Tuesday, 1 January 2013

ARTLAB 2. Thursday November 15.






 Today's objectives:

  • Testing three people in motion capture suits.
  • Two actors in motion capture suits, and one ghost avatar puppet in a motion capture suit. The ghost avatar was offset so that the avatar puppeteer was off stage but their avatar was with the other avatars. This works well when the ghost becomes the other character, and if the ghost tries to interact with the avatars or the real people. 

Before going back to the studio we sat and discussed Tanja's ideas regarding set design.

Tanja's thoughts. 


 













































Morning discussion 1. 
Morning discussion. 2.


IDEAS

Having the ghost avatar we are still asking why is it there?  

The avatar being the other actor in a scene is interesting. 
What if the ghost avatar is watching and judging the onstage scene? 

Idea: 2 actors in normal cloths and a dancer in the Mo cap suit as the ghost with the ghostly avatar works well.


 























  





















MoCap SESSION 

Observations: 

  • Using a camera (cutting between different angles) puts us ½ in and ½ out of a film world. 
  • Using a virtual camera and a camera man exploring other points of view is interesting.   
  • We must now play by the rules of film. “I like the camera playing with distances”. 
  • A characters point of view is interesting. 
  • Visually a giant avatar works best 
  • n this case subtle movement works best.
  • The avatar reaching out of the screen is very effective.
  • Why is this live? 
  • Idea: camera shifts are necessary to keep audience interest. 
















































  • The scene played out with camera angles including, audience view, screen view, high angle, one actor looking at the other.
  • Changing the camera puts us more in the scene, but makes us compare the on screen action with the real-world action. 
  • POV is effective.
  • We cannot easily fade between cameras.
  • We now have more empathy for the characters when using the camera angles and different filmic POVs
  • Will having faces on avatars help?   
  • We know you can empathise with actors in film, theatre and animation; but what if you mix these with live actors?
  • Swapping the avatars is undermined by the fact that we now have changing camera angles. 
  • What is really interesting is when we start with a 1-1 mapping of movement and then distort that over time.
  • An actor can corrupt their avatar models by taking off their tracking spots.
      



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