During weeks 5 and 6, we had the opportunity to experiment with MadMapper, a projection mapping tool that links animations to physical surfaces via a projector. I spent this time exploring how to use glitch effects within MadMapper, experimenting with how I could potentially showcase parts of my work through projection mapping.
While projection mapping isn’t central to my concept, I see a lot of creative potential in it as an additional element—either as part of this project’s submission or something I might explore further in the future. For example, I imagined projecting glitchy animations or coded words onto shapes like a human silhouette, which could add an interesting layer to the visual storytelling.
In MadMapper, we also worked with animation sequences, transitions, and dynamic presentations, which I found really engaging. After discussing with Arpit, we considered incorporating projection mapping into the environment by creating a “matrix-like” digital space, where coded words flow horizontally around a central figure in a crowd. This idea inspired us to adjust the environment design to better suit this aesthetic.
Overall, this session was a valuable experiment that broadened my toolkit and opened new possibilities, even if projection mapping isn’t the main focus of my project.
Project Progress:
This week marked a significant turning point in our project, as Arpit and I strategically divided the workload to focus on different aspects simultaneously, maximizing efficiency and creative development. While Arpit dedicated his efforts to rigging the character, I took responsibility for texturing the environment, a critical element for establishing the visual tone and narrative atmosphere.
After reflecting on the ideas from last week’s projection mapping session and our discussions, we decided to pivot the environment design toward a “matrix-inspired” aesthetic. This shift was motivated by the desire to visually represent the glitch effect not only through distorted animations but also through the presence of floating, coded words and dynamic color changes. The environment itself became a key storytelling tool, where the words and colors act as visual metaphors for the breakdown and transformation of identity under societal pressures.
I began by setting up the “matrix-like” environment in Maya, carefully designing the layout to accommodate the animated words that would float and interact within the scene. I then animated these words to convey movement and flow, enhancing the sense of a digital space filled with shifting information. After completing the animation, I exported the assets to Substance Painter for the texturing phase.
In Substance Painter, I experimented with a wide range of textures to find materials that aligned closely with the project’s themes. My goal was to achieve a texture that felt authentic to the concept of digital identity and glitching. After testing different surface finishes, I focused on emissive textures that emit light, which added depth and vibrancy to the environment. These glowing textures visually emphasize the idea of digital code and energy permeating the space, making the environment feel alive and immersive.
Once I finalized the textures, I reassembled the scene in Maya and produced several mock renders. These test renders were crucial for evaluating how the emissive materials and animated words interacted within the environment’s lighting setup. The early results confirmed that the approach effectively conveyed the intended atmosphere and narrative.