CON­CLU­SION

Computer Arts - - Projects - Jonathan Gales

Be­cause it’s pos­si­ble to view a fully im­mer­sive en­vi­ron­ment like this from al­most any per­spec­tive, it re­moves cin­e­mato­graphic con­ven­tions. I’m a sucker for low-depth-of-field cin­e­matog­ra­phy – that stylis­tic kind of cin­e­matog­ra­phy that em­bod­ies move­ment or a hu­man, hand-held feel­ing. We’ve used that a lot in our an­i­ma­tion and vis­ual ef­fects work, putting 3D and im­pos­si­ble things into footage that moves like a per­son – peo­ple un­der­stand the con­ven­tions of doc­u­men­tary, and most im­por­tantly it feels real.

With this pro­ject you can’t have any of that – it’s gone. So you’re re­ally just think­ing about space and how you feel in that space, what the light would be do­ing in that space and so on.

It’s be­come a stim­u­lus for try­ing to do other works that are along the same vein – and this pro­ject has opened up sev­eral dif­fer­ent leads which we are go­ing to de­velop. From a spa­tial de­sign back­ground, it will be very in­ter­est­ing. Maybe once the con­ven­tions have been more es­tab­lished around what 360 film is, we will then go through a pe­riod of break­ing those con­ven­tions, es­tab­lish­ing dif­fer­ent gen­res of 360 or dome films.

Fac­tory Fif­teen got the op­por­tu­nity to experiment for 360 film pro­jec­tion as part of the SAT sym­po­sium in Mon­treal

The team ex­per­i­mented with light-tem­per­a­ture con­trast

Some scenes used origami ef­fects

The tran­si­tions be­tween spa­ces was the big­gest chal­lenge

Many of the spa­ces cre­ated were ab­stract

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