Thoughts from within Jim Henson - “The Red Book”

  

When I was six years old, The Muppet Show premiered and was hooked right from the start.  I just grew out of the Sesame Street era and directly in to Jim Henson’s hands.  The show aired between 1976 until 1981 when I was eleven years old;  I was a true Muppet kid.  I am sure I even kept watching the reruns until they were off the air.  The Muppets definitely influenced my childhood.   I can’t even tell you how many sock puppets I made as a kid, way too many.  I even had a puppet making supply kit fully stocked with a variety of googly eyes and a bag full of old colored socks.  I wonder where they all ended up?

“I don't know exactly where ideas come from, but when I'm working well ideas just appear. I've heard other people say similar things - so it's one of the ways I know there's help and guidance out there. It's just a matter of our figuring out how to receive the ideas or information that are waiting to be heard.”  ― Jim Henson

Either way,  I just came across “The Red Book” which was a log that Henson started in 1977 and continued until the end in 1988.  He recorded his activities and his thoughts.   One of the entries was from 1970 where he was working on computer animation for Sesame Street.  Yea, I wrote that right, in 1970 he was doing computer animation – cutting edge stuff for that time.  As a creative you need to be an explorer, a risk-taker, and also learn from others creatives, the habits, environment, the community, and their thought process.  Even if you are in a completely different industry, these skills are completely transferable.  Check out Henson's thoughts…  ~ Cornell

9/10-12/1970 – ‘In Denver doing Computer Animation for Sesame #’s 10 and 4 – Second season of Sesame Street.’

 
 

Historical information provided by The Jim Henson Company Archivist:

Jim was always interested in the next technological advancement to further express his creative vision, so it’s not surprising that he would seek out the earliest innovations in computer animation. For the second season of Sesame Street, Jim was contracted to make a series of counting films using a range of techniques. Some were live action, some were made using stop-motion animation, Jim painted under the camera to bring other numbers to life, and he worked with Maurice Sendak to produce two traditionally animated films. For numbers 4 and 10, however, Jim was eager to try a new analog computer system called Scanimate. Invented by Lee Harrison III in the late 1960s and built by the Computer Image Corporation in Denver, the Scanimate process involved back-lit high-contrast artwork that was mounted on animation pegs and scanned by a progressive scan monochrome camera. According to Scanimate chronicler Dave Sieg, those working on this technology were, “…an interesting mix of technicians and creative geniuses that understood the subtleties of color and motion that gave the work its real value.”

It’s unclear how Jim learned about Scanimate, but he had been interested in electronics in general and had used his Moog synthesizer to great effect on numerous projects. His colleague, Jerry Juhl, was an early adapter of computers and would have been intrigued with the process as well. Jerry wrote the scripts for “Number 4” and “Number 10” which Jim recorded the week before going out to Denver. The system allowed for the animation to be created in real time which made for an efficient production process. Jim arrived with the audio tracks and detailed storyboards in hand, and was able to complete the visuals for the film in just three days. While visually unimpressive in the context of today’s digital graphics, Jim’s Scanimate work was cutting edge in 1970 and an example of how he was always leading the way in the world of visual media.

FROM: http://www.henson.com/jimsredbook/2011/09/910-121970/

AND you have to watch my favorite Muppet Show skit, “Manana“, 
which was the first skit shown on season 1, episode 1.

Ryan Trowbridge - 3D Math for Artists

Autodesk University puts on some great workshops!  As we are always looking for cross-curricular projects, watch “3D Math for Artists” by Ryan Trowbridge, it may give you a few ideas.  It also my be a way to push your higher end students.  It also will help them get a basic understanding on programming with Maya.   ~Cornell 

http://area.autodesk.com/masterclasses/masterclass/class3_q1_2012

Ryan Trowbridge - 3D Math for Artists
The focus of this class is to teach artists what vectors are, how to manipulate them, and utilize 3d math within their python scripts. This class will cover the following:

- how simple it is to add, subtract and use multiplication to manipulate vectors
- describe how vectors are the basis for a matrix and how a matrix is less complex than it first appears.
- How Python can access the Maya API math classes MVector and MMatrix
- how these included classes make doing matrix multiplication easier and how it closely relates to doing vector math.

Hopefully with a handful of knowledge building blocks and several example Maya files, after taking this Master Class, artists will find it easier to dig into 3D Math.

3D Printing: The Hype vs. the Reality

Autodesk jumps into the 3D Printing industry . . . It is about time!  What does it mean?   Autodesk just introduced a new open source 3D printing platform, Spark.  They want to make it easier  for the end user to design and then print without all the in-between hassles.  Since historically they are a 3d software development company, they want to streamline the 3d printing processing by offering an open source platform with hope to push 3d printing to the next level.  The Spark platform will be open and freely licensable including their 3d printer design which will be made publicly available to allow for further development and experimentation.  I think it is a super smart move on their part because with the increased ease of 3d printing, there will be an increased demand for new designs, designers and more demand for their software.  Either way, Very Cool Autodesk!   ~Cornell

*Here is an recent Bloomberg TV interview with Autodesk CEO Carl Bass, 3D Printing: The Hype vs. the Reality.

What if M.C. Escher was A Game Designer?

There once was a princess that fell in love with geometry.

My father was one of the head graphics designers for Kodak, hence I was surrounded by illustrators, designers, photographers, and artists, while I was growing up.  I was always drawn to a few books in our family library, the works of  M.C. Escher and Salvador Dali.  Check out this geometric based video game, Monument Valley, that has a Escher influence.  Very Cool!  One of my students yelled out and said, “I love that game! It really hard, confusing, but allot of fun!”  Check out the trailer and the behind the scenes video.   It was also made with Unity, which is a free game. ~Cornell

Behind the Scenes - Monument Valley Game

 The Trailer . . .

http://www.monumentvalleygame.com/

Nanoscience 3D Simulation Using Autodesk Maya

 

NanoScience Simulation?   What the heck is that?  And how are they using 3d animation?  I am always looking for cutting edge real-world uses of Autodesk Maya and I came across an article about 3D Visualization of Nanostructured Surfaces and Bacterial Attachment.  I spent a couple hours reading about it; nanoscience is wild and how Maya is being used for scientific simulation is very cool.  Check this out . . .  ~Cornell

 

3D Visualization of Nanostructured Surfaces and Bacterial Attachment Using Autodesk Maya

“We ( Boshkovikj, Fluke,  Crawford & Ivanova) present a novel approach for the 3D visualization of bacterial interactions with nano-structured surfaces using the software package Autodesk Maya. Our approach comprises a semi-automated stage, where actual surface topographic parameters, obtained using an atomic force microscope, are imported into Maya via a custom Python script, followed by a ‘creative stage’, where the bacterial cells and their interactions with the surfaces are visualized using available experimental data. The ‘Dynamics’ and ‘nDynamics’ capabilities of the Maya software allowed the construction and visualization of plausible interaction scenarios.”  ~ Scientific Reports

What is Nano-Science? Watch this . . .  http://vimeo.com/49364316 or https://www.youtube.com/watch?v=70ba1DByUmM (long )

 

Nanomodelling with Maya

One of the main research tasks of the Visualization Lab is to use software similar to that used to create animated special effects in Hollywood productions, including Autodesk Maya. Data is pulled from various sources to create three-dimensional visualizations communicating complex nano-scale concepts. More importantly, we investigate how animation and graphic design principles in general can improve and further advance the research, inform discovery, and enhance communication processes. The research and productions are driven by the passion for visual storytelling that is combining accuracy in science and aesthetics in art. The animated work mainly covers modeling of cellular processes and material/surface analyses.

http://inano.au.dk/research/research-platforms/nanomodelling/

Virtual Archaeology

Can a 3D animation education lead you to a  career in archeology?  Indiana Jones and the Temple of doom came out in 1984, I was 14 years old.  I loved the movie, who didn’t.  Now I didn’t become an archeologist, but I wanted to for a few years.  The movie inspired a generation of archeologists.   "As a teacher, I would ask my students, 'How many of you were influenced by Indiana Jones films?'" said Fred Hiebert, an archaeology fellow with National Geographic. "Everyone in the class would raise their hands."   It was a Hollywood interpretation of what an archeologist was, but it still inspired a generation, particularly in the field of science.   I even went to a Indiana Jones themed wedding . . . my friend was a high school science teacher.  Hollywood is still inspiring, not only with its films, but with it technologies. 

Look how archeology has evolved.  Maurizio Forte of Duke University, is one of the leaders in this field, "Technology is a wonderful catalyzer, and there are people here from a lot of different backgrounds who together can share a lot of ideas and research," he said. "I want to make this field very different from the traditional view of it."  The techniques used in in Hollywood films and video games are taking the field of archeology to the next level.  "Any scientific approach uses inferences and hypothetical analyses," Maurizio said. "We cannot reconstruct the past, but we can simulate it because the past itself is fluid. Our job is to be open to multiple interpretations and perspectives."   These skills and software applications are just “tools” and will be infused with almost every future industry and career path, from Hollywood to archeology.  ~Cornell

https://today.duke.edu/2013/03/maurizioforte

Biome Concept Car

The other day I was a workshop presenter and was looking for some videos to share with the group.  I came across this concept car video from Autodesk and it is way to cool.  After  showing it in the workshop and to my students, I felt the need to post it.  I will quote one off my students, “The is mind blowing!” Check it out!  ~Cornell

Here is the Autodesk Video:

Here is a video showcasing the concept art behind the project:

Also check out this site: 
http://www.notcot.com/archives/2010/11/mercedes-benz-biome-11.php

The Illusion of Life . . . 12 Principles of Animation

 

SQUASH & STRETCH

I love the book The Illusion of Life: Disney Animation!  It is another ‘Must Have’ for your classroom library, particularly if you have students who are focusing on 2d or 3d animation.  One thing that it emphasizes are the 12 principles of animation, which are essential to be familiar with as an animator.   Cento Lodigiani  created some great examples of those principles.  I love the face that he demonstrated them with a simple cube.   Check them out!  And also check out the the video that he made using these animations below.   ~Cornell

Link to the book: The Illusion of Life: Disney Animation

The 12 basic principles of animation were developed by the 'old men' of Walt Disney Studios, amongst them Frank Thomas and Ollie Johnston, during the 1930s. Of course they weren't old men at the time, but young men who were at the forefront of exciting discoveries that were contributing to the development of a new art form. These principles came as a result of reflection about their practice and through Disney's desire to use animation to express character and personality.  This movie is my personal take on those principles, applied to simple shapes. Like a cube. http://www.centolodigiani.com/117722/3078861/work/the-illusion-of-life

 

The illusion of life from cento lodigiani on Vimeo.

 

STAGING

ANTICIPATION