Yeah, i'm trying to work with the way MSG chooses color palettes to make it a little more sophisticated in how it builds coloring for random procedural effects. As opposed to just randomizing palettes, or just building coin toss palettes. And then be smarter with how it utilizes color variations when building up layered procedural shapes.
Interesting. There are of course many ways to be "smart" about color choice. I like the limited palette here and the use of sat/lum values to suggest foreground and distance. I suppose that one could have a series of intelligent design presets. Some might select a palette like Nieman would others like Rembrandt or Monet... could be very interesting.
David Kaplan did something like that for his auto-rotosocped paint animation for his Studio Artist generated film 'Year of the Fish". He used Studio Artist to generate color palettes off of famous impressionist paintings he liked the color scheme of. And then used that palette to colorize painting effects.
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love the sense of depth here
Yeah, i'm trying to work with the way MSG chooses color palettes to make it a little more sophisticated in how it builds coloring for random procedural effects. As opposed to just randomizing palettes, or just building coin toss palettes. And then be smarter with how it utilizes color variations when building up layered procedural shapes.
Interesting. There are of course many ways to be "smart" about color choice. I like the limited palette here and the use of sat/lum values to suggest foreground and distance. I suppose that one could have a series of intelligent design presets. Some might select a palette like Nieman would others like Rembrandt or Monet... could be very interesting.
David Kaplan did something like that for his auto-rotosocped paint animation for his Studio Artist generated film 'Year of the Fish". He used Studio Artist to generate color palettes off of famous impressionist paintings he liked the color scheme of. And then used that palette to colorize painting effects.