production company – roadnorth
director – doug purver
director of photography – doug purver
post-production – SUSPECT
lead vfx artist – doug purver
executive producers – rob appelblatt, tim crean
technical director(s) – dave white, andrew cohen
sneaker animation – ricardo vicens
sneaker rigging – lee wolland
cg artist – steve burger
additional shader/texture artist – jimbo rowel
camera tracking – john geehring
music and sound design – q department
shot break down of some of the layers that put this piece together.
all the different takes before the final(larger) shot that went into the final piece.
Intolerance
Phantom of the Opera
King Kong
Modern Times
My Man Godfrey
Make Way For Tomorrow
Citizen Kane
The Maltese Falcon
Gun Crazy
The Treasure of the Sierra Madre
Lady in the Lake
Fallen Angel
The Thing
Singing in the Rain
The Man with the Golden Arm
Anatomy of a Murder
Psycho
North by Northwest
Vertigo
Grand Prix
To Kill A Mockingbird
Dr. No
The Pink Panther
Goldfinger
Dr. Strangelove
Bullitt
Barbarella
Soylent Green
Mean Streets
Star Wars
Saturday Night Fever
Superman
Alien
Raging Bull
The Terminator
Brazil
The Untouchables
Do The Right Thing
Forrest Gump
The Naked Gun
Cape Fear
Reservoir Dogs
Delicatessen
Natural Born Killers
Freaked
Se7en
The Island of Dr. Moreau
Mimic
Donnie Brasco
Mission Impossible
Dawn of the Dead
Fight Club
Catch Me If You Can
Lemony Snicket's A Series of Unfortunate Events
The Fall
Casino Royale
Six Feet Under
Carnivale
Dexter
Mad Men
Iron Man
Juno
The Kingdom
Wall•E
Sherlock Holmes
Up In The Air
Zombieland
Scott Pilgrim vs the World
Buried
Robin Hood
Machete
The Social Network
Enter The Void
Inception wurde im Rahmen der „JAMESON Empire Awards 2011 -- Done in 60 Seconds" in 60 Sekunden zusammengefasst. Informationen zu den Siegern des Wettbewerbs 2011 gibt es unter www.jamesonwhiskey.de oder www.facebook.com/done.in.60.seconds.de.
Inception is one of the finalists of the film competition „Done in 60 Seconds" by Jameson. The aim of the competition is to shoot a remake of a renown film within 60 seconds. For further information about the competition in Germany and the winner take a look on www.jamesonwhiskey.de or www.facebook.com/done.in.60.seconds.de.
Title: We Are All Connected
Length: 60 Sec
Client: WWF - World Wildlife Fund
Agency: Ogilvy & Mather Mexico
VP Creative Director: Jose Montalvo
Creative Directors: Victor Alvarado, Fernando Carrera
Agency TV Producer: Juan Pablo Osio
Production Company: Troublemakers.tv
Director / Art Director: Mato Atom
Producer: James Hagger
Assistant Producer: Mélanie Aguilar Fauconnier
Storyboarder: Leonardo Weiss
Post Production: Digital District
Post Producer: Peggy Tavenne
Managing Director: David Danesi
SFX: Thomas Marqué
Animation: Romuald Caudroit
Modeling: Jimmy Cavé, Kevin Monthureux
Lighting / Renders: Nicolas Belin
Compositing / Flame: Seif Boutella
Assistant Flame: Amandine Moulinet
An extraordinary projection mapping event, for an extraordinary car.
Relive the story of a car which recycles energy as it drives - the Toyota Auris with Hybrid Synergy Drive.
Luz is a promising, surprisingly-powerful tool with a clean UI that lets you connect a huge range of inputs and generate visuals. It’s fully free and open source on Linux – possibly reason to try a Linux dual-boot for experimentation, even if you’re not a regular user. And now, a new release adds DMX support.
Working with actors and dynamic parameters, it looks extraordinarily easy to create quick visual effects. And it’s especially nice to see a tool that focuses on generative modules rather than emphasizing video.
For input, connect MIDI (notes and controls), gamepads, joysticks, Wii remotes, Wacom tablets, or any OpenSoundControl input, or set up Luz to react to audio signal (via adjustable spectrum). For output, you can produce simple geometries, images, GIFs, type, paint, and effects. For abstract work, it looks really stellar (and even gives me some ideas for how to reconfigure some of my Processing sketches).
DMX is a major new addition. Using those same inputs, you can now output DMX control to lighting and other gear. The same elegant approach to parameters applies to DMX, too, as in this screenshot from the blog post on DMX (linked below):
There really aren’t a whole lot of choices with this range of features for money, let alone one that’s free without any coding. The project encourages donations, including at the absurdly-cheap rate of a dollar a month.
Hold my calls, clear my schedule, so I can go play with this?
Here’s a rough example of playing with using the projector together with DMX lighting:
Augmented Projection with Magician Marco Tempest, Big in Japan by Peter Kirn
Applying infrared tracking to a projection surface, Magic Projection makes digital visuals more immersive by freeing the content from fixed real-world imagery. We saw the project at the end of last year, but technologist and magician Marco Tempest tells us he’s just completed the first live performance debut of the system.
The project is built in OpenFrameworks, with the assistance of that project’s founder Zach Lieberman.
Here is the first ever live performance with my Magic Projection system (at TEDxTokyo 2010). Have fun watching and let me know what you think.
Special Thanks to: Zachary Lieberman for his programing wizardry, Animation Cell for bringing Stickman to life, Jojo Mayer for the soundtrack, Makiko Oku for helping me with my Japanese, Empire Entertainment Japan for all their support and to Patrick Newell and the gang at TEDxTokyo for having me as a guest. A super special shout out to all people creating amazing free tools available to artists everywhere: OpenFrameworks, [open computer vision framework] OpenCV, [free Mac video driver implementation] MacCam.
More information about my magic can be found at marcotempest.com
Marco adds:
Here is pic of me setting up. I did another performance yesterday with Theo Watson at Flying Tokyo (I think they have a Ustream stream of the whole thing somewhere): http://www.rhizomatiks.com/event/flyingtokyo4/
In celebration of 10 years of digital innovation, RalphLauren.com presents the ultimate fusion of art, fashion & technology in a visual feast for the 5 senses. Watch as the London flagship at 1 New Bond Street disappears before your eyes and is then transformed into a series of objects and images rendered in 3-dimensional space.
The crew over at Blinkink have been one of the few major forces in the UK keeping the spirit of indie music videos alive — one of the leaders of the pack is a young fellow called David Wilson. Named best new music video director last year at the MVA’s last year, he continues to push the envelop with his latest oddity for Skream and his most ambitious narrative to date; the story of Adam and Eve.
Along with a few other London up-and-comers, David is leading the charge with a return to craft and sweat. Raw labor and a love for exhaustive and often archaic techniques, specifically Strata-Cut animation in this piece, produce consistently fresh visuals.
And the making of…
On a side note, this video was actually commissioned by Blink themselves via Tempa — an interesting new take on a self-generative model.
Skream
Listeninʼ To The Records On My Wall (Tempa Records)
Director: David Wilson
Producer: Georgina Filmore
Executive Producer: Bart Yates
Production Manager: Tom Berendsen
Production Company: Blinkink
DoP: Toby Howell & Christophe Leignel
Camera Operator: Chris Nunn
VFX Motion Control: Malcolm Wooldridge & Digna Nigoumi
Art Director: Theo White, David Curtis-Ring & Ceridwen Brown
Srata-Cut Artist & Animator: Joseph Mann
Strata-Cut Assistant: Lydia Smith & Lauren Brown
Material Effects: Niek Pulles
Art Department Assistant: Joshua Stocker, Joe Myers, Iona Davis,
Yasameen Noorian, Daisy Roth, Jonathan Venga, Cornelia
Temple-Richards & Helen Leworthy
Hair/Make up: Lucie Norris
Choreographer: Mark Battershall
Making of: Rob Leonard
Casting Director: Nana Klimek at Headnod Talent Agency
Adam: Benedict Smith
Eve: Harriet Shillito
Editor: Vanessa Wood at Speade
Post Production: The Mill
Producer: Paul Schleicher & Serena Noorani
Colourist: James Bamford
Lead Flame Artist: Gareth Brannan
Assistant Flame Artist: Gareth Parr & Ilia Mokhtareizadeh
Nuke Artist: Donal Nolan, Ben Smith, Georgina Ford, Pete Hodsman, Dave Lee
& Maxime Chaix
Matte Painting: Dave Gibbons
Commissioner: Bart Yates & Sarah Lockhart
Graffiti Analysis is an extensive ongoing study in the motion of graffiti. Custom software designed for graffiti writers creates visualizations of the often unseen motion involved in the creation of a tag. Motion data is recorded, analyzed and archived in a free and open database, 000000book.com, where writers can share analytical representations of their hand styles. Influential graffitis artist such as SEEN, TWIST, AMAZE, KETONE, JON ONE and KATSU have had their tags motion captured using the Graffiti Analysis software. All tags created in Graffiti Analysis are saved as Graffiti Markup Language (GML) files, a new digital standard used by other popular graffiti applications such as Laser Tag and EyeWriter. Graffiti Analysis 2.0 is an open source project that is available online for free in OSX, Windows and Linux. Graffiti writers are invited to capture and share their own tags, and computer programmers are invited to create new applications and visualizations of the resulting data. What Martha Cooper did for archiving graffiti on film, and Chalfant/Silver did for archiving graffiti in video, Graffiti Analysis intends to do for archiving graffiti in code. The project aims to build the world's largest archive of graffiti motion and bring together two seemingly disparate communities that share an interest hacking systems, whether found in code or in the city.
360° “lenses” (which generally aren’t actually lenses, but spherical reflectors) are perfect for simple, single-shot video production. Especially given some inventive viewpoints, staging, or post-production.
Recently Merlot’s “Loser” impressed me with its combination of a surround angle shooting and a snorricam setup.
I was reminded of this today by Hot Chip’s “One Life Stand”:
“Reflective sphere dangling in front of the camera” is probably the easiest way for someone to get started with this kind of shoot. The Hot Chip piece physically rotates the camera so as not to lose resolution, but this effect can work beautifully with a simple polar co-ordinates filter to unwrap the viewpoint, as demonstrated by Loser. Like any single-shot piece, it’s all about putting inventive things in front of the camera, or putting the camera in inventive locations.
Like a digitally deconstructed then reconstructed architectural fragment, VJ Chindogu’s Cúpula Sonora stands as an audiovisual object, with music by David Duchov. I like Chindogu’s term of “ephemeral sculpture” here, as there is a sense of that as the cupola pulses and vibrates. And while I think the rectangular screen probably has life left in it, what’s striking as a result is that the object becomes for me autonomous and self-sufficient.
Chindogu aka Marcelo Vidal has a long resume of work, ranging from stage design to galleries, visual performance, and architectural mapping, with collaborators from Ellen
Alien to HSBC.
I also love his work for Pepsi’s rebranding, not so much for the Pepsi logo as for the inventive and whimsical patterns that dance across the facade of the Hotel del Prado. Some mapping projections can become austere and somber; these are great fun, and take out the Pepsi logo and you could substitute a number of great musical artists for the same effect.
It appears Novak have hit on a winning formula for making live audiovisuals more complete and more immersive. The 3D glasses are just one part of that; they’re adding dimension to their parties in more ways than one.
Toby Harris sends along this reel of their parties, along with some rave reviews. I’ll share what he says as I haven’t yet been fortunate enough to see their show:
It’s a story about a collective of VJs coming together to overcome the randomness of all-night wallpaper vjing by putting in the work and creating instead a really high quality product, a “thing”. And it’s worked: they’re being booked all around the world. They often have to split up to do simultaneous gigs in different places. I saw their latest gig where they got to what they called a real v1.0 of their a/v set. Thats a year of development for a cohesive set, on top of years of building up a library of 3D loops, not just a vj doing something alongside a dj and calling it av.
I think it’s an inspirational tale on all fronts, and something that would be a kick-up the arse for a lot of people.
The gig rig, says Toby: Ableton Live with custom Max for Live patches for audio-to-visual communication, Modul8 as the live visual software, and DVI output.
It sounds great. And 3D could prove to be for more than just Avatar; I fully expect to see those more sophisticated glasses at a party soon.
Name : DJ Lee Nick : MotionDJ Sex : Male Position Motion Graphic Designer Motion Technician Tel : +82.10.9491.1106 E-mail : motiondj@dstrict.com Office Address Dongsung Bldg. 4F Nonhyun-dong 95-14, Gangnam-gu, Seoul, Korea
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