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Cristal d’Arques : City-of-Light
:: Grading : After Effects
:: Camera : Canon 5D Mk II
:: Lenses : Canon 50mm 1.4 & Canon 100mm 2.8 IS
:: Glidetrack SD & Zylight
:: Model : Elodie
:: Music : Matthieu Ouaki

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A videogame invasion has hit Mt Hood and High Cascade! Check out Scott Stevens, Micah Hollinger, Chris Beresford, Tim Eddy, Ben Bogart, and Casey Wrightsman as they live life like it’s one big game.

Cette semaine nous avons accueilli dans l’équipe « Kirimaru » qui s’occupera donc des bandes annonces de jeuvideo. En effet, on ne peut pas s’occuper de tout en même temps. D’ailleurs il nous reste une place de newser disponible pour les bandes annonces de cinéma, vous pouvez nous écrire via le formulaire de contact en bas de page (et oui on gratte, on gratte…). Cette semaine dans les bandes annonces de jeuvideo notre sélection s’arrêtera sur Deus Ex – Human Revolution (pour ceux qui ont remarqué, c’est une boulette de Kirimaru qui a newsé un article que j’avais déjà posté il y a un plus d’un mois ici, mais on le pardonne, l’erreur du débutant mouahahaha).  Ça donne envie d’envoyer son CV à Eidos MTL…

Du côté animations 3D on a été servit avec Descendants qui est vraiment magnifique et qu’on vous recommande vivement de voir !  Ça a vraiment de la gueule.

Du côté courts métrages au HD DSLR on a une fantastique vidéo d’un œuf dégoulinant en slow motion ici (ca y est… il remet  ça, il fait sa pub…bah quoi ?).  Plus sérieusement, c’est SHADOWS qui a retenu notre attention, avec un excellent montage, tourné au Nikon D90.


Pour conclure ce premier Best Of Week, voici la vidéo inutile de la semaine ! Voilà un grand moment « videoludique » que je vous laisse savourer…

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Shot by my fiance in Kaua’i Hawaii. First week with the camera.
Everything was shot handheld.
Shot with the Canon 7D, 1080 30p
Edited with FCP

- Smoothcam filter applied in FCP to eliminate the shake from the helicopter.
- Nattress matte widescreen film plugin applied to give it a 2.35:1 aspect ratio.

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A short film shot at Panther Beach in Northern California with the Canon 5D Mk II, the Panasonic Lumix GH1, and the Panasonic HVX-200.
Shot by Doug Smith and Ben Bunch
Edited by Ben Bunch
Production Assistant: Nick Rood
The goal of the film is to show the different capabilities of each camera in a way that is interesting to watch and has more artistic value than chart tests or side-by-side shots.
The lenses and camera used for each shot are listed on each shot, a version without the text is coming soon.
The 5D footage was shot 1080/30p, slowed to 24p with Cinema Tools.
The HVX footage was shot 1080/24p and 720p for the time-lapse. Utilized Letus Extreme 35mm adapter for most shots.
The GH1 footage was shot 720/60p, converted to 24p with Compressor or straight in the timeline in Final Cut Pro depending on the shot.
Footage was edited in a 720p timeline.
Edited in Final Cut Pro.
Color Graded in Magic Bullet Looks.

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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!

Bon appétit

www.anthonycabula.com

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New Martin SOLVEIG music video featuring DRAGONETTE.
SMASH, le nouveau clip de Martin Solveig featuring Bob SINCLAR sur le Central de Roland Garros. Avec le soutien et la participation de la FFT, l’aide de quelques partenaires privilégiés, Lacoste en particulier, la complicité de quelques stars du tennis mondial comme Gaël Monfils et Novak Djokovic. Une production CAPORAL FILMS.