Creative Arts at Deakin University

Behind the scenes and activities of
Creative Arts at Deakin University, Australia
www.deakin.edu.au/creativearts

History Lesson - by 2nd year Animation students

Pushing the boundaries of animated ‘text effects’ to create a film trailer and develop material for a professional showreel
In June 1993 Australian Prime Minister Paul Keating went on radio station 2UE in Sydney to field talk-back calls on the Australian High Court Mabo decision. The Mabo case recognised Native Title for the first time under Australian Law. Animation students interpreted the recording to create sound-sync animated sequences.

www.deakin.edu.au/animation

Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
With Haruto, I attempted to focus all my attention on establishing a viabrant setting and atmosphere. Admittedly the story was a weak point and I knew this from the beginning, as I just wanted to make
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Haruto - production diary
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Haruto - production diary
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Haruto - production diary
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Haruto - production diary
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Here is a look at my character rig I created inside Maya:
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Here is a look at the third scene, where I had a large amount of instanced geometry over a big area. In order to get the viewport to be interactive I had to use a “Bounding Box” for the grass that was
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
This is the bedroom set. It was populated by a lot of objects in order to try and bring the room to life. However I had a lot to do and so my girlfriend offered to help create some of the random asset
Haruto - by student Andrew Dunkerly
I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)
Watch the Haruto animation athttp://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3
Animation and Motion Capture at Deakin
Here is my character imported into one of my scenes, this is the scene from the start of the animation, where the character is sitting by the tree.

Haruto - by student Andrew Dunkerly

I used Autodesk Maya 2014 for the majority of the process, from modelling to rigging to animation. I used Adobe After Effects to bring the shot together and Adobe Premier for the editing process. (see image captions for more detail)

Watch the Haruto animation at
http://air.deakin.edu.au/public/media/Andrew+Dunkerley_Haruto/0_2g4fadb3

Animation and Motion Capture at Deakin

WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message
WARCHILD by student Abdullah Kökçe
The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements. For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.
Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it
Watch the animation at http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m
Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message

WARCHILD by student Abdullah Kökçe

The journey of 12 weeks: I use 3dsMax and Zbrush for creating ruin building and some architectural elements.
For modeling, rigging and animate to all children Maya helped me so much. I also use it for mixing motion capture data. I export all elements to fbx format and merged together in Cinema4d. I really like Cinema4d lighting setup also low poly render option so I used for lighting setup and getting final renders.

Compositing and Music: I composed all scene with After Effect. I also add colour grade and sketch affect in After Affect. I use water colour textures for getting darky and deep atmospheric environment. Music is Armand Amar’s La Genese. It is so touchy and it fit my feeling so good. I added so many sound effects in Premier Pro and I got final export with it

Watch the animation at
http://air.deakin.edu.au/public/media/Abdullah+Kokce_War+Child.mov/0_9ysaku1m

Third year animation project incorporating various 3D compositing and visual effects methods to construct a complex visual message

Dance students and staff talk about the culture and study of Dance at Deakin University. Dance at Deakin is focused on developing students’ practical, creative and intellectual skills in the art of contemporary dance, whilst integrating this physical aspect with the theoretical studies in dance history, analysis and aesthetics.

Visual Arts - Staff
Simon Grennan
Teaching One of the things that drew me towards teaching was simply an interest in visual problem solving and sharing this interest with other artists-in-the-making. The conceptual, formal, and technical alchemy that takes place in making an ‘artwork’; the puzzle of what makes an artwork work - or not work - or work better; the collegial conversation around pictures and what they might mean, I find it all endlessly absorbing. My own ambition as an educator is to provide students with a useful ‘tool kit’ of conceptual and technical processes and skills that they can draw on when inventing, working through, and solving their own visual ‘problems’.
Practice Within my current practice, various ‘entanglements’ are sort between the realms of the (not particularly) personal, popular culture, history (art/colonial/evolutionary), and the vernacular landscape. Pictorially binding these disparate histories together is the local landscape, in my case it is the rather tame, everyday ‘green spaces’ that are wedged into the small crevices between residential grids that must perform this task.
Research Current PhD research centers on the relationship between landscape and human consciousness studies. I’m particularly interested in their analogous structures and processes and how recent consciousness research might provide new tools or frameworks for theorizing landscape and interpreting landscape art. More broadly, I’m interested in the intrinsically integrative nature of the landscape medium, as one which, for better or worse, fuses (as well as diffuses) mental and external phenomena together. Landscape has this power to make whole … if not necessarily wholesome.

Visual Arts - Staff

Simon Grennan

Teaching
One of the things that drew me towards teaching was simply an interest in visual problem solving and sharing this interest with other artists-in-the-making. The conceptual, formal, and technical alchemy that takes place in making an ‘artwork’; the puzzle of what makes an artwork work - or not work - or work better; the collegial conversation around pictures and what they might mean, I find it all endlessly absorbing. My own ambition as an educator is to provide students with a useful ‘tool kit’ of conceptual and technical processes and skills that they can draw on when inventing, working through, and solving their own visual ‘problems’.

Practice
Within my current practice, various ‘entanglements’ are sort between the realms of the (not particularly) personal, popular culture, history (art/colonial/evolutionary), and the vernacular landscape. Pictorially binding these disparate histories together is the local landscape, in my case it is the rather tame, everyday ‘green spaces’ that are wedged into the small crevices between residential grids that must perform this task.

Research
Current PhD research centers on the relationship between landscape and human consciousness studies. I’m particularly interested in their analogous structures and processes and how recent consciousness research might provide new tools or frameworks for theorizing landscape and interpreting landscape art. More broadly, I’m interested in the intrinsically integrative nature of the landscape medium, as one which, for better or worse, fuses (as well as diffuses) mental and external phenomena together. Landscape has this power to make whole … if not necessarily wholesome.

Visual Arts - Staff
Deborah Walker has been a practising professional artist over many decades and has worked across a variety of disciplines, including painting printmaking, sculpture and drawing. Yet despite the diversity of expression her aesthetic focus and research concerns have remained constant. The content of her work continues to be with the ambiguity and enigma that is often present in the visual.

Visual Arts - Staff

Deborah Walker has been a practising professional artist over many decades and has worked across a variety of disciplines, including painting printmaking, sculpture and drawing. Yet despite the diversity of expression her aesthetic focus and research concerns have remained constant. The content of her work continues to be with the ambiguity and enigma that is often present in the visual.

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