By Sophia Kyriacou
As an artist working in the broadcast industry of almost 20 years, I’ve designed everything from opening title sequences to program brands to content graphics. About three years into my career, I was asked to redesign a program entirely in 3D. The rest, as they say, is history.
Over two years ago I was working full-time at the BBC doing the same work as I am doing now, broadcast designer and 3D artist, but decided it was time to cut my time in half and allow myself to focus on my own creative ventures. I wanted to work with external and varied clients, both here in the UK and internationally. I also wanted to use my spare time for development work. In an industry where technology is constantly evolving it’s essential to keep ahead of the game.
One of those creative ventures was commissioned by Noon Visual Creatives — a London-based production and post company that serves several Arabic broadcasters in both the United Kingdom and worldwide — to create a television branding package for a program called Human Rights.
I had previously worked with Noon on a documentary about the ill-fated 1999 EgyptAir plane crash (which is still awaiting broadcast), so when I was approached again I was more than happy to create their Human Rights brand.
I was very lucky in that my client essentially gave me free rein, which I find is a rarity these days. I have always been excited and inspired by the works of the creative illusionist M.C Escher. His work has always made me think and explore how you can hook your viewer by giving them something to unravel and interact with. His 1960 lithograph, called Ascending and Descending, was my initial starting point. There was something about the figures going round and round but getting nowhere.
While Escher’s work kickstarted my creative process I also wanted to create something that was illusion-based, so I revisited Mark Gertler’s Merry-Go-Round. As a young art student I had his poster on my wall. Sometimes I would find myself staring at it for hours, looking at the people’s expressions and the movement Gertler had expressed in the figures with his onion-skin-style strokes. There was so much movement within the painting that it jumped out at me. I loved the contrasting colors of orange and blue, the composition was incredibly strong and animated.
I have always been fascinated by the mechanics of old hand-cranked metal toys, including zoetropes, and I have always loved how inanimate objects could come alive to tell you a story. It is very powerful. You have the control to be given the narrative or you can walk away from it — it’s about making a choice and being in control.
Once I had established I was going to build a 3D zoetrope, I explored the mechanics of building one. It was the perfect object to address the issue of human rights because without the trigger it would remain lifeless. I then starting digging into the declaration of Human Rights to put forward a proposal of what I thought would work within their program. I shortlisted 10 rights and culled that down to the final eight. Everything had to be considered. The positioning of the final eight had their own hierarchy and place.
At the base of the zoetrope are water pumps, signifying the right to clean water and sanitation. This is the most important element of the entire zoetrope, grounding the entire structure, as without water, there simply is no life, no existence. Above, a prisoner gestures for attention to the outside world, its environment completely contradicting, given hope by an energetic burst of comforting orange. The gavel references the rights for justice and are subliminally inspired by the hammers walking defiantly within the Pink Floyd video, Another Brick in the Wall. The gavel within the zoetrope becomes that monumental object of power, helped along by the dynamic camera with repetitions of itself staggered over time like echoes on a loop. Surrounding the gavel of justice is a dove flying free from a metal birdcage in a shape of the world. This was my reference to the wonderful book, I Know Why the Caged Bird Sings, by Maya Angelou.
My client wanted to highlight the crisis of the Syrian refugees, so I decided to depict an exhausted child wearing a life jacket, suggesting he had travelled across the Mediterranean Sea, while a young girl at his side, oblivious, happily plays with a spinning top. I wanted to show the negativity being cancelled out by optimism.
To hammer home the feeling of isolation and emptiness that the lack of human rights brings forth, I placed the zoetrope into a cold and almost brutal environment: an empty warehouse. My theme of the positivity canceling out negativity once again is echoed as the sunlight penetrates through hitting the cold floor in an attempt to signify hope and reconnect with the outside world.
Every level of detail was broken up into sections. I created very simple one-second loops of animation that were subtle, but enough to tell the story. Once I had animated each section, it was a case of painstakingly pulling apart each object into a stop-frame animated existence so once they were placed in their position and spun, they would animate back into life again.
For ease and budget, I used Poser Pro, a character-based software to animate all the figures in isolation first. Using both the PoserFusion plug-in and the Alembic export, I was able to import each looping character into Maxon Cinema 4D where I froze and separated each 3D object one by one. Any looping objects that were not figure-based were all modelled and animated within Cinema 4D. Once the individual components were animated and positioned, I imported everything into a master 3D scene where I was able to focus on the lighting and camera shots.
For the zoetrope centrepiece, I built a simple lighting rig made up of the GSG Light Kit Pro, two soft boxes, that I had adapted and placed within a NULL and an area Omni light above. This allowed me to rotate the rig around according to my camera shot. Having a default position and brightness set-up was great and helped to get me out of trouble if I got a little too carried away with the settings, and the lighting didn’t change too dramatically on each camera shot. I also added a couple of Visible Area Spotlights out of the warehouse pointing inwards to give the environment a foggy distant feel.
I deliberately chose not to render using volumetric lighting because I didn’t want that specific look and did not want any light bursts hitting my zoetrope. The zoetrope was the star of the show and nothing else. Another lighting feature I tend to use within my work is the combination of the Physical Sky and the Sun. Both give a natural warm feel and I wanted sunlight to burst through the window; it was conceptually important and it added balance to the composition.
The most challenging part of the entire project was getting the lighting to work seamlessly throughout, as well as the composition within some of the camera shots. Some shots were very tight in frame, so I could not rely on the default rig and needed additional lighting to catch objects where the 3-point lights didn’t work so well. I had decided very early on, that rather than work from a single master file, as with the lighting, I had a default “get me out of trouble” master, saving each shot with its own independent settings as I went along to keep my workflow clean. Each scene file was around a gigabyte in size as none of the objects within the zoetrope were parametric anymore once they had been split, separated-out and converted to polygons.
My working machine was a 3.2GHz 8-core Mac Pro with 24GB of RAM, rendered out on a PC — custom-built 3X3 machine — with an Intel Core Processor i7 5960X with water cooling, 32GB RAM and clockable to 4.5GHz.
Since completion, Human Rights zoetrope branding has won Gold at the Muse Creative Awards in the Best Motion Graphics Category.
Sophia Kyriacou is a London-based broadcast designer and 3D artist.