Here are some shots of the cabin set so far. Initially i had built the set square based on the plans. The plans were used as a rough guide mainly for creating the warps of the wood.
The one issue with this plan was the floors were the incorrect size, but this was easily resolved. Composed in the modelling with the other objects (with some still to do) this was the following outcome:
It was nice to see how useful the early test was at indicating the full set up. The translation of drawn shape into the model was pleasing. However, the overall aesthetic was still flat. The 90 degree angles of the set walls contradicts the local shape of the individual objects that create them. The energy was being killed by the flatness. It also worked against the philosophy of 'uncertain' which i identifies 90 degree angles as being certain. So, excluding the crates and pipe work, i warped the whole set. A few thoughts emerged during the process.
Firstly, how the blend of localised sub-object sharpness against and overall, smoother world blend works so nicely in 3D, and as a process, something i am keen to get in touch with Gregor Louden to discuss about, as it was his style i highlighted as an influence.
Secondly, by pulling the middle of the sets towards the camera, several things are being manipulated which will implicate the movement of the objects, or at least could change the subtext of the movement. Firstly, it mimics the depth that the camera lens creates. The overall effect of this as an image remains to be seen at this moment in time. I may post some test later. However, the lens will warp everything in the scene. In this instance the table and chair (the crates) have not been manipulated. Their scale will need manipulation and this will most likely wait until the character has been design and modelled. Their shape sits a little uneasy which i currently attribute to the scale. However, their perceived movement will be an important fact that will reinforce the philosophy of uncertainty. When the camera lens warps the environments, the movement of objects which normally create a straight line appear to move straight but can be warped simultaneously (see the video below), to give the appearance of moving curves. The crates though, when they move, will not follow the curve, they will not warp and i hypothesise that the contradiction of curve against line might act as an unsettling and uncertain agent that reinforces the sense that the environment might not be measurable in realistic terms on the audiences behalf. The success of this will be apparent in the animation process.
The energy retained by warping the scene has created a consistant inconsistency. Looking back at my initial concept drawing, i instinctively drew the piece with a wider view plane to accommodate both sides as viewable. Interesting that i would be lead back toward that initial drawing.