Insidious
Insidious
Insidious
Year
2024
Topic
Microplastic consumption
Deliverables
Awareness Video
Type
Hyperrealisim
Data Visulisation
3d Production
3d Animation
2D Animation
Sound Design
Year
2024
Topic
Microplastic consumption
Deliverables
Awareness Video
Type
Hyperrealisim
Data Visulisation
3d Production
3d Animation
2D Animation
Sound Design
Year
2024
Client
Insidious
Deliverables
Awareness Video
Type
Hyperrealisim
Data Visulisation
3d Production
3d Animation
2D Animation
Sound Design
Microplastics are often invisible, too small to see, and easily ignored. I wanted to flip that. The goal was to present microplastic pollution in a way that feels inescapable
“Human Consumption of Microplastics” by Kieran D. reveals how plastic makes its way from the ocean to our dinner plates, primarily through seafood. Another, “How Much Microplastic Do Whales Eat?”, shows that Fin whales, among other whales, can consume around 10 trillion microplastic particles a day.
Microplastics are often invisible, too small to see, and easily ignored. I wanted to flip that. The goal was to present microplastic pollution in a way that feels inescapable
“Human Consumption of Microplastics” by Kieran D. reveals how plastic makes its way from the ocean to our dinner plates, primarily through seafood. Another, “How Much Microplastic Do Whales Eat?”, shows that Fin whales, among other whales, can consume around 10 trillion microplastic particles a day.
Insidious
(adjective)
proceeding in a gradual and subtle way, but with very harmful effects.
Insidious is a data-driven project with an ominous tone, urging viewers to confront their indirect role in environmental harm, especially through fast fashion. With this, my goal was to employ mixed media animation through data visualization to present microplastics released into marine ecosystems in a different light.
Insidious
(adjective)
proceeding in a gradual and subtle way, but with very harmful effects.
Insidious is a data-driven project with an ominous tone, urging viewers to confront their indirect role in environmental harm, especially through fast fashion. With this, my goal was to employ mixed media animation through data visualization to present microplastics released into marine ecosystems in a different light.
To visualize the graph, I conducted several experiments with water, focusing on elements such as weight distribution, splash dynamics, and timing of water.
Sound played a key role: low hums and subtle water distortion effects built a sense of anxiety. Reinforcing the urgency and everyday nature of this environmental crisis.
To communicate microplastics' gritty, invasive quality, I leaned into a style that combined hyperrealism but with rough textures through various sculpting techniques.
Movement was done referencing biomechanical movement applied through hours of going between watch these creatures swim and trying to implement it in a simplistic way with rigs.
To visualize the graph, I conducted several experiments with water, focusing on elements such as weight distribution, splash dynamics, and timing of water.
Sound played a key role: low hums and subtle water distortion effects built a sense of anxiety. Reinforcing the urgency and everyday nature of this environmental crisis.
Working in Blender, I faced multiple hurdles, from rigging issues that limited motion to render times that reached over 7 hours per scene due to caustics and spotlighting. My original plan to create a full volumetric water scene had to be simplified. I faked depth by adjusting the world lighting to simulate underwater environments.
To build this cinematic, ominous mixed-media clip, I used a combination of color compositing to unify shots and emphasize degradation, and spot lighting to isolate data points and marine species within dark scenes. I integrated 2D collage elements like newspaper clippings, metaphorically referencing our tendency to overlook some issues
This project is a visceral story to make people uncomfortable with the environment which we can't even see.
To build this cinematic, ominous mixed-media clip, I used a combination of color compositing to unify shots and emphasize degradation, and spot lighting to isolate data points and marine species within dark scenes. I integrated 2D collage elements like newspaper clippings, metaphorically referencing our tendency to overlook some issues.
This project is a visceral story to make people uncomfortable with the environment which we can't even see.
Working in Blender, I faced multiple hurdles, from rigging issues that limited motion to render times that reached over 7 hours per scene due to caustics and spotlighting. My original plan to create a full volumetric water scene had to be simplified. I faked depth by adjusting the world lighting to simulate underwater environments.
To communicate microplastics' gritty, invasive quality, I leaned into a style that combined hyperrealism but with rough textures through various sculpting techniques.
Movement was done referencing biomechanical movement applied through hours of going between watch these creatures swim and trying to implement it in a simplistic way with rigs.
Insidious
(adjective)
proceeding in a gradual and subtle way, but with very harmful effects.
Insidious is a data-driven project with an ominous tone, urging viewers to confront their indirect role in environmental harm, especially through fast fashion. With this, my goal was to employ mixed media animation through data visualization to present microplastics released into marine ecosystems in a different light.
To communicate microplastics' gritty, invasive quality, I leaned into a style that combined hyperrealism but with rough textures through various sculpting techniques.
Movement was done referencing biomechanical movement applied through hours of going between watch these creatures swim and trying to implement it in a simplistic way with rigs.
To build this cinematic, ominous mixed-media clip, I used a combination of color compositing to unify shots and emphasize degradation, and spot lighting to isolate data points and marine species within dark scenes. I integrated 2D collage elements like newspaper clippings, metaphorically referencing our tendency to overlook some issues.
This project is a visceral story to make people uncomfortable with the environment which we can't even see.
Working in Blender, I faced multiple hurdles, from rigging issues that limited motion to render times that reached over 7 hours per scene due to caustics and spotlighting. My original plan to create a full volumetric water scene had to be simplified. I faked depth by adjusting the world lighting to simulate underwater environments.