Monday, November 29, 2010
animation (motion, avatars, camera)
quality of documentation
complexity of models
overall class/project effort
quality of textures
It is not necessary to earn high marks in (or even include) every category. Since each project is very individual, I will be looking for your personal style, your SL tech smarts, problem solving skills, vision as well as completion of what you set out to do.
If you sent a large part of your time modeling in Maya, or scripting, please state so in your documentation or during your presentation.
As stated in the syllabus, you will be “graded” on your
4 writing samples
in addition, much can be revealed in your inclass demo/presentation on December 13.
Your "final project" can and should supercede some or all of the previous assignments. I will base my opinion on the aggregate effort you have made in class, but focussing on your final presentation plus your documentation.
All final documentation will be due on the blog (or linked from the blog) by Dec 20, 2010, 4pm. For due consideration of grading, please leave your things on Second Life and ont he blog until January 1, 2011. We will have use of the land through February for those of you who want to show and tell or if you need more time to archive your projects.
The presentation is also part of your grade for participation; this is required. You should show most, if not all of your completed work. In preparing for your presentation, please practice it. Make sure your videos, images, objects and build are accessible and ready. While you are not required to do a powerpoint-like presentation, per se, it can be a helpful tool for you to organize your thoughts. At the very least, have an outline of what you are going to demonstrate. Your video documentation can be shown as part of your presentation.
Here is also a tip: please do not call attention to the things you didn;'t do, or planned to do, or didn;t have time to do. Your presentation should be about what you DID do. Even if yours is a work in progress, please spend the majority of your time talking about what we are looking at, not something else that isn't finished yet.
Good documentation of a scaled-down project can be just as rewarding as a large project, given the time, and shared resources (or lack thereof) we have at our disposal.
Nov 29 - [today]
Dec 6 - Crit Week for Grads - No Class for undergrads
Dec 13 - Presentations (20 min + 10 min for questions), 30 min total
Dec 20 - by 4pm, all final work due on the blog (4 writing, 4 images, 4 videos). Class is optional if you are already finished with documentation. Instructoir will be in class to help with video editing
Sunday, November 21, 2010
So far my trip through second life has allowed me to make a more personal connection to my art practice through my habit of drawing animals and incorporating that into the second life realm. I have begun this practice at first by creating prim interpretations of my animals in new, freeform ways in order to give myself a better understanding of the prim controls and camera movements to better control what it is that I’m attempting to visualize for myself.
At first, I created a few animal masks with basic prim shapes in order to familiarize myself with the process of being able to attach a shape to my character in what ever form and reach and after that, proceeded to create larger forms in order to feel out the prim controls of Second Life as well as the precision of its manipulation in accordance to the size. My goal with these short processes was to create a miniature monument to my practice in the involvement of warped and oddly shaped animals as well as to create what might be something of a ‘mythology’ within Second Life as I had previously attempted to envision what might not be capable in ‘real life’ and to capture that in Second Life. My hope was to begin a ‘morphing’ from one animal to another to attempt the ‘mythological process’ that predated our current generation of animals as well as create a visual demonstration of the ‘mythological process’.
Upon this study for myself, I finally came to the idea for my final project to create a transformation, a step-by-step process that, rather than a mythological approach, would come across as a more scientific study of the connections and visualizations of one animal and its process in becoming another through the programmability of the movements and shapes of Second Life.
Monday, November 15, 2010
The video I have below is a clip of my avatar floating on water, using a script. I have had this specific image in mind for a while, due to the ambiguity of the action being performed. The female simultaneously appears to be floating and drowning, alive and dead. I am interested in water's dual capacity to act as a form of recreation and detriment. While this action being performed by my avatar, Nike Graycloud, is very minimal, I think it embodies the various ideas I have been working with. I want to continue with similar imagery, and figure out how I might be able to combine such scripted actions with objects built by my avatar. Machinima has been helpful in depicting my ideas, and I want to take this project further.
Sunday, November 14, 2010
I found that the feeling is most dramatic when the avatar enters a small enclosed space and it is difficult to find an exit. Making everything the same flat colors, with few shadows, makes it difficult to understand spatial cues when moving the camera around such a space. Second Life's unique camera system, where whatever you click on becomes the pivot point, contributes its own problems, especially if you accidentally click on the outside of the enclosure so that you can't easily maneuver back inside. Discomfort increases the longer this goes on.
In the virtual environment, claustrophobia is heightened by confusion and frustration when the viewer encounters inconsistent patterns, where boundaries between objects are unclear, and navigational directions are ambiguous. This is evidence of the extent to which a human will interface with a cyber body. When the "controls" linking the human mind to the virtual representation malfunction, it often feels as though the individual is being physically constrained.
As my friend and I simultaneously explore in world, I photograph her tattoo to superimpose upon my fabricated second life character. The overlap of one’s living breathing existence with that of the computerized semi-algorithmically customized character appeals to me, especially in the case of something as intimate as a tattoo.
Taking something that is an understood copyright because it is on your body, you own it. Steeling that, digitizing it. Replicating tattoos that are more inline with the real world around me.
Nothing is permanent in regards to a second life body; the meaning of permanence is lost. Taking something that is considered permanent in the real world, and translating it into secondlife is to question this difference.
It is not really about tattoos it’s about questioning ontological values hidden in virtual worlds and considering consequences from a lack of permanency.
So far as my avatar, not much has changed. Although I usually like customizing (if possible) and focusing on my avatar when moving through a virtual environment, I am more interested in building an environment in maya and bringing it into Second Life. Though Second Life has many limitations in terms of realtime lighting and amount of prims that can be used, I think it would be interesting to see a light-mapped environment imported into the scene. I am currently working on a model of a house which I will light in maya, bake the lighting, and import into Second Life.
The following are images of a light-map test I made in maya(I was planning on uploading it into Second Life, but my computer broke :/). The model looks the same in realtime as it does in the final render.
When I try to use script to make the train move, problems come again. Although I found some scripts to make the train move, I cannot control the speed and distance of the train. So I need to find a suitable script to make it. The video is the test of record screen. I try to record the screen smoothly, but it is really hard with mouse.
Create a new scene
select curves tab
select drawing tool
draw the profile of a mushroom
select surfaces tab
select the rotate tool
using the attributes panel, correct (if necessary) the rotating axis
select the rendering tab
select and open (double click) the 3d Paint tool and panel
make sure your model is selected
scroll in the 3d paint panel to assign/edit textures.
click assign/edit textures
in the resulting dialog box, set the texture filetype to JPG (for SL: the resulting export file will be a JPG)
click assign/edit textures in the dialog, closing the daialog
this phantom step (there is no visible change to model) assigns a texture map to the object
choose brush and color, etc, from the 3d paint panel
paint the object/scene
SAVE the scene (this will save the maya scene). Note this is NOT an export step for SL. This Maya file is for archival purposes only
There are two output steps:
1) saving the texture in the 3D panel panel
2) exporting the model correctly as a sculpt for SL
In the 3D paint click on the Save Texture button
The resulting command output saves the texture (takes name of attribute and .JPG selected above.
The texture file is now exported to your maya folder in 3D paint
Click on the Maya to SL script button you have previously imported (should be in one of your tabs)
Output dialog will allow selection of filename and filetype
Resulting ,bmp file will be the sculpt map for SL
Click on Inventroy Tab
upload image file for $L10
Choose .jpg texture file from Maya documents
you can preview file so it looks correct before uploading
upload image file again $L10
Choose .BMP sculpte file from Maya docs
you can preview file so it looks correct before uploading
In SL Build a new object (cube) to unite the two files.
Change property of cube to Sculpt type
Object changes to default apple sculptie
Changes panel to show scuplptmap
replace sculptmap (by drag from inventory to panel) with BMP (model file) from maya
object should rez to correct sculpt shape
rotate (if necessary) object to correct rotation
select the object again
click texture tab
replace the texture (wood) with texture from maya JPG (texture file)
adjust texture as necessary
(rotate texture 90)
You are done.
Monday, November 8, 2010
Monday, November 1, 2010
Second life is a low polygon world marked between notions of reality and the possibility of anything. My goal and final project for this class is to ultimately break the barrier from the virtual to the “real world.” My main focus would be the interaction and the extraction of objects.
First I would like to import meshes into the software through 3d scanning the live object and then applying scripts and particles to those objects. The “actual” object in a way becomes more real in this virtual world, because it can automatically move, change colors or even blow up in flames. Documentation is key on seeing these functions. Using machinma and realistic camera angles to record the virtual flow and function of these objects. I’d also like wear these objects and teleport to different locations and record the conjunction between the other settings, and avatars reaction to them.
For the next half of the project I want to the low polygon shape forms and extract design to make hand created sculptures. Reflecting the geometry of the screen and continuing the image or shape in an installation. I’m also interested in the way landscaped objects are mapped out, a multiplication of 2d that are geometrically placed beside one another, in order to look 3d. This will be executed through using the laser cutter to create an outline in the acrylic and then printing the image onto a sticky piece of transparent paper and applying it to the acryclic surface.