Emma Morley

Monday, 6 October 2014

My pencil has two normal eyes!!

Hoorah! So Simon explained that the reason my pencil's eye is black is because it was effectively 'inside-out'! To rectify this, in the 'Surfaces' option, I went to 'Edit NURBS' and selected 'Reverse Surface Direction'. Lo and behold, my normal eyes....

Maya tutorial - Character Modelling

Although it seemed to take me FOREVER to do this tutorial, I got there in the end! I am persevering with Maya and want to love it. The offset option hates me, but I will coax it into my way of thinking. I also don't seem to get along with the way the bevel tool is used in the tutorials, but have found an alternative way of getting it to do what I want. I'm assuming this is just the difference between the versions of Maya (I'm using 2015)?

Why does my pencil have a black eye?!! So I modelled my first eye with no problems, but when I duplicated it (using the -0.5 scale on the axis), the new eye appeared completely black. (There is a pupil there too, honestly). I can't work out why this is and attempted the duplication several times. Not sure if it's something to do with me having a different axis view to the tutorial maybe - I can't work it out!

My eraser needs to pick its eyes off the floor. Felt like by this point, I was gaining a bit more confidence, although my neck is hurting and my forehead has many more frown lines.

Complete! Any clues on the black eye...?!

Sunday, 5 October 2014

Maya tutorial 1 - Modelling egg cups

Ooooh look! My first polygon and NURBS eggcups in Maya! Over the moon with these and actually enjoyed modelling them. Had a few frustrations, but persevered and everything turned out alright in the end. Love it! Onto the next...

Thursday, 2 October 2014

Invisible Cities - Anastasia thumbnails

"...Anastasia, a city with concentric canals watering it and kites flying over it. I should now list the wares that can profitably be bought here:agate, onyx, chrysoprase, and other varieties of chalcedony; I should praise the flesh of the golden pheasant cooked here over fires of seasoned cherry wood and sprinkled with much sweet marjoram..."

This thumbnail page is more of a mood board/influence map than my own sketches (hence the minimal thumbnail numbering) but I just wanted to get down all those lovely colours from the precious stones mentioned in Calvino's descriptions. They've really inspired me to look into this city further. The 'concentric canals' in the text are reflected by the layers of stone and the rings of the cherry wood. The idea also that Anastasia is a city that you could get wrapped up in and 'sucked into' made me think of a vortex, again going along with the circles and ripple effect that keeps cropping up. I like this city...

Film Review: Metropolis by Fritz Lang (1927)

Fig.1 Original Movie Poster

The first feature-length science fiction movie, Metropolis was a pioneer for its genre. Made in 1927 and directed by Fritz Lang, it is one of the most expensive silent films ever made with a budget of just over 5 million Reichsmark. All that survives of this black and white, German Expressionist movie is an incomplete copy. Until recently, over a quarter of the film had been lost, with intertitles filling the missing gaps. However, in 2008 a damaged print of Lang's original cut was found in the Museo del Cine in Argentinia and 95% has now been restored.

Fig.2 The Metropolis (Movie Still)

The story is one of polar opposites: rich and poor, black and white, light and dark. We are introduced to the 'metropolis' - a clean, modern city with skyscrapers and various modes of transport, busy with commerce. (Fig.2) Bold, strong images of industry and production are booming from the screen as we are taken down to the 'workers' city'; an underground, dark and steamy powerhouse. Coupled with the strong and fierce images of machinery is the grand and imposing music (think Emperor's March from Star Wars). Workers are marched in and out of the workroom 'en masse' with bowed heads and expressionless faces. With are given a sense that these workers are utterly spent and close to breaking, but absolutely crucial to the running of the city. The men themselves are working like machines.

Fig.3 - The Heart Machine (Movie Still)

Above the Workers City live the rich and their families, including the creator of the city, Joh Fredersen and his son, Freder. The scene here is a complete paradox. Light, bright and airy with music that is free and flowing, it is easy to see that life here is entirely different. (Fig.3) Here we also have our first glimpse of Maria, whom Freder instantly falls for. Maria is one of the poor and Freder ventures down to the Workers City, desperate to find her again. In doing so, he stumbles across the heart machine and realises how bad the working conditions are below the city. He vows at that point to help and takes over from one of the workers, 11811. An exhausted Freder discovers that the workers are secretly visiting Maria in the catacombs below the city for hope that life will improve. Maria tells them that they are the hands and the creator is the brain of the city. All that is needed is a mediator to be the heart that will connect them all. Freder steps forward and Maria believes he can be the mediator they all need.

Fig.4 - the transformation from Machine Man to Maria (Movie Still)

As this is happening, Joh Fredersen visits a scientist named Rotwang, who reveals his latest invention, Hal, a robot reincarnation of a woman they both loved. On seeing the interaction between Maria and Freder, Rotwang persues and captures Maria and uses her to bring his robot to life. (Fig.4) The 'robot' Maria, known as the Machine Man returns to the catacombs and starts a revolution against the machines. Despite the efforts of foreman Grot to stop them, the entire city of workers destroy the heart machine and in turn, flood the city. Meanwhile Freder and Maria rescue the children who have remained in the city. The workers realise their mistake too late and try to find the Machine Man, believing her to be a witch. Desperation and confusion ensue between the workers who initially chase the real Maria. However, justice is served in the end when the Machine Man is burned at the stake and her true identity revealed. We are left with a moral ending, when Freder acts as the mediator between Grot and the workers (the hands) and Joh Fredersen (the brain). The two opposing sides shake hands and agree to work together for the future.

Many thoughts come to us when watching this movie. The characters are played extremely well, in particular, Maria (played by Brigitte Helm). Her interpretations of Maria and the Machine Man are so believeable with the diverse body language, make-up and costumes (Figures 5 & 6). Metropolis marked the beginning of a successful career for Brigitte Helm, until she retired in 1935 after both the coming of sound and Hilter's takeover of the German film industry. She was long forgotten when she died at the age of 90.

Fig. 5 Ethereal, and peaceful Maria Fig.6 Evil Maria after the transformation

Another strong character is Freder (played by Gustav Fröhlich) who can see what is going to happen from the outset. He tries to help and is not afriad to stand up to his father when relaying events to him regarding the heart machine explosion at the beginning of the film. We get a sense of Joh Fredersen's power when he is confronted by Grot, the big, powerful and tall guardian of the heart machine. Although in stature, Grot is by far bigger than his employer, the influence Joh Fredersen has over him and the rest of the workers is evident. We can see that Grot is intimidated by him from the body language between the two characters. Although Joh Fredersen is the creator and leader of Metropolis, the size of the buildings and the sheer power of the city seems to put him on edge. He is aware the city he has created is by far bigger than him. His view towards the poor of the city is obvious as he states that they are "in the depths where they belong" and, aside from Grot, only sees his workers for the first time at the end of the film.

So much can be said about this film, but its influence is immediately recognisable when looking at films such as Fifth Element and Blade Runner. Innovative camera work shows how the film was moving things along in the film industry, as well as the special effects used. The scene when Maria is transformed into the Machine Man is particularly recognisable and iconic. Metropolis has not only influencing film making, but also fashion, costume design and music since its birth nearly 90 years ago.

Fig.7 - Building the Metropolis (Still)

Illustrations:

Fig.1 - Original Movie Poster

At: http://en.wikipedia.org/wiki/Metropolis_(1927_film)

(Accessed 30.09.14)

Fig.2 The Metropolis (Movie Still)

At: http://www.tboake.com/uncanny/gibson/metropolis1927.htm

(Accssed on 30.09.14)

Fig.3 The Heart Machine (Movie Still)

At: ww.culturalafterthoughts.wordpress.com

(Accessed 01.10.14)

Fig.4 The transformation of Maria (Movie Still)

At: www.blu-raydefinition.com

(Accessed on 30.09.14)

Fig.5 Maria (Movie Still)

At: www.fullhdwp.com

(Accessed on 30.09.14)

Fig.6 Evil Maria (Movie Still)

At: www.ufilmanalysisrobinson.wordpress.com

(Accessed on 01.10.14)

Fig.7 Building the Metropolis (Still)

At: www.dip9.aaschool.ac.uk

(Accessed on 30.09.14)

Wednesday, 1 October 2014

Film Review: The Cabinet of Dr Caligari (1920)

Fig.1 Original Movie Poster

The Cabinet of Dr Caligari was made in 1920 and is noted as being 'the first true horror film'. Directed by Robert Wiene, this German black and white silent movie is said to be one of the most influential movies of all time.

Fig.2 Dr Caligari, Cesare and Jane

We are introduced to the film with the scene of a young man, Francis, retelling his story to a friend. The story involves a strange man, Dr Caligari, who comes to the town fair with a somnambulist, Cesare. He claims Cesare can predict the future and welcomes onlookers to challenge him. At the same time several mysterious murders occur in the town. Curious of Dr Caligari, Francis and his friend Alan visit the attraction and Alan challenges Cesare with the question "How long will I live?". Cesare answers that he will die at dawn, which is indeed what happens. Ever suspicious of Dr Caligari, Francis investigates further until Dr Caligari realises and sends Cesare to murder Francis' lady interest, Jane. Cesare cannot carry out the killing and instead kidnaps Jane, carrying her to the rooftops above the town of Holstenwall. Here we have one of the most iconic movie images of all time (Fig.3). Cesare collapses and dies from exhaustion and Jane is saved. At the same time, Francis visits the town asylum to see if there has ever been an inmate by the name of Caligari and to his horror discovers that Dr Caligari is in fact the director of the institution. It is revealed that Dr Caligari, obsessed with a monk named 'Caligari', wished to copy his idol and carry out 'proxy killings' using the somnambulist as his puppet. Francis and the asylum doctors capture and restrain the maniacal Dr Caligari, who becomes distraught at the news that Cesare is dead. At the end of the film, however, the twist in the tale is revealed when we discover that Francis is not retelling a true story, but is telling a story in his mind. He is the patient in the asylum and Dr Caligari is his doctor.

Fig.3 Cesare carries Jane to the rooftops

What strikes us first visually in The Cabinet of Dr Caligari is the striking and stylized abstract sets. Shadows were painted onto the floors, backdrops and flats to create mystery and quirkiness to the movie. Not everything 'makes sense', such as the wonky windows and twisted staircases. (Fig.4 & 5) The music is another clue to what is happening in the movie, albeit more subtle than the backdrops. When watching the scenes of Francis' fantasy, we are presented with the unusual, abstract sets and grating, repetetive music. This is because the director wants the audience to experience what is happening in Francis, the mad-man's head. At the very end of the film, note that the sets are straight and 'as would be expected' as the audience are no longer inside Francis' story and inside his head. The music here is more pleasant and free-flowing. These subtle sensory messages are used throughout films today and The Cabinet of Dr Caligari is known by many as the first to have the 'twist ending'. Although a black and white film because of the year it was made, the saturation completely adds to the feel of the movie and this effect would be lost, should the film have any real colour to it. The music and timing of the movie add to the suspense and the jerky, exaggerated movements of the actors give a real sense of drama and uncertainty. We can see how this film inspired such films as 'Frankenstein' and more recently 'Edward Scissorhands'.