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Digital animation
5 min. 48 sec.
Black & White, PAL, 25 fps, 8 bit, Photo JPEG compression
WONOKROMO is a research about visual noise divided into two sections.

I created the first section by animating synthetic hairs, changing different parameters such as their thickness, curliness, stiffness, gravity, and others. I chose the best sequences and combined them all, resulting in more animations. Then I chose again the best animations, and put them together over time.

The second part was more complex to create. Fig. 1 shows a table of possible noises, the ones I actually used are marked in red.

Fig. 1
I first mapped the noises on a flat synthetic surface, and thus created several sequences in which different parameters were changed each time. This way I got 66 different sequences.

I then combined them all and chose the best ones, resulting in a first level of 116 new sequences. This process was particularly long, as for each sequence all the others were tried. Each combination was also done using different transfer modes: darken, multiply, linear burn, color burn, add, lighten, screen, linear dodge, color dodge, overlay, soft light, hard light, vivid light, pin light, difference, exclusion.

Afterwards, I chose the most interesting 60 results, and combined them together, always with different transfer modes. This process gave me a second level of 230 new sequences.

At that point it was difficult for me to navigate among the animations I last created. Therefore, I decided to classify them and to create a database containing different parameters about each sequence. That helped me to choose the most suitable animations in order to create the final sequence. The parameters in the database were the movie itself, its title, category, quality, duration, speed, density, global luminosity and maximum luminosity.

database, form view

Fig. 2 The database, form view

the database, table view

Fig. 3 The database, table view
The last two parameters, global and maximum luminosity, were obtained by analysing the first frame of each sequence. Other parameters resulted from image analysis, such as average intensity, average contrast, third moment, smoothness, uniformity and entropy. Although interesting, these last six parameters were not actually taken into account. The ones that were indeed used were category, quality, density and global luminosity.

I finally composed 36 animations, creating the second section.

Once the complete animation was done, I analysed its global luminosity, and decided to cut some parts to improve the overall fluidity.

global luminosity of the second section, before final cuts
Fig. 4 Global luminosity of the second section, before final cuts
global luminosity of the second section, after final cuts
Fig. 5 Global luminosity of the second section, after final cuts


WONOKROMO has been shown at Seeing Sound, Bath (2009); Cinema Azzurro, Ancona (2009); Studio Matteo Boetti, Rome (2008); Visual Music Marathon, New York (2007); MuVi, Granada (2007); International Mediterranean Film Festival, Montpellier (2005); Fondazione Morra, Naples (2004).