Resonate is a 6 day festival that revolves around music, visual arts and digital culture. It’s held in Belgrade, Serbia and has people from all over attending.
My main focus and role was to create animatable assets for the team in a way that would speed up workflow and give them flexibility. This way they wouldn’t have to focus on digging too deep into setups, and jump straight in and create whole animation segments using few if any keyframes at all.
The trailer has some really nice moments, and to it’s credit the technicalities go unnoticed – which is exactly what we were going for. There’s plenty of stuff going on that is subtle, and to get those subtleties there’s a lot going on under the hood. Here’s a brief recap of some of the tools I built for the team.
This was the foundation for all the traveling objects. With this setup a spline could be drawn and the object would uniformly travel along it, with customisable rotation attributes.
This arm setup allowed the team to pose an arm and it’s wrist and fingers. All the elements were able to be animated.
A much simpler setup for just the forearm and wrist. Also a slightly different model than before (it’s good to have options sometimes).
Here’s a head with the option to turn it’s head and subtly smile or frown, with the added option to flare the nostrils and have the visible part of the chest expand to give the illusion of breathing.
A torso that could rotate and breathe (much like the head) – also remapped the UV’s to place an animated texture onto it with the least amount of distortion.
A faux particle system setup that allowed the user to create a spline and a customizable amount of trails would follow it as well as the distance between them, with the option to randomize the speed.
This was one of my favorite setups, it’s a shame it didn’t get used. What you see is a plane that would reflect and distort and image. Originally meant to distort images of text and have it disperse in a liquid manner and then retain it’s shape.
It works really well in real-time and is controlled by the Movement box, and uses only deformers to get the liquid-like effect.
Initially there was talk of the barndoors of these film lights to open and close in a jellyfish-manner. The speed and pulsating rhythm was able to be controlled really easily, also with the option to randomize between each barndoor to give it a slightly more organic feel to the movement.
A light/lamp rigged to open and close, while bending it’s head. Another setup (not pictured) allowed the head of the lamp to rotate and swivel.
Another one of my unused favorites, this one was a vise that had another vise inside, which was then instanced and scaled down to fit inside it’s parent. Basically with this setup one could zoom inside into the open vise to find more vises almost indefinitely, without using too much system resources.
And finally as an end, a propeller that could be set at different speeds by inputting a number and keeping it constant, with the option to keyframe it to a different speed and have it speed up or slow down accordingly.
Creative Direction by FIELD
Directed by Antar Walker
Curation by Eduard Prats Molner
Identity Art Direction by Hudson-Powell
Animation by Fred Huergo, Matt Whitewood, Antar Walker
Lighting + Rendering by Matt Whitewood
Sound Design by Owen Hindley + Ragnar Hrafnkelsson
Production by Maran Coates at FIELD