Contradictions
Self-Initiated Project | 2023
OVERVIEW:
“Contradictions" is a three-part speculative motion project that explores the coexistence of inherently conflicting ideas, expressing irony, truths, nuances, and ambiguities. Abstracted with rudimentary figures to form distinct vignettes and comparisons.
The inception of this project stemmed from my curiosity about strange juxtapositions and how conflicting forces would appear from a spatial standpoint. I am drawn to the presence of distinctive, visceral pieces and details concealed within the tensions, which are overlooked on the surface of binary but immensely contribute to the greater whole.
OBJECTIVE:
This experimental initiative serves as a reaction to my speculative inquiries.
My objective is to crack the unrealized dichotomies by orchestrating brief motion sequences that articulate their connotation through expressive visual depictions.
Contradiction 01: Tame vs. Loud
Contradiction 02: Progressive vs. Obstinate
Contradiction 03: Wholesome vs. Deprave
PROCESS:
Before commencing the project, I had already assembled a cluster of words that
I wanted to render out. I was adamant about avoiding commonplace dichotomies such as
"Good vs. Evil" and "Love vs. Hate," which are prominent across many artistic creations.
To circumvent the established route, I opted for words that seem familiar yet not wholly indicative of their context for a fresher viewpoint.
The choreography and composition of the elements are crucial in shaping how they will be perceived. I channeled my emotions into illustrating these concepts because it has a more profound impact on all points as opposed to directly addressing these contrasts from an explicit perspective. For instance, regarding the term 'Wholesome,' I portrayed it as a coordinated assembly of geometric blocks dancing in harmony, departing from predictable characterizations. I have become more inclined to this discreet approach, as it extends the latitude for thoughtful reflection rather than merely presenting ideas in a passive way.
Below are the notable excerpts from the motion pieces:
CHALLENGES AND SOLUTIONS:
Certainly, there had been a full stack of (technical) obstacles that emerged along the way, considering it's my initial leap to a comprehensive workflow. While I've dabbled in animation previously through micro projects, none have been as intricate as this one. The animation phase took up a considerable amount of time as I mainly used keyframes to control most of the hero elements. However, in specific regions, I harnessed the capabilities of MoGraph Effectors and the recently optimized Dynamic Tags of Cinema 4D to simulate faster and physically accurate falloffs.
From left to right: Timeline Dope Sheet, animation controlled by MoGraph Effectors, and a cached simulation driven by Dynamic Tags.
Colors play a pivotal role in establishing the mood and influencing the overall viewing experience. I opted against the usual commercial color grading tropes, which often impart a corporate and digital feel. After an avalanche of testing, it became clear that the most optimal direction was to emulate the properties of the film look, particularly the 35mm film and Kodak Vision 3 negative film stocks. The film aesthetic carries distinct nuances and an inviting charm reminiscent of the ambiance of 80s fairgrounds and retro media, a sentiment that is missing in typical color grading preferences.
Below are the raw EXR renders shifting to the color-graded output:
Decoding the transitions between the two words posed a significant challenge for this project, given the very nature of the concept itself. I grappled with the challenge of "how to effectively maneuver the shifts of conflicting elements in a way that appears and feels coherent?" Reevaluating and investigating alternatives outside the design and animation sphere has uncovered unexpectedly feasible approaches that I found acceptable. For instance, in the case of the second installation, I used editing techniques to counteract the sustained action. I inserted short clips where hero elements are disheveled amidst the advancing momentum of the sequence to imply abrupt stops in the narrative continuum, underscoring the latter term ‘Obstinate,’ which means 'stubborn or refusal of change.'
Below is a segment from the Progressive vs. Obstinate contradiction:
Sound designing was a technically challenging enterprise for someone who is
visual-centric. Luckily, I stumbled upon Jürgen Branz's (@juergenbranz on Instagram) sound pack, featuring a range of sounds generated through digital and analog modular synthesizers. It was a fitting pairing, as the sonic components seamlessly matched and enhanced the atmosphere I sought to achieve. I also incorporated an assortment of whooshes, hits, and foley sounds to emphasize moments and elevate the audio-visual experience.
Perhaps some of you might be wondering why I chose an eclectic bundle of steel and
toy-like rudimentary figures to embody my creative expression when there are multiple ways to transpire it. The aesthetic choice is deeply anchored in my unruly obsession with color blocking, objects with dopamine finishes, and utilitarian aesthetics. This unified blend of forces imitates the tangible look of children's toys. I've figured that injecting my stamp along the playful aspect brings a personal and delightful touch to the overall appeal, thus conceptually contributing to the inherently playful nature of the overarching concept.
CONCLUSION:
I was drawn to a specific element of this project—the fluidity of the entire process, from interpreting selected words to handling technical aspects. Without a strict blueprint, storyboard, or premeditated workflow structure, I steered through the coast relying on my creative intuition, and embraced whatever felt most favorable for these assemblies. This spontaneity as well as the absence of a rigid framework allowed me to flexibly probe everything through my lens, enabling me to adopt a holistic approach that resulted in outcomes that are both more organic and effective.
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