Grasshopper animation

Grasshopper animation

Inspiration:
Rapana, designed by Downtown Studio in 2017, is located in Varna, Bulgaria. This pavilion, a street library, brings back books to the public. Through the use of Grasshopper and Rhino, the architects were able to test different variations of the form. Furthermore, the pavilion consists of 240 pieces of wood, CNC milled to the right shape and size.

Creating the Grasshopper Script:
Pseudo Code
1. Start with one point placed in Rhino.
2. Create three curves each with a different radius.
3. Move the middle curve up along the z-axis.
4. Divide the three curves into as many segments as you wish.
5. Create a three point arc between the three curves.
6. With the new arcs create the ‘ribs’ of the structure using a sweep rail along the three point arcs.
7. Divide the new arcs into points and connect the points horizontally. To select certain lines for the horizontal ‘ribs’ use the lists and split/cull nth components.
8. To create the horizontal ‘shelves’ create a sweep rail.
9. Next, create the surface by splitting the list to isolate half the horizontal curves and create a surface between them.
10. Animate!

Animation:
To start with, the animation explores the general concept of the pavilion. Then the animation of structural elements takes place.
The storyboard below shows the key elements in creating the form.

Simultaneously, the variations of the form and the camera movements are explored. Camera movements are created through the components Animate Camera and Set Camera. Animate Camera changes between views at the beginning of the animation. While, Set Camera follows the three paths pictured below.

To help animate, both sine and bezier curves form part of the grasshopper script. The sine graphs help repeat certain elements (indicated by the number of curves). In contrast, the bezier curve helps to control the speed of the camera movements.

While scripting, many sliders are used to allow the form and elements to vary. This animation explores:
1. The scale of the pavilion in terms of width
2. The number of structural elements
3. The transparency of the surface
4. The size of the vertical ribs
5. The width of the horizontal shelves
6. The camera movements

Final Video

Animated Systems- Rapana is a project of IaaC, Institute for Advanced Architecture of Catalonia developed at Master in Advanced Architecture, in 2018/2019 by:
Students: Fiona Clara Louise Demeur
Faculty: Rodrigo Aguirre and David Andres Leon
Student Assistant: Daniil Koshelyuk

www.iaacblog.com

Grasshopper animation

It’s easy to ignore the X output at the bottom of transform batteries in Grasshopper. What the hell are these things and why are they there? They don’t give us geometry or lists of numbers, and when hovering over the output, we can see that the data is called a transformation matrix. Whatever that means.

Transformation matrices can be confusing, but they are really handy for several reasons. A matrix lets a programmer clean up a series of compound linear transformations and place them into a consistent format. Because of this, matrices are widely used in computer modeling. This post will walk through how to use matrices to create quick and easy animations of complex affine transformations. And it may get a little involved, so we’re offering a user object to download at the end of this post if you want to skip to that.

Before we jump into the details, let’s talk about why we’re looking at this topic. Above is a video by Daniel Piker from 4 years ago. I remember being inspired by this short as it’s a great visualization of parametric modeling concepts. Creating animations such as these is not only eye catching, but also helps designers better understand the results of design revisions.

This video was setup in Grasshopper, and as is the case with most things in Grasshopper, the animation could have been created in a million ways. Let’s assume that the majority of animations in Grasshopper are created by animating a slider (Right click on a slider, hit animate). Applying a slider to something like a move, rotate, or scale component give us a quick and easy animation. However, there are other operations which aren’t as easy to animate. Orients, projections, box mapping, rectangular mappings, triangular mappings, and mirroring all have, let’s say, before and after results (it’s hard to animate with a basic slider input).

For example, it’s often cumbersome to animate through an entire sequence of steps just to orient a curved wall panel to the XY plane (like in the video above). However, if we’re able to look at the final transformation of that object (the X output), we can animate through that transformation and get a quick visual feedback.

To do this, we need to look at our matrices before and after the transformation. In linear algebra, a transformation matrix that applies no changes to an object is called an identity matrix. We can call this the before transformation matrix:

I1,I2,I3,In refer to the dimensions of the matrix (or number of rows and columns). Notice how it’s a matrix full of zeros with a 1 along the diagonal. Grasshopper uses 4×4 matrices, so we’ll have an identity matrix with four columns and four rows to start. By animating between this identity matrix and the final transformation matrix, we can create fluid animations for any affine transformation:

The image above shows the concept behind animating transformations, and the grasshopper file at the bottom of the page should provide much more helpful information regarding its setup (the above image is not actually how the definition is setup, but is just a visual showing the logic behind it).

The above v />
Now, with the current user object, animating these transformations will in some cases result in distorted objects during animation. Basic operations like scale and translate work with linear coefficients on transformation matrices. However, a rotation matrix for example uses trigonometric functions, and since the slider is a linear animation, the geometry will certainly be distorted when animating. The final rotation (or last frame of your animation) will be correct, but the geometry will distort during the animation. As an example, the matrix below shows a rotation transformation matrix about a unit vector (l,m,n):

Just something to keep in mind while animating. Regardless, this technique will help with transformations which are more difficult to animate, and should remain consistent with GH path structures in your definition.

[download > Disclaimer: the author does not guarantee that these parametric models are bug-free or that they will solve all of your problems. If you find bugs or have suggestions for improvements, please let us know.

lmnarchitects.com

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Animation with Grasshopper

This was briefly discussed here (https://forums.chaosgroup.com/forum/. mating-proxies). But I wasn’t getting much luck and figured I would make my own thread as this is a feature that I would love to see implemented.

I work at a company which is involved with a lot of kinetic sculptures/artworks so I usually create the motion of these pieces in other 3D programs that are more particle/animation based etc. I then usually have to recreate a less animated version of this in grasshopper in order to articulate the structure and physical module sizes etc. so it would be awesome if i could marry the two in V-ray and show clients exactly what a piece could end up looking like.

I’m aware Animation functionality with grasshopper is on its way, and I’ve been testing the very welcomed addition of animated proxies in VfR 3.6 and think it is one of the best additions in recent years. But I am curious as to what extent this could potentially be implemented within grasshopper, i.e. being able to reference an animated alembic file / VRmesh with grasshopper geometry.

Here is my attempt at trying this with the most recent release:

The red surface is the alembic file i’ve imported but as you can see once the animation starts rendering, the green balls referenced from grasshopper are stuck on the first frame.

Do you think it is within reason to get this working in future releases so that it updates with each frame of the animation? or even potentially integrating a GH/Vray slider component that would allow you to scroll through frame by frame and preview the referenced GH geometry.

forums.chaosgroup.com

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TALLINN, ESTONIA — Estonian animator Anu-Laura Tuttelberg plays with our ideas about static, fragile porcelain with some incredible test footage of a porcelain grasshopper. The animation will be part of her film Winter in Rainforest.

Click to see a larger image.

Click to see a larger image.

We see a pink grasshopper, anthropomorphized with human eyes, hands, and feet. It climbs a long, slender flower, its petals opening and closing in rhythm. Set in what we assume is the animator’s studio, we get a neat shot of the candles burning down in just a few moments, reminding us that stop animation time is moving degrees of magnitude slower than real time.

Winter in Rainforest is a musical short animation that will use puppets of surreal birds, insects, and plants made of porcelain. She states:

It will come to be a composition of short animated films consisting of 3-4 individual films each one shot in a different location in the World. Different climate, natural features and music coming from those places contrast and blend with each other. The film will be shot outdoors in the nature.

Click to see a larger image.

Click to see a larger image.

Anu-Laura Tuttelberg graduated with an MA in animation at the Estonian Academy of Arts in 2013. She works as a freelance artist and makes set designs at animation studios. She teaches puppet animation at the Estonian Academy of Arts. She is inspired by photography, old toys, porcelain dolls, historical architecture, and interior design.

Do you love or loathe this work of contemporary ceramic art? Let us know in the comments.

Images courtesy of the artist.

Bill Rodgers

Bill Rodgers is a reformed journalist living in Santa Fe, New Mexico. A lover of nontraditional storytelling, he explores the role of narrative in art. Bill is Managing Editor of cfile.

cfileonline.org

Grasshopper animation

  • Welcome to Bluestone Institute of Design

    BlueStone Institute of Design is among the top CAD, Animation and Gaming education providers in Mumbai catering to Architecture, Product Design and Jewelry segments.
    This was established in the year 2003. The institute is conveniently located at Andheri East in suburban Mumbai.

    We offer courses in 3D software such as Rhino, Grasshopper, Blender, V-Ray for Rhino, JewelCAD and ZBrush. We offer this training for students, enthusiasts and professionals from jewelry, architecture and product design.

    We also offer courses through eLearning for professionals and students who are unable to come to Mumbai for class room training.

    BlueStone Tech Labs Pvt. Ltd. has gratuated more than 1000 students over the last 10 years. At our facilities students will not only be able to gain exposure to creative and business environments but they will also gain hands-on practical experience. The medium of instruction is English but training is offered in Indian languages such as Marathi, Hindi, Gujarati, etc. Our curriculum is industry standard and international.

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    Watch The Amazing 1912 Animation of Stop-Motion Pioneer Ladislas Starevich, Starring Dead Bugs

    Last week we featured 1937’s The Tale of the Fox, the crowning glory of inventive Russian filmmaker Ladislas Starevich’s work in puppet animation. But he didn’t always shoot puppets as we know them; at the dawn of his career — and thus the dawn of Russian animation — he had to make use of what lay close at hand. Today we go back a couple decades further, to the time when Starevich (then known, before his immigration to Paris, as Władysław Starewicz) worked not as an animator but as the director of Kovno, Lithuania’s Museum of Natural History. Interested in filming nocturnal stag beetles but unable to get a performance out of them under film lights, he hit upon the idea of shooting not living insects but dead ones, their legs replaced with wire which he could reposition frame-by-frame. The result? Starevich’s early, still-entertaining shorts like 1911’s The Ant and the Grasshopper (also known as The Dragonfly and the Ant) at the top.

    But you haven’t truly experienced dead-bug animation until you’ve seen The Cameraman’s Revenge, just above. Starevich made it in 1912, by which time his animation skills had developed to the point that each player moves in a manner both realistically buglike (some contemporary viewers mistook them for trained insects moving in real time) and parodically evocative of human characters. Slate‘s Joan Newberger describes the plot of this “comic melodrama in meticulously detailed miniature sets” as follows: “We meet a beetle couple, Mr. and Mrs. Zhukov (zhuk means beetle in Russian), both of whom are carrying on extramarital affairs. Zhukov wins the affections of a dragonfly cabaret dancer, but flies into a rage when he comes home to discover his wife in the ‘arms’ of an artist (also played by a beetle).” But the plot thickens, and this seemingly simple (if obviously complex in craft, especially for the time) tale even uses a bit of cinema-within-cinema at its denouement. Starewicz made early stop-motion for sure, but he didn’t make the earliest. Smithsonian.com has a post on that, citing the 1902 Thomas Edison-produced Fun in a Bakery Shop as the first surviving example — but, alas, a bugless one.

    Related Content:

    Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall.

    www.openculture.com

    All posts tagged “Grasshopper”

    Total Chaos 3D Viz Con Lines Up 60 Speakers for 2019

    Emerging 3D visualization conference Total Chaos is returning to Sofia, Bulgaria May 16-18 with an expanded.

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