Ascendance is an abstract animation project, in VR 360 video (monoscopic) format with spatialized audio. It is best viewed in a Head Mounted Display (i.e. Quest, Vive, Rift etc) rather than via YouTube in a browser window, but if you wear decent headphones the browser experience is at least able to represent the spatialized sound (when you use the mouse to navigate the 360 viewing space, the audio direction shifts according to where you are looking.
The intention behind the creation of this film was to re-imagine, using modern software tools, the ‘Visual Music’ or ‘Colour Music’ abstract animation forms that were conceived by the pioneering artists of this field in the early/mid 20th century. Visual practitioners such as Oskar Fischinger, Norman McLaren, Mary Ellen Bute, John Whitney, Jordan Belson, Len Lye et al. explored this territory using the analogue tools that were available at the time. Today, we can revisit the themes and questions that those artists investigated, creating visuals and sound using the sophisticated digital audio workstations, 3D software and compositing tools that are now available to us. We can generate immersive viewing and listening experiences in VR Head Mounted Displays, in our own homes. We wanted to see what was possible, and discover what it means to be a Visual Music practitioner today. Read More
Abstract animation created by Louise Harvey for live performance of Michael Nyman’s Shaping the Curve, performed by Diana Tolmie at the Melbourne International Saxophone Festival, 2019.
Music by Aquiline Music – see further info and track list also on SoundCloud. The track Circle Brambles Remix was used in this video. I created this animation using (mostly) Maya MASH and Red Giant Trapcode.
Impeller (Disturbed Earth Remix) by Stellia. Composed by Gordon Harvey and Robin Gist, remixed by Dean Richards. Animation by Louise Harvey, using Trapcode Particular and Trapcode Form. The uniGlimmer effect from RedGiant Universe was applied to create highlights on the particles in one section.
Thirst is a 3D-animated VR film created in 2018 at the Griffith Film School, and produced by Dr Peter Moyes, audio score by Dr Leah Barclay, and animation by Dr Louise Harvey. The video is best viewed at the full resolution of 4K.
Thirst combines 3D-animated graphics and infrasonic sound to draw attention to the activity of flora and fauna within the soil. The viewer follows the movement of tree roots in pursuit of the precious resource water. Threats from mining, agriculture and drought to Australia’s Great Artesian Basin, the largest body of underground fresh water beneath 23% of the continent, have inspired the development of the project. It is hoped that the embodied sensory experiences that immersion in such VR experiences can serve to raise awareness of the importance of wise management of precious natural resources such as water. Read More
The She’s Not There project opened the Griffith Film School’s hosting of the CILECT (Centre International de Liaison des Ecoles de Cinéma et de Télévision) congress, Queensland Conservatorium Theatre, Brisbane, on November 20, 2016. Conceived and directed by Griffith Film School staff, Louise Harvey and Peter Moyes, the project utilised motion capture of a vocal performance by Christine Johnston for the 3D animation of a fictional cabaret singer, Ms. Burly Chassis. Retaining the vocal track laid down by Christine, composer Cameron Patrick arranged the music from The Zombie’s 1965 hit She’s Not There for live orchestral presentation. The utilisation of a virtual camera to re-present a pre-rendered animated performance for presentation alongside a live orchestra was unique in its mixing of media and modes of delivery. Full production details in closing slate.
To learn more about the production, The ‘Making of’ video is available for viewing on the Griffith Film School’s vimeo page vimeo.com/200910838