Welcome to the conceptual laboratory of Diploma 9 – the world in which students invent, manufacture and design their identities alongside their architectures. Unit Staff: Natasha Sandmeier, Manolis Stavrakakis
Working on new imagery for some of the scenes that I haven’t yet visually described:
THE BUILDING SITE
The urban artisans of the future are finely tuned to the fabric of the city. They order and construct the city through precise gesture. Moving like dancers across the city’s construction sites, these architects and engineers pilot the infrastructure of the city.
‘The artisan is tuned to her environment. Every twitch, every motion an act of searching, making, wanting, giving. An act of creation.’
THE TOILET STALL
A dramatically thin woman sits hunched in a toilet stall, head bowed. Red light… Deep blue shadows… Her skeleton shifts beneath delicate skin. The red walls bulge disgustingly like swollen flesh.
‘I remember that the worlds that protect and express us, can also imprison. I see bubbles of pain; worlds of self-obsession, cast from our own desires and insecurities.’
THE CONTACT LENS FACTORY
A huge expanse of clinically white equipment. Machines move in unison. Lines of contact lenses are polished and packaged. Packets of new electronic lenses move along a conveyor belt.
More scenes and elaborations on existing images to come.
Been working on test renders for the supermarket interior (unaugmented) – augmented views to come soon. Still waiting to hear back from Costco about filming on location, but I am thinking that I can do most of this scene with green screen and rendered environments.
For a transition between unaugmented view and augmented view, I think the Westworld metacamera technique that Charles showed could be useful; we get the unaugmented view down an aisle first (like the one above), pan to a character’s face behind the camera, and then reveal their personalised view as we pan back to the aisle.
This Gursky-like angle can imply people waling through the aisles by showing augmented environments moving along aisles in the background, showing people moving below.
From above, we see the ‘group shopping’/flocking behaviour. Could use rendered people for this view so long as it is rendered as a time lapse – fast moving motion blurred people can hide the fact that they are rendered.
Working on some concept art for the view up into the ever shifting city from the meditating man. Am aiming to get an animated version of this going soon.
Here’s a test of a person’s AR bubble following them as they cycle down the street. (AR is indicative in this scene only – as its a test of the technique more than a resolved personal view). I’ll work on building the complexity of the AR so it can be more suggestive of traits of each character that we see.
Working on TS tomorrow – a more detailed breakdown of the new film and shot list to come…
Lastly, another article on the potential dangers on AR filter bubbles!
Starting to work on the design for the apartment scenes in the film. I am now imagining a model where when each character is in their ‘total’ (to borrow from Mieville) space, they are invisible to the other. In the shared space they can see each other. This logic can be carried out to the street, solving the problem of people bumping into each other! It also illustrates the ‘Venn-diagram’ nature of our filter bubbles – there are moments where they intersect.
I’m working on the augmented spaces of Miri & Rick next. An additional thought which came up as a suggestion from the presentation to MAKE yesterday was that perhaps Miri and Rick are related (daughter-father). Their invisibility to each other is something they are aware of but live with anyway – perhaps more poignant in the familiar image of a family living separate lives in the same home through social media.
Working on a new screenplay to incorporate these ideas too…