Железная Кино · 2020
Preludes Анимация в смешанной технике
- Железная премия A' Design Award 2020 in Кино
- CLIENT: Matthew Rankin
- Estimated Number of Design Views: 12,675
- Verification code 64F372FE8A · Verify this award
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About Preludes Анимация в смешанной технике
«Preludes» — короткая анимация в смешанной технике, созданная по мотивам одноимённого стихотворения Т. С. Элиота. Фильм длится одну минуту и восемь секунд и соединяет образный ряд Элиота с оригинальной музыкальной композицией. Сцены связаны между собой темой и звуком, а не единым визуальным стилем. В работе объединены 2D- и 3D-анимация: модели созданы в Cinema 4D, визуализированы в Redshift и собраны в After Effects. Вид с высоты птичьего полёта сменяется уровнем улицы, где фигуры проходят друг мимо друга за экранами. Анимация размышляет о современной жизни через призму текста прошлого века.
About the Железная премия A' Design Award
Preludes Анимация в смешанной технике — лауреат Железной премии A' Design Award, престижного признания, присуждаемого хорошим проектам, которые отвечают профессиональным и промышленным требованиям, ожидаемым от хорошо продуманных творений. Обладатели Железной премии демонстрируют большое мастерство, высокую специализацию, экспертное понимание и творческие способности их авторов. Ожидается, что Preludes Анимация в смешанной технике станет высокоценимым, вызывающим восхищение и дорогим сердцу творением, практичным и инновационным. Этот проект, получивший Железную премию A' Design Award, интегрирует лучшие отраслевые практики и обладает компетентными техническими характеристиками, сочетающимися с ноу-хау и талантом. Благодаря основательности Preludes Анимация в смешанной технике заслуживает уважения и создан для того, чтобы улучшать качество жизни, помогая сделать мир лучше.
Press Kit
- Unique Properties
- Preludes is a mixed media collaborative animation based on a poem by T.S. Eliot. The process involved the poem being chosen by the producer, who then invited a musician to compose a one-minute piece which was handed off to me to provide to create visuals on both the the words of Eliot and the music.
- Dimensions & Packaging
- Duration: 1-minute, 08-seconds
- Tags
- poetry, animation, motion graphics, 2D, 3D, after effects
- Production Technology
- Preludes utilizes both 2D and 3D animation all composited in After Effects. The scenes with 3D were done in Cinema 4D and rendered using Redshift. It also uses several After Effects plugins such as Video Copilot's Sabre, Rowbyte's Plexus, and Red Giant's Particular and Form.
- Design Challenge
- The challenge became putting the many ways this manifests into only one-minute and matching those visuals to an already created musical composition. And that's how an aerial view helps to alienate us from the tracking signals on the street and we are suddenly shifted to street level view to see faceless people bumping into one another with screens blocking the vision.
- Research
- For this project the research fairly straightforward. It started with a cursory reading of the poem, Preludes by T.S. Eliot, and listening to the soundtrack created by Angus Macrae. I listened to the audio repeatedly to let it sink into my memory and to help with visualizing general concepts. This was followed by seeking out deeper analysis of the poem so that I better understood the themes, ideas, and symbols. While I could certainly have skipped this step it was profoundly important as I went along and was searching for visual fragments to add to the density of the piece.
- Inspiration
- Preludes is based on T.S. Eliot's poem of the same name and a one-minute musical soundscape provided to me and composed by Angus Macrae. The whole project was organized by a group called Campfire Poetry that uses poetry as away to promote collaborations between musicians and animators.
- Project Duration
- The project was started 20 December 2019 in New York City and completed in February 2020.
- Operation Flow
- I was immediately drawn into Eliot's non-narrative and slightly abstract form, even though he was describing a very defined and concrete world. I took that as an opportunity to create scenes that were thematically, but not necessarily aesthetically, connected. Instead, I chose to let Macra's soundtrack be the connective tissue weaving together Eliot’s view with my own as I explore how our modern world looks and feels in the context of Eliot’s ideas.
