Chronogram

Needs text

Fan fracture

Fan fracture test: trying to emulate the 'noise factor' present in all sensory information



fanfracturetest from N Nivreen on Vimeo.

Second Animatic

Second attempt at assembling the film. Its still lacking cohesion between the two worlds and it needs to be edited and cut up so that the two worlds break constantly against one another increasingly - reaching a climax at the end of the film where they contaminate one another.



SecondAnimaticNoSound from N Nivreen on Vimeo.

Blur explanations

As light filters into the eye and the brain processes it, the output from this internal representation causes vision. If this process is broken down into its basic funtion, we can entertain this primordial sensation of vision as being entirely different from the one we take for granted.

Light hits the retina and this signal is processed and stored as a representative experience in the mind. These tests explore what this first stage of light may be like based on neurological and medical experiments and explanations of sight.

The eyes track the movement of the scene while the pupil enlarges to absorb varying light levels, resulting in a fluctuating blur. When the mind has never seen before, the system and arrangement of objects is indeciferable, thus rendering seemingly banal scenes extraordinary.



The notion of binocular vision is ignored by standard cartesian perspectivalism. In this clip I'm trying to express how the mind uses the eyes to generate our semblance of seamless visual / spatial reality. The vector objects are representations of the eyes movement in tracking the light and movement.
As the eye focuses gradually on the object of interest, the movement, form and colour gain meaning

Spaces required for the Library

Entrances

Exits

Archive storage

Reading Areas

Book check out desks

Staffrooms

Toilets

Shelving

Library Collections:

• Biological, Chemical and Environmental Sciences
• Chinese Collections
• Dissertations (Theses)
• Digital Image Collections
• Electronic Resources
• Specialist Collections
• Latin American & Iberian Collections
• Law
• Legal Deposit
• Manuscripts and University Archives
• Maps
• Medicine
• Microfilms
• Music
• Near and Middle Eastern material
• Official Publications
• Periodicals
• Physical and Mathematical Sciences
• Rare Books:
• X Society's Collection
• Photograph Collection of X Society

Need to define how each of these spaces needs to be laid out to best describe the path of the protagonist in her ability to learn.

Initial Tests for the Second Space: Learning to see

The viewer is lured into what it may be like to see for the first time. Only first making out light, then gradually distinguishing colour and form till finally, the object, scene and environment form relationships that make the experience whole.


Fan Test 7 from N Nivreen on Vimeo.

Only light and a vague rhythm are detectable.

Fan Test 4 from N Nivreen on Vimeo.

Colours and forms start to appear, movement is more defined. The vector lines express the manner in which the eye tries to decifer the information it is absorbing.


Fan Test 3 from N Nivreen on Vimeo.

Eariler version but with sound.

Fan Test 6 from N Nivreen on Vimeo.

The object is becoming recognisable but the light and movement are still difficult to measure.


Fan Test 8 from N Nivreen on Vimeo.

Potential transitional shot between gaze into dome at the end of the library space and the reveal at the end of the film in 'real' space


Original Fan footage 2 from N Nivreen on Vimeo.

One of the original fan renders from Cinema 4d

More tests...

fan with scene motion blur from N Nivreen on Vimeo.

Fan Tests

with sound....and lots of blur

straight from C4d with ambient occlusion

Hand animatic test 1

Hand animatic test from N Nivreen on Vimeo.

sketchy hand animatic...Grey gaps denote areas where the 'second place' will appear and that need to be a lot longer

Learning to see

Blind man sees again

http://www.medicalnewstoday.com/articles/4180.php


How we see

http://biology.plosjournals.org/perlserv/?request=get-document&doi=10.1371/journal.pbio.0030256&ct=1


Visual Space Perception: A Primer
Maurice Hershenson
A Bradford Book
The MIT Press
Cambridge, Massachusetts
London, England
1999

hand storyboards

(ADD STORYBOARD)
1a. The first encounter: Light Recognition, basic movement recognition, simple shape recognition: first stage of visual perception: Intimate shot, camera shot goes from dark to light on an indistinguishable object Very quick shot before any definition can be made of the scene. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.

1. The first encounter: the entrance: the start of the journey: Light and dark, the eye is drawn to the only illuminated object the door.
2. The neural corridor: The camera draws in closer to show the fleshy anatomical nature of the entrance and a character moving inside it.
3. The neural corridor: As the camera makes contact with the door, gets close enough to view it, it is sucked into it in a ball of electrical energy, analogous to a synaptic flash.


(ADD STORYBOARD)
4a. Form, Colour, Motion recognition further clarified: Second Stage in Visual perception: The half lit object from the first image is shown to be moving, the direction isn't clear, the shape shifts in a blurry, unclear way, dotted lines trace the movement and circles denote the focal point. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.


4. The neural corridor:The ball of energy moves forward, the camera travelling with it. The electrical charge appears to be creating the corridor it passes down. At its end a figure can be seen reaching for one of the shelves.
5. The bookshelf: Emily is reaching for one of the books, the camera is stationary as we see one of the tendrils that makes up the shelf moving in the background.


6. The bookshelf: A tendril moves in the last shot. Emily looks up. An additional corridor above her is shown, existing at an impossible angle.

(ADD STORYBOARD)
7a. Binocular vision: The eye shuts, the shutters two different times, revealing slightly different images, each one slightly focusing more. Dotted lines overlaid denote the left and right eye destinal points

7. Revealing the lack of normal rules: Using the same electrical pulse as before, the ball moves up the newly formed corridor, showing Emily standing below it looking up.

(ADD STORYBOARD)
7a. Diploplia vision: The image doubles and blurs as the focal point shifts back and forward Dotted moving lines overlaid denote the science behind why this is happening, overlaid. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.


8. Revealing the labyrinth: The camera pulls out to reveal that the corridor is one of very many. The camera moves along each one illuminating it as it does so.
(ADD STORYBOARD)
7a. Depth perception: The image doubles and blurs as the focal point shifts back and forward Dotted moving lines overlaid denote the science behind why this is happening, overlaid. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.

9. Revealing the labyrinth: A strange limitless building is revealed, rooms upon rooms, stories and stories with a backdrop of buildings behind the terrace being explored. Lights glow dimly in the spaces.
10. Revealing the labyrinth: The camera pulls up and out of the scene and while doing so showing the vast depth of the building it continues for innumerable stories, the camera passes connecting bridges, domes windows corridors, many of the buildings don't have finished sides, they remain visible as sections.
11. Death and growth of the labyrinth: As the camera pulls out further the scale of the city / building is further revealed but this time what is also revealed is that the city is dying and growing simultaneously; the lights of the city are changing continually, altering the configuration of the building.

(ADD STORYBOARD)
7a. Holistic recognition: The image is becoming clearer, new elements are entering it, through more defined blurs becoming clear shapes. Colour is becoming more vivid. Dotted lines and shapes define the various objects and start to draw a coherant picture.
12. Revealing the scale of the labyrinth: The camera pulls out yet again to reveal that the vast building is one of many floating like particles, like the city, these particles glow and fade with an electrical nebula surrounding them
13. Revealing the scale of the labyrinth: The camera pulls out further showing the particles orbiting a sun like object of light
14. Revealing the labyrinth: The angle of the camera changes so that the sun like object is in the centre with all the particles surrounding it and like rays streaming from its centre.

(ADD STORYBOARD)
15a. More defined awareness, gestalt etc: Further clarification, more lines etc. The speed of this break builds up to to a climax
15. The eye of the beholder: The camera pulls out to reveal that the mock solar system is the eye of Emily
(ADD STORYBOARD)
16a. Self awareness: A very quick flash reveals Emily lying on the ground, all of the lines originating from her eyes to points all around her in the blurry environment. Almost unviewable, strobe effect between the next shot.

16. The eye of the beholder: She is gazing intently on something

(ADD STORYBOARD)
17. The eye of the beholder: The camera swoops around her (the background is a blur of movment) and we see what she is looking at. The camera is now facing her back

18. The Final Chamber:Camera pulls out to reveal the scale of the room, light streams down from the oculus onto her. The organic forms that make up the dense stucco are seen to move slowly. The building is living. The dotted lines from the other space start to overlay everything moving frantically, the focal points moving constantly, the blur starts to overtake the scene, the scene drips and swoons in and out of focus
Detailed neural stucco
19. The final centre: Camera moves up to look at the dome, camera moves up the dome is in perfect focus but then the camera sweeps out through the dome filling entirely with light, numerous centres and focal points explode from it.

(ADD STORYBOARD)
20. Everything: This scene merges into another blurry scene, made from the movement of a fan, the dots form one whole - fade to white

The End

First animatic test

First Animatic Test from N Nivreen on Vimeo.

Charles and Ray Eames: Powers of Ten

Watch it here

Section: potential to be a drawing

Storyboards Set 2: For the library

1.
The Library:
The Camera looks at the facade of a great building which is in darkness, the door is illuminated, a figure can be seen.x2.

Camera moves towards the entrance revealing Emily at its entrance

3.
As Emily starts to walk into the corridor there is a flash of electricity. The camera sucks into the corridor, suggestive of a neural flash.


Close up of Emily looking at one of the bookshelves

She looks upwards above the bookshelf (add this scene shot - sketch)

Camera looks down from newly grown corridor at Emily

The camera pulls out of the corridor to reveal a vast number of other identical corridors. The camera moves across them a lense flare highlighting each one in turn.

The camera pulls out further to reveal a massive facade of which the corridors are only a tiny part of.

The vast scale keeps being revealed as more. The orientation of tunnels, corridors and staircases isn't consistent.
Finally the scale pulls back to the level of a map at 1:5000 and then the edge of the site is revealed to be a floating object in space

among many others, like dust floating around a planet or particles in water viewed under a microscope.

The shot pulls back out to reveal that the scene is a reflection in Emily's eye.

and Emily is standing in the altar area of the library, with light streaming in on her from the stained glass windows

The camera pans up to the dome where more light is streaming from till the screen is white.