It’s not every week you have to fly down to LA twice, but what a great reason to do it. “Age of Sail” was nominated in a bunch of categories, and won Outstanding Production Design at the Annie Awards, and Outstanding Visual Effects in a Real-Time Project at the VES Awards. I’m so grateful to have worked with this amazing team of artists, and and so proud of what we’ve accomplished together!
Wow, it’s been a busy few weeks since we launched “Age of Sail“! Hard to keep track of all the news, but here are a few highlights…
It’s been nominated for four Annie Awards…
For the first time, the Annie Awards will honor animated VR productions. Vying for the prize are “Age of Sail” by Google Spotlight Stories and Broadreach Pictures; AtlasV’s “BattleScar”; “Crow: The Legend” by Baobab Studios; “MindPalace” by Filmakademie Baden-Württemberg GmbH; and Polyarc’s “Moss.”
In addition to the VR bid, Google Spotlight Stories’ “Age of Sail” came away with three other nominations, including character animation in an animated TV/broadcast production (Sikand Srinivas); character design in an animated TV/broadcast production (Bruno Mangyoku); and production design in an animated TV/broadcast production (Celine Desrumaux and Jasmin Lai).
Gnomon released the video of the making-of talk that John Kahrs and I did. (John’s part is not to be missed: a life lesson in thoughtful, personal filmmaking.)
Watch The Making of Google Spotlight Stories: ‘Age of Sail’ from Gnomon_School on www.twitch.tv
And AWN just ran a nice interview with me and my partner-in-crime, Chromosphere’s Theresa Latzko, about the art and tech challenges of the ocean, the look, and more.
Still reading? Really? Well, here’s some other nice press, about both VR and cinematic cuts:
John Kahrs VR Short ‘Age of Sail’ Premiering at Venice Film Fest
But who’s that guy with the beard, and why does he keep blocking the screen?
For a few weeks last spring I had the tremendous pleasure of working with my dear friend Eric Rodenbeck on an amazing project: an Atlas of Emotions. Commissioned by the Dalai Lama, and based on decades of scientific research by Paul Ekman and his colleagues, the project aims to help people find a path through the complex landscape of their feelings toward a state of calm and happiness.
This was such a fresh and exciting experience. First, because Stamen is an absolutely lovely place to spend time for any reason. (Seriously: pineapple plants and bubble machines!) Second, because it forced a connection between parts of my brain that had never met before: emotion brain, meet design brain. Well, hello! My time on the project was brief and my contribution very small, but will that stop me from kvelling? No it will not! The rest of my feelings can be found right here.
Here’s something different: I have a new job! Today was my first day at Google Spotlight Stories. I’ll be working with some amazing filmmakers and technologists who are busy inventing a new kind of narrative visual storytelling uniquely suited to handheld mobile devices. If that sounds crazy, that’s because it is. It’s my kind of crazy. It’s exactly the kind of wild, inventive, “let’s try this and see what happens” attitude that got me interested in computer graphics in the first place, all those years ago. I couldn’t be more excited.
The video above really does a great job of capturing the delight of experiencing one of these stories for the first time. It’s almost impossible not to grin like a ninny. There’s not much more I can say about it right now, but there’s been some terrific press about the projects they’ve created so far. I’ll share more when I can!
MTV Top 20 Video Countdown (1994) from Cassidy Curtis on Vimeo.
In the 1990’s, it was typical for production companies to start their demo reels with a clock-wipe countdown. Some companies would use this as an opportunity to say something about their style, and do custom animation. (Will Vinton Studios, I remember, had a particularly cool stop-motion countdown at that time.) I thought it would be cool for Xaos to have a countdown that reflected our particular style of work, so I created this drippy ink effect counting down from 10 to 1, and a drippy version of the Xaos logo, which we put at the beginning and end of our demo reel respectively.
Some time after this, our producer got a call from MTV. They had this show called “Top 20 Video Countdown”. They wanted to use this effect for the bumpers and interstitials. Could we add the numbers 11 through 20? Our producer said “of course”, and charged them a lot of money. But it didn’t really take me that long.
Brick-a-Brac (1995) from Cassidy Curtis on Vimeo.
Here is my first short film. I made this at PDI in 1995, during a gap between commercials. I modeled and rigged the characters, did most of the animation, and developed the wobbly ink-line look.
The pigeons’ torso was a metaball surface driven by a series of spheres along a spline between the head and the body, which were both separate IK joints (so I could easily get that pigeon-head movement style without counteranimating.) The eyes, beak, legs and wings were separate objects, each of which got rendered in its own separate pass. Each layer had its vector outline traced (using a tool originally written for scanning corporate photostats for flying logos!) I processed the curves using a procedural scripting language to give them some physics and personality, and then rendered them as black ink lines with varying thickness (using a tool written by Drew Olbrich). Finally, I ran the rendered lines through some image processing filters to get the edge darkening effect, and did some iterated stochastic silhouette dilation to add random ink blotches where the lines were thickest. Simple, really! ;-)
After a long hiatus, Joseph Robertson’s excellent LAB magazine is back, and it features an interesting three-way interview he conducted with me and graphic designer Ian Lynam (author/editor of Parallel Strokes) over five years ago. It’s a fun meander through many of my favorite alphabet-related topics. The rest of the magazine is gorgeous and stimulating, as always. You can download the whole thing as a PDF for free, or buy a hard copy via print-on-demand. (I already have two earlier issues, and they’re handsomely bound and printed, well worth the cover price.) Or, just go straight to our interview. Enjoy!
(Previously: Folk Typography essay in LAB 01)
I was home sick from work today, too sick to talk or really get out of bed and do anything– but fortunately not too sick to tap on a keyboard for a while. So I cracked open my long-neglected laptop and downloaded the latest version of Processing, which for those of you who don’t know it, is a really cool programming environment designed for artists. It’s a great big toybox full of fun gadgets, with plenty of examples to crib from, so you can just start with something interactive right away, and tinker with it until it does what you want–or does something completely unexpected.
It’s funny, because I was just talking with a friend the other day about watercolor, and how the happy accidents are what make that medium so much fun. We were comparing it to our day jobs in computer animation, where everything that happens is deliberate (not to mention expensive.) So it’s nice to see that happy accidents can happen in the computer once in a while too.
So, while going through this whole website restoration process, I discovered that Google’s search engine (funny how you have to be specific about that, now that Google is no longer just a search engine…) seemed to have completely forgotten this site ever existed. If you searched for “Cassidy Curtis” or “how to make a baby” or even “otherthings.com”, you’d find no results whatsoever on this domain. Zero. Considering that a few weeks ago this site was the top search result for all of those phrases, that seemed pretty weird. But I figured it was just because our server had crashed, and it was taking Google’s spiders some time to crawl back over to my little corner of the web.
The truth turns out to be a bit creepier.
I only found out the true nature of the problem by visiting Google’s webmaster tools, where I found an anonymous message dated October 20th, explaining what had happened. The message was sent to nobody, or maybe it was sent to my old email address, the one that died with my old server. At any rate, I never received it. But Google being the ultimate data hoarder, it archived it, and it was waiting for me when I identified myself as the owner of this domain.
Here’s what I learned: Remember a few years ago, when my blog got hacked? Well, the hacker in question used this blog’s machinery (Movable Type, at the time) to plant a nasty little trove of fake web pages advertising all the usual types of internet snake oil, the kind of stuff that usually gets caught in your spam filter. Well, when I switched over to WordPress, I never bothered to delete the old files, I just moved them to a different location, figuring that would break any incoming links and neutralize the problem. (I know, bad idea, right? This is why you should never let me be your sysadmin.) It didn’t work. Somehow, said hacker managed to find the files, and keep using them for their nefarious purposes.
The files were full of sleazy code that did things like: showing one thing to human visitors and an entirely different thing to search engines. Google doesn’t like that. So it reacted, in its anonymous, machine-like way, the only way it knows to respond: it removed otherthings.com entirely from its search engine. Harsh! Luckily, Google lets webmasters appeal that decision once they’ve fixed the problem. They said “it may take several weeks for your site to show up in search again”, but in actuality it only took a day.
Why was this creepy? Because it revealed just how much power this one corporation has over the shape of how we communicate. If you displease Google, it can make you disappear.