Building on the first iteration of the Anamorphic Shadow VR installation, I wanted to create a second version of the piece. The second iteration of the installation is inspired by the works of the other participating researchers and artists working on the Expanded Memories project. The project intended a second phase where each artist reimagined or remixed a project from the first phase. I use the angle of expanded animation to explore the different ways to reimagine the installation in an analogue way.
I always intended to have a 3D-printed version of the installation. Above is an example of the first printed frame using a Formlabs 3D printer. The frame size was too big, as it would result in a reasonably significant installation. The details looked good, as it is a very detailed and delicate shape, and none of the detailing was damaged when cleaning the 3D-printed shape. Removing the 3D printed supports risks breaking the more delicate details of the 3D printed form.
I didn’t want to restrict the experimentation to using one technique, so when I visited Altoo University (FIN) when giving a VR animation workshop to students of the international animation Master (Re:Anima), I could use their Igloo 360° projection room. Researcher Tanja Bastamow and I created a projection mapping of the animation. There were some issues with the projector alignment of the system that couldn’t be fixed, but I could already get a good idea of how to create such a 360° video installation and what to adjust to make it more impactful. To create such a 360° room, some expensive technology would be needed so this needs to be funded. The 3D-printed version seemed to be the more viable option to work on.
To create the 3D-printed animation, I opted for the zoetrope principle. Thus remixing the work Guido Devadder was working on in the Expanded Memories project. All the frames were printed using the Formlabs resin printer, but it became apparent that by sizing down the frames, the printed supports were impossible to remove without damaging the more delicate parts of the prints.
The parts were printed again, but this time using an SLS printer. This is a printer that solidifies power resin and has no need for printing supports. This means the frames will not get damaged during the cleaning process. It is a costly printing process.
In Illustrator, I designed a disc that could be laser-cut out of plexiglass. I was designed with slots that could lock each frame in place. This was done by adding a support element in Blender that could hold each frame in its exact position.
For the turning mechanism, I went another route than my colleague Guido. He created his turning platters using electric stepper motors. I had an old turntable that I could repurpose.
I designed a box for it in Makercase that I slightly altered in Adobe Illustrator. This box was laser-cut to house the repurposed turntable record player. I also needed the centre cylinder to hold up the zoetrope platter and the shadow projection plate to project the animated shadows.
After assembling and painting the installation, the animation was tested using a cellphone led and an app called’ Stroboscope’ that can adjust the video shutter speed. The first tests of the installation can be viewed in the video bellow.