Wonokromo is an abstract animation, an investigation into visual noise divided into two sections.
I made the first section animating synthetic hairs and changing a number of parameters such as their thickness, their curliness, their rigidity, strength, and so on. The best sequences were then assembled and combined.
The second section was more complicated to do. Firstly, I mapped a number of different kinds of noise which I had chosen on a flat synthetic surface, and then I made many sequences changing the parameters of each noise. In that way I got 66 sequences which I thought were interesting.
Then I put together all the sequences and chose the best ones, creating a first level of 116 new sequences. This process took a long time, given that for each sequence I tried all the combinations with each other. As well as this, each combination was tested 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.
I then chose again the 60 most interesting results and put them together, again trying various transfer modes. In this way I built up a second level of some 230 new sequences.
At that point it was difficult for me to orientate myself among the most recent animations I had produced. For this reason I decided to classify and create an archive containing different parameters relative to each sequence, or the animation itself, its title, category, quality, length, speed, density, global and maximum luminosity.
The final two parameters, global and maximum luminosity, were obtained using software to analyse the first frame of each sequence. I automatically came up with other parameters such as medium intensity, medium contrast, softness, uniformity and entropy. However interesting, these parameters were not then used.
This process helped me to select each time the best animation to insert into the edit for the second section, for which I chose 40 sequences taking into account the parameters of category, quality, density and global luminosity.
Once the whole animation was finished, I analysed the global luminosity and decided to cut some parts of the second section to improve the fluidity of the final cut.