lagarciaphys23 - Tumblr blog

[lagarciaphys23]

Creating Stereoscopic 3D Images

Red/Cyan:

Red/Cyan:

Red/Cyan:

[lagarciaphys23]

Recreating Cameras and Lights in Maya

Photo:

Maya:

[lagarciaphys23]

Building a Scene in Maya

[lagarciaphys23]

The Nexus of Art and Science

Controlled flight has been a goal that dates back as far as the 15th century, and it has since developed from Leonardo da Vinci’s codex Codex on the Flight of Birds, to going as far as so fight in the skies. “The Wind Rises” presents this progress, as man attempts to move forward in war and in the venture for victory. This fictionalized historical film, released in 2013, is centered on Jiro Horikoshi, the chief designer of Mitsubishi fighter aircrafts during World War II, particularly the Mitsubishi A6M “Zero.” The movie, in its entirety and in relation to the visual arts, captures the hearts of many by intertwining the art of expression and history, giving the audience a glimpse of Japan’s efforts and development during the 1900s, from the Great Kanto Earthquake up until the end of World War II.

Influence of Physics in the Visual Arts

Physics is vital to create realistic movement that is absorbed by the viewer. Wind, as well as planes, are concepts and symbols that are utilized throughout the film.

The movie constantly exhibits the principle of Propulsion and Recoil. After being hired by Mitsubishi, Jiro Horikoshi is assigned projects that involve him coming up with new designs for fighter planes that are meant to be sleek and powerful. To keep track of this, the planes are put into test flights to assess their specs, such as speed. In a general sense, for the plane to move forward and fly, there needs to be an acting force for this to occur. The plane exhibits this principle in its propeller and engine. The plane’s engine causes the propeller to rotate at a rapid rate that is directed towards the back of the plane that creates thrust, and in effect causing a recoil that propels the plane forward.

Another principle that elaborates propulsion and recoil is the Action and Reaction Principle. The principle states that there are two forces; “for every action force there is an equal reaction force in the opposite direction.” As said previously, the plane mainly uses an engine and propeller to move forward and fly. In the case of action and reaction, the plane’s jet engine exerts a force that pushes air backward (the propeller), and the reaction is generated thrust that pushes the plane forward. Likewise, as the plane moves forward, the thrust exerts a force on the air, and the air exerts a force on the plane, creating drag.

The planes that Horikoshi had taken a part in designing had its moments in error, where the build of the plane would fail midflight and break apart into pieces. This follows another principle, the Law of Inertia. This law stats that an object stays at rest or moves in a constant, uniform motion until acted upon by an unbalanced force. In this case, the plane being tested moves smoothly until errors occur, such as the engine failing, or the wings breaking apart. The plane is going through a considerable amount of drag, introduced during propulsion due to its bulky exterior, and one of the goals throughout the movie is to alleviate that drag to create a more streamline-type of fighter plane.

Political and Moral Aspects of World War II

The movie “The Wind Rises” bares significant historical references from Japan during the 1920s, up until the end of World War II. For example, the movie includes prominent events, such as the Great Kanto Earthquake of 1923 and the effects of the Stock Market Crash of 1929. Despite the country having a lack of steady money, Horikoshi is hired by the later Mitsubishi Heavy Industries to design a carrier-type fighter plane for the Japanese Imperial Navy. He eventually tests the successful Mitsubishi A5M fighter plane, and later the A6M Zero, beginning its use in 1940 until the end of the war. Furthermore, Horikoshi was passionate of designing planes, though he had a generally opposing sentiment towards the war. Secret police in Japan was also present during this time, targeting those who opposed and criticized its regime and views to move forward in the war.

In conclusion, the movie holds true to certain events that occurred during Jiro Horikoshi’s life, especially during World War II. In an effortless war, despite hardships, Japan pushes to further its technological development. Visual presentation of physics creates an implicit emotional response to the successes and failures of Jiro Horikoshi’s career and fictional personal life during WWII, as well as documents Japan’s progress in developing fighter planes, and the struggle to keep up with the rest of the world as modern intertwines with out-of-date methods. The movie exhibits this through the failures of each prototype that was tested—the efforts to advance—when eventually it comes to fruition, only to send it towards multiple lost battles, and it explicitly shows Horikoshi’s pride and regret in creating the sleek plane he had strived for.

[lagarciaphys23]

Outline of the Second Term Paper

“Title: Hayao Miyazaki’s “The Wind Rises”

I. Intro “The Wind Rises” is a 2013 animated historical film, centered on Jiro Horikoshi, chief designer of fighter aircrafts

II. Influence of Physics in the Visual Arts -Propulsion: Exhibited in plane testing; the engine and propeller pushes them forward -Action and Reaction: Airplanes perform an action by zipping over the engineers, and the reaction is the engineers being blown back -Law of Intertia: An object moves with constant uniform motion until acted on by an unbalanced force (e.g. The plane moves smoothly until the engine/wings fail) Drag: Jiro’s goal is to design a plane that has reduced wind resistance

III. Political and Moral Aspects of World War II -The real Jiro Horikoshi was recruited during World War II by Mitsubishi to design a carrier-type fighter plane for the Japanese Imperial Army -Horikoshi eventually test flights the successful Mitsubishi A5M fighter plane -Japan was affected by the stock market crash of 1929 -”Secret police” was present in Japan during WWII, which targeted those who opposed and criticized its regime and views to move forward in the War

IV. Conclusion -Compare the time period of the movie with the actual period of WWII -Visual presentation of physics creates an implicit emotional response to the successes and failures of Jiro Horikoshi’s career during WWII

[lagarciaphys23]

Collaboration with @shannon-munoz (Shannon Munoz)! In particular, the parts that I took part in were the tipping and the landing of the fall, and the second step of the walk and the jump. As a whole, we alternated between frames that we know how to position correctly in order to make the animation flow and look considerably believable. For the parts that were too slow, Shannon took some frames out as well.

Stop-Motion Character Animation

This is a collaboration with @lagarciaphys23 AKA Lily Garcia. We took turns moving the sack based on how confident and knowledgeable of each movement we were. This way, we were able to get the desired arcs without too much doubt.

[lagarciaphys23]

Script, Boards, and Reference for Character Animation

For my animation, my character will be jumping onto a higher ledge, but first finding some difficulty trying to get up on the ledge, so they are going to fall onto the floor a couple times. As with my previous animation, it will be shot with Stop Motion Studio on my phone, rigged onto a selfie stick to keep it steady, and it will also be shot on a desk. It will be a profile shot.

Story board:

Video reference:

I am aware that the video shot cuts off during the falls, which is my mistake! However, I do plan on paying close attention to the legs when it comes to shooting.

[lagarciaphys23]

Reverse Video Reference

This is my attempt to recreate the clips listed in the assignment! I hope I did my best!

Clip A:

Clip B:

Clip C:

Clip D:

[lagarciaphys23]

The Laws of Physics in an Animation Universe

Film: Kung Fu Panda Scene: Po vs. Tai Lung (final fight)

In creating an animated film, the most common statement is that animation is not meant to reflect reality so closely It is, however, meant to make every single character and their actions as believable as possible to give a relatable sense of reality, and keeping this “sense” consistently throughout the entirety of the film. And in order for this to happen, some rules in the laws of physics have to be broken. Of course, on the most part, the rules will be kept, but with a twist, a squash, or even a stretch. A notable work that employs this strategy of animation is the computer-animated action-comedy film Kung Fu Panda (2008), produced by DreamWorks Animation. Throughout the film, physics is pushed beyond its logical limits in order to create an action-packed movie through 3D animation.

The main focus for analyzation from the movie will be the final fight between the main character, Po, and the antagonist, Tai Lung. Certain strategies that enhance the action of this fight sequence, in particular the principle of animation, “Squash and Stretch;” and the manipulation of physical characteristics as well as the law of gravity.

One strategy that the fight sequence utilizes is “Squash and Stretch,” which is one of the basic principles of animation. This can be easily seen on impacts of strikes and falls. In the beginning scene where Po tries to runaway with the Dragon Scroll, Tai Lung lunges at him and they begin a descent down the steep flight of stairs while fighting for the scroll. A distinct squash and stretch is able to be seen as they bounce along the steps. Both characters bodies are stretched during the descent to indicate them gaining speed as they fall. Upon impact, their bodies are then compressed; Tai Lung’s face, especially, is squashed to the extent of contorting his facial structure, showing that it is being crushed under Po’s weight.

Following this scene is after landing in a courtyard, where Po uses a string of noodles to grab the scroll from Tai Lung. Tai Lung makes a pounce for it before Po grabs his ankles and pulls him down; here, Tai Lung’s body imitates the characteristic of a slinky, as his entire body makes a very obvious stretch before landing in a cart, done to clearly indicate that his pursuit for the scroll is being delayed. It can be considered that this was done to not only make a point that Tai Lung’s pursuit is being countered, but also to create a better flow of an action that would otherwise be more visually abrupt.

Lastly, nearing the end of the fight sequence, after sending Po straight into the ground, Tai Lung attempts to slug Po in the stomach, and the punch is absorbed before Tai Lung is hit. This is a good indication of a squash and stretch, as Po is absorbing the strike and it sends ripples, not just in his face (which is very prominent), but throughout his entire body. Po’s rotund body translates the squash into a stretch, with the energy from the impact travelling up his torso and outstretching his arms to form a potent punch and send Tai Lung through a wall. As a result, squash and stretch is used effectively in order to create a certain flow in the characters’ movements without diverting the audience’s attention with jarring movements.

Another characteristic that can be found in this fight sequence, (or rather, the entirety of the movie) is the manipulation of physical characteristics, in particular the characters Po and Tai Lung, and of organic objects. An obvious example is Po and Tai Lung’s physique. Despite being quadrupeds, the both of them are given human physique in order to stand and move upright on their two hind legs—with Tai Lung having a more stocky build in comparison to Po’s plump build—which would almost be impossible in real life. Tai Lung is of some exception since, as a predator, he utilizes his natural method of running on all fours when trying to gain speed and attack Po. In contrast, Po’s body is not structured to stay upright for an extended period of time due to his short hind legs, but his center of gravity is adjusted so that it can be shown that he is able to stand upright anyway.

The fight scene also deforms organic objects that are naturally robust. One instance of this is the scene where Po catches himself on a tree after falling from the the staircase and it bends, drastically enough that the branches touch the ground, and holds it for a period of time before releasing it to launch Tai Lung into the air. A fully-grown tree trunk would not be able to budge, but for entertainment purposes, its physical property is changed from sturdy and unmoving, to being able to bend and snap back to its original shape like rubber, and still retain its sturdiness to swat the antagonist offscreen.

Lastly, after the courtyard scene and Po is launched into a small bamboo forest, he emerges, walking on two stalks like stilts, despite his weight. On average a male giant panda weighs around two-hundred to three-hundred pounds. Bamboo is considered to be relatively strong; however, simply two stalks of bamboo are not enough to withstand Po’s weight and would, as a result, buckle and break apart, especially since Po is balancing himself at the midsection of the stalks. (It seems that he is balancing either on the ridges of the bamboo or on its branches, which would not be very possible as well.) Furthermore, his stature itself would not be able to hold itself up on such an unstable form of stilts. As a result, physical characteristics of both character and the objects they interact with are steered towards exaggeration while handling a realistic perspective that is handled minutely in order for the viewers to believe that the environment that they are seeing is real.

Another concept to take into consideration for this fight sequence is how gravity is interpreted. It is important to pay attention to jumps, falling, and speed. For example, in the scene where Tai Lung attacks Po along the staircase, Tai Lung appears to jump over thirty feet over the second flight of stairs to attack Po. From the camera angle, it shows that Tai Lung jumped very high in order to reach Po’s location in the air; realistically, Tai Lung, a snow leopard, can only jump up to a maximum of thirty feet.

In addition to this scene, Po and Tai Lung start tumbling down the stairs while fighting over the scroll. The gravity in this scene is less harsh and is given more bounce and has a light, as well as comedic, sentiment in this scene. They are akin to a ball bouncing off the stairs (moreso of Po), clearly seen by looking at their high arcs with every contact. The apex of the arcs are also delayed to show Tai Lung trying to lay in more punches. It is safe to assume that if this was a real tumble down steep stairs, there would be more potent injuries to occur. But in order to prolong the fight, gravity is not taken so seriously.

Lastly, after Po falls through the bamboo forest, he uses the bamboo stalks to toss woks onto the floor and switches them around effortlessly quick to confuse Tai Lung in a impromptu shell game. When seeing the woks being tossed towards the right of the screen, it looks as if they are flying. Gravity is not so realistic in the sense that it would be physically complicated to punt a wok across over ten feet while standing on bamboo stalks at a breakneck pace; large, cast iron cooking woks that are most likely to weigh over five pounds. To sum up, gravity is taken lightly on certain scenes if there are not that many significant strikes to be taken care of, where the intensity is needed most. At most, it is manipulated for comedic sequences and for delaying movements in order to indicate other actions that are occurring at the same time (e.g. fighting while falling down the stairs).

In conclusion, physics is constantly being broken throughout the film and in the final fight, and multiple concepts are being used and exaggerated, or not being used at all. In order to create a believable animation, concepts such as squash and stretch, physical characteristics, and even the law of gravity need to be carefully discussed and implemented. A loose approach to the laws of physics, can create more entertaining scenes of action and emotion, plus make the actions of characters even more believable than adopting a realistic way of animation and following the laws of physics by the letter, in effect better reaching the audience’s perception of what is and is not real, and what can or cannot be done.

[lagarciaphys23]

Outline of the First Term Paper

Film: KUNG FU PANDA Thesis: Physics is pushed beyond its logical limits to create an action-packed movie through 3D animation PO VS. TAI LUNG I. Squash and Stretch -In the descent down the stairs, Tai Lung's face is being squashed on the steps to enhance the feeling of impact -Tai Lung's legs are stretched when being pulled back to establish that his pursuit for the scroll s being delayed -Tai Lung's punch sends ripples throughout Po’s entire body, not just his face (like a water balloon) II. Manipulation of Physical Characteristics -Clear point: Utilizes human physique in order for the characters to stand upright on their two hind legs -When landing, Po takes the tree and bends it, drastically, to launch Tao Lung into the air -Po uses the bamboo stalks like stilts, despite his weight III. Gravity -Tai Lung jumps over 30 feet over a staircase to attack Po, which is beyond the limit of which a snow leopard can actually jump -When falling down the stairs, Po and Tai Lung are akin to a bouncing ball; the apex of the arc is delayed as they are bouncing off the steps -Po uses bamboo stalks to toss woks onto the floor and switches them around quickly to confuse Tai Lung Conclusion: Physics is constantly being broken throughout the film, and multiple concepts are being used and exaggerated A loose approach to the laws of physics creates more entertaining scenes of action, as well as making the actions of characters even more believable than adopting a more realistic way of animation

[lagarciaphys23]

Stop Motion Animation of Falling

This is my stop motion animation of a ball bounce. In making this animation, I looked over my video reference to get a better understanding of the parabolic path a ball makes, and how kinetic energy is decreased with every contact. I fully intended to have two balls interact somehow other than with the wall, which was mostly up to my discretion, since every time I had them collide were consistently in different places as well as different amounts of energy that was created upon contact with each other.

I then shot the final animation on my phone, using the app Stop Motion Studio. I used a whiteboard and thin tape for the backdrop and the magnets for the balls. And since I don’t have a tripod, I managed to improvise with a selfie stick, and stabilized it by wedging the end of the stick between a heavy bag and the backrest of a high computer chair. There was a good amount of difficulty, such as finding a proper way to stabilize the selfie stick, and ridding of the reflection of the whiteboard. (This was gotten rid of immediately by just taping a sheet of printer paper!) Otherwise, this assignment was very fun!

[lagarciaphys23]

Script, Boards, and Reference for Basic Animation

For my stop-motion animation, since I have not had much experience with stop-motion, I decided to create a simple ball bounce. In regards to production, the animation will be shot on my smartphone camera, and produced by using Stop Motion Studio. As for the production staging, the stop-motion will be shot from a whiteboard and two magnets (inspired by Raymond’s stop motion which I found to be very clever).

As a simple story, two balls will be rolling off a ramp and bouncing until its motion stops, with one of them ricocheting off the wall:

Video reference:

[lagarciaphys23]

Tracker Video Analysis of Tennis Ball

[lagarciaphys23]

Mini-Portfolio

Hello, I’m Lily Garcia! I’m a animation/illustration major at San Jose State, currently in my third year. The classes I’ve taken so far in animation involved figure drawing and perspective drawing, traditional and digital painting, and traditional animation. And currently, I’m taking classes for 3D modeling, advanced figure drawing, and 2D computer animation. I am very interested in storyboarding and I hope to gain experience in order to improve my drawing as well as my storytelling skills. (Through showing, not just telling!)

Here are some work that I’ve done so far:

For intermediate painting in my second year, we were assigned to create a Dutch Still Life setup and paint it from observation, learning how to paint multiple, overlapping objects while making sure that they are in the same space and perspective.

This painting needed conceptual input. For our digital painting class, we had weeks of planning for our final project, which involved thumb-nailing and building up to an approved concept to render and perfect.

This is the final for my traditional animation class. The planning reflects a professional process; we went through forming ideas for a story and storyboarding. We later drew out our refined storyboards and went through in-betweens and cleanup.