Glassimations

Short movie that was the outcome of a class I taught at Pilchuck Glass School, USA

Bird caged/caged bird

In Alex Selenitsch’s work, Restored Messy Life, the artist considers the materiality of the book form, placing emphasis on the normally invisible structure of a book by making the written word inaccessible. In my work Bird Caged / Caged Bird I highlight the materiality of animation, which is usually seen as ephemeral screen based images and make it exist as an object experienced within a different space and time.

Mutoscopic

The Mutoscope Installation is the model for the Mutoscope figure, instead of a camera we have a Mutoscope device with images of celebrities and non-celebrities morphed together.

Wildwoods

Wildwoods is set in the mythological space of the theme park, adapting the iconography that these traditional sites have cultivated to create a baroque visual experience.

At the beginning of the 1900s the popular amusement zone began to morph from a wondrous utopia to a dark and vice ridden site. It is this transitional period that inspires Zika’s animation, the fascination with popular entertainment and its flirtation with the dark parts of our lives.

Experiments

Projected on two screens, with two separate soundtracks, the always exceptional, and occasionally brilliant, photographic images are enhanced by Dirk de Bruyn's rigorous control over a wide variety of experimental techniques.

Without overindulging in any of them, de Bruyn uses animation, optical illusions, time lapse, solarization, hand tinting, flash frames, refilming and flicker effects, accompanied by a dense atmosphere of word puns, dialogue, primal screams, music and even recycled and letraseted soundtracks.

Telescope

Assembled from more than 25 years of footage, starting in Super 8 and ending with digital video, Melbourne-based experimental filmmaker Dirk de Bruyn's lens captures the comings and goings of Australian suburban life. A nostalgia-filled soundtrack accompanies footage of empty backyards, over-crowded lounge rooms and sun-drenched porches. Interspersed with line-animation, de Bruyn recalls an Australia that no longer exists in this time-lapse feature length film.

Extracting 3D mesh skeletons using antipodal points locations

Finding the skeleton of a 3D mesh is an essential task for many applications such as mesh animation, tracking, and 3D registeration. In recent years, new technologies in computer vision such as Microsoft Kinect have proven that a mesh skeleton can be useful such as in the case of human machine interactions. To calculate the 3D mesh skeleton, the mesh properties such as topology and its components relations are utilized. In this paper, we propose the usage of a novel algorithm that can efficiently calculate a vertex antipodal point. A vertex antipodal point is the diametrically opposite point that belongs to the same mesh. The set of centers of the connecting lines between each vertex and its antipodal point represents the 3D mesh desired skeleton. Post processing is completed for smoothing and fitting centers into optimized skeleton parts. The algorithm is tested on different classes of 3D objects and produced efficient results that are comparable with the literature. The algorithm has the advantages of producing high quality skeletons as it preserves details. This is suitable for applications where the mesh skeleton mapping is required to be kept as much as possible.

Parallax

Parallax is a live contemporary dance work that incorporates 3D animation, stereoscopic illusions and dance. This work was performed within the Melbourne Fringe Festival at the Substation, Newport. Within this work the stereoscopic illusion creates a new choreographic palette that can be used to manipulate human physicality via animated bodies that appear within the performance space. The stereoscopic image is released from the wall and placed within the dancing environment the image becomes another body within the dance space that can be manipulated in ways that would be impossible for a real physical body. In turn, the dancing body is positioned within the digital environment. The performer’s abilities have not changed, but the space around the dancer can be manipulated with imagery that transforms the place of the dancer within time and space. The stereoscopic illusion and live dance are melded creating a new experience of choreography one that takes the infinite possibilities of 3D animation and places them directly within choreography. Thematically this performance draws on the historical events revolving around the development of the stereoscope in the 1830s and the seminal ideas of the virtual that surfaced at this time. In the early 1830s Charles Wheatstone drew on the ideas and writings of Euclid and Leonardo da Vinci and discovered binocular vision through the use of his stereoscope box. It was this box that became the entertainment sensation of this time becoming a standard parlour entertainment. Unlike now where imagery of people are everywhere in the 1830s these types of imagery were novel. The stereoscopic pictures often showed content of people doing ordinary tasks such as chopping wood, doing the washing or simply standing in front of their house. In Parallax a Victorian woman is transported from her hallway to virtual worlds where she encounters, Euclid’s ancient Greek column, a di Vinci sphere and one of the first stereoscopic images drawn by Charles Wheatstone’s a stick figure cube.

Towards parameter-less 3D mesh segmentation

This thesis focuses on the 3D mesh segmentation process. The research demonstrated how the process can be done in a parameterless approach which allows full automation with accurate results. Applications of this research include, but not limited to, 3D search engines, 3D character animation, robotics environment recognition, and augmented reality.

Digital light

Artists Description: Moving rooms and domestic objects pass through the interior of the translucent house as we peer into it. At night they softly emanate a glow much like the glow of a television in the living room. The animated space is choreographed and timed in its movement, broadcasting the contents of the house. There is an interplay between real object and virtual object: the house is made of transparent/translucent glass while the interior objects are virtual images on the screen; total internal reflection occurs so that the image can be seen from certain angles only; the glass is a medium which distorts the animated image, while the animated image permeates the glass with its colour, movement and glow.

Circular breathing

Circular Breathing links animated architectural buildings found at Pilchuck Glass School with a glass sculptural house, enabling the glass form to appear to breath through animation.