Preliminary Considerations

Analogue 3D Animation - The Idea

We live in a time where everything is digitally acessable. Photography, cartography, music, films, books and drawings. One by one all major analoge medias are replaced by their digital pendant - and the transformation into "ones" and "zeros" has never been easier. But the technological evolution also offers the possibility to take the opposite direction. With the help of the 3d printer we want to take the step and transform one of the few mere digital medias into an analog counterpart of itself: The analogisation of the digital. The analogisation of mere 3d animation.

3d animation is on of the few movie genres which is almost fully created in digital work. Places and characters are digital. Camera and lighting is digital. And even the carrier medium isnt analog film anymore in many cases. (Pleas note, that we are not referring to Stop-Motion Animation which is actually an analog media.) The possibility to create a movie fully virtual, distinguishes the 3d animation movie from its analog forerunners.

This speciality shall be the starting point of our project. We want to create an alternative draft to the digitalisation of analog medias and analogize a digital media instead. The 3d printer as a distinct media can realize digital operation into analog object. Therefore it is the perfect tool for our aim. Considering this, we are also interested in the abstraction of the printed result, that automatically appears while printing. (Due to the small resolution of the model and the visible plastic layers, created by the printhead)

The Principle of the Zoetrope

To transform digital animation into analog animation there are several ways. The classical way is to expose film material frame by frame with the single shots of the animation until you have a complete copy of the movie. (e.g. for cinema movies) This form of analogisation is not suitable for our aims, cause only the carrier media is analog and real. The animation itself is a virtual image. Besides it is impossible to catch the full range of the 3rd dimension with this method, cause the film image itself is only a two dimensional copy.

first testmodel of a zoetrope

Therefore we have decided to use a very old optical technique, which was invented in 1834 by William George Horner: the zoetrope. A zoetrope basically a film sequence, arranged as a 360° panorama, that rotates infront of the viewers eyes. By the use of rotation the animation phases are arranged like a film. But the human eye can see the animation only with the help of a so called shutter. (otherwise the eye is too slow) The shutter in fact, is a kind of image interupter. The enables the slow human eye to perceive the animation through a quick change between image and darkness. (it lowers the framerate of the film by blocking the sight on the rotation with black phases)

Further Information (german)

Pratical Realisation

Based on the principle of the zoetrope we want to realize our 3d animation and enhance the zoetrope technique. In contrast to the original principle, where the shutter slots are on a different level than the animation, we want to imply our shutter in a way that enables viewing the animation not only from above, but also from the front. This also allows us to construct the zoetrope more compact, which will be necessary concerning the size limit of the 3d printer. Additionally the construction shall self contained, so that the principle of our zoetrope isn't visible at the first sight.

The Shutter

To enable animation and shutter on the same level we have several approaches for realisation. On the one hand we want to try positioning the different animation phases like figures on a carrousel. The shutters shall be constructed like poles between the figures, so that they darken the viewing windows for a short time. This approach probably will not give a good contrast on the animation, because the period of darkness will have to be pretty long to achieve the desired effect.

Another approach is a pure optical shutter. The setting of the animation stays the same as in the other approach. (carrousel) You look on the carrousel through a viewing window from the outside and always see the figure that is nearest to the window. Above the viewing window is a hole for light incidence. This hole will be darkened by a shutter drum between the animation phases, so that a strobe effect is generated. This strobe will divide the animation phases. This effect could also be achieved with a strobe light, but this will probably bring problems with the rotation speed. A mechanical shutter drum has the advance, that the speed of the strobe effect is exactly silmutaneous to the rotation of the carrousel (because the drum and the carrousel are driven by the same crank handle)

Chromadepth

Additionally we want to experiment with a special 3d technique called chromadepth. Chromadepth is a special 3d visualisation that can display colours of a two-dimensional image on different 3d layers. Red colours appear in the front of the image, while blue colours appear in the back. This technique is designed for 2d images. But due to having only a small distance between the viewers eye and our animation this technique could improve the three-dimensionality of our animation.

description of the chromadepth technology (engl.)

Practical Realisation

The Animation in the Zoetrope

Considerations

After testing the prototype of the zoetrope and the 3d printer we were able to set the basic technical conditions for our animation. So we started to think about the content of our little animation cycle. We came to the agreement that we wanted to animate relatively simple models, because the settings of the zoetrope limited the size of each figure to 1,8 x 1,8 x 1,8cm. With this resolution it would have been very tricky to print detailed models in high quality. And quality would be needed to perceive the fluid animation. Due to a low image sharpness of our zoetrope (low distance between eye and animation, high rotation speed of the carrousel and therefore a slight motion blur) we wanted to focus on 2 forms of movement in our animation, that are well visible despite all technical problems. On the one hand we wanted to focus on the animation of the objects' silhouettes. On the other hand we wanted to experiment with colour morphs. Another limitation that had to be considered was the limited number of frames that were possible on the carrousel. We decided to divide the carrousel into 16 frames, a compromise between number of frames and possible object size.

Based on these technical limitations we decided to do the following animation cycle: <videoflash>9iyOcnh2bZY</videoflash> (3d testanimation)

Symbiosis and Synergie

The animation will be an infinite loop of the 3 Bauhaus basic geometric shapes triangle, circle and square (respectively their three-dimensional pendants pyramid, sphere and cube) with the title "Symbiosis and Synergie". The 3 symbols morph smoothly into each other all within the 16 frames that we have at our disposal. The result is a hypnotic, almost fluid wafting of the forms. In the same it is a quote of the used printing material in its heated form.

We decided to animate the 3 Bauhaus symbols and to use the title "Symbiosis and Synergie", because they symbolize the Bauhaus idea of uniting the big varieties of arts and crafts under one patronage. In a certain way this animation is a self-reflecting document of the 3d printer's principle of operation: Like in the basic idea of the Bauhaus, different crafts have to be connected to achieve a result. Construction, installation, programming, drafting, modelling, printing are only some fields that play a role. Every single field can exist on its own, but only in a synergetic cooperation the 3d printing is possible. Therefore it seems to us, that 3d printing and Bauhaus fit together perfectly.

Expected Problems

For the realisation of our projects we will have to face several issues. Problems that we will have to solve are:

How does the shutter affect sharpness and contrast of the image?
Will the relatively low distance between eye and animation be sufficient to create enough spatiality and image sharpness
How will the 3d printer limitate our possibilities

Evolution

4.6.-6.6.

first 3D testprint

first cardboardmodel of the zoetrope

creation and testing of 2 simple zoetrope models
the classical zoetrop works, but with a bad contrast
the 2nd model (a zoetrope with animation and shutter on the same level doesn't work)

(prototype on the right)

first printings show the boarders of the 3d printer (on the right: test 1 and test 2) you can see that the printer has issues with printing small parts (throat of the chess figure) due to high temperature and printing speed (the printer prints over layers that havent hardened)
furthermore it appears that strong overhangs arent possible without backings

25.6.-27.6.10

3d model of the zoetrope prototype

crank handle for the zoetrope build from LEGO

Creation of a 3d model of the planned zoetrope. The 3d model is alread waterproof and therefore (hopefully) printable.
Simulation of an animation with the 3d zoetrope. The unusual design of the shutter creates some issues. Due to these troubles a cardboard model of the 3d model is planned to test the shutter in real life:

<videoflash>A1qGF4w98Ho</videoflash> (at a framerate of 256fps the animation becomes bugged and unfluid)

Construction of a crank handle for the zoetrope (Prototype build with LEGO)

8.7.10

Prototyp made from cardboard

Building of a working cardboard model with optical shutter, based on the 3d model:

<videoflash>TPzxaY0aD0M</videoflash>

To improve contrast and image sharpness, further experiments with variations of the shutter size and different light settings are planned

14.7.10 Efforts for optimizing the prototype:

Decreasing the shutter size for shorter exposure time --> no effect on the animation quality
Improved isolation of the zoetrope against light from the outside and dyeing the inner parts of the zoetrope to increase contrast --> small improvement of the animation quality

22.7.10 Adjustment of the 3d model due to experiences with the prototype:

the height of the inner drum is decreased. therefore the drum has more space for rotation
adjustment of the center line
the blinds are removed due to inefficiency
reduction of the wall sizes (=reduction of material needed for printing)

27.7.10

Brainstorming ideas for animation content

4.8.-6.8.10

creation of the final animation for the zoetrope

(Video hier)

9.8.10

experimenting with animated colourmorphs

<videoflash>n1ImjejuEa0</videoflash>

18.8.10

setting up skeinforge and bfb axon on 2 laptops and testing the program settings
installing additional printing profiles
adjusting 3d file and bugfixing

25.8-26.8.10

first printing test, for results see Printer queue

the complete animationcycle without spray paint

dyeing the animation frames

the complete animationcycle with spray paint

30.8.-2.9.10

printing of the complete animation cycle, results are viewable at Printer queue

15.8.-16.9.10

1st printing test of the cap of the zoetrope. Results here

21.9.10

2nd printing test of the zoetrope cap. Results here

22.9.10

installing the crank handle on the cardboard prototype of the zoetrope
minor repairs on our models with glue, rasp and sandpaper

25.9.10

dyeing the animation cycle with black spray paint for better contrast in the zoetrope and softer surface
further optimization of the cardboard prototype of the zoetrope

Feedback

Glückwunsch! Ihr habt den ersten Wiki-Eintrag des Kurses verfasst! Sieht schon mal gut aus. Fehlt nur noch Bild und Kurzbeschreibung auf der Kursseite.
Das Praxinoskop ist ja auch ein interessantes Gerät. Und ich bin auf euer Kompakt-Zoetrop gespannt. Euer Ansatz hat einiges an Potential, ich bin sehr gespannt, wie ihr das entwickelt.
Mehr Bilder wären gut, bei euch bieten sich ja auch laufende Bilder sehr an :) Videos ins Wiki einbetten geht: So!

Videos und Skizzen sind in Arbeit und kommen dann demnächst.

Ist 3D Animation wirklich etwas rein digitales? Was ist mit 'Wallace & Gromit', um ein Beispiel zu nennen?

Die 3D Animation von der wir reden ist nur digital möglich. Über Filme wie Wallace und Gromit und ähnliche, haben wir auch schon nachgedacht. Allerdings zählen die nicht zu 3D Animation, sondern eher zu Stop-Motion, sind also auch mit rein analogen Techniken umsetzbar.

Warum Cromadepth für euer Vorhaben besonders geeignet ist? Wofür braucht man einen 3D Effekt, wenn man ohnehin schon dreidimensionale Objekte hat?

Ob man Chromadepth wirklich braucht, wird sich zeigen. Vermutlich geht es auch ohne. Aber wir hoffen, dass es schlicht und ergreifend noch besser aussieht :)

Könnt ihr den Abstand zu den Augen nicht einfach festlegen?

Das wird sich auch im Test ergeben. Vermutlich wird eine Art Aufsatz den Abstand des Betrachters vom Zoetrop regeln

Und: Was für eine Animation wollt ihr eigentlich zeigen?

Sehr gute Frage, darüber machen wir uns Gedanken, wenn die Technik funktioniert. --sebastian 17:00, 16 June 2010

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