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What We Once Were // Emmit Fenn

What We Once Were // Emmit Fenn from Patrick JEAN on Vimeo.

WWOW is a collaboration with artist Emmit Fenn.
Most of it was short with a Kinect camera and processed with homemade tools.

Directed, post-produced and edited by P. Jean

The guy: Emmit Fenn
The girl: Emilia Pattinson
DPs : Jorge Valdès Iga, Steeven Petiteville
Drone operator: Morgan Gross
Thanks to Alec Udell

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LAND OF MINE

LAND OF MINE from Roman De Giuli on Vimeo.

“Man must rise above the earth – to the top of the atmosphere and beyond – for only thus will he fully understand the world in which he lives.” (Socrates)
LAND OF MINE is an experimental macro short which is made of acrylic paint on paper. The idea was to recreate the unique look on planet earth from space which sometimes rather appears like an abstract piece of art than a real photo. From far away, the surface of our planet shows the beauty of it’s landscapes, coasts and the sea in perfect order. It’s highly expressive visual aesthetics and it’s contextual narrative inspired me to create an artistic interpretation of what I’ll never see with my own eyes.
It’s just flowing colors on drawing paper, but it’s there, it’s massive and it’s real: the land of mine.
More information about the project:
terracollage.com/land-mine-story/
terracollage.com/land-mine-landscapes-paper/
creators.vice.com/en_us/article/8x9z73/sparkling-alien-landscape-fluid-macro-footage
All footage is shot in 4K, pure organic visuals, no CGI.
Music from Tristan Barton. Find out more about this composer on tristanbartonmusic.com/ or soundcloud.com/tristanbartonmusic.
Licensing: roman(at)terracollage(dot)com
terracollage.com
facebook.com/terracollage

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Abstract Reaction

Abstract Reaction from Mehdi Hadi on Vimeo.

experimental project called Abstract Reaction. It’s about style and exploration of different representations of a spherical form. By using different methods and textures (Particles,liquid,smoke etc) I tried to make every representation unique with its own dynamic and animation in an abstract way, without losing a round shape. My goal was to see how far I could go with a simple concept and I came up with 50? but for ediTing purposes and in order to stay dynamic, I preferred to show only 21 ( however I will showt the others in a breadown or a tutorial) Thank you and I hope that you’ll enjoy it
______________________
Direction / Animation/ Design by Mehdi Hadi
Soundtrack: “Minimalism” by Fugu vibes
3D: Cinema 4D, Realflow, TurbulenceFD
Renderer: Octane Render,
Compositing: After Effects,
______________________
Contact:
Mehdi, Hadi
Instagram: instagram.com/mehdi4d/
Mail: mehdi.hadi@free.fr

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Howler Monkey by Meier & Erdmann

Howler Monkey by Meier & Erdmann from Víctor Doval on Vimeo.

Official videoclip for the track Howler Monkey by Meier & Erdmann Released on the Moniker Eggplant Label (monikereggplant.net). Video created by Victor Doval (produccionesluminosas.com).

The video shows a landscape created synchronously with the music. The generation of the visuals is based on the sound spectrum. The diverse frequency bands have been used to algorithmically define the visual parameters such as geometries, materials and lightings.
Through this sonic analysis and spectral decomposition each element and texture of the track has been visually processed.
The whole sequence has been created in a procedural way where the definition of every part has been based on mathematical integrations.
To manage all this data flow I worked with Processing and Blender. The Blender add-on Sverchok has been the cornerstone in the creation and transformation of the geometry.

The initial idea came from the understanding of music as a temporal journey, a changing landscape that is perceived via the ears. The track Howler Monkey written and performed by Meier & Erdmann invites the listener to travel through the subjective/individual and the abstract.
The harmonic evolution of the track is associated with a 24 hour time lapse experienced in 290 seconds. From sunrise to sunrise the video offers a dreamy trip that opens doors for contemplation and to emotions the track might evoke.

Check Meier & Erdmann’s album – The ‘Howler Monkey’ LP: monikereggplant.bandcamp.com/album/howler-monkey

Check my other procedural works and gif experiments: blog.lightprocesses.com/

Check Meier & Erdmann on soundcloud: soundcloud.com/meierunderdmann

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Symmetry- Max Cooper & Tom Hodge

Max Cooper & Tom Hodge – Symmetry from Kevin McGloughlin on Vimeo.

Max Cooper

Symmetry is one of the most fundamental principles of nature, and also forms the basis of music. So this music video is an important early chapter in the Emergence audio-visual project, which starts with visualisations of the basic building blocks of nature, setting the stage for the physical universe to come into being, and later planets, life, civilisation, and technology (the whole story and project is explained at: emergence.maxcooper.net).

Symmetry is the idea that one aspect of a system can change while another remains constant. The idea of natural laws themselves, rely on the forms of symmetry that mean the same forces will apply to you as they do to me, independently of our position in space or time. And scientists searches for natures symmetries lie at the heart of much of our best models of reality (see Noether’s Theorem or more recent uses of symmetries in things like the ‘amplituhedron’!).

The principle is also responsible for music, in that our enjoyment of tonality, melody, harmony and rhythm comes from our subconscious appreciation of different types of patterns (i.e. symmetries) in sound waves.

The idea of Symmetry was explored in the video by Kevin McGloughlin, using simple symmetrical forms (primarily the circle), and symmetrical operations applied to them – rotations, translations and reflections. The animation demonstrates the beauty of this simple concept when applied in an iterative journey towards ever increasing complexity, both visually and musically.

The audio track originally came from preparations for a live piano and electronics show with Tom Hodge. I had some chords and glitches we were playing with in combination with a simple piano motif. We decided to try some live Fender Rhodes with it during practice and it all came to life.

Luckily we recorded the whole session so I had a load of stock content to play with when it came to turning the project into the album intro. My reasoning was that the intro should be about symmetry because of it’s basic role in nature, and the development and form of the track, going so glitchy from a simple melodic motif starting point, should work with applications of ever more complex symmetrical manipulation – emergence from symmetry, just as Kevin delivered.

Amazingly, Kevin didn’t use automated sync points from the stems of the audio project – or to put it another way, Kevin painstakingly set up all of those edits by hand, hats off to him for his perseverance on that!

Thanks for having a read, watch and a listen! – max
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When I first heard Symmetry I was blown away by its impact and it really struck a chord with me… On hearing the concept for the track, this feeling was empowered tenfold. After much discussion with Max, we arrived at a conclusive concept for the visual.

I represented conservation laws by the use of a simple circle repetition. This circle form took on many new characteristics and evolved in complexity throughout the course of it’s journey, though every new form is an evolution / adaptation of the initial circle. I used a variety of techniques in an attempt to convey the idea of this ever evolving complexity within symmetry.

Starting with minimal moire patterns, moving into 3d depth and finally ending up with massive distortions and adaptations using a technique I developed ‘Digi-Cut’, displaying various moments in time offset by tiny fractions. This was an effort to demonstrate pre-universe ideas and the introduction of organic matter in relation to symmetry.

It was an absolute honour to work on this project with Max, in particular on ‘Symmetry’, which is my personal favourite piece on Emergence.

Kevin McGloughlin

Follow Max Cooper
maxcooper.net
facebook.com/maxcoopermax
twitter.com/maxcoopermax
soundcloud.com/max-cooper

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Nobody Beats the Drum – Grindin’

Nobody Beats the Drum – Grindin' from Rogier van der Zwaag on Vimeo.

This stop-motion film is based around an intensely choreographed sequence of 4085 photographs of wooden blocks reacting, or dancing perhaps, in sync with the music.
Made for my own collective, Nobody Beats the Drum

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Royksopp Tour Visuals. Monument.

Royksopp Tour Visuals. Monument. from alx on Vimeo.

Segment from Röyksopp band tour visuals. 2015. 'Monument' song.

Agency 'D-E-F'

My role: VJing & LED screens content creation

ON THE WEB:

https://www.behance.net/gallery/29329691/Royksopp-2015-Tour-Visuals

http://romanowsky.tumblr.com

https://dribbble.com/romanowsky

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Never Knew – Sunken Foal Ft.Si Schroeder

Never Knew – Sunken Foal Ft.Si Schroeder from Kevin McGloughlin on Vimeo.

“Never Knew” – Sunken Foal Ft. Si Schroeder

Director / Animator / Cinematography / Editor – Kevin McGloughlin

To be released as a free single download from countersunk.org on 23/01/2015.
Written & performed by Dunk Murphy & Si Schroeder, arranged and produced by Dunk Murphy.

Taken from the forthcoming album “Friday Syndrome Vol. 3”, 2015 countersunk.org

Video Info :

Apparatus : Canon 7D / Canon 60 D / Canon EF 50 mm f/1.8 II Lens / Canon EF-S 18-200mm f/3.5-5.6 IS
Software : After Effects Cs6 / Premier Pro Cs6.

Director statement :
This piece is based on the idea of time perception and the fact that our inner clock is constantly distorted by temporal and spacial illusion with emotion having a huge role …

A simple car journey of a set length can take extremely different measures of perceived time depending on the attributes of the trip the individual associates with.

Funny to think how Emotion can change our lifespan….

technical details:

This video is a result of countless experiments in a similar vein.
All footage/photographs were shot from the inside of a car.The most prominent effect is generated from the 50mm’s depth of field,the use of ‘echo’ effects or ‘mirror’ effects were were not employed with the exception of less than 25 seconds…

For my time-lapse sequences……I first shot long exposure time lapse’s of a car journey . I then spread the photographs out in 3d space and flew a virtual camera through them , tracking the camera to a real camera on a separate car trip.
For the footage sequences…..I shot various city lights , constantly shifting the depth of field,and pieced them together in a seamless video, I then set this video out in 3d space duplicating the clip multiple times and spreading them out ,playing each video 1 frame later than the video previous.(this gave the illusion of moving forward) I then set up a virtual camera and re – shot the scenes from new perspectives with an additional depth of field.

For the morphing parts..this was a regular 2d time-lapse using pixel motion and time remap to generate a morph.

bless
kev

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