Testing Testing

 WAVE WARP

This After Effects tutorial looks at creating wave ripples and distortion. My idea was to culminate the layers I made in the style of Carlos Cruz Dies as background sounds. to create colourful instances of sound in the background, the panels of colour will distort more and more as the film progresses. 

So far, I have experimented with rotational and positional transformations to make the scene more dynamic. The wave warp effect will help create fluid-like motion for the sounds. 

Further to this, many of the assets in wave warp can make my visuals distort. Using expressions, I am currently seeing if this warp can react to music and create the waveform I am looking for to visually represent my sound. This combined with vibrant, complimentary colours could be an effective way to represent some of my sounds.

A screenshot of the style wave warp could add to the physichromie animations. Expressions could create changes in the ripples in time to the music.

GRADIENT FILL

Gradient Fill will help me set the sounds into the picture. If I feel the opacity needs to come in round the edges, this tool will allow me to do so, thus setting elements of the composite more into the scene.

TEST SCENE

This composite is essentially the base layer of character animation. This will be the initial stages of all the animation of the film, with parallax's, sound animations, colour and lighting edited in After Effects. This forms the structure of production within the entire film. 

FINAL SCENE

This is a finally realised scene with nought but minor adjustments to make. Exporting out of After Effects is important to ensure timings are correct. Some of the transformational movements need to be more subtle in the scene as well. As I have changeable foregrounds and backgrounds to convey a sense of space in the scene, I need to ensure that the movements of camera etc. are subtle and believable. Most of the shots work in a directional way to drive the narrative. The Close up shot which zooms could be less fast paced as it currently looks slightly unnatural and distracts the flow of the scene. Now that I have timings of making a scene more realised, I can update my production schedule to more accurately represent the scope of the film's production and how it will be achieved on time. There is still room to edit this scene as I consider it about 95% finished so there is no commitment to assigning this scene as the finished look for the film. More is to be realised..

The updated scene includes a the first instances of visual sound in the film. Using After Effects, I could position the sounds wherever and make them look like a part of the scene. There is scope to change the look of the sound (if not in this scene, definitely as the music and narrative builds). I must create a field of sound which reacts in ways that are well considered to further reflect the kinetic force and trajectory that is present in Futurist painting.

With this scene complete (which was a good choice for the testing process of this module as I began to discover how to depict sound), it would be good to now look into a scene later on in the narrative. After the final crit for 703 I have decided that animating another scene further on in the narrative will wrap up the practical outcomes for the module. I will choose a scene with rich sound and diverse animation to test and explore further the potential for the progression of multimodal-ness in the film.