Visualizing 3 Dimensional media establishes certain protocols and aesthetic norms. I call these 'codes' of media that grow according to technical agility and constantly change with new software developments. The 'codes' inevitably become 'rules' of narrative structure offering expectations to be satisfied. Mainstream media seems to exploit these possibilities with the greatest ease, so an establishment of these codes can be evaluated and demonstrated. The creative act, however, challenges these rules permitting alternatives to be drawn out from the norm to challenge intentions and interpretations. I hope to stress these 'codes' with my current work titled CHAOS:
My method utilizes as many aspects of 3D technology available to me. I designed, programmed and fabricated a robotic motion-control system for camera movements, coined the RUEbot. The machine performs the task of digitally capturing background and foreground plates in 3D from a real constructed set. The characters designed and sculpted from metal and wires are scanned into a 3D computer model to be composited with the captured plates. Finally, the work will be projected in 3D using stereoscope. The work operates on what Noel Burch refers to as 'Parametric' in tandem to 'Narrative' codes. With CHAOS: I intend to challenge the current state of 3D codes as a vehicle to write 'new codes' within the media experience.
I will present my work CHAOS: and discuss my process in developing the technology and the aesthetic quality. The use of 'Parametric' within the scheme of a 'Narrative' structure using various elements of my work will highlight the discussion.Bio
Rubén Möller works as an independent animator in Vancouver, British Columbia, Canada. He pursues film and digital productions to evolve his theory and practice of new media concepts. His varied experiences lead him to work in many areas of the industry from visual effects for feature film to post-production for children's television aside from an assortment of animations for award-winning documentaries.
His personal work pursues theological themes with a poetic resonance distinct from the entertainment world of animation. Along with the RUEbot, a motion-control rig he devised, he continues to pursue a blend of classical techniques using puppetry with the new tools permitted in the computer realm. The product of his effort displays a refined system of art and technology towards the goal of challenging realism within the fantasy of animation.