I would like to talk about how to create a zoom-in video in a easy way with Google Earth.
Rotate and zoom to choose scenes that show the site from big scale to small scale. In my video, I find scenes that shows the globe, USA, Louisiana, and the whole route of Bayou Lafourche.
For each scene, use “Add Placemark” to mark the scene. The style, color and some other properties of the pin mark could be changed when you right click at the mark.
Click “Record A Tour” Click to start recording.
Click the names of the place marks in the menu on the left in the order of the scale.
You could use a screen capture software to record the tour in a short video. Next part is about the movement of the floodgates and the control of the water. Draw all the annotations in Adobe Illustrator. Put different elements on different layers. Insert the AI file into After Effects. Set transformations of each elements to make the movements.
PART 1: One method of annotating a hybrid digital rendering begins by first determining the dimensions of the final digital image. Select drawing paper that is slightly larger, in order for your guidelines and annotations to run off the edge of the digital image. In this example, the final digital print is an A1 sheet, and the hand drawing is performed on a 26″x 40″ sheet of white Stonehenge paper.
PART 2: Compose the image on paper with construction lines and variations in line weight to enhance the richness of the resulting digital image. Use these early construction lines to also form the composition of your digital component. Do keep in mind that the dark graphite or ink line work will appear white in the final digital image. Avoid the shading of trees or figures in this line drawing. You should predetermine which aspects of the final image will be hand drawn, and what will be photography or digitally based.
PART 3: Scan the large drawing as a BLACK AND WHITE image into a high resolution digital file, at least 300 DPI. If the drawing is scanned in color, make sure the image is DESATURATED in Adobe Photoshop before you begin any editing.
PART 4: Using Adobe Photoshop, the scanned image must be trimmed and adjusted. CROP the image to remove unnecessary edges of the drawing. Create a new, white BACKGROUND LAYER, and clean up any stray smudges of scanning artifacts with the ERASER tool. Merge the scanned image layer with the white background layer, so that there is only one image layer before proceeding.
PART 5: Isolate the drawing line work from the white background with the MAGIC WAND selection tool. This make take a few attempts depending on the quality of your drawing, and the intended effect. Try adjusting the TOLERANCE number to modulate the amount of line work you want selected. The best selection for this demonstration is totally black line work, with the least amount of white selected. COPY the desired linework, CUT the selection from the backgound layer, and PASTE the lines onto a new layer.
PART 6: Locate the digital render you wish to annotate with your hand drawn line work. This component should be constructed with the composition of your drawing in mind. The drawing should be the same dimensions as the digital layers underneath, so the hand drawn layer meshes with the digital work. With the digital image open in Photoshop, COPY the line work from PART 5, and paste the layer over the digital render. INVERT the dark lines to make them white, enhancing the visibility in the final image. The original scan may be slightly off-register with the true digital dimensions, and some ROTATION might be necessary.
FINISH: Written text may be added to the illustration with the same technique as the larger drawings, using the same process of scanning, inverting and adjusting the line work. Text may be written on smaller 8.5″ x 11″ vellum or trace paper for quicker scanning and editing. Additional hand drawn entourage or footnotes may also be quickly added this way. Adjusting the opacity of the drawing layer may also enhance the quality of the final image. Gradient blending may also more effectively combine the digital rendering with the analog drawing as well.
Before 1905, the Bayou Lafourche was connected with Mississippi River. Then, after 1905, the Bayou Lafourche was disconnected with Mississippi River, resulting in the water of the bayou less than before, even dried up. So, we want to reconnect the Bayou Lafourche and Mississippi River, reviving of vitality of the bayou.
1. Extract the contour from the dem image in ArcGIS.
Then, make some changes of these contours satisfy our transformation in CAD.
Import the contour into 3dmax. Use Terrain to create the topography.
2. Create the 3d model of a bridge and a flexible dam in 3dmax.
3. Combine them in one image.
4. Use collage to illustrate the perspective image of the joint area.
5. But from the perspective image, we are not clear with the part which is from the new levee road to the Mississippi River. So, I create a relative section of that part combined with the perspective image.
Though the relative section is not in the accurate scale, it illustrates the hidden part behind the new levee road and connects with the Mississippi River.]]>
My task was to complete a illustrative image to support a narrative about a Louisiana landscape. This illustration in particular is center on a hypothetical catastrophe in New Orleans and the periods before and after the event. in this narrative the attitude about levee systems and engineered infrastructure was laced with complacency. After the catastrophic storm event the city and its levees were not rebuilt and the river was given room to overtake the land that was New orleans. This sing Illustration shows the chronological shifts in attitude and geography in a single perspectival image.
To help distinguish between periods of the narrative a color story was developed. Different color ramps were created using color selection tools on inspiration images as a starting point and were further developed in Adobe Kuler. The color ramps I created are pictured below. Images used in the final narrative image would be manipulated in photoshop to match the color family assigned to that part of the overall story.
I began by layering different images of The Mississippi River and the New Orleans skyline. I added Black and White adjustments layers to images at varying opacities to begin to fade source imagery into the defined color palette. This allows the designer to use images in different color families and manipulate them for desired color values and effects.
The next step was to begin to alter the New Orleans base image I created to represent the different phases to the narrative storyline. the period of catastrophe would be distinguished by a darker palette, a more violent and ominous sky and deeper tones of grey and black. The sky in this section is made up of different sky images all made black and white at different intensities and shown at different opacities. There are also cloud and lighting .png files layered over top to create desired effect.
Because of the original black and white palette and subtly in the base image I created, no further manipulations were needed for the complacency period. So the next periods to actualize related to the transitional aftermath and desertion of New Orleans. This part of the narrative introduced more saturated and vivid color than other other part of the story. The colors were chosen to represent sunrise at the horizon. A metaphor for “change on the horizon” and the mood was meant to be positive from an ecological standpoint. Images of rubble depict all that was left of the city after the transition. Images here had hue and saturation adjustments in addition to brightness and black and white adjustment layers. The opacity of each adjustment layer is manipulated to create desired effect.
Next, a section was inserted at the bottom of the image to represent a sectional cut through this part of the River. This particular section line was drawn in illustrator over an image of a google earth section cut through the site. The illustrator line was drawn using the fill option and the stroke was turned off. The illustrator section was placed in the photoshop file and was color burned on top.As with all steps in this process the section lines and complementary textures were manipulated with a black and white adjustment layer as well as brightness and contrast.
Finally, annotations were added as well lines showing the end part of the storyline. Dates are also given to explain how much time has passed between phases. the annotations are done in a color that does not blend in with the colors used to narrate the story in an effort to add clarity.
I developed the narrative image by creating three different scenarios. The first scenario is when the city is totally dry. The water level is lower than the ground level. The second one is when the city is flooded. People are in trouble and the flood problem needs to be solved. Therefore, we came up with the third scenario, filling the city with water. In order to show the changes in levels, I cut the section along the street line in the aerial perspective. The section shows the underground system, the water levels and the pipes.
While on the top view, I made the city flooded by copy the water colour from the river area . Then, I use brush and clone stamp commands to make the canal layers in the city.
For the shadow of the buildings, I copy another layer of the base photo and make it to greyscale. Then, I put the mask on the layer and adjust the opacity of the layer. I blurred the edge of the layer and used motion blurred filter to make the shadow blend into the water.
After fill the water back in the city, the transportation has to be change. I developed the system of transportation by adding the nodes layer into my drawings. I used circle shapes as points then I used the vector lines to connect between each point as the routes.
Last, I put the vignettes showing the changes of the system. I adjust the colour and opacity of the photo, then put the annotation in.
Our composite project focuses on the development of the surrounding areas of Bayou Lafourche. This area changed in the ways of topography, ecology and hydrology. In the generative part, topography and hydrology changes are shown through Rhino model and grasshopper definition.
1.Open the sampler grasshopper definition.
2.Double click on the DEM image. In the image sampler settings window, click ”…” to change the grayscale DEM image with the proper image, click OK.
3.Change the slider number to a proper one.
4.Right click on the “LOFT” button, and then click “bake” so that we can the “Attributes” window, press OK and then we bake the grid of the terrain.
5.Adjust the perspective in Rhino to a proper angle, pick the “Render Tools” on the toolbar, and click on the first blue ball so that we get rendering of the terrain, and then save it.
6.Delete the grid. Right click on the “SEC” in the grasshopper, and then click “bake” so that we can the “Attributes” window, press OK and then we bake the contours of the terrain.
7.Go to the Rhino toolbar, choose “PRINT” under the “File”, in the “Print Setup” window, choose “solid converter PDF”, and size” 11/17”, set “window” in the “ View and Output Scale”, then print so that we get the pdf file of contours.
8.Put the contour file and the rendering together in the Photoshop so that we get the final topography image.
1.Choose all the contours in Rhino which we baked before, then input “Group” in the Rhino command, press Enter.
2.Input “extractPt” in the Rhino command, press Enter. Then we open the “water elevation grasshopper file”.
3.Double click on the grasshopper empty space, and enter “POINT” order, press Enter, so we get a “Pt” button, then line the right of “Pt” button to the “P” on the left of “Del” button.
4.Right click on the “Pt” button, and choose “set multiple points”, then right click on the “Pt” button and choose “Preview”.
5.Go to the Rhino window, choose all the points and contours, press “CTRL” button on the keyboard as well as pick one contour, then input “hide” in the Rhino command so that we can hide all the points and keep only contours.
6.Last step is to change the slider to simulate different water elevation. And render the topography and export contours, and put two files together in Photoshop.
To begin open the modeled terrain in Rhino.
Turn off all layers except the levee to break.
The explosion is going to be applied to the middle of the levee, so we need to split the levee into 3 pieces. The cuts in the levee will be made with a surface. Click the “Surface from 3 or 4 corner points” box.
In top view draw a rectangular surface using 4 points.
Using front view, select the surface that was just created, and type rotate in the command bar.
Select the end of the plane as center of rotation, and designate a rotation circumference.
Rotate the surface so that it is perpendicular to the ground plane. This surface will be used to make one slice or cut through the levee.
To create the second cutting surface, type copy into the command bar and drag and drop a second surface. These are the 2 cutting tools that will divide the levee into 3 pieces.
Arrange the surfaces at the desired levee divisions. In this tutorial the middle piece of the levee will no longer be seen after the explosion.
To create the levee cuts, type split in the command bar. Select the levee (object to be split), hit enter, then select one surface (cutting object), and hit enter.
The first cut of the levee will be made. The left side of the levee has been separated from the right, seen by the highlighted area when selected. Repeat this process with the second surface to create 3 levee cuts.
Save the split levee as 3D Studio (.3ds) file to open in 3ds Max.
Open levee in 3ds Max. On the right side of the program select Create -> Space Warps -> select Geometric/Deformable in the drop down menu.
Click bomb, and set parameters. Under the General heading change Gravity to 0.0 (if you want the explosion fragments to fly in all directions, instead of down), and adjust Chaos to 3.0 (or desired level). The Detonation number keyframes when the explosion will happen. After the parameters have been set, click near the levee to place the bomb (triangle).
To apply the explosion force to the middle piece of the levee, click the Bind to Space Warp button, and drag the dotted line from the bomb to the middle piece of the levee.
Finally, drag the slider along the frame numbers to see the explosion.
While not the most accurate depiction of a levee break, this was a fun technique and learning opportunity to visualize the destruction of a levee.]]>
On the dem surface (not the mesh), trace the levee walls by creating a line using control points to interpolate on the surface. The feature projects the line onto the landscape topography, instead of a flat plane (this doesn’t work on the meshes). To bring the lines onto the mesh surface, copy and align onto levees.
The grasshopper script alters the levee through a series of cylinders. The following instructions create the movable cylinders, the levee.
1. Attach traced levee lines to curves in grasshopper. Create the curve button by double left clicking in the blank screen, type “curve”. To attach features from rhino into grasshopper select line in rhino, right click on curve button in grasshopper, and select “set one curve” or “multiple curves” depending on the line/s you’ve selected.
2. Create a control points button. Attach the curve/s button to control points button. This allows for the manipulation of the control points from the rhino line.
3. Create a circle button. Attach “P” from control points button to “P” on circle button. This attaches the center of the circle to the control point. It is important to note the more control points drawn in your Rhino line translates into more circles.
4. The other option on the circle button is “R” or radius. To adjust the size of the circle, create a number slider button. Enter in the desired values. Connect radius number slider in “R” on the circle button. This allows for size adjustment of the base. If the radius is larger, the circles overlap. If the radius is small, gaps form in the levee structure.
5. The circles are lie “flat” along the line, however they will need to be extruded to establish a levee wall. Use the extrude button in grasshopper. Connect the “C” on the circles button to the “B” (base) on the extrude button.
6. “D” on the extrude button refers to the direction of the extrusion. To control this aspect, connect a number slider to a Unit Z button. This connection is saying extrusion of circles will only happen in the z direction. Connect the “V” from Unit Z button to “D” in the extrusion button. Moving the number slider will change the height of the cylinder along the line
7. To enclose the visible portion of each cylinder, make a cap button. Connect the “E” from the extrusion button to the “B” on the cap button.
The two images below display changes in thickness in the red, wireframes and green slider.
An additional layer was added to move the entire object instead of changing the shape each individual cylinder.
8. Create a move button. Attach control points “P” and Cap “B” to “G” (geometry) on the move button. Create another Z unit button and a number slider to connect with the “T” on the motion button.
Grasshopper has the potential to become a widely used tool for constructing landscapes, however it will need to workout a few glitches. Two of the largest issues with this program are learning the program language and a lack of supplementary teaching materials referencing landscapes.]]>
According to NASA, the Navier-Stokes equation describes how the velocity, pressure, temperature, and density of a moving fluid are related. The equation indicates velocity instead of position. Therefore, any object’s flow can be determined using the Navier-Stokes equations.
The application of this technique can also be useful in the study of river currents and bayou flows in the Louisiana landscape.
To produce an explosion using Maya Fluids:
*Open Autodesk Maya
*Set tool bars to Dynamics
*Drop down menu Fluid Effect and select Create 3D Container
*Increase the time range
*Drop down menu Fluid Effects and select Add/Edit Contents then Emitter
*Adjust Emitter Options to Emitter type: Volume and Volume Shape: Sphere
*Adjust the Density under Fluid Attributes, Set Key ; Heat: 30, Set Key
*Move time slider to frame 10 and Density: 0, Set Key ; Heat 0, Set Key
*Select the box and under Container Properties, increase the base resolution to 30 boundary XYZ to None
*Select Explode 1 and decrease Fluid Drop off to 0.1
*Select the box and set the Temperature to Dynamic Grid
*Under Dynamic Simulation change Damp to .01 and Solver Quality to All Grids
*Increase Simulation Rate Scale to 1.5
*Turn on Auto Resize and turn off Resize Closed and Resize Subs
*Under Lighting, check Self Shadow and increase Shadow Opacity to 1
*Under Content Details, Temperature, increase Buoyancy to 300
*Increase Dissipation to 1.2 and increase Turbulance to 120
*Under Velocity, increase Swirl to 5.0
*Under Density, decrease Buoyancy to 0.5 and Dissipation to .2
*Under Shading, adjust Transparency
*Under Color, Adjust Color Input to Temperature and change selected colors to black and grey
*Under Auto Resize, change Max Resolution to 500, Auto Resize Margin to 6 and Auto Resize Threshold to 0.001
*Under Incandescence, increase the V value under the yellow dot to 3
*Under Opacity, adjust the curve
*Under Container Properties, change the Base Resolution to 120
This is useful when the grasshopper definition is subtle, and the changes in the grid may not be rendered. The power of this kind of modeling is in the discovery process that leads to a new set of diagrammatic overlays.
The slider control bar is moved form left to right, repelling the grid where it interacts.
The residual spaces in the grid result in a pattern along the curve.
The block of red at the right of the screen has an attractor definition on it to react to the approach.
This tool plays a role in the history of performative architecture. Karl Chu’s approach to digital modeling uses very simple rules to express complex objects in a recursive process before he finds form. Adding science, BMW uses field emission microscopy (FEM) analysis for fabric and glass envelopes for designs across the globe. Computation fluid dynamics (CFD) analysis of wind flows by Future Systems is another way to visualize a buildings interaction with natural forces. The emphasis of understanding performance modeling is redefining expectations of design, wherby process is as important as practice.]]>