Anthony and I decided to have a little fun with this what-would-i-say? fad with a little tumblr of our own called, what-would-i-draw?
Check it out-
So I’ve been learning to datamosh, which is the technique of purposefully corrupting video or picture data to come up with a whole new thingy. I originally posted the video to youtube, but it was taken down the next day, so here’s the vimeo link. Enjoy!
This was actually a very simple process, for a very cool and drastic effect. There are many ways to datamosh and databend. You can open up your video or picture in a text editor or a hex editor and just start deleting, copy and pasting, typing extra stuff in, etc. and then see what you get. The fun part about it is that you never know what the end product is and you can throw creativity caution to the wind.
For this video, I ended up deleting the I-frames. Certain video codecs interpret the images we see in video as either I-frames or P-frames. I-frames tell your computer that a whole new image of pixels is present and then a clear picture is formed. The frames after that are then known as P-frames, and they measure the change in position of a pixel from one frame to the next. Through a few programs, I got rid of all the I-frames, which then lets the pixels of one video clip, sort of bleed over onto the pixels of the next clip, and then get moved around with the new set of pixels. Confusing? You should check out this video series that is a good tutorial on the whole process I used.
The “Welcome to Heartbreak” music video from Kanye West was actually one of the first popular music videos to use this effect, so my project here isn’t entirely original. They shot it and composited it in a very controlled way to allow them certain looks.
But of course, you should check out David O’Reilly if you’re interested in seeing any real datamoshing. He was one of the original pioneers in this method. PLUS, he made the incredibly awesome 3D episode of ADVENTURE TIME which really used datamoshing and glitching effects in a unique way that contributed to the story. The episode could not have been made if it hadn’t been for glitching and datamoshing. Hopefully, because so many people saw the Miley Cyrus video, they will be interested in seeing more of this art form.
Meet Miss Willifred Rosenbrie, Walt Figgit’s, erm, beautiful neighbor. She has quite the eye for Walt, but Walt gets nervous around people, especially Willifred, and tries to quickly escape any of her romantic advances. She likes to bake Walt her county famous crabapple truffle pies as an excuse to walk up to his front door, pretend to not have knocked loudly, and then proceed to peer into Walt’s front window of his flat to catch him. After she calls his name for about 15 to 20 minutes, she then usually leaves the pie on the front step, completely ignoring the door mat that Walt had custom made that says, “Please no pie deliveries.” Walt then comes out from hiding under the breakfast nook table and wonders how he will get rid of today’s front step pie without having to go outside.
Now that I have my Cintiq 22HD, I can really take advantage of airbrushing in photoshop. Not that kind of airbrushing they use in magazines to make all you ladies insecure about yourselves, but rather the airbrushing that can really allow me to play around with some shadows and highlights.
I’ve always been a big fan of Terry Gilliam and his animations. Whenever he couldn’t cut out pictures from magazines or photographs, he would usually draw up some bizarre characters. His style is very distinct, however, as he uses a lot of airbrushing to shadow and highlight and really give his creations a 3 dimensional feel to them. See?
In photoshop, it’s just a basic process of playing around with with your opacity and flow for your brush tool. You can go from some very basic shapes:
and turn them into something like this:
Voila. I also just realized that if you switch the o and the i in Voila, you get Viola. So then there we go, my first test drawing using an airbrushing technique to get a Terry Gilliam effect. I really only used black, white, and then a lighter shade of pink as my colors. I kept my brush at 0% Hardness, about 20% Opacity, and about 15% Flow. I really only changed that for making the bottom of the nose and the mouth since those needed to be a little bit darker.
If I were to animate this, I would have printed at least two copies, so I could have something to cut a mouth flap from and copies of the eyes that I could move around. Who knows, I may just do that and have a little animation for you sometime later. A neat little trick for cut-outs is to take a black felt marker and line the edge of each paper piece so that you don’t get any white flecks you may have missed while cutting. Also, check out this awesome video with a younger Terry Gilliam as he explains more of his techniques.
So I don’t know too much about audio mixing and sound design, but audio is still half of making a film right? SHUT UP CHARLIE CHAPLIN I KNOW YOU DIDN’T USE DIALOGUE, BUT AT LEAST I WON’T HAVE TO FLEE TO SPAIN WHEN WE’RE DONE WITH THIS PROJECT. So I’ll try not to embarrass myself with trying to talk about audio. I at least wanted to update with some pictures of us attempting to record some high quality voice over dialogue. We used an H4 recorder. That’s it. That’s all I can tell you with my vast knowledge of audio recording.
But then there was a police helicopter, and boy do those things always seem like they are coming straight for you. It kept hovering over the house like it wanted to be a part of the audio recording action. So we moved to the closet under the stairs.
Seven minutes in audio heaven. Boy was it hot in there. Jeremy said it was like Cleveland and then we realized he meant like “Hot in Cleveland.” And then we shunned him.
All in all, we got some good simple audio. The plan was to make sure we got plenty of sound bites (just the basic phrases) without chopping off any sounds at the beginning or end, just so that editing and rearranging dialogue can be easy in post. We also got plenty of different versions of each line, like happy or sad (those are the only two emotions I know) so that we can pick and choose depending on the tone we want to set once the audio and video are together.
Stay tuned. I’ll have a few drawings coming up soon.