COVID Dystopia: ZOE Depth for Store Monkeys

Posted on by Thor

I am excited for this shot since the ZOE Depth did such a good job of recreating a long store aisle. When the camera move is added it will far surpass the previous version of the shot.The animated monkeys are ready to be imported as three separate layers to add to the depth. The two foreground monkeys will disappear rather quickly as the camera moves up the aisle and zooms in on the baby monkey.

The scene looks darker in the 3D diorama view which can be rotated to see the depth, but the color and values are corrected automatically when imported into After Effects. By the end of the day today I will see how this all falls together.

COVID Dystopia: Last Tail

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Today I just need to finish up animation on the last tail in this scene. I still need to add some darker values on the smallest monkey up the aisle as well. I then have to add shadows under all the monkeys and start exporting movies with green screens. The green masks might make that tricky. I don’t want the masks to become partially transparent.

I plan to composite the scene in After Effects as well today. I want to use ZOE depth so that a camera move up the aisle will feel dimensional. I will export 3 separate movies so they can be stacked in depth. If the ZOE method doesn’t work out I already have the scene composited with depth using Volumax. I would just need to replace still images wit the animated movie movies in deep space.

I had another rejection yesterday from a film festival, so I need to start thinking about which film festivals to submit to next. I am making a expenses spread sheet for my 2023 taxes and it turns out that Film Festival submission fees are the biggest expenses I have had in making this film. Facing rejection week after week becomes taxing over time. Once I have all the papers sent off to the accountant and the government has reached into my pocket and taken its cut, I might once again be able to breath a sigh of relief.

 

COVID Dystopia Shot 8

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With Shot 6, The Screaming Monkey, I did go in and add animation of the mouth opening as it screams. The added animation did help the scene.

In this shot the tails are animated along with the strand of toilet paper and the hand of the reaching monkey bends at the wrist. I think I am going to go in  and fully animate the crowd of monkeys scrabbling for the TP. I suspect that adding ZOE Depth to the background could also help the scene.

Fully animating this scene will be a real challenge so it will be sharing the animation as it is done.

COVID Dystopia: Stadium

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I am sharing the scene that is on my desktop this morning. The first pass at this scene was a simple zoom in towards the burning car. Using the ZOE Depth app I can now have the camera fly towards the car as if it were a drone. The change might seem subtle, but the crowd in the foreground flies under the camera in perspective giving a better sense of how large the stadium is.

At the time that I did this illustration, the Michigan State Stadium has a seating capacity of over 107,000 people. Stadiums today are once again packed full of mask less fans.  Now over 1000 Americans are dying every week but that has become the accepted norm and the price of getting back to “normal” while abandoning all COVID precautions. Many of these deaths are preventable if people simply learned how to truly live with the virus. That involves masking indoors and in crowded settings cleaning the air with HEPA filters and not holding super spreader events.

People are unable to adapt and this film is a reminder of that fact. As we approach the new year another wave is rising exponentially upwards with its corresponding hospitalizations and death. Deaths doesn’t always come with the first infection but will happen weeks and months later from vascular damage and brain damage. The virus replicates in the body long after the initial infection. The polite yet cautious keep getting infected by the clueless hoard.

 

COVID Dystopia: Shrunken Brain

Posted on by Thor

COVID-19 has a nasty habit of fusing and shrinking brain cells. Most people are happy to overlook this since their brain cells have already been damaged.

This shot done in Volumax Pro had some dimension but when I redid it using ZOE Depth the scene rally pops. When I was first throwing together the shot I was in a mad rush to finish before May 11, 2023 when the United States lifted the COVID Emergency Declaration. In that rush I forgot to add the breath and spatter and going back I reconsidered.

Last night I thought I had just one more shot to go in the film, but after watching the film one more time, I jotted down a list of seven more tweaks. This is all a matter of “good enough” as opposed to exceptional. After all these months of work, I now know how to use all the tools at my disposal to bring each scene to life.

I will probably be working through Christmas day to refine and correct the final shots. I saw a great Christmas lawn sign, it read, MERRY CRISIS.

COVID Dystopia: Duck and Cover

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I reworked the Duck and Cover scene using ZOE Depth. This allowed for a more dimensional zoom in. I am still keeping the scene as a held cell since everyone is crouched with their fingers interlocked. Movement isn’t needed.I needed to keep the camera move subtle because if I moved the camera too much long tendrils would appear from the student edges extending towards the background.

It was a productive day, with five scenes getting adjusted and improved. Pam has a hard time realizing that animation can take so long. The film was essentially complete back in May of this year when the COVID emergency was lifted. However that was sort of a highly detailed storyboard pass with no animation included.

Many of the scenes at the start of the film have large crowds of people and I have only animated the single person that I want people to look at. I still think that animating the crowds would be overkill. Animation is only added where I want the audience to look. The rest can remain as frozen moments in time. Part of me wonders if Film Festival judges even consider this to be an animated film. I also realize that any festival wanting to crowd a theater full of a mask less  audience might not approve of this film.

We are in the midst of a huge COVID holiday wave right now. The film’s message is as important as ever, but getting audiences who are willing to see it is a problem.

COVID Dystopia: Bell Jars

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I animated the bell jar scene by turning the foreground person towards the camera to show he is wearing a mask. I thought I was done but when I looked at this image for the post, I found out I didn’t paint out his legs from the background layer. This makes his left leg look a bit broken. It is a subtle thing, but since I know it is there I will correct it today.

I also used ZOE Depth on the scene which allowed for a clean truck in. ZOE is however confused by glass. The people are interpreted correctly in space but the bell jars flatten out towards the background. Even stranger the round gall orbs on top of each bell jar act like spikes extending forward in space.

With the limited camera move and lack of movement up or down I was able to minimize the odd depth. The bell jars are warping a bit as well. I might redo the scene using the Black and white depth maps I already created. I will be able to move the camera more up and down and the animation will composite fine into that shot.

Every day I discover more about what works and doesn’t work with this new depth map technology. Trail and error and experimentation are my way to figure out what works for each scene.

COVID Dystopia: Freezer Truck Morgue

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I figured the Freezer Truck Morgue would be a perfect application for the ZOE Depth I tried on several other shots. Zoe allows to the camera to truck forward. The other depth maps I have used only allow for parallax when the camera trucks side to side. So with this shot the camera trucks forward towards the prisoners who are working in the background.

One worker is tightening a strap around the midsection of the corpse and the other simply places his hand on the corpse, probably in preparation to move it, him, her. Figuring out the verb is the first step towards making the action make sense. What is seen her is the very rough animation just to get a feel for what motion will work over the 26 frames.

The first pass at the animation had far too much motion, so the action felt rushed. I had to throw out keys and simplify the action to slow it down. The feet on the one prisoner are going to be held cells which is why the feet are not drawn.

A major issue with this animation is that the prisoners are in stripped jump suits. Stripes are always a challenge to animate so the final animation will take some time to clean up.

This morning COVID Dystopia was accepted to be screened in another film festival with animated flames and confetti on Film Freeway. The proposed screening date however was in 2020 long before my film had been created. An e-mail to the film festival producer conformed that Film Freeway had simply gone rogue. The acceptance was a glitch in The Matrix.

COVID Dystopia: DeathSantis Office

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This image shows the DeathSantis Office scene from two views. On the left is a view of the scene from above. The purple box shows the full depth of the office. The lighter lines show the planes of the Governor held cell, the hand animation and the microphone held cell.

The office depth was created with the ZOE Depth freeware online. I left the coffin and all the patients in the depth information. Having a patients feet so close to the foreground resulted in a very limited ability to move the camera before things got highly distorted. I ended up doing a very subtle truck in with the camera to focus attention on the Governor.

Having discovered this ZOE Depth tool so late in the process means I will only be using it in a few shots. So far I have applied it to two shots where I was adding animation anyway. The next shot I am considering is a freezer truck morgue where I might animate the prisoners who were in charge of disposing of bodies at the time. The deep freezer truck interior should be a perfect place to apply this depth.

COVID Dystopia: ZOE Depth

Posted on by Thor

Yesterday I started the morning knowing I wanted to add some animation to the Gladiator scene. I separated out each of the gladiators in Procreate and exported each as a PNG file. I then patched the background where gladiators had left holes in the painting.

As I was working I stumbled on a youTube video that showed how to use a free depth generator online. The freeware is called ZOE Depth and is easy to use. I imported the background into the engine and with a click of a button it generated a fully dimensional image that can be rotated. Every pixel is pushed back into space. It is like a 3D diorama with a floor plane an walls. The 3D model is darker than the original art but that can be corrected.

I had to upload the newest version of Adobe After Effects which can work with the 3D model. Once it was imported, I then created a 35mm camera which could be moved through the setting. There are limitations, in that things tend to stretch and distort if you move the camera too much. But for the tight one second shot I wanted to accomplish it was perfect. I tracked the camera down and moved it in slightly towards the action.

The youTube video I watched was just 10 days old and the Adobe After Effects update was brand new. It is exciting to get to play with brand new technology using my traditional art. I continue to dabble in the digital world. The gladiator scene I completed with ZOE Depth turned out amazing. This morning, I listed 5 shots which I will try this new technology on. I am giddy and delighted to continue the experiment. Seeing the ZOE Depth video I shared, I also decided to try and make the foreground Gladiator more dimensional. This isn’t critical but I will give it a try.