INTRODUCTION STARTS AROUND PAGE 10: GUIDANCE NOTES FOLLOW

ON 23 JULY 2018 THE SECTION GUIDANCE FOR THE FINAL REPORT WAS UPDATED. IT IS NOW AS FOLLOWS:

Title Page - Standard form obtained from project administrator or the Moodle website to include your course, module, student name and number, date of submission, title of dissertation and name of Supervisor. You may wish to create your own title page as part of your final report. Statement of originality – This statement confirms that the dissertation is a result of your own work and has not been submitted previously for a degree award either here at Brookes or any other institution. This statement can be found in Appendix 5. Abstract - Single page summary of report, this should include the main conclusion or recommendation. Acknowledgements – of individuals offering help towards your dissertation. Contents – This can be composed of the following chapters for the body of the report organised into numbered sections as well as a list of tables and figures etc. Introduction - Dissertation rationale, Outline of the problem, Objectives of the dissertation. A review of related work, both of an academic and commercial nature. The material in this section should directly relate to the construction of a framework that you will use for evaluation in the results and analysis section. Methodology – This section describes your personal approach to the research and which research method are chosen and why. It can include the following; a description of the scope and definition of terms relevant to your topic, how you have approached answering the research questions, what factors influenced your proposed schedule, how you tested and evaluated the product (the framework for evaluation). Process – Description of how the work was created. This should include development of workflows, pipelines and proof of concepts. This should clearly articulate activity in a conceptual form. What functions or processes were used and what effect did the choices made have on the artefact produced. This should not be a tutorial style list of actions to recreate the work. Results – Presentation of results. This could refer to media artefacts and contain screen grabs or other images in the text. Analysis – A contextualised critical discussion of the results in relation to your original aims. Conclusion - Summary of achievements, critical appraisal of the dissertation, lessons learnt, product, research methodology or deliverable evaluation. Consideration of legal, social, ethical, environmental, sustainability and risk management issues. Work review. Implications arising from your results and discussion: including suggestions for further work. References – to identify the sources of material you have directly cited. Bibliography – to identify material providing background or reference material but which is not directly cited.

THIS REPLACES THE PASTED SECTION GUIDANCE SHOWN BELOW IN THIS VERSION OF THE DRAFT REPORT.

TITLE PAGE HOLDER

STILL MOVING: Contemporary digital techniques for animating still photographic images 17032698 Mark Egan

MSc Digital Media Production (2017/2018) Module P01009 Project / Dissertation Submitted in time for final deadline of 21 September 2018

Supervisors: Diego Semerene / John Twycross

STATEMENT OF ORIGINALITY PAGE HOLDER

See Appendix 5 of the guide for the statement to be included here.

ABSTRACT (Single page summary of the report)

STILL MOVING: Contemporary digital techniques for animating still photographic images

ABSTRACT V3 There are many ways in which still images can be considered to ‘move’, both figuratively and literally. With the proliferation of diverse screen-based media targeted at smartphones, laptops and advertising screens, the animation of stills is an art form in itself. Van Vuuren’s 2018 cinematic release ‘In Saturn’s Rings’ represents the pinnacle of this endeavour, comprising over 700,000 still photos animated to create a documentary. In this project the antecedents of today’s digital animation are reviewed and three contemporary techniques, 3d mapping, 2.5d parallax and 2d vector animation are used to create a documentary commemorating 100 years of the Royal Air Force. So, can these animation techniques be implemented using home user equipment and combined to create a short, engaging documentary using only animated photos, and what are the workflows that will enable this?

ACKNOWLEDGEMENTS

My thanks go to the MSc Digital Media Production class of 2018 at Oxford Brookes University. Your feedback at the weekly ‘scrums’ has been invaluable in steering me down a path towards this project submission!

CONTENTS

Page numbers to be added once correct formatting / line spacing has been applied and images have been included.

Introduction Methodology Process Results Analysis Conclusion

Appendices? Could be raw data from online questionnaire.

INTRODUCTION REVISED GUIDANCE NOTES FOR THIS SECTION, 23 JULY 2018: Introduction - Dissertation rationale, Outline of the problem, Objectives of the dissertation. A review of related work, both of an academic and commercial nature. The material in this section should directly relate to the construction of a framework that you will use for evaluation in the results and analysis section.

INTRODUCTION V3 CURRENTLY AT 1400 WORDS. NEED TO AIM FOR 1250 MAX! As the Lumiere Brothers discovered when presenting their cinematographe in 1895, moving images can invoke an immediate, emotional response. It was as though that which was still had ‘come to life’. This project considers ways in which still images can be considered as moving as well as being made to move, before applying contemporary digital animation techniques to a collection of photos and producing a stills-derived screen-based documentary. The results are evaluated through personal critical reflection and peer review. In 2018 it takes only a few mouse clicks to extract a single frame from a video sequence. It is also possible to take a single photographic image and make it move within the frame using techniques such as pan and zoom (as popularised by Ken Burns in his Civil War series in 1990). The move to fully digital workflows has opened up new ways to animate digital images such that the divide between the still and the moving is no longer simply determined by questions of frame rate and exposure.

Project Objectives • Consider and research what it means for an image to ‘move’ or ‘come to life’ • Identify the terminology and digital technologies that occupy the space between still and full motion images • Implement 2d plotagraph, 2.5d parallax and mapping by applying them to selected still photographic images • Create a short documentary using only animated still images and evaluate it using reflective practice and peer review

Perspectives and reference works Considering movement in the widest sense, there are diverse ways in which images (photographic or otherwise) can be considered as being ‘animated’. Cognitive psychology has considered how the brain perceives movement in a still image though none actually exists. For example: [dots moving image] [who invented optical illusions?] It is considered this effect occurs because of conflict between our visual system and cognitive processes. In the art of reportage photography, in accepting the creation of narrative as a kind of movement, the question is raised as to whether a single image can tell a story, and to what extent this will be differentiated in the mind of the viewer. The famous reportage photographer, Bresson, writes “Sometimes there is one unique picture whose composition possesses such vigour and richness, and whose content radiates so outward from it, that this single picture is a whole picture story in itself.” (Cartier-Bresson) Others are less convinced of this: ‘What does it take to make an image that would be considered to tell a story? Wow… that would be almost as difficult as describing what makes a good melody’ (Donald Giannatti, 2015). And from the of both the photographer and the viewer: “What your mind does not know, your eyes can’t see.” (Kaushik Ghosh, documentary photographer, 19xx). Narratives are being constructed and therefore made to move, and discussion remains healthy in this area.

Artists using photographic images at the centre of their work continue to take their own individual approaches to bringing images to life: Maurizio Anzeri finds discarded images and embroiders over the top of select areas in taught, geometric patterns, encouraging the viewer to explore the image anew.P41: image from anzeri. Jennifer West imbibes filmstrip segments with the sights, sounds and physical objects of the time and place it was recorded. Here sand, sunblock and tequila are used to make a short sequence titled Dawn Surf Jellybowl:P77 image. Infamously, Richard Prince re-photographed 1954 images from the Marlboro cigarette print advertising, before cropping and recoloring them and displaying them as gallery-sized prints. In bringing them to a new audience it can be considered he is giving them new life beyond their original place and time P59. IMAGE FROM REPHOTOGRAPHY For screen-based representation of photographic stills, techniques have seen ongoing evolution. Presenting a succession of still images with no literal movement is a legitimate and successful storytelling device, as seen in Chris Marker’s seminal La Jetee. Similarly, producing a rapid sequence of stills matched to the beat of a music track (referred to as ‘kinestasis’) is seen in short-form output such as ‘living poems’ (E.g. Jane Glennie as downloaded). When moving a still image around WITHIN the frame, one of the most well-known effects is pan-and-zoom.This predates digital technologies and was made possible through the use of a camera rostrum system: [camera rostrum picture] The move to digital processing and the availability of software solutions has seen the taking of still image animation to new creative heights. Specific inspiring examples used as reference points for this project are: [images from wwf campaign] In 2012 Make Productions created this short advertising awareness video on behalf of wwf using only still image sources. It composites a number of sophisticated effects to seduce the viewer into believing, at least for a short time, some scenes must have been filmed.

[stills from American historical animation] ‘The Old New World’ uses historical still photos of New York as a foundation for rebuilding a living, breathing (romanticised) by-gone world.

[stills from in saturns rings] ‘In Saturns Rings’ released in IMAX theatres in 2018. This 45 minute movie was created using only high resolution space satellite images. It’s director, Stephen van Vuuren reflects the struggles he had in getting it to the screen. In development for over 12 years, only recently has it become possible to animate and output high resolution still images in this cinematic format. As seen in all these examples, the move to digital techniques is paralleled with a move from planar, 2d animations (what at least appear to be) three dimensional animations. An example from each category of 2d, 2.5d and 3d is chosen for this project to create and implement in a short documentary.

THREE CONTEMPORARY TECHNIQUES ACROSS 2D, 2.5D AND 3D As a contemporary 2D effect, the PLOTAGRAPH effect has been selected for implementation in this project. Troy Plota invented this technique in its current form, which is a sophisticated vector-based animation based on identifying areas of an image that should move, and to what extent they should move. Example surfing plota pic Both 2d and 2.5d animation see their production roots in cel-based animation. Disney Studios created a multi-plane camera to create a realistic impression of parallax depth (though the concept was originally conceived by Charlotte "Lotte" Reiniger in her shadow-puppet based work), wherein cel layers are placed at physically increasing distances from the lens and moved independently closer or farther away at will. The first multiplane camera was invented by former Walt Disney Studios animator/director Ub Iwerks in 1933: [image multiplane camera] This ‘layer based’ camera setup is mirrored in modern digital workflows and is used in this project to create and apply 2.5d parallax (layer-based) effects to scenes. Two types of ‘true’ 3d animation are used for this project. Firstly, ‘3d projection’, which allows a still image to be projected onto a 3d shape or shapes in three dimensional space. Secondly the creation of depth maps, which, when mapped to in an image, indicate which are nearer and farther away from the camera so can be used to move around the image in virtual 3d space. Pics of depth maps and projection!!

With the three types of technique chosen, they are implemented in the third objective: • Implement 2d plotagraph, 2.5d layer-based parallax and 3d projection mapping by applying them to selected still photographic images

Each technique is learnt and a practiced version recorded as a narrated screencast with minimal editing. 2018 marks the centenary of the royal air force (RAF) and this is selected as the subject for a video documentary to be made out of curated, animated still images. It will also utilise appropriate sound effects and a commentary track.

Replication and framework for evaluation The success of the referenced animations is determined by online hits / comments and in the case of the movie, box office and later disc sales and online streaming revenue. For the short documentary created in this project, success will be measured using: • Critical personal reflection throughout the creation process (reflective practitioner). This will be blogged throughout the development process at www.pixelpassions.com/stillmoving • Qualitative, questionnaire-based peer feedback on scenes using examples of each of the animation techniques

Outside the scope of this project / final notes??

METHODOLOGY V3 16 AUGUST 2018 – WORDCOUNT IS OK! Reminder: Methodology – This section describes your personal approach to the research and which research method are chosen and why. It can include the following; a description of the scope and definition of terms relevant to your topic, how you have approached answering the research questions, what factors influenced your proposed schedule, how you tested and evaluated the product (the framework for evaluation).

In what ways are still photographic images made to ‘move’? Through allowing the term ‘move’ to be interpreted in any way, a number of non- literal examples came to the fore. As seen in the introduction, these include construction of movement ‘in the mind’s eye’ as a narrative story as well as everything from situating the physical image within liquids and solids from the space in which the photo was taken, through to repurposing images and offering them up to a new audience (Maurizio Anzeri and Richard Prince). Each of these methods could form the basis of a project in its own right. The second strand of research was to consider the use of still image assets in screen-based output. Starting with reference points of the work of Chris Walker, Ken Burns, and the recent release of the stills-driven movie ‘In Saturn’s Rings’ working backwards in time reveals the innovative builds of Disney (the multi plane camera) in making their animation look more realistic. Disney produced its final movie using analogue techniques in 1989 with the release of The Little Mermaid. This led to the second project objective: Identify the terminology and digital technologies that occupy the space between still and full motion images Before selecting specific techniques to focus on, two ‘types’ of intermediate moving images (I.e. between the still photo and the fully moving movie) are identified: • The PLOTAGRAPH uses a single still image as its source and animation is selectively added (E.g. For a cup of hot coffee, the steam may be animated as swirling above)

• The CINEMAGRAPH starts as a video sequence. Parts of the frame are frozen while only a portion is allowed to continue moving. (E.g. for a fishman on a lake, the person, boat and rod will continue moving though the rest of the frame is frozen at a specific point). As the focus of this project is on working with STILL images, it was decided to utilise the plotagraph (I.e. 2d vector-based movements) as one of the animation techniques used. It appeals as it is contemporary in terms of the computation of the vectors yet 2d. Of course, the move into 3d space cannot be ignored. Most pronounced in the WWF campaign video is the use of a parallax effect, also referred to as ‘2.5d’. This effect has been selected as a true intermediate effect – that is it uses depth cues to intimate 3d even though the manipulations are happening on overlapping layers. An alternative method of simulating 3d space using only a single, flat photographic image is 3d projection. For example, in the case of a room, the walls, ceiling and floor can be mapped in 3d space using a modelling program or compositing program and a single image is then projected on to them such that it moves around realistically when the camera is moved. This is a true 3d effect as it utilises 3d . At the outset it was decided to allow around two weeks to learn and implement each of three effects. The 2d effect is the easiest to work with, with 2.5d requiring more steps and 3d needing the most complex, carefully executed workflow. • Implement 2d plotagraph, 2.5d layer-based parallax and 3d projection mapping by applying them to a range of still photographic images In practicing these effects it was clear each works best with certain compositions / photo types. For example, to successfully project 3d depth, there needs to be significant depth implied in the source image such as a landscape shot or any photo with an appreciable foreground, midground and background: Example pics with yes and no! Similarly, 2.5d parallax works best where objects are placed in the background, midground and foreground – Exactly why Disney’s animations are designed to best exploit it (for example, with a character in the foreground or midground and layers of ‘forest’ or similar behind). It is noted that portraits (or selfies) are not well-served by any of the three chosen techniques. For this reason, mid-project it was decided to also incorporate a workflow for creating animated faces using a facial mesh to create a depth map. This functionality exists within one of the softwares used so did significantly impact the workflow. Techniques were initially learnt and practiced using high resolution stock images (E.g. from unsplash.com). The original idea to create short vignettes demonstrating different techniques using photos supplied by friends and family was changed when it was realised this will not create a coherent final product – It would only demonstrate various effects in an eclectic manner. The final product was switched to creating a short documentary piece including audio and VO. This would form the final objective: • Create a short documentary piece using only still images manipulated using the above techniques It was determined the final piece should be at least 2 minutes in length and tell a story to join together animated photo sequences demonstrating the 4 types of animation. 2018 is the centenary of the royal air force and this was chosen as it was felt images should be applicable to the techniques under implementation - I.e. There should be landscape ‘depth’ shots, portrait images and hangar/internal shots suitable for 3d extrusion. A short script was created and a simple narrative sequence devised to ensure all 4 animation techniques could be incorporated. Images were sourced online as well as from my own collection and the effects applied to chosen examples. Throughout the project the primary means of evaluation has been REFLECTIVE PRACTICE. At every stage, the learning process has been blogged and reviewed, with issues noted and suggestions made for improvements to workflow. This ongoing process can be seen at www.pixelpassions.com/stillmoving and example videos from the blog have been included on the usb stick submitted with this project. To support personal critique segments covering all four animation techniques were presented to peers alongside an online questionnaire. Their feedback was gained using open questions and it is considered in the RESULTS section. Following refinement of the script, the VO segments were recorded. Ambient sound effects were sourced from the BBC sound effect archive at bbcsfx.acropolis.org.uk and from YouTube. The final documentary was sequenced in Sony Vegas. ENDS HERE

Process: How the work was created. Aim for 700 words: ALREADY OK REVISED GUIDANCE WORDING FOR THIS SECTION, 23 JULY 2018: Process – Description of how the work was created. This should include development of workflows, pipelines and proof of concepts. This should clearly articulate activity in a conceptual form. What functions or processes were used and what effect did the choices made have on the artefact produced. This should not be a tutorial style list of actions to recreate the work.

Once the animation techniques to use were identified, appropriate software was required to implement them. Two main software programs were used to create the animated photo sequences:

• Adobe After Effects • Corel Photo Mirage

Within After Effects the following third party scripts were used: • Photo Animator v5.2 for 2.5d parallax generation • Volumax PRO v5.0 for facial depth mapping • Projection 3d for projection mapping

Each script requires its own, specific workflow within AE. All effects can be generated manually within AE and the use of scripts creates a more easily replicable workflow.

Proofs of concept were created in time for the mid-project presentations in early July 2018. These comprised two video examples: use of 3d projection and 2.5d parallax. Image cloisters image couple rock

Key steps in the workflows are: CLOISTERS – 3d projection 1. Import suitable source image into AE. 2. Match camera to the implied 3d space of the image 3. Mask the ‘back wall’ 4. Extrude this ‘back wall’ mask forward to meet the camera 5. Animate the camera using keyframes within this virtual 3d space to ‘move through’ the cloisters

COUPLE ON ROCK WITH SEA VIEW 2.5d parallax with foreground mask

1. Import image into AE using photo animator 2. Mask the ‘background’ layer 3. Adjust the relative size of the 8 layers between the viewer and the 4. Mask the ‘couple on the rock’ to ensure they do not move with the background. Enlarge the mask to ensure it covers an expanded background when the photo is ‘moved into’. 5. Use keyframes to Animate the movement of the 8 layers to move into the scene

The decision to create a themed documentary influenced a new set of workflows. Curating a set of images such that the main techniques could be demonstrated was essential. For example, movement through an aircraft hangar was used to incorporate 3d projection, landscape shots were included to demonstrate 2.5d parallax and the two pilot portraits were included to demonstrate use of facial depth mapping. High resolution images (at least 4mp) were required to ensure that even when zoomed, enough detail remained to cover a 1080p frame without obvious artefacts.

Additional techniques were used for specific scenes in the final piece to make them appear complete rather than just demonstrating ‘examples of effects’ for the sake of it. The following additional techniques were used: • Lit Geometric shapes on 3d layers were used for the introductory RAF logo, which is colour-accurate. • Accurate masking was used to cut out the spitfires and save them as png images for re-use in the composition • Camera shake was simulated for the Red Arrows section using the wiggle function applied to a null object and parented on to the camera • Smoke plumes were added to the introductory sequence using the particle playground

Creating a short documentary also required an appropriate sound landscape and a VO track. A shotlist was created to ensure every technique was represented, and for this a short script was drafted and edited over a period of a couple of weeks to match the amount of on-screen time available for each segment of the documentary. Draft animated output was sequenced in sony vegas to test this, with scratch VO segments being recorded on mobile phone and sequenced to test for timing. The VO was then re-recorded using a Tascam standalone microphone in wav format. Additionally to the specific techniques being implemented, a couple of simple pan- and-zoom shots were included towards the end of the piece, referencing back to the analog implementations used in previous generations of documentary and ‘made famous’ by Ken Burns. Adobe media encoder was used to encode the video output from after effects as 1080p25 MP4 files. Sony Vegas was used to sequence the documentary output, overlay the ambient sounds and voiceover and create final MP4 files.

Screen recording software was utilised throughout the project duration to create narrated screen recordings of the processes being tested (including initial research and environmental scanning) and also to produce narrated instructional videos for each of the main techniques used.

RESULTS: MAX 1000 words

Results – Presentation of results. This could refer to media artefacts and contain screen grabs or other images in the text.

The final documentary comprises ten scenes including the intro and closing credits. Information is supplied below for each scene, including techniques employed, voiceover details and shot duration. Example screengrabs are included. Following this, peer responses to the online questionnaire are recorded. Finally, details are provided of the narrated workflow videos for each technique. The final version of the documentary is saved on the accompanying USB stick in the folder ‘documentary video’ as RAF100_finalvideo_mark_egan.mp4 The original source still images can be found on the accompanying USB stick in the folder xxxxxxx.

SCENE 1: RAF LOGO FORMATION AND TEXT INTRO Insert single screenshot here. This scene is animated using simple shapes on 3d layers. It is not photo-animated.

SCENE 2: Calm skies with scudding clouds Insert calm screenshot. Insert explosion screenshot. Shot duration: 25 seconds Accompanying VO: ‘In the early years of the twentieth century, the skies above Britain were clear and calm. Unfortunately, this wasn’t to last…’ Animation technique(s) used: • Plotagraph, vector-based movement for the slow-moving clouds. This animation loops every 5 seconds for the entire sequence • AE Particle playground with wiggle function are used to create the smoke simulations. Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 3: Move through aircraft hangar to reveal Supermarine Spitfire Insert start screenshot. Insert final spitfire shot. Shot duration: 20 seconds Accompanying VO: ‘As aircraft were being increasingly used in war situations, a new response was needed…’ Animation technique(s) used: • 3d projection used to project the hangar image in 3d space. • Spitfire image masked using rotoscope tool and exported as .png • Hangar video was re-input into photo animator and layer-based blur applied Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 4: Spitfire flying over British fields. Recruitment poster reveal Insert start screenshot. Insert screenshot with spitfire at right. Insert screenshot with poster in full view. Shot duration: 20 seconds Accompanying VO: ‘The RAF was formed in 1918 by the merging of xxxx and xxxxx.’ Animation technique(s) used: • 2.5d parallax for the background landscape image, gradually ‘zoomed in’ by moving the camera to signify flying across the landscape. • Spitfire rotoscoped from an original static image. Animated across the scene using keyframes and motion blur applied to enhance suggestion of movement • Recruitment poster animated on a 3d layer using keyframes and opacity changes Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 5: Male spitfire pilot rotating over hurricane Insert start screenshot. Insert end screenshot. Shot duration: 10 seconds Accompanying VO: ‘xxxx flew a spitfire in the battle of Britain and was one of the last surviving pilots from this era’ Animation technique(s) used: • 3d facial mesh used to create depth map using volumax pro • Layer ‘screened’ with blurred shot of hurricane aircraft Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 6: Mary Ellis, female spitfire pilot Insert start screenshot. Insert end screenshot. Shot duration: 10 seconds Accompanying VO: ‘Mary Ellis was one of the first female pilots, joining in 19xx. She passed away in June 2018’ Animation technique(s) used: • 3d facial mesh used to create depth map inside volumax pro • Light leaks and flares added Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 7: Inside the red arrow on the runway Insert start screenshot. Insert end screenshot. Shot duration: 10 seconds Accompanying VO: ‘In peacetime the RAF formed its own display team. In 19xx the red arrows took to the sky!’ Animation technique(s) used: • 2.5d parallax for the runway image, starting with vertical movement to imply we are ‘inside’ the cockpit, then with z movement as we travel along the runway and launch into the sky Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 8: Red arrows in flight Insert a single screenshot. Note camera shake and smoke fx Shot duration: 10 seconds Accompanying VO N/A Animation technique(s) used: • Plotagraph effects applied to the vapour trails using photo mirage • Camera shake added using wiggle function in AE Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 9: Buckingham palace 2018 flypast Insert screenshot of red arrows flyover. Insert screenshot with RAF 100. Shot duration: 15 seconds Accompanying VO: ‘In July 2018 the red arrows performed in a centenary display flying over Buckingham palace, London. Here’s to the next 100 years! Animation technique(s) used: • Pan and zoom applied to these shots, harking back to the previous era of animating still images using camera rostrums. Ambient sound / atmos: Clip titled xxxxx, supplied by BBC sound archive at bbcsfx.acropolis.org.uk

SCENE 10: End Credits This scene is not photo-animated. The accompanying track is ‘fighter 35’ performed by the RAF band xxx

Peer comments were sought by colleagues for 4 of the above scenes, using an online questionnaire. The scenes were:

• SCENE 3: Move through aircraft hangar to reveal Supermarine Spitfire (3d projection) • SCENE 4: Spitfire flying over British fields. Recruitment poster reveal (parallax) • SCENE 6: Mary Ellis female spitfire pilot (facial mesh and depth map) • SCENE 8: Red arrows in flight (plotagraph vector animation)

For each of the four scenes, the following 3 questions were asked:

1 2 3

THE VERBATIM RESPONSES ARE BELOW: (Allow 200 words here). Could be an appendix instead?

Four narrated screencasts have been created, demonstrating the workflows for each of the four main techniques. These can be found on the included memory stick:

TECHNIQUE 1: VECTOR-BASED 2D ANIMATION Insert 2x example screenshots from the explainer here Duration: Approx 4 minutes Description: This narrated screencast demonstrates how plotagraph effects were added to the first scene of the documentary, where clouds are animated to slowly move across the sky.

TECHNIQUE 2: 2.5d PARALLAX ANIMATION Insert 2x example screenshots from the explainer here Duration: Approx 5.5 minutes Description: This narrated screencast demonstrates how 2.5d parallax was applied to a landscape photo before adding a spitfire and animating it across the scene.

TECHNIQUE 3: 3D PROJECTION Insert 2x example screenshots from the explainer here Duration: Approx 5 minutes Description: This narrated screencast demonstrates the workflow for creating the 3d projection for the aircraft hangar animation.

TECHNIQUE 4: PORTRAIT DEPTH-MAPS Insert 2x example screenshots from the explainer here Duration: Approx 5.5 minutes Description: This narrated screencast demonstrates wireframe mesh manipulation used to generate the depth map for the moving portrait of pilot TOM NEIL.

SECTION ENDS

ANALYSIS: Currently 1300 wds - need to get down to 1200 max!

Analysis – A contextualised critical discussion of the results in relation to your original aims.

Objectives of the dissertation

• Research what it means for an image to ‘move’ or ‘come to life’ • Identify the terminology and digital technologies that occupy the space between still and full motion images • Implement 2d plotagraph, 2.5d layer-based parallax and 3d projection mapping by applying them to a range of still photographic images • Create a short docujmentary piece using, as a visual, only still images manipulated using the above techniques and evaluate it using reflective practice and peer review

Reflecting the step-change from analogue to digital technologies and the drive towards 3d animation, it was a logical decision to select a set of techniques comprising 2d, 2.5d and 3d examples. The decision to use a set of images related to a single theme led to revision of the final objective - unifying images through the use of the topic of the centenary of the Royal Air Force allows for consideration of the effects individually then the final piece as a whole:

IMPLEMENTATION: THE EFFECTS FROM A TECHNICAL PERSPECTIVE 3d projection is the flexible technique and the most computationally intensive. It is the most complex to learn and implement, requiring precision in masking, generating extruded 3d shapes and camera movement. As seen in the cloisters image created at the proof of concept stage, this technique offers the most visual impact when used appropriately. At the start it was difficult to envision a benefit of using this effect over 2.5d parallax, but limitations of the parallax effect start to show when ‘moving into’ a scene with complex geometry. For example, when testing the hangar animation using 2.5d, the roof area starts to ‘break up’ as separation into only 8 layers becomes evident:

INSERT BROKED PARALLAX VERSION

Using 3d projection no such artefacts are present: INSERT IMAGE HANGAR 3D PROJECTION

2.5d parallax uses a layered workflow and is easier to implement than true 3d. It also facilitates addition of extra effects on a per-layer basis. It works best with scenes with visual foreground, midground and background elements and using 8 layers between background and foreground is plenty for the illusion to work. The presence of people or objects in the mid or foreground will break the illusion, so masking is an essential step, as seen at the proof of concept stage with the ‘couple on the rock’ example. In the final documentary, the 3d-projected hangar scene was rendered as a movie file then re-input as an asset into a 2.5d workflow. This made it possible to blur the distant layers more than those close to camera and animate this effect over time. These effects do not need to be used in a singular fashion – They can be combined as needed. In the final piece, this effect is most pronounced in the red arrows take-off scene, where the camera rises vertically before moving forwards along the runway towards take-off.

Facial depth mapping was important to the final narrative- Without this the portraits of the pilots would have been static (or perhaps pan and zoomed). It is easiest to work with a single, unobstructed face directly looking into the camera – More work is required with ‘off centre’ portraits and the illusion may not be as effective as the amount of detail to work with when the face is ‘front on’ will be low. The image of Tom Neil required the mesh to include the insignia on the hat, or he would be rotating beneath it. It is essential to accurately map the mesh to the face. In initial tests with Mary Ellis one eye was not precisely mapped and this resulted in an apparent crossing of the eyes as the camera was panned.

Plotagraph (2d) effects present the most straightforward workflow, with vectors being drawn directly on to areas of the image which should move, while masking out or applying ‘inhibitors’ to areas which should not. Vector size and location is to some extent trial and error, so multiple changes may be needed to create the right visual result. The requirement to loop the effect every few seconds is a limiting factor though at the same time a strength as, much like the animated gif which originated over 20 years ago, file sizes are small and web-based animations will load near- instantaneously for many users.

IMPLEMENTATION: FROM A VISUAL PERSPECTIVE

All scenes included in the final documentary adhere to the basic principle of indexicality- It is clear what they are and at no point does the illusion ‘break’. During tests, one composition did break this rule, as a red arrow was animated to fly towards the camera at speed. This looked too ‘cartoony’ and ‘fake’ so was not used in the final composition:

Insert rubbish red arrow pic here!

3d projection allows for moving through the hangar without any breakup, and works well as an immersive, first person effect. The facial depth mapped portraits are convincing in demonstrating a true sense of 3d as the sides of the face and ears are occluded and gradually disappear from view. This technique is suited to steady camera movement and must be produced with care as any distortions in the face will be noticed very quickly by a viewer. The quality of the output is directly related to the time invested in creating an accurate facial mesh and tuning the white balance of the resulting depth map.

The 2.5d parallax effect successfully creates depth movement within an apparently- 3d space. In the scene of the red arrows taking off, the illusion is pushed towards breaking point - Pausing the video shortly before the craft ‘takes off’ will reveal the runway is starting to warp as gaps between the layers become visible. This is not noticeable on playback at 25 fps and could be concealed using motion blur. Movement ‘into’ the image is limited by original image resolution. The 1080p video frame is approx. 2 megapixels, so a 2x zoom requires an 8mp image and a 3x zoom would need 32 megapixels. Stitched and composited images could be used, and high resolution 360 degree spherical images would allow for interesting experimentation with this effect.

Close-up detail in plotagraph animations is by definition not very accurate – pushing and pulling areas using vectors is not a precise science. This is a ‘secret’ of this effect – By applying it to objects with no specific focus point, its limitations are obfuscated. This can be seen in the cloudscape scene. If looking closely, the looping effect is easily deconstructed. The red arrows vapour trails are a more effective implementation as they appear as continuous movements with no obvious loop point. The vector effects used in the documentary are quite subtle. Striking examples can be seen online where the majority of the frame is moving – For example with a surfer ‘inside’ a wave:

INSERT PLOTAPIC SURFER HERE

THE DOCUMENTARY

Can a carefully curated set of animated still images sustain a short documentary? The end result, from a personal and peer-reviewed perspectives, is successful and the addition of sound effects and commentary of course help in the telling of the story. It was felt necessary to incorporate a small selection of additional compositional effects, specifically the smoke in the first scene and the dynamic camera in the red arrows scene, to make these segments more effective, but the documentary is built around the four techniques as discussed.

Selection of appropriate animation types and the speed / dynamism of animation is important in the final narrative. The safe, clear skies are animated using subtle vector effects. The Supermarine Spitfire is revealed as ‘rising’ from the depths of a hangar, and later the Red Arrows take off in the most dynamic animation in the piece. With the addition of historic, analogue recorded sound effects and short, self- scripted and recorded voice over it stands up in showcasing the chosen contemporary effects within a short story commemorating 100 years of the RAF.

Conclusion v1 - Summary of achievements, critical appraisal of the dissertation, lessons learnt, product, research methodology or deliverable evaluation. Consideration of legal, social, ethical, environmental, sustainability and risk management issues. Work plan review. Implications arising from your results and discussion: including suggestions for further work.

500 words maximum here!!! Key points to cover: The end products from this project justify the work processes learnt and implemented. Coming to Adobe after Effects as a virtual newbie, learning it with specific animation goals in mind assisted with not only creating the animated segments but with learning essential development techniques such as masking, rotoscoping, working with lights and with particles. It was also necessary to look briefly at manual functions such as ‘wiggle’ to assist with the smoke and camera shake effects. In this sense this project has been an After Effects crash course! The original brief was significantly too wide. Though interesting to research, considering other ways in which images could be made to move did not directly relate to digital artefact creation. Despite this, interesting overlaps were discovered, most notably with the multi-plane camera directly influencing the way 2.5d parallax is implemented today. The original work plan, including allowing around two weeks to learn each effect and feel comfortable enough to start applying it to final media assets broadly worked. It was changed to incorporate the 3d facial mapping technique which was not part of the original brief but became essential as the documentary theme took shape. The final documentary artefact is successful in demonstrating 4 animation techniques relevant to specific types of images, many of which will be encountered in creating this kind of work. Additional ‘special effects’, many of which can be easily applied through AE, including flares, dust, dirt and light leaks, have been avoided to ensure the documentary does not include ‘just because I can’ elements, though it would be easy to make it look more ‘shiny’. Individual reflective practice of course has limitations, though set in examples of state of the art, professional work I am confident the artefacts stand as reasonable examples of the animation techniques employed. Additional techniques including the addition of 3d animated models, use of the ‘puppet tool’ and complex lighting will enhance the visuals, but these are enhancements – They do not change the story. A number of interesting thoughts for future work come to mind…

These effects will potentially work with 360 degree still assets - Workflows for applying the techniques in immersive video for vr and ar could be tested. Similarly, the images could be incorporated in virtual gallery spaces in vr worlds.

APPROX WORD COUNTS AT 1 SEPTEMBER VERSUS TARGET WORD COUNTS:

NB THE NUMBERS BELOW ALLOW FOR UP TO 5500 words – the MAX!!

CURRENT TARGET

Pre-intro inc abstract 300 300 INTRO 1350 1250 METHODOLOGY 1025 1200 PROCESS 670 700 RESULTS 1120 inc verbatim 1120 ANALYSIS 1230 1200 CONCLUSION 450 400 REFS / BIBLIO NOT YET ADDED 400

6200 + refs/biblio 6000 – also bit too high!

APPENDICES numbers don’t count!

POSSIBLE STRUCTURE FOR USB STICK

Final digital products > documentary ➢ Narrated videos ➢ Original assets (stills used) ➢ Example videos from the blog ➢ Two prototype examples from the presentation Reference resources > Inspirational videos (x3) ➢ Other video examples (E.g. music video and advert) ➢ After effects project files as used to create final scene renders.

References TO DO – to identify the sources of material you have directly cited.

Bibliography TO DO – to identify material providing background or reference material but which is not directly cited.