Fantastic Voyage OGR by Josh Aldis
OGR 06/03/2014Hey Josh,Thanks for being patient. You know, I'm a bit confused as to why, if you're making the creative leap that an ordinary book can produce extraordinary pop-up components, we also need to be in a 'real world wood'. It seems like, if we're in a woodland place, a) what's the book doing there? and b) why are we looking at origami-esque ferns, as opposed to the real thing, which we might assume to be growing nearby? It's clear you want to create a magical feeling, but again, in the setting of the woodland, 'magic' already feels more likely. Isn't the key role of the CG artist in this instance to put the magic into a situation that is utterly unmagical and mundane? Wouldn't it make more sense for the book to be somewhere very ordinary, and then something extraordinary happen out of it/because of it? From this (yawn):http://a.static.trunity.net/files/116601_116700/116614/250px-Fernanatomy.jpgto this:http://inspir3d.net/wp-content/uploads/2011/10/su1.jpgSome other things that popped into my mind as I was looking at your thumbnails:http://ucarochester-cgartsandanimation.blogspot.co.uk/2013/12/cgaa-one-day-winter-trees.htmlhttp://ucarochester-cgartsandanimation.blogspot.co.uk/2013/10/cgaa-misc-paper-architect.htmlSo - the short version is this: if you're going to go to all the effort to get your audience to buy into the idea of a book spawning tangible elements in a magical way, do you need the wood at all, or is that a tautology? Discuss!
Hi Josh,Don't want to be a boring old nag-bag, but you're one of the few remaining year 1/year 2 students yet to complete the ISS survey - or are yet to let me know that you have done. See original link:http://ucarochester-cgartsandanimation.blogspot.co.uk/2014/02/fao-cgaa-year-1-2-internal-student.htmlMany thanks :)
Sorry the tab was unexpectedly closed last time I tried, will do now. Thanks for the feedback also!