It’s been a while since I’ve updated. I’ve spent most of my time working on the Central High project, of course, but in late May and early June I took some time to do some outside projects and personal projects. One of the main reasons for a lack of updates is that I just don’t want to show anyone the work – it’s a surprise!
I had to do a progress report for the NEA so some of the following is a little stiffer than usual, but it was easier to copy it and tweak than re-write.
The animation has four parts; opening “construction”; “school life”; desegregation crisis; and a “future” themed close. They are not equal in length since they follow sections of the music and have different amounts of importance to the piece. The “school life” section is 98% complete as well as some transition pieces, which together make up about a third of the eight minutes of music. The opening section is well underway and will be the next section to finish. Desegregation is also well underway, but is the most reliant on outside resources, such as photos and films, which slows the process. The close is still in pre-production as it gets its identity from the other sections and as the artists get more input from the school, park, and community.
To create the school life and close sections, the artists interviewed LRCH student council representatives and researched historic school newspapers and yearbooks found at the Arkansas State Archives as well as the LRCH library. The librarian and Gayle Seymour were also able to find resources from alumni. The librarian produced a bound version of the book released at the opening of the school in 1927, which has been helpful for the opening section. The National Park also had several resources for the opening.
The desegregation section is the most important and will have the most expectations by the audience so it is getting the most attention. The artists have run into several copyright issues as far as using iconic photographs from the crisis so they are compiling as much original media as possible and legal and will design the rest of the piece from a more artistic theme rather than a documentary theme, which fits with the overall mission of the piece.
The team worked with the LRCH Principal, Nancy Rousseau, to determine what could be covered for projection. The dark woodwork and clear glass on the doors and arched windows create virtual holes in the projection so must be covered with a lighter material that matches the surrounding stone. The doors and windows cannot be covered during the daylight hours due to visitors to the site taking pictures of the building. It was agreed that the arched windows can be covered on the interior, which makes it possible to project onto the glass panels. The wood in the windows will still be visible so the projection designs were changed to accommodate. The doors will be covered by an exterior flat drape that can be hung minutes before the event. That drape is currently in the design phase to determine the best way to attach it to the building quickly. The exterior wall sconces will also be covered at the same time as the doors. Those covers are also in the design phase.
Logistics (re-written from the NEA report)
We decided to handle the generator and scaffold for the projectors locally and that’s turned into quite a drawn-out process of qualifying the equipment. Also, the funding source for these and the sound system wanted multiple quotes so we are drawing it out with three vendors… Hopefully this part will come to a close in the next day or so.
Thanks to this blog, I was contacted by a member of the Morehead Planetarium at UNC Chapel Hill. He was interested in using my LRCH model for their upcoming production that focuses on the American South. Pretty cool.
Software and hardware being used to do the project:
Blender – 3D Animation. Easily my favorite computer program and I wish I could use it for practically everything I do on a computer, I just like working in it because it is so customizable and responsive.
Affinity Designer – vector-based texture maps and working with vector art, such as logos. I hate Adobe Illustrator with a passion – just never liked it. I originally learned vector graphics on Freehand, but it was bought and killed by Adobe years ago. I’m not much of a vector graphics person anyway so if the program doesn’t behave like I expect or is slow then make it go away. Designer is fast and easy to use and is especially friendly to cleaning up vector graphics.
Affinity Photo – raster-based texture maps and photo manipulation. I haven’t opened Photoshop in over 6 months. Photoshop is probably my favorite Adobe app, but Photo just feels nice. A few things that I think work well compared to Photoshop: great vector integration – it’s like a healthy marriage between a raster and a vector program; all adjustments, such as levels, are treated like adjustment layers that can affect everything below it in the layer stack or a single layer; it’s fast.
After Effects – compositing 3D rendered and 2D images. Using this more out of habit than anything else and I’ll be sharing projects with my fellow artists.
Apple Motion – I used this on a couple animated textures for the school life section. It’s super fast and I have always liked it. My only gripe is the timeline can get crowded.
Premiere Pro – using to compile all of the rendered sequences and audio. Sharing this with my fellow artists, otherwise I would not use it.
DaVinci Resolve (14, latest beta) – used to create an photo sequence for the school life section. I really like 14. It finally has a fast and responsive UI. The sequence had three areas on the screen for photos so I used three tracks and transformed the photos on each (position, scale). Track 1 for left, track 2 for center, track 3 for right. I started doing this with Premiere, but it was sluggish with the high res photos. Resolve handled them easily. I assumed FCPX wouldn’t be good for what I was doing, but later, I found it would have done a great job and was faster than Resolve. Here’s why I know that.
I built the photo sequence in Resolve expecting to composite it on the 3D imagery in After Effects. I thought I would use the alpha channel to handle times when I needed pure transparency. Turns out Resolve can’t export a full timeline with transparency, but it can with individual clips. I needed the full timeline!!! I tried sending the sequence to Premiere via XML and AAF. The AAF failed to import, but XML did an okay job, except that the far left and right images were not in the correct place. Same issue with FCPX, left and right were moved outward. I started moving them back in FCPX just to see what would happen and I found it to be super fast and though there aren’t tracks technically, they sure looked like it in the timeline. Since I was multiplying one of the sequences in AE, I decided to just change the background to white in Resolve – done. The other was a hard light blend mode so I had to make its background medium gray – done.
Lesson learned – Resolve rocks so far, but don’t expect an alpha channel on the full sequence.
1st gen 5K iMac – Blender modeling and animation and all other apps. Best monitor ever – so crisp. Blender can handle custom DPI in its interface so it looks so smooth and easy to read because I push the text and buttons up a little more than 2x dpi like other apps do.
Downside – pixel doubling makes lower-res images look soft. The HD resolution we are using make the images small when viewing 1:1 in graphics programs. This monitor is made for 4K production so HD is small…
Custom Linux PC – Blender rendering using two GPUs for acceleration. Technically a faster computer than the iMac for multi-threaded apps because it has 6 hardware CPU cores. I should try After Effects on the Windows side of it, but I despise working in Windows – I only have it there to learn VR via Unreal Editor and use my mocap system.