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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
F8
Andrew Jones,
Howard Wen,
Casey Hess,
Don Relyea,
Jason Wen
Original: PR_2001_f8_001_o.jpg | 1800 * 1209px | 1.9 MB
Original: F8 - Bild 1 | 4022 * 2263px | 26.0 MB
F8 is a science fiction short animation about one character’s attempt to gain a unique identity (both external as well as internal) in a world where such an organic biological norm has virtually been eradicated by technological means.
The concept for this animation was initiated by Jason Wen, whose brother, Howard Wen, then wrote the initial screenplay. Subsequent drafts were written and rewritten by both brothers over a year’s time. Jason Wen began initial computer modeling and conceptual design drawings close to the end of 1997. Just before Jason was to graduate from Ringling in 1999, he met Andrew Jones. Andrew became the primary conceptual artist for F8. Through constant collaboration, Andrew designed the looks for all but the main character. Additionally, he rendered illustrations for a blimp inspired aircraft, a slotmachine, a harpoon weapon, interior structure of a building and the alien creature.
Jason used Newtek Lightwave 3D version 5.6 to build all the models which appear in this animation. It took him approximately two years to realize every character, set piece and prop. He then began animation at the very beginning of 2000 using Project:Messiah, a Lightwave character animation plugin. He spent almost the entire year of 2000 on the animation aspect of production.
Rendering was completed with the use of two Intel Pentium III computers and two AMD Athlon machines. The rendered frames were taken into After Effects for compositing, color balancing, correction and 2D effects work. Each scene was output as a DV format video and taken into Premiere for the final edit.
By near the end of 2000, Howard Wen introduced Jason to Casey Hess who, with assistance from bandmate, Don Relyea, became the musician on the project.
By the beginning of 2001, Jason began mixing the sound for the animation. With the exception of one sound effect, he recorded everything himself using a Sennheiser shotgun microphone and a Tascam portable DAT recorder. The actual sound mix was accomplished from beginning to end with Steinberg Nuendo PC software. To monitor the original 5.1 channel surround mix, Jason used five KRK V8 sound speakers and one KRK SI 2 subwoofer.
The concept for this animation was initiated by Jason Wen, whose brother, Howard Wen, then wrote the initial screenplay. Subsequent drafts were written and rewritten by both brothers over a year’s time. Jason Wen began initial computer modeling and conceptual design drawings close to the end of 1997. Just before Jason was to graduate from Ringling in 1999, he met Andrew Jones. Andrew became the primary conceptual artist for F8. Through constant collaboration, Andrew designed the looks for all but the main character. Additionally, he rendered illustrations for a blimp inspired aircraft, a slotmachine, a harpoon weapon, interior structure of a building and the alien creature.
Jason used Newtek Lightwave 3D version 5.6 to build all the models which appear in this animation. It took him approximately two years to realize every character, set piece and prop. He then began animation at the very beginning of 2000 using Project:Messiah, a Lightwave character animation plugin. He spent almost the entire year of 2000 on the animation aspect of production.
Rendering was completed with the use of two Intel Pentium III computers and two AMD Athlon machines. The rendered frames were taken into After Effects for compositing, color balancing, correction and 2D effects work. Each scene was output as a DV format video and taken into Premiere for the final edit.
By near the end of 2000, Howard Wen introduced Jason to Casey Hess who, with assistance from bandmate, Don Relyea, became the musician on the project.
By the beginning of 2001, Jason began mixing the sound for the animation. With the exception of one sound effect, he recorded everything himself using a Sennheiser shotgun microphone and a Tascam portable DAT recorder. The actual sound mix was accomplished from beginning to end with Steinberg Nuendo PC software. To monitor the original 5.1 channel surround mix, Jason used five KRK V8 sound speakers and one KRK SI 2 subwoofer.
Jason Wen (US) has been practicing computer animation for approximately seven years. From 1995 to 1999, he attended Ringling School for Art and Design in Sarasota, Florida, U.S.A. While on summer breaks from college, Jason spent his time interning in Dallas, Texas at the Stokes Group (video postproduction), Mesalogic (arcade game developer) and DNA Animation (broadcast animation production). In May of 1999, Jason graduated with a BFA in Computer Animation from the Ringling School of Art and Design.