Week 6- Animation and Virtual Reality Reading

ANIMATION AND VIRTUAL REALITY

Animation:

"2D and 3D Animation and Video" from The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 323-358 (pages 358-365 have additional information which are not required to be read.)

Virtual Reality

"3D Input and Output" from The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 297-316.

Summary:  “3D Input and Output” has an interesting overview of 3D devices used for inputs and outputs that filled some of the gaps in my own knowledge. One interesting point is how with the movie makers and the universities are major innovators in this field. This is supported by Funiss (1998) in showing the movie industry as a major player, but the university has had a quiet impact. A new terminology for me was the 6 DOF.  For 3D input “one generally needs at least six degrees of freedom (6 DOF), three for X, Y, and Z translation and three for 3D rotation” (Zhai, 1998, p. 50).  In the reading “2D and 3D animation and video", a lot of the terminology was new to me, but most of the functions I was able to relate to the experience in animation that I have had in 3ds Max. The use of timelines and keyframes are new terms, but I have previously explored these feature in 3ds Max. The artistic adaptation of these techniques was surprising to see that it has had such vast interest and mixed use. The Sigrid Hackenberg image (Spalter, 1999, p. 346) is “hauntingly beautiful through her editing techniques”(Spalter, 1999, p. 347) and is in great contrast to the Alex Rivera images (Spalter, 1999, pp. 351-351), which are from a video with images related only thematically and shown rapidly together without transitions. Both of these are again different from the morphing work of Joseph Santarromana work (Spalter, 1999, p. 339).

Contextualize: The animation of interior spaces can be a very communicative method for clients to understand the intended design plan. It can also be a beneficial visual model for showcasing various features of a design that when animated visually explain the design purpose. Examples within furniture design would be opening and closing of a drawer and the ability to show inner details of the drawer and its construction. Using the ability to view stereographic representations of an interior is a feature that can also benefit the design process as Joch (Joch, 2005) explains that the client was able to analyze potential sight lines problems before the construction with the use of 3D.

Argument: The integration of technology, as shown in the article, highlights the interesting push the government can have on bringing new technology into the building arena. Having high budget government projects under extreme scrutiny can force design innovation forward due to the fact that the parties involved want to mitigate any potential loss due to design or communication error. Plus, the “GSA always wants the best price you have ever given to anyone- GSA calls this Most Favored Customer prices- and then a little bit more”(“Negotiating Profitable General Services Administration (GSA) Schedule Prices,” n.d.). So, in the end there usually is a low profit margin to start with. This new technology can help up front with more accurate design development. The future will most likely bring more multi-sensory 3-D animation and virtual reality to architecture for a total sensory experience that allows fully virtual buildings to be created and tested before construction begins. This would go further in bringing design and build project teams together earlier in the building design process. This is a strategy that is emphasized by the USGBC and LEED for minimizing change orders and inefficient building design (U.S. Green Building Council., 2007). The upfront communication allows everyone to see what the end goal is and how everyone else is working toward that goal. Better system integration is often a result. With the need for up front analytical development of requirements, innovations may be needed and can be pursued.

Evidence: There are several online outlets that will provide architectural 3-D flythroughs, like Archmania at http://www.archmania.com/. Archmania supports the above argument with the following website quote: “This technology has been found to be highly useful and can result in various improvements in terms of architecture as well as attracting more customers.”  Additionally, with the recent successes in the movie industry with animated 3D films, the future of 3D animation will continue to be pressed. “The 3D aspect at that point simply becomes the icing on the cinematic cake. ‘I think at some point 3D will become to animated films what navigation systems are to cars,’ Dergarabedian says. ‘You’re just going to have to have it in every single one. Otherwise you’re going to feel like you’re missing out’”(Avila, 2009). It will then similarly be pressed into the architectural field through large clients like GSA.

Animation example- using 3ds Max and a concept model for my research screen project.

A little bit 'o fun with Windows Live Movie Maker. A very little bit.