Final Submission

navigating our way through the faceless people of our lonely world...

Please CLICK HERE to view in good quality

Occupants of busy public spaces are generally not very sociable, often not even acknowledging one another’s existence. Through observation of the Townhall Station, I noticed this reoccurring social behaviour and found that even though I was surrounded by thousands of people I was left feeling somewhat lonely.

The purpose of the installation was to create a space that reflected this social pattern and empowered feelings of loneliness on its occupants. This was achieved through the careful utilisation of the art, sound and lighting schemes to encourage anxiety and fear.

The lighting was kept to minimal, employing mostly black and red lights, along with the lightening effect. Mannequins were carefully arranged throughout the environment, representing the ‘faceless’ people of our society. The repetition of these help maintain clarity in the meaning behind and purpose of the installation.

For Solidworks Model, 3dsMax Model, Crysis Wars Level, and Crysis Wars Objects File CLICK HERE (FIXED)

http://www.filefront.com/14992517/3252093_MatthewHunter.zip

Week 6

Reflecting on todays lecture
Utilisation of 3d modelling is the most efficient method of constructing buildings. It paints us a picture of how the architecture is going to be built and takes away the trial and error stages of construction. This as a result saves money, time and reduces the risk of injury.

Research

Comparison of stress levels involved within the workflows

Documentation Methodolgy

The first task in creating a realistic environment when documenting Townhall Station, was understanding the building. This was achieved through many visits to the location and through mostly through memory. Photographs were also used in assisting the memory documentation. This strategy made most sense, as documenting required capturing the essence and form of the spaces, not just its layout.

Machinima

This Machinima was inspired from Richard Goodwin's lecture on Porosity.

Please follow link to YouTube and view in 'HD'

This Machinima was not recorded in Crysis 'real-time'. I used a rendering technique to achieve my 'explosions' and effects, as Crysis could not handle their complexity. I used the 'fixed_time_step' and the 'capture_frames' commands to take a series of snapshots. I then imported these into Adobe Premier Pro, where I was able to render each clip and eliminate the glitches that would have appeared if I were using FRAPS to record.

References:

http://www.youtube.com/watch?v=Az40F4jL0nE

commands used:

r_displayinfo 0

cl_hud 0

e_particles 0

fixed_time_step 0.033333

capture_frames 1/0

sys_physics_cpu 0

Ramp SketchUp model

http://www.mediafire.com/?sharekey=a4acbe61d4ea7d8ca0f2f20c509059d9e04e75f6e8ebb871

After playing around with different ramp designs, I decided that this was most appropriate for capturing different versions of the 'explosions'. The ramp allowed me to film from the very edge without displaying any of its features in the footage. It was strategically placed so that the objects could be filmed from a top view, giving a different perspective of porosity's reaction to the combination of force and gravity. I used this sleek design as I wanted it to fit in harmoniously with the environment. I did this so that all the attention was being focused on the objects being filmed not the ramp, which was being used merely as a device for capturing footage.

Crysis Wars files required to 'play' environment

http://www.mediafire.com/?sharekey=a9277e42312a137baaca48175a79d1c3e04e75f6e8ebb871

*Please note that this environment is not the final version in which my machinema was filmed. The final environment became corrupt and unuseable. This is a backed up version that I attempted to re-create the final developed environment.