April 8, 2014
March 30, 2014
Just working up the storyboard for a new animation – will be trying to the raise the funding this summer. Entering the whole science vs religion, creationism vs evolution ‘debate’ – with a short film. All imagery and animation created from my fractal pattern technique (described here) – the universe, the stars, life, DNA etc. A visual poem about the origins of life and the universe, and the creation of God in the mind of man (using a subtle reinterpretation of Michelangelo’s Adam and God). The film’s ultimate message is that we can be free from God and superstition, and understand ourselves and the awesomeness of the universe through science and free thought.
March 20, 2014
This was my entry to the Norman McLaren Wall to Wall competition - which celebrates his 100th anniversary by projecting new works inspired by his films onto the facades of large buildings in Montreal from April to June this year.
Sadly my film wasn’t selected, but I’d like to share it anyway.
Here’s the full concept I submitted.
“This film is a re-imagining of Norman McLaren’s original ‘Spheres’ film through the process of fractal iteration.
This process begins by using luma keying to extract the spheres from the textural backgrounds, the result is then visually repeated, each repetition gradually changing in scale and angular direction. This result is a single iteration. The entire process is applied again to this iteration, creating a more complex visual result. The iterative process is then applied several more times creating extremely complex but natural looking patterns.
These patterns are found everywhere in nature – from seashells, snowflakes and flowers to crystals, molecules and galaxies.
Sometimes the luma keying, by accident or by design, picks up surrounding textural elements from the background art – adding to the colour and diversity of the final image.
The film opens by showing the original work, and occasionally throughout reverts momentarily to the original work in a seamless transition that shows the inspiration and source behind the new imagery, but also showing visually to the viewer the fractal iterative process at work as it builds to infinite complexity, and retracts back again.
Though not deliberate, the film subtly echoes the ‘step and repeat’ process of McLaren’s Pas de Deux film.
The soundtrack mimics the visual technique of the textural patterns in an audio context – by taking the original ‘Spheres’ soundtrack and processing it through dense spectral filters to create a new work – an impressionistic, shimmering atmosphere of Gould and Bach which enhances the visual dreamlike experience.
It could be said that ‘Iterations’, although a film in itself, could also be seen as a posthumous collaboration between a computer artist in the digital age, and a film artist in the celluloid age – both searching to create beauty through innovation with the technology of the time.”
March 10, 2014
My new music video is complete – watch this space for launch event details..
“A music video made out of random, procedurally generated worlds and landscapes created entirely from programming code. A collaboration, or perhaps, a collision – an accident waiting to happen between two unconventional artists Glenn Marshall (animator / programmer) and Hello Moth (singer / songwriter).
This was a process of discovering, creating and exploring random worlds through code and numbers, tweaking, playing, running the program, to see what is created. It might reveal a world or a landscape that fits with a particular part of the song – with the lyrics, the pace etc, – a continual journey through the randomly generated and how it connects literally, metaphorically or emotionally to the song.
The world generation algorithms mainly depend on 3D perlin noise – this is a basic cloud like random generator – but when mixed with other algorithms, complex and exciting results can happen.
The visual rendering system is based on the ‘Distance Estimation / Ray Marching’ technique normally used to render 3D fractals, but here used to create cube and grid worlds. There are no wireframes or meshes involved – no timelines, keyframes or fancy user interfaces – everything is expressed as math and formula in lines of code, including all the animation and distortion effects (often synced to the music’s BPM) and all the camera movement.
The result is ‘Clouds in Cloudless Skies’ – Bladerunner meets Koyaanisqatsi meets Minecraft. An ambitious, passionate exploration of random infinite beauty through the art of computer programming.
Made with the Processing programming language.”