In this latest iteration, it's the first time I've combined two separate compositions. However, the animation layers of the characters are still progressing from front to back, contrary to the original idea of animating them from back to front. The transition from color to line drawings was executed relatively smoothly, but it lacks some excitement. I think the composition could be lengthened by adding more elements, and more details are needed in the line drawings, such as spikes in the background and the hall. For this version, I haven't yet determined the blocked layers, but they will be depicted by simple line drawings, as explained in the last blog post. Also, I plan to test different camera angles and start moving the camera to make the experience more immersive and dynamic.

Quantitatively, the ideal length of this film is between 10 to 20 minutes, showcasing a thorough process of constructing and composing the painting with the rhythm of various Baroque compositions. However, due to time constraints, I am aiming for a 3-5 minute, tastefully scripted and executed animation as a trailer for the final presentation. In the 10-minute presentation, I can’t just show a video alone — I'll share a lot more information about this project, therefore a trailer seems appropriate.

Qualitatively, the focus is on one word: details. Details are crucial - the precision of each layer's cut with fuzzy edges, the number of layers extracted from the original painting, the timing of each character's appearance, and how each stroke, shadow, and light is represented in sync with the composition's tempo, down to the decaseconds and pixels. If I can impress the audience with a 3-5 minute trailer and make them eager to see the entire piece projected at 1:1 scale (15'x12'), it will greatly motivate me to complete the full piece after graduation. Like good movies, a compelling film about a classic piece takes time to create, prototype, iterate, reiterate, and complete.

The goal of this piece remains unchanged – to pay respect to and celebrate Rembrandt's craftsmanship by presenting this painting in a dynamic and immersive way, while adding my own perspective. I also want to remind people that by looking back, we can rediscover and reinterpret the immense treasure trove of human creations. As a member of the ITP community, we consistently create new things and embrace cutting-edge technologies, which is fantastic. However, I believe there's still great value in revisiting the past.

One insightful piece of feedback from Anvay during the playtest was to move the camera based on the characters’ movements/gestures in the painting. For example, if we zoom in on someone's hand pointing in a direction, we could move the camera accordingly. This creates an indirect interaction between the audience and the painting, even though they can't control the camera.