THE ABSTRACT
The analysis of this exegesis reports on the research project process around making short animated film. It is primarily focused on the design aspect for the support of the facial animation technology. The methods do exist in the context of visual communication and design principles. Those are the development of the narrative world of the film, the artistic approach to advanced digital technology and the computer graphics. Results are presented in the form of the short film, White Storm and contextually interpret wider purpose by the means of visual grammar. The future research proposition outlines the potential for the project framework to continue. The conclusions are formed as a basis for the state of the film.
I N T R O D U C T I O N
Throughout the body of the exegesis there is a development of literature and media references presented that influenced the work. Theoretical framework was established and synthesised around the project development and further stages were presented in the form of structural maps to illustrate the ability of the practice to have an on-going research basis in the future. It uses and presents the successful application of the action research methodology in relation to production design.
The theory and practice of making the film is intertwined in its ability to reflect upon each other. It contains the source of thought behind the design philosophy of the concept art, digital practice, cinematography and review of the future research. Production stages of the film are illustrated in the experimental way of collecting the data by utilising different capture methods of the created narrative framework. The body of the exegesis is both relevant to the academic research and underpins the thinking process of the computer generated film direction. It reflects on the way to think in multi modal perspective towards the creation of the narrative representation with digital technology. This includes visual and audio information. There are technical descriptions presented of the digital design process behind computer generated filmmaking.
Knowledge and information presented in this document is highly contextual to visual storytelling, narrative design, medical visualisation, advanced animation, film directing and digital design.
L – VIEW
The scope of the reviewed literature is divided into three key areas: design, art and science. Design investigation contributes by the innovative characteristic of thinking about creation with the laws of nature in mind. This is especially significant in the form of design for a science fiction digitally designed film.
METHODOLOGY
The action research model was taken as a basis for working along the body of research practice. The oscillation of the action inquiry cycle was utilised to progress further with the development of strategies to improve the practice. Actions planned to create the project led to a set of outcomes to improve the practice for the higher level. Re-iterative approach to the design process of the film entails the successful application of the action research model in practice.
RESEARCH QUESTION
The body of research aims to answer the key research question: How does the addition of advanced animation and rendering techniques such as facial motion capture, eye tracking and photorealistic rendering using layered shaders impact on the quality of facial animation?
THEORETICAL FRAMEWORK
The theoretical framework section of the exegesis will demonstrate the overview of the process of theory synthesis and knowledge basis of the project. It is a rather broad context as opposed to the literature and contextual review and it illustrates the ability of the project to develop further as a continuous practice supported by the theoretical development. The basis of the knowledge generation is based on the idea of developing through rather than pulling the information from sources. It combines them and by the nature of different knowledge areas it converges and creates new knowledge.
The diagram below illustrates how the theoretical framework is constructed, operated and has the ability to expand in the future research as a social investigation, data gathering expedition and interactive multimodal narrative experience. A fragment of the larger map.
ARTIFICIAL AND HUMAN
The language of the film speaks to us in two personalities. This is designed via the choice of vocabulary and contextual semantics of the word. Human kind is represented by demonstrating the ability to have memory about life. Artificial intelligence is a form of a ghost that exists inside the network of the machine. The key characteristic of the overpowering intelligence is the computational terminology. Dualism is a very relevant description of the separation between material existence and intellectual presence. Emotional fluctuation in two contrasting personalities have a degree of synchronisation towards the development of the narrative progression. The cyborg and the human begin to merge due to the continuous nature of the acted performance. The end of the film supports the wider context of the film world and underpins the hope to be left with. This strengthens the belief of the core thematic contribution for the world and the character to exist in reality.