OK I’m not colour blind — I see colours, I just don’t understand them. Here’s a video from the American Museum of Natural History, via The Kid Should See This, that ought to help.
Seeing color – YouTube Learn how our color vision works as we follow a beam of sunlight bouncing off a beach ball. In this visual journey, we’ll explore the physics of visible light, the structure of our eyes, and how our brain processes visual information.
So white light — the colour white — includes all the other colours? I knew that on a theoretical level, but what does that actually look like? Here’s another video. Let’s get up really close to the screen.
How a TV works in slow motion – YouTube If you are reading this, you’ve seen a screen with your eyes. But have you REALLY seen it though? Like real proper seen it? Don’t worry, Gav is here to help you out. This is How a TV works in Slow Motion.
As always with the Slow Mo Guys, it’s a fascinating video in its own right (check out the speed Mario grows his moustache, for instance), but at 5:48 Gavin sets out to show us the illusion of colour.
Children’s drawings have a wonderful inventiveness, energy, and variety. We focus on the consequence of all that variety in their drawings of human figures as we develop an algorithm to bring them to life through automatic animation.
Yes the movies were very successful, but my Paddington always wore a black hat, not red.
Technical side of Paddington – The World of Animator Ivor Wood The technique as many will be aware was revolutionary within children’s programmes and commercial animation as a whole. Having 2D paper cut outs for 90% of the show with only Paddington and his personal objects being created as 3D models, the production method was ambitious and risky, having never been attempted within such tight production schedules and budgets. In many ways it was economical in that the sets could be quickly created and changed but aesthetics such as the lighting and the marrying of 2D and 3D was to be a tough technical challenge for all involved.
There are a lot of faceless enforcers of state violence. That’s a theme in The Labyrinth. While doing this, those images started pouring in from the protests in the US. When I started thinking about it, it was from protests in Spain in 2016 or 2017, I remember thinking it’s so weird that a democracy can have these thugs on the payroll to do these things. […]
It felt really weird when I really saw stuff in the news… reality is worse than your imagination.
Reality may be worse than your imagination for that artist, but it’s better for this one.
I thought I had already shared a link here to Anna’s witty and poignant Enough animation, but I can’t find it now, so I guess I didn’t. So here it is.
Staff Pick Premiere: Enough is enough – Vimeo Blog Mantzaris’ work lives somewhere between tragedy and comedy – a duality beautifully realized in her visual aesthetic. Her characters are stuck in a modern world defined by a sense of loneliness and isolation, where communication is either muffled or noisy, but never pleasant. … “I knew I wanted the characters to be quite awkward, imperfect but yet sympathetic,” explains Mantzaris. “I wanted them to have a soft feeling to contrast the not so soft actions.”
New image captures ‘impossible’ view of the moon’s surface – Live Science McCarthy trained his camera on the craters closest to the lunar terminator every night for two weeks as the moon waxed toward complete illumination. By the time the moon was full, McCarthy had a series of high-contrast, high-definition photos of every crater on the moon’s Earth-facing side. Blending them into a single composite image was “exhausting,” he wrote, but ultimately resulted in the gorgeously detailed shot seen above — an image that McCarthy calls the “all terminator” moon.
Whenever I look at a full moon I find it hard to remember it’s spherical. It’s just a flat white circle an inch or two across that someone’s pinned up there, surely, not a solid ball of rock, the size of the United States, that’s slowly drifting away from us. This image, whilst being incredibly detailed, doesn’t help—for all its deep shadows and highlights, the lack of a ‘proper’ lunar terminator still makes it look more disk-like than globe-like, I think. (I wonder if there’s a Flat Moon Society I could join.)
If the moon is a fundamentally strange and other-worldly object, what to make of black holes? This film, like the composite photograph above, might be bending the truth, but is nevertheless equally impactful.
Nebula-75 feels so much like the show I wanted to make myself, with cardboard boxes, kitchen implements, and household junk, after watching these programs when I was a wee one. That was one of the things that made them so seductive to a young and over-active imagination — they seemed so doable. And here, lo these many years later, folks associated with the legacy of these shows are doing it. At home. With cardboard boxes and junk. I’m inspired all over again.
Thunderbirds! Captain Scarlet! They don’t make ’em like that anymore. It turns out, they do.
Bloom: A touching animated short film about depression and what it takes to recover the light of being – Brain Pickings
During a recent dark season of the spirit, a dear friend buoyed me with the most wonderful, hope-giving, rehumanizing story: Some years earlier, when a colleague of hers — another physicist — was going through such a season of his own, she gave him an amaryllis bulb in a small pot; the effect it had on him was unexpected and profound, as the effect of uncalculated kindnesses always is — profound and far-reaching, the way a pebble of kindness ripples out widening circles of radiance.
In keeping with the harsh aesthetic of that Black Rain video from earlier, here’s another look at what’s above us.
In 2016 an exciting mission was ended. The Rosetta spacecraft made its final manoeuvre. A controlled hard-landing on the comet Churyumov-Gerasimenko (67p). Before that Rosetta accompanied the Comet for more than 2 years. It researched valuable scientific data, brought a lander on to the comet’s surface and took a vast number of pictures.
2017 Esa released over 400,000 images from Rosetta’s comet mission. Based on these material Motion Designer Christian Stangl and Composer Wolfgang Stangl worked together to create this short film. The sequences are digitally enhanced real-footage from the probe.
It’s from 2011, but clips from this are still making the rounds on social media, fooling people into thinking these nightmarish constructions are real.
Till Nowak makes impossible possible
“There are actually still people, especially if they see it on the internet, that really think everything is real. To me that is super interesting because the film is also about our reception of media, how we believe everything, how media can manipulate us. I had never expected that a lot of people would believe the whole film. I thought okay, maybe the first half, but then… For me as a filmmaker and my filmmaker friends, it is very obvious. But people who are not working with the media, it is very surprising for me, how much they believe. Sometimes it is a bit shocking – but also an honor and a compliment because it means that the film was convincing,” Nowak comments.
Made as part of BBC4’s ‘Listen to Britain’, this glimpse into a typical day and night round here shows that it’s not all green Dales and romantic moors.
That Yorkshire sound
A hand drawn animated documentary, following the rhythms of a day in Yorkshire. It captures the sound of Yorkshire, from it’s multicultural and bustling cities like Bradford and Sheffield, to the delicate sounds of birds in the country side and the hypnotic rhythm of the motorways and train tracks.
A round-up of films showing that animation is all about movement, really. Let’s start with something literal.
Nude Descending a Staircase No.3 by Marco Brambilla
“The figures of No. 3 constantly reconfigure themselves to cascade down an unseen stairway,” says regular NOWNESS contributor Brambilla. “The body, shapes and colour palette are pure Cubism, now expanded into three dimensions using state-of-the-art computer technology.” Brambilla’s No. 3 is a simulation of a walk cycle, which itself is an abstraction of human movement taken from motion-capture recordings. Variations of the cycles are rendered at different speeds and collaged into a kinetic composition that constantly evolves.
As well as bringing life to the models, this film shows you can animate the cameras filming those models.
Daria Kashcheeva combines stop motion, documentary-style filmmaking and painterly techniques
The trauma that spirals out inexorably from a single instance of failed connection between father and daughter is captured with an affecting candidness by Daria’s use of stop motion animation. For her, the technique affects a closeness with the world of the characters as a tactile reality. “I like the air between the camera and the puppets, which is tangible and which I cannot feel in computer 2D animation.” This proximity to the characters is further enhanced by Daria’s painstaking filming technique. Instead of adopting the fixed perspective of an objective viewer, she simulates the cinematic effect of hand-held footage by animating the motions of her camera as well as the movements of her puppets.
How about animating something that doesn’t move for 50+ years?
A whale can live 50-75 years. Its afterlife is equally long and spectacular
After a whale dies, it begins to sink. As it drifts slowly downward, its body provides sustenance for an incredibly diverse community of organisms. In Whale Fall (After Life of a Whale), the stages of consumption are illustrated by paper puppets of the fish, crustaceans and microscopic bacteria that feed upon the whale for decades after its death.
Or something that hasn’t moved for thousands of years?
Frozen for millennia, an ancient Greek soldier is freed to charge into battle once again
The artifacts that underlie so much of our understanding of the ancient world can often feel like brittle remnants of a dim and dusty past that’s hard to access without context and extensive knowledge. But sometimes just a little kineticism can transform a bit of pottery into a living story. Such is the effect of this animation produced for an exhibition at the Ure Museum of Greek Archaeology at the University of Reading in the UK, which breathes life into war scenes from a vase found on the island of Euboea and thought to date to roughly 550 BCE.
And from the sublime to the ridiculous; animating continental drift, as the UK stupidly slides away from Europe.
Max Colson satirises post-Brexit UK in a 3D-modelled animation
Brexit really has brought out the worst in people. The rhetoric spewed by certain right-wing politicians has allowed blatant racism to ooze out of hiding, revealing a cesspit of empire-loving xenophobes that wouldn’t know what makes Britain “Great” if it smacked them in their bland food-loving faces. But with that rather enormous caveat, it’s also been an utterly fascinating time for people-watching. If you’re interested in the idea of ‘Britishness’, like artist Max Colson, the past three years have been a revelation. Via nostalgia for a Britain of the past (in many cases a fictional country that never really existed), there’s a tonne of insight into the values, fears and neuroses motivating us Brits. It’s these idealised views of Britain that Max has mined for his latest short film The Green and Present Land.
Exploring ways of representing the human body has been a mainstay of art for millennia. Here are two examples — one hard as iron, the other soft as paper.
The body as machine: first imagined in 1927, now brought to new, animated life
Originally an interactive installation, this short video from the German animator Henning M Lederer breathes new life into Kahn’s illustration, augmenting the original image with mechanical movements and sounds. Lederer’s update offers a visually and conceptually rich melding of technology, biology and design, echoing a time when machinery permeated the collective consciousness in a manner quite similar to computing technology today.
Paper illustrations and GIFs explore the body and mind in new work by Eiko Ojala
New Zealand and Estonia-based illustrator Eiko Ojala creates cut paper illustrations that present shadow and depth through creative layering of colorful pieces of paper. Recently, his editorial illustrations have been focused on the mind and body, like a cut paper GIF he created for a story on heart attacks in the New York Times. Others, like two Washington Post illustrations, attempt to uncover the thoughts and feelings sequestered in children’s minds by layering images inside the shape of a boy’s profile.
I really like the delicacy of these live-action animations (that’s not the right term) from Catherine Prowse. The frailty of the models and the directness of the movements acting on them work well to illustrate the vulnerability of our inner lives, trying to get through each day.
Rod puppets in intricate felt sets profess The Need to Be Alone for Alain de Botton
Not long out of Kingston’s Illustration and Animation course, Tom Fisher and Catherine Prowse have directed a charming and impressively detailed short film for The School of Life, made entirely from hand-stitched felt. Featuring a cast of rod puppets shot in a live action format, The Need to Be Alone stars a red-spectacled, introverted protagonist called Alan – a tribute to its writer and narrator Alain de Botton. Throughout the film, Alan navigates a series of potentially awkward social scenarios as Alain professes the importance of having time alone to process these interactions.
I didn’t spot this in time for Halloween, but a new animation from Cyriak has jumped out at us. I guess it’s his 2018 take on the Skeleton Dance from 1929 I mentioned earlier. Compare and contrast below!