Asphyxia is an experimental film project by Maria Takeuchi and Frederico Phillips that explores human movement through motion capture technology. The team used two inexpensive Xbox One Kinect sensors to capture the movements of dancer Shiho Tanaka and then rendered the data inside a near photo-realistic environment. From their description of the project:
The project is an effort to explore new ways to use and/or combine technologies and different fields in an experiment without many of the common commercial limitations. The performance is centered in an eloquent choreography that stresses the desire to be expressive without bounds.
Motion data was captured using inexpensive sensors and that data paved the way through an extensive number of steps. Once all the scanned point cloud data was combined, that was then used as the base for the creative development on the piece. A series of iterative studies on styles followed and several techniques and dynamic simulations were then applied using a number 3D tools for various results.
While we’ve seen many examples of projection mapping on the sides of buildings or other relatively flat surfaces in an attempt to add depth or dimension, it seems photographers and digital artists are getting progressively more innovative as the technology continues to evolve. Last week we saw a commendable dance performance making use of projection mapping, and now photographer Tarek Mawad and animator Friedrich van Schoor just spent six weeks embedded in nature to create Bioluminescent Forest. The 4-minute short film imagines what various plants, insects, spiderwebs, and mushrooms might look like if they possessed the ability to emit bioluminescent light, creating a strange wonderland of blinking and twinkling organisms. The filmmakers state that everything you see was created live, without any effects added in post-production. You can watch a behind-the-scenes clip here. (via PetaPixel, The Kid Should See This)
As part of a new exhibition in Venice that explores the relationship between cities and inhabitants, digital artist and illustrator Istvan (previously) created a series of city maps that seem to bleed into their surroundings. The works aren’t scientific by any means, but are meant as a representation of how cities might affect the local environment. The maps were created digitally and printed on large slabs of acrylic glass for display as part of Contemporary Venice through January 2015. You can see much more over on Behance.
Stone Field 00 / exp00 – simple attractor exponential field. 3D-printed sculpture.
Stone Field 07 /simple 1d linear polar field. 3D-printed sculpture.
Stone Field 07 /simple 1d linear polar field. 3D-printed sculpture, detail.
Back in 2009, Italian designer Giuseppe Randazzo of Novastructura released a series of generative digital “sculptures” that depicted carefully organized pebbles and rocks on a flat plane. Titled Stone Fields, the works were inspired in part by similar land art pieces by English sculptor Richard Long. As the images spread around the web (pre-dating this publication entirely) many people were somewhat disheartened to learn the images were created with software instead of tweezers, a testament to Randazzo’s C++ programming skills used to create a custom application that rendered 3D files based on a number of parameters.
Fast forward to 2014, and technology has finally caught up with Randazzo’s original vision. The designer recently teamed up with Shapeways to create physical prototypes of the Stone Fields project. He shares about the process:
Starting from 2009 project “Stone Fields”, some 3dmodels were produced from the original meshes. The conversion was rather difficult, the initial models weren’t created with 3dprinting in mind. The handling of millions of triangles and the check for errors required a complex process. Each model is 25cm x 25cm wide and was produced by Shapeways in polyamide (white strong & flexible). Subsequently they were painted with airbrush. […] The minute details of the original meshes were by far too tiny to be printed, however despite the small scale, these prototypes give an idea of the complexity of the gradients of artificial stones.
Watch the video above to see the sculptures up close, and you can see a few more photos over on Randazzo’s project site. If you liked this, also check out Lee Griggs.
Madrid-based 3D artist Lee Griggs created some fascinating topographical illustrations using 3D animation and rendering software Maya Xgen and Arnold. Each piece is comprised of countless spheres, cylinders, or cubes that have been extruded and colored to create images reminiscent of ocean floors, bacterial growth, or even weather patterns. Griggs talks a bit more about how he renders these and shares a number of tutorials over on his blog. (via Colossal Submissions)
Conceptual artist and illustrator Gediminas Pranckevicius possesses an imagination to covet. While most of his digital painting is centered around character design, his larger landscapes seen here are rich in detail, creating impossible but ingenious juxtapositions of water, land, and haphazard architecture. You can see more of his work over on Facebook, and all of these are available as prints via INPRNT.
Animator Ben Ridgway creates abstract animations that explore organic and metaphysical imagery, relating to aspects of life and interconnectedness. His latest film, Cosmic Flower Unfolding, recently won several awards and has been touring film festivals around the world since late last year. He shares about his work via his website:
My abstract animations investigate the metaphysical features of reality. They are designed to stimulate archetypal associations and invite the viewer to make personal connections to the visual and auditory experience without any reliance on narrative or spoken language. […] My work is abstract by nature and uses non narrative film making techniques. The undercurrents of my work point to themes centered around time, cycles, the concept of infinity, and the similarities between artificial and natural systems. In a world where technology and artificial systems are becoming more prevalent, my films are a reminder that they are both a product of nature.