Commentaires de l’auteur:

Metope describes his music as « seeming to long for a transformation of their digital being into flesh, and that by bit reduction they attempt to imitate life »

The Kobol album containing the song Rebird has been one of my favourite electronic releases for a couple of years now. The delayed but otherwise pretty classic suspense curve aswell as the vital, yet minimal sound catched my attention right from the start.
Inspired by oldshool side scroller and jump’n'runs computer games I felt that a two dimensional movement would reflect the character of the song pretty well.
The songs sound has something really two dimensional and driving which gets underlined by this motion aswell.
The growing complexity and layering of the music is visually described by the emerging environment, which the three abstract lifeforms travel through. Refractive elements and layers have been used to accentuate the songs dissonant parts, and to contrast/refract the initial two dimensional look with something different.
My personal goal was to capture the whole motion as if it was an actual game/level, and thus without a single cut. Colour and gamma shifts were added to intensify the musical changes, where the simpel movement might not have been enough. They also serve to underline the suspense curve.
Finally I would like to add that in my opinion musical cognition or aesthetical perception in general is something really individual. I would never claim that this is the only correct visual interpretation of the song. It’s my personal interpretation and I hope it’s enjoyable for others too!

The Video was built in the context of the « Clips & Clicks » seminar at Muthesius Academy of Fine Arts in Kiel which deals with the music video in the 21st century. Thanks to Prof. Tom Duscher, Sven Lütken and all the others giving me feedback!

Technical things:
My personal goal was to program the whole video myself, but instead of ending up with some sort of visualizer I decided to add a « storyline » which should reflect the characteristics of the song. I used c++(www.openFrameworks.cc) together with openGL and many GLSL shaders to achieve the look of the video. The video is not optimized for realtime use but still almost always runs at 30fps.
I experimented with raycasted isosurfaces alot in the past month.
When the video idea slowly came along I immediately felt that they could maybe help me out in the process of making things more organic.
The biggest advantage of writing your own software as a designer/artist is that you are not bound to the capabilities of software but rather can create anything you have in mind (even though todays creative software is really powerful and great without any doubt). Furthermore I feel like you don’t fall into software specific aesthetical patterns as much. (for instance you can often times tell that a video was created using Aftereffects)
Another very big plus is that you can easily reuse the code for live visuals, since it almost runs realtime anyways!

Commentaire de l’auteur:

On the site of a thousand years of violent history, ACDC were pitted against Iron Man in a ground breaking architectural projection mapping project. The front facade of the Great Keep at Rochester Castle, was brought to life using the latest in 3D animation techniques. This onslaught of the senses, saw the castle confront it’s ultimate challenge. Warping, morphing, spewing and collapsing before the audiences eyes. Let there be rock!

Commentaire de l’auteur:

An exploration through a mysterious underwater world inspired by the forms and movement of sea life and micro organisms. Hybrid organic and synthetic creatures undulate and wander through heavy waters in concert with the cinematic soundtrack.

Voici le retour du maitre de la motion design ! Et comme on ne change pas une équipe qui gagne, ce sera encore de l’ambiant occlusion et de la réflexion avec un rendu très doux.

Un commentaire de l’auteur:

Strata #3 consist in a film, site-specific installation and series of prints focusing on neoclassical Grand Theatre of Bordeaux. Commissioned by Evento and Lumin for the Bordeaux Art&Architecture Biennale (2009).

Direction/Design: Quayola
Sound: Plaid
Photography: James Medcraft
3D Animation: Robin Lawrie
Custom Software: Mauritius Seeger
Assistants: Kieran Gee-Finch, Colin Johnson

Commentaire de l’auteur:

My THESIS at Computer Art MFA School of Visual Art in 2010. If video game characters have their own will, What are they? What are you going to define them?

Comment définir la vidéo ? Motion design 3D scénarisée ? Je vous laisse réfléchir =)

D’autres vidéos du concours dans la suite de l’article

L’une de nos lectrice, Bérénice Meinsohn, nous ayant envoyé sa propre création et une autre qu’elle a jugée bonne à voir, nous avons décidé de les publier toutes les deux:

Leur showreel ici

Les clips ci-dessous sont donc issu de la technique Motion Design en 2 dimensions et ayant comme support une vidéo réelle en noir et blanc pour le fond !

Le clip tout récent de Justice « D.A.N.C.E. » nous rappelle étrangement celui de Incubus « Megalomaniac ». Deux styles musicaux tout à fait différent mais la technique graphique est vraiment similaire, on sentira juste quelques années d’écart bien sur.

Alors que le noir et blanc symbolise la dramaturgie et la fébrilité, Maxim Zhestkov nous montre la naissance d’un monde qui est le sien.

Chaque musique a été crée pour la vidéo et non le contraire. C’est un Sound Design sur mesure qu’il nous sert là !

Voici les exemples de vidéos qui illustrent son portfolio.