for finding optimised responses and solutions to design or other problems. Random populations of candidates are generated through numerous cycles of computer algorithms and culled through a process of natural selection. The selection pool of higher performing candidates are repeatedly implemented in simulations. Mutations and hybrids help to populate ongoing generations until a suitable selection pool is achieved.
Genetic algorithms suit a number of applications including engineering, mathematics, chemistry, as well as a host of other fields, including more recently, architectural design. Collaborators such as Black Box Studio at design firm Skidmore Owings and Merrill are leading the way in their research and application of this technique. The advantage of this exercise is evident in the obscure and unexpected results which can be further explored. Potential solutions which may have otherwise been overlooked due to preconceived biases inherent in the design team. Depending on the particular pre-determined performance criteria Architectural Genomics can be used to benefit any design solution for which there is a quantifiable outcome.
Genetic Algorithms are a computational technique for finding optimised responses and solutions to design or other problems. Random populations of candidates are generated through numerous cycles of computer algorithms and culled through a process of natural selection. The selection pool of higher performing candidates are repeatedly implemented in simulations. Mutations and hybrids help to populate ongoing generations until a suitable selection pool is achieved.
Genetic algorithms suit a number of applications including engineering, mathematics, chemistry, as well as a host of other fields, including more recently, architectural design. Collaborators such as Black Box Studio at design firm Skidmore Owings and Merrill are leading the way in their research and application of this technique. The advantage of this exercise is evident in the obscure and unexpected results which can be further explored. Potential solutions which may have otherwise been overlooked due to preconceived biases inherent in the design team. Depending on the particular pre-determined performance criteria Architectural Genomics can be used to benefit any design solution for which there is a quantifiable outcome.
ASSIGNMENT THREE BEGINS...
potential themes to explore:
ARCHITECTURAL GENOMICS - Genetic Algorithms
Reference Article at:http://www.som.com/content.cfm/architectural_genomics
potential themes to explore:
ARCHITECTURAL GENOMICS - Genetic Algorithms
Reference Article at:http://www.som.com/content.cfm/architectural_genomics
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