A Bit More Visual Music
How to Draw With Code
Data – Intersection = Sound
Sound Generates Animation: Processing and Blender
Mo-Cap and Point Cloud
Takeshi Murata produces extraordinary digital works that refigure the experience of animation. His innovative practice and evolving processes range from intricate computer-aided, hand-drawn animations to exacting manipulations of the flaws, defects and broken code in digital video technology. Whether altering appropriated footage from cinema (B movies, vintage horror films), or creating Rorschach-like fields of seething color, form and motion, Murata produces astonishing visions that appear at once seductively organic and totally digital.
Shape Layer Fun!
One of the requirements for this course will be reviewing weekly tutorials on the Lynda website. Please make sure to understand the software concepts we’ll be working with before attending class. To log in and access the tutorials use your RISD email address and password . In most cases you’ll be reviewing specific chapters from the the tutorials but feel free to pursue additional chapters if you understand the basic concepts. Here’s links to tutorials for each week:
Before Class One on February 12:
After Effects Apprentice 02: Basic Animation with Chris Meyer and Trish Meyer. You will need to complete chapters 1-3
Before Class Two on February 19th:
After Effects Apprentice 14: Shape Layers with Chris Meyer and Trish Meyer. You will need to complete chapter 1.
Before Class Three on February 26th:
After Effects Apprentice 07: Parenting with Chris Meyer and Trish Meyer. You will need to complete chapter 1 and 2.
Before Class Four on March 5th:
After Effects Apprentice 13: Paint, Roto, and Puppet with Chris Meyer and Trish Meyer. You will need to complete Chapter 7 which covers the Puppet Tool.
Before Class Six on March 19th: (you have two weeks for this one)
Getting Started with After Effects Expressions with Angie Taylor. You will need to complete Chapters 1-3.
Before Class Seven on April 2nd:
Getting Started with After Effects Expressions with Angie Taylor. You will need to complete Chapter 7; Reacting to sound.
Before Class Nine on April 16th: ( you have two weeks for this one)
After Effects Apprentice 11: 3D Space with Chris Meyer and Trish Meyer. You will need to complete Chapters 1-3
Before Class Ten on April 23rd:
After Effects Apprentice 11: 3D Space with Chris Meyer and Trish Meyer. You will need to complete Chapters 4-6 (working with cameras)
Scripts and Expressions:
Duik Inverse Kinematics & Tutorials: This is a wonderful script for puppet animation. His tutorials are in French but have good subtitles
AE Scripts: Many very useful AE scripts. Most of these are not free but worth checking out.
MotionScript.com: Highly recommended, his bounce-overshoot expression is one of my faves.
Motionworks Experiments page. The best way to learn is to experiment and take things apart. These are experiments based on combining different effects. Download the AE files and poke around!
Advanced Shape Layers
Franchise: This is an Animated typeface collaboration between 1 typeface designer and 110 animators. For the price of a tweet you can download the AE file and take a look at how the animations were created. Some wonderful, innovative solutions here.
Music and Sound
Copyright and Creative Commons (CC)
Traditional Animation Principles & Computer Animation – Cento Lodigiani
Analyzing Data To Create Movement – Jan Goldfuß
From his artist statement:
My aim is to explore the rather young medium of computer-generated images in a more or less self-reflexive way. I am looking for the very own characteristics of digital media, not forcing them to mimic other media (like photography for instance).
One strong peculiarity of digital media is in my opinion their possibility to realize (i.e. visualize) unexpected possibilities by exploring the vast spaces of algorithms. So the human being steps back and just defines the borders, while the programs execute possible realizations inside these.
Duplication – Max Hattler – Sync
A circular looping animation projection installation.
“(…) the film is based on the idea that there is an underlying unchanging synchronisation at the centre of everything; a sync that was decided at the very beginning of time. Everything follows from it, everything is ruled by it: all time, all physics, all life. And all animation.” (Max Hattler)***
Analyzing Sound to Create Animation – Synesthesia by Michel Gagné
In the summer of 2013, composer Gheorghe Costinescu commissioned artist Michel Gagné to create an animated abstract visualization based on his 1973 work, “Dots, Lines, and Patches for recorded electronic sounds”. This film is the result.
Systems & hacking – Quilt by Amy Logheart (Amiga)
Generating Graphics in 2D and 3D Space – Please Say Something by David O’reilly
Larry Cuba – Calculated Movements