Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Showing posts with label videography. Show all posts
Showing posts with label videography. Show all posts
Monday, March 12, 2012
Oscar Lhermitte: Experiments
Oscar Lhermitte: Experiments:
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Friday, February 24, 2012
Jonathan Brainin
Jonathan Brainin: Jonathan Brainin's excellent camera an pendulum based feedback experiments /artworks
Saturday, December 10, 2011
Total Immersion: Projection Mapping + Tracking for PS3 Shots, Like Pure Magic
Total Immersion: Projection Mapping + Tracking for PS3 Shots, Like Pure Magic:re-blog from Create Digital Motion
We’re living in an age of the Neo-Baroque/Neo-Rococo, in which technique creates marvelous illusions, when technique and thought can create dazzling effects. And as the technology matures, that work begins to evolve genuine playfulness. It’s not enough to see the novelty: that novelty is now conveyed through real wit.
At least, I feel fuzzy, optimistic thoughts like that when I look at work like a series of spots for the Sony PS3. Friend-of-the-site Memo Atken is involved, alongside FND and Flat-e, with the wonder, mixing real-time projection mapping with head tracking and camera tracking (both at once) for a sort of live match-moving-like effect.
But… well, just watch. I hope we’ll get to talk to Memo, Flat-e, and FND soon. Credits and a teaser description of how it was done below.
And consider this: the combination of sensing with projection is to live digital visuals what a technique like perspective was to painting centuries ago. It’s a calculated illusion, but it could be the basis for an entire body of work, both a marvel in itself and a springboard to new art.
Credits:
Sony PS3 Video Store Realtime Projection Mapping [flat-e]
Memo writes:
Dynamic projection mapping with camera / head tracking – Sony PlayStation Video Store [memo.tv]
Thanks, Steve Nalepa and David Lublin.
We’re living in an age of the Neo-Baroque/Neo-Rococo, in which technique creates marvelous illusions, when technique and thought can create dazzling effects. And as the technology matures, that work begins to evolve genuine playfulness. It’s not enough to see the novelty: that novelty is now conveyed through real wit.
At least, I feel fuzzy, optimistic thoughts like that when I look at work like a series of spots for the Sony PS3. Friend-of-the-site Memo Atken is involved, alongside FND and Flat-e, with the wonder, mixing real-time projection mapping with head tracking and camera tracking (both at once) for a sort of live match-moving-like effect.
But… well, just watch. I hope we’ll get to talk to Memo, Flat-e, and FND soon. Credits and a teaser description of how it was done below.
And consider this: the combination of sensing with projection is to live digital visuals what a technique like perspective was to painting centuries ago. It’s a calculated illusion, but it could be the basis for an entire body of work, both a marvel in itself and a springboard to new art.
Credits:
Realtime projection mapping for Sony PS3 Video Store.
Agency: Studio Output
Directors: Robin McNicholas (Flat-e), Barney Steel (FND), Memo Akten (MSA)
Cameraman / AR: Thomas English
Music: Finn McNicholas/Si Begg
Client: Sony PS3 Video Store
Production Company: Marshmallow Laser Feast (MLF)
Sony PS3 Video Store Realtime Projection Mapping [flat-e]
Memo writes:
For the launch of the Sony PlayStation Video Store, our job was to bring a living room alive with hints at various hollywood blockbuster franchises – so we decided to push projection mapping to a new level. We projection mapped a living room space with camera (or head) tracking and dynamic perspective. All content realtime 3D, camera (or head) is tracked to match and update the 3D perspective in realtime to the viewers point of view. Add to this real props, live puppetry, interaction between the virtual and physical worlds, a little bit of pyrotechnics and a lot of late nights. I can tell you, physically walking around in that space really messes with your head, e.g. when the floor drops you reach out to grab onto something!.
Dynamic projection mapping with camera / head tracking – Sony PlayStation Video Store [memo.tv]
Thanks, Steve Nalepa and David Lublin.
Wednesday, November 16, 2011
Johnny Woods and Dpony VHS Movie/Album
Johnny Woods and Dpony VHS Movie/Album:
Dpony Movie is available on VHS tape in a limited edition of 100 copies.
Orders are available now for the price of $19.99 (including shipping and handling, USA only)
Orders are available now for the price of $19.99 (including shipping and handling, USA only)
Thursday, November 3, 2011
AICP Southwest 2011 Sponsor Reel
AICP Southwest 2011 Sponsor Reel: re-blog from Motionographer
AICP Southwest 2011 Sponsor Reel from Element X Creative on Vimeo.
Dallas-based Element X Creative garners a trainload of nostalgia for the AICP Southwest Awards Show with their 2011 Sponsor Reel.
Through a mixture of blood, sweat, miniatures and CG, the Element X team “came together to write, storyboard, model, texture, shoot, rig, animate, composite and edit the final [5-minute] product” in short order. Four weeks, to be exact.
Of course, the storyline echoes several other time-rigging plots in popular science fiction media (e.g., two Back to the Future Easter eggs), but in this rendition, hitching a ride through Element X’s innocent world of special relativity makes sitting through a usually long drawn-out list of sponsor logos feel like the speed of light.
Element X was kind enough to elaborate on the development from beginning to end — nuts, bolts, and tools. Check out the process in their own words after the jump.
From Executive Producer, Rick Perez:
Twenty-six extremely talented people, 90 Shots, 377 GB of files, two melted building models, all produced in four weeks in our spare time (if you want to call nights and weekends spare time).
Our creative minds here at Element X Creative (Dallas, TX) were pretty stoked about the Association of Independent Commercial Producers (AICP) asking us to create this year’s Sponsor Reel for the Southwest show. The creative carte blanche was daunting given such a small window of time to concept and produce a 5-minute piece. Adding to the challenge were our own high expectations, not only in terms of storytelling, but also wanting to create something that had not been done in the history of the show.
During the conceptualization phase, one of our big breakthroughs was our lack of time in general. Short deadlines are notorious in this industry and we’ve all yearned to stop time for a second and catch our breath. This idea, fused with the childhood nostalgia of miniatures and train sets, became the base foundation for our story.
Beyond the short-notice four-week production window and already ongoing gigs in house, we tackled many other production hurdles. We decided to shoot the background plates on a Canon 60D for several reasons: (A) these DSLRs are just pumping out fantastic pictures, and the readily available lens selections make getting the right angle easy; (B) we wanted to shoot over-cranked at 60 fps to help sell the scale of the miniatures as larger than they were — also some of the cars/trains that we moved practically through the scene, would look more realistic slowed down a bit; and (C) the flip-out screen made it super easy to get into tighter spaces, and to see what was going on quickly.
We also chose to shoot at a minimum of f/11, and when possible f/16 — I wanted to keep the DOF deeper, so it would seem more like it was photographed in the real world. We still wanted selective focus, but just not as much as you usually see when people show you photos of a miniature layout. This required us to dump a lot of light on the set to be able to shoot that stopped-down and still maintain a low ISO.
Last, we tried to get the camera as close as we could to ground level to mimic a large set — again with miniatures photographed that you might see, frequently it is shot from high above, since that is our natural vantage point in relation to them.
Using our internally developed OTTO rigging system, we put it through its paces quickly setting up dozens of characters and vehicles. Shooting such small miniatures with extreme focal lengths also made the 3D camera tracks challenging in certain shots. Logos were also pouring in at the last minute, so compositing was being handled up until the final hour.
Many late nights and take-out orders later, combined with a custom score and sound effects mix from Tequila Mockingbird, we came away with a unique animation that we are very proud of.
So take a peek at our latest and greatest! We hope you have as much fun watching it as our hero had while running around in the tiny world we created for him.
Official Press Release
CREDITS
Director — Brad Herbert
Executive Producers — Chad Briggs, Rick Perez
Producer — Amy Cass
Director of Photography — Brad Herbert
Location Crew — Luis Martinez, Jiss Kuruvilla
Location Manager — Robert Bray
CG Director — Eric J. Turman
Animation Director — Luis Martinez
Animators — Aaron Werntz, Steve “Q” Quentin, Andrea Thomas
Lead Modeler — Christopher McCabe
Modelers — Bobby Reynolds, Mathew Nith
Lead Rigger — Christopher McCabe
Rigger – Eric Turman
Editor — Luis Martinez, Brad Herbert
Lead Lighting Artist — Christopher McCabe
Lighting Artists — Dennis Kang, Mike Martin, Chad Briggs, Jason Moxon
Surfacing Artist — Christopher McCabe, Bobby Reynolds
Lead Compositor — Brad Herbert
Compositors — Dennis Kang, Mark Lopez ,Mike Martin, Laura Wallace, Christopher McCabe, Chad Briggs
Visual Effects — Dennis Kang, Mike Martin, Laura Wallace
Render Wrangler — Candace Morrish
Pipeline/Tools Programming — Steven Keiswetter
IT Director — Greg Glaser
Audio provided by Tequila Mockingbird
Executive Producer — Angie Johnson
Composer — Justin Tapp
Sound Design — Shayna Brown
Mix — Marty Lester
Background Plates : LMRA Railroad Activity
Special Thanks : Robert Bray (LMRA)
TOOLS
3D Package — Soft Image 2012 (.5)
Rigging — otto|rig — Proprietary Rigging Plug-in
Sculpting — Z Brush 4.2
Rendering — Arnold 1.13
Tracking — Syntheyes
Compositing — After Effects CS 5.5
Custom Scripts — Python
Cannon Cameras — 5D and 60D
AICP Southwest 2011 Sponsor Reel from Element X Creative on Vimeo.
Dallas-based Element X Creative garners a trainload of nostalgia for the AICP Southwest Awards Show with their 2011 Sponsor Reel.
Through a mixture of blood, sweat, miniatures and CG, the Element X team “came together to write, storyboard, model, texture, shoot, rig, animate, composite and edit the final [5-minute] product” in short order. Four weeks, to be exact.
Of course, the storyline echoes several other time-rigging plots in popular science fiction media (e.g., two Back to the Future Easter eggs), but in this rendition, hitching a ride through Element X’s innocent world of special relativity makes sitting through a usually long drawn-out list of sponsor logos feel like the speed of light.
Element X was kind enough to elaborate on the development from beginning to end — nuts, bolts, and tools. Check out the process in their own words after the jump.
• • • • • • • • • •
From Executive Producer, Rick Perez:
Twenty-six extremely talented people, 90 Shots, 377 GB of files, two melted building models, all produced in four weeks in our spare time (if you want to call nights and weekends spare time).
Our creative minds here at Element X Creative (Dallas, TX) were pretty stoked about the Association of Independent Commercial Producers (AICP) asking us to create this year’s Sponsor Reel for the Southwest show. The creative carte blanche was daunting given such a small window of time to concept and produce a 5-minute piece. Adding to the challenge were our own high expectations, not only in terms of storytelling, but also wanting to create something that had not been done in the history of the show.
During the conceptualization phase, one of our big breakthroughs was our lack of time in general. Short deadlines are notorious in this industry and we’ve all yearned to stop time for a second and catch our breath. This idea, fused with the childhood nostalgia of miniatures and train sets, became the base foundation for our story.
Beyond the short-notice four-week production window and already ongoing gigs in house, we tackled many other production hurdles. We decided to shoot the background plates on a Canon 60D for several reasons: (A) these DSLRs are just pumping out fantastic pictures, and the readily available lens selections make getting the right angle easy; (B) we wanted to shoot over-cranked at 60 fps to help sell the scale of the miniatures as larger than they were — also some of the cars/trains that we moved practically through the scene, would look more realistic slowed down a bit; and (C) the flip-out screen made it super easy to get into tighter spaces, and to see what was going on quickly.
We also chose to shoot at a minimum of f/11, and when possible f/16 — I wanted to keep the DOF deeper, so it would seem more like it was photographed in the real world. We still wanted selective focus, but just not as much as you usually see when people show you photos of a miniature layout. This required us to dump a lot of light on the set to be able to shoot that stopped-down and still maintain a low ISO.
Last, we tried to get the camera as close as we could to ground level to mimic a large set — again with miniatures photographed that you might see, frequently it is shot from high above, since that is our natural vantage point in relation to them.
Using our internally developed OTTO rigging system, we put it through its paces quickly setting up dozens of characters and vehicles. Shooting such small miniatures with extreme focal lengths also made the 3D camera tracks challenging in certain shots. Logos were also pouring in at the last minute, so compositing was being handled up until the final hour.
Many late nights and take-out orders later, combined with a custom score and sound effects mix from Tequila Mockingbird, we came away with a unique animation that we are very proud of.
So take a peek at our latest and greatest! We hope you have as much fun watching it as our hero had while running around in the tiny world we created for him.
Official Press Release
CREDITS
Director — Brad Herbert
Executive Producers — Chad Briggs, Rick Perez
Producer — Amy Cass
Director of Photography — Brad Herbert
Location Crew — Luis Martinez, Jiss Kuruvilla
Location Manager — Robert Bray
CG Director — Eric J. Turman
Animation Director — Luis Martinez
Animators — Aaron Werntz, Steve “Q” Quentin, Andrea Thomas
Lead Modeler — Christopher McCabe
Modelers — Bobby Reynolds, Mathew Nith
Lead Rigger — Christopher McCabe
Rigger – Eric Turman
Editor — Luis Martinez, Brad Herbert
Lead Lighting Artist — Christopher McCabe
Lighting Artists — Dennis Kang, Mike Martin, Chad Briggs, Jason Moxon
Surfacing Artist — Christopher McCabe, Bobby Reynolds
Lead Compositor — Brad Herbert
Compositors — Dennis Kang, Mark Lopez ,Mike Martin, Laura Wallace, Christopher McCabe, Chad Briggs
Visual Effects — Dennis Kang, Mike Martin, Laura Wallace
Render Wrangler — Candace Morrish
Pipeline/Tools Programming — Steven Keiswetter
IT Director — Greg Glaser
Audio provided by Tequila Mockingbird
Executive Producer — Angie Johnson
Composer — Justin Tapp
Sound Design — Shayna Brown
Mix — Marty Lester
Background Plates : LMRA Railroad Activity
Special Thanks : Robert Bray (LMRA)
TOOLS
3D Package — Soft Image 2012 (.5)
Rigging — otto|rig — Proprietary Rigging Plug-in
Sculpting — Z Brush 4.2
Rendering — Arnold 1.13
Tracking — Syntheyes
Compositing — After Effects CS 5.5
Custom Scripts — Python
Cannon Cameras — 5D and 60D
Friday, September 2, 2011
Ken Block's Gymkhana Four: The Hollywood Megamercial
Ken Block's Gymkhana Four: The Hollywood Megamercial:re-blog from CRBlog
Posted on YouTube on Tuesday, DC Shoes' latest short film showcasing their sponsored Gymkhana driver Ken Block has already clocked up over 3.5 million viewings. We thought we'd flag it up as there's some rather nice action-film-referencing typography in it – not to mention robotic sharks, deranged zombies, pyrotechnics, massive stunts and some pretty impressive driving skills...
For those of you that don't know what Gymkhana is (we didn't until an hour ago), it's a motorsport where competitors vie for the fastest time around a usually complex course – but also perform different driving techniques from spins, figure 8s and, where possible or necessary, drifting. Nothing will explain it better than this nine minute film - shot by director Ben Conrad (who created the opening title sequences for Zombieland / 30 Seconds or Less) of motion design, TV and branding agency, Logan in Los Angeles.
At nine minutes, the film is probably a little longer than it needs to be, but as a promotional film for the motorsport Gymkhana, the skills of driver Ken Block, and a plug for DC Shoes, well, it's not bad. The film-referencing typographic work in the opening sequence was created by designer Corey Holms who now works in house at Logan. Here are a few stills showing some of the frames from the opening sequence. Can you name all the films alluded to?
There's a behind the scenes, making-of film (but of course) too. Find it here
Credits
Director Ben Conrad
Production co Logan
Executive producer Matt Marquis
Line producer Rick Brown
Concept director Ken Block
Editor Volkert Besseling
Cinematography Stephen Blackman
Creative director Nate Morley
Creative consultant Brian Scotto
Post producer Pierre Nobile
Title design Corey Holms
Sound design Keith Ruggiero
Post supervisor Vincent Wauters
Original music by Money Mark
Posted on YouTube on Tuesday, DC Shoes' latest short film showcasing their sponsored Gymkhana driver Ken Block has already clocked up over 3.5 million viewings. We thought we'd flag it up as there's some rather nice action-film-referencing typography in it – not to mention robotic sharks, deranged zombies, pyrotechnics, massive stunts and some pretty impressive driving skills...
For those of you that don't know what Gymkhana is (we didn't until an hour ago), it's a motorsport where competitors vie for the fastest time around a usually complex course – but also perform different driving techniques from spins, figure 8s and, where possible or necessary, drifting. Nothing will explain it better than this nine minute film - shot by director Ben Conrad (who created the opening title sequences for Zombieland / 30 Seconds or Less) of motion design, TV and branding agency, Logan in Los Angeles.
At nine minutes, the film is probably a little longer than it needs to be, but as a promotional film for the motorsport Gymkhana, the skills of driver Ken Block, and a plug for DC Shoes, well, it's not bad. The film-referencing typographic work in the opening sequence was created by designer Corey Holms who now works in house at Logan. Here are a few stills showing some of the frames from the opening sequence. Can you name all the films alluded to?
There's a behind the scenes, making-of film (but of course) too. Find it here
Credits
Director Ben Conrad
Production co Logan
Executive producer Matt Marquis
Line producer Rick Brown
Concept director Ken Block
Editor Volkert Besseling
Cinematography Stephen Blackman
Creative director Nate Morley
Creative consultant Brian Scotto
Post producer Pierre Nobile
Title design Corey Holms
Sound design Keith Ruggiero
Post supervisor Vincent Wauters
Original music by Money Mark
Sunday, August 7, 2011
MOVE
MOVE:re-blog from Computerlove
3 guys, 44 days, 11 countries, 18 flights, 38 thousand miles, an
exploding volcano, 2 cameras and almost a terabyte of footage... all to
turn 3 ambitious linear concepts based on movement, learning and food
....into 3 beautiful and hopefully compelling short films.....
= a trip of a lifetime.
move, eat, learn
exploding volcano, 2 cameras and almost a terabyte of footage... all to
turn 3 ambitious linear concepts based on movement, learning and food
....into 3 beautiful and hopefully compelling short films.....
= a trip of a lifetime.
move, eat, learn
Sunday, July 10, 2011
Wednesday, April 27, 2011
The Magic of High Speed Photography: An Egg-Themed Tribute, an Affordable Camera for the Masses
The Magic of High Speed Photography: An Egg-Themed Tribute, an Affordable Camera for the Masses:re-blog from Create Digital Motion
Technologist magician Marco Tempest is back with another effort fusing traditional techniques and new gizmos. And I like how Marco celebrates Easter: not by painting eggs, but by filming them in motion on high-speed cameras.
This time, he calls our attention to George Karger, a pioneer in high-speed photography and amateur magic – a pre-digital forerunner to Mr. Tempest’s own practice.
The clip itself is Creative Commons-licensed, so if you want to work this into your next VJ set, you can.
But here’s where things get exciting: Marco is working with Swiss maker AOS Technologies to develop a low-cost high-speed camera that could spread the use of this kind of photography. Marco has already been doing some beautiful work with the prototype model, seen below; we also have a gallery of the camera itself. Rest assured, we’ll be following development here.
two seconds - cardistry from Marco Tempest on Vimeo.
two seconds - pressure from Marco Tempest on Vimeo.
More video:
Vimeo Album
Gallery: High-speed shooting
Next step: thinking of more things to shoot, which could in turn be offered up as more CC clips. Open to suggestions, let us know ideas in comments — and stay tuned for more on working with this camera.
Technologist magician Marco Tempest is back with another effort fusing traditional techniques and new gizmos. And I like how Marco celebrates Easter: not by painting eggs, but by filming them in motion on high-speed cameras.
This time, he calls our attention to George Karger, a pioneer in high-speed photography and amateur magic – a pre-digital forerunner to Mr. Tempest’s own practice.
A tribute to George Karger, a professional photographer (regularly contributed to Life magazine) he was the photographic illustrator for many magic books including the Stars of Magic series. But more importantly, he was the first magician ever to experiment with high-speed photography. Here’s to you, Mr. Karger, and to exploring the fourth dimension. (George Karger Died September 27, 1973)
This is the 1940 original: life.com/image/50336838
Music: Aleksi Virta “cosmos bossa” (archive.org)
Toys: AOS high speed camera @ 710fps, Nikon 50mm f/1.4, SIGMA 20mm f/1.8
copy me – remix me, music rights reserved. © 2011 newmagic communications, inc.
The clip itself is Creative Commons-licensed, so if you want to work this into your next VJ set, you can.
But here’s where things get exciting: Marco is working with Swiss maker AOS Technologies to develop a low-cost high-speed camera that could spread the use of this kind of photography. Marco has already been doing some beautiful work with the prototype model, seen below; we also have a gallery of the camera itself. Rest assured, we’ll be following development here.
two seconds - cardistry from Marco Tempest on Vimeo.
two seconds - pressure from Marco Tempest on Vimeo.
More video:
Vimeo Album
The AOS prototype camera with magician Marco Tempest. Courtesy Marco; used by permission.
Gallery: High-speed shooting
Next step: thinking of more things to shoot, which could in turn be offered up as more CC clips. Open to suggestions, let us know ideas in comments — and stay tuned for more on working with this camera.
Monday, March 21, 2011
SebastiAn – Embody
SebastiAn – Embody:
It’s happening. SebastiAn is finally coming out with his next album called Total later this year and he’s just released the music video for his first single Embody. As always the video is directed by Ed Banger artist extraordinaire So-Me who does an outstanding job with it. I knew he’d be doing good things this year after I heard his Uffie 2006 Parties Remix last year. 2007 is officially back in full swing people! New Justice, SebastiAn, MSTRKRFT.. I haven’t been this happy about electronic music in a long time and things can only get better from here. Everything changed in 2007, and now everything is about to change again.
It’s happening. SebastiAn is finally coming out with his next album called Total later this year and he’s just released the music video for his first single Embody. As always the video is directed by Ed Banger artist extraordinaire So-Me who does an outstanding job with it. I knew he’d be doing good things this year after I heard his Uffie 2006 Parties Remix last year. 2007 is officially back in full swing people! New Justice, SebastiAn, MSTRKRFT.. I haven’t been this happy about electronic music in a long time and things can only get better from here. Everything changed in 2007, and now everything is about to change again.
Tuesday, November 23, 2010
Hermès Finger Skate
Hermès Finger Skate:re-Blog from Polkadot
Brand new campaign from Hermes, featuring products from the latest collection and a session of “Finger Skate” skate with your fingers. More at lesailes.hermes.com, an interactive microsite featuring their products related to different themes including video, cool animation, downloadable screensavers and more.
An idea and a video directed by film director Alexis Milant.
Brand new campaign from Hermes, featuring products from the latest collection and a session of “Finger Skate” skate with your fingers. More at lesailes.hermes.com, an interactive microsite featuring their products related to different themes including video, cool animation, downloadable screensavers and more.
An idea and a video directed by film director Alexis Milant.
Tuesday, September 14, 2010
Russ Chimes – Midnight Club
Russ Chimes with 3 Massive quality MVs. This guy is sooooo good!
PART 1 – NEVER LOOK BACK
Russ Chimes - Midnight Club EP (Part 1: Never Look Back) from Russ Chimes on Vimeo.
PART 2 – TERTRE ROUGE
Russ Chimes - Midnight Club EP (Part 2: Tertre Rouge) from Russ Chimes on Vimeo.
PART 3 – TARGA
Russ Chimes - Midnight Club EP (Part 3: Targa) from Russ Chimes on Vimeo.
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