Once upon a time in Psychic Land...
We just had fun with some characters and lots of other stuff, hope you enjoy.
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Art Direction & Design:
Animation Directors: Martin Salfity & Pablo Gostanian
3d Animation: Martin Salfity, Sebastian Garcia & Juan Pablo Siaccaluga
Monster Modeling & Animation: Sebastian Garcia
Postproduction: Pablo Gostanian
Additional Animation: Jorge Herrero
Music and sound fx: Hula-Music.com
- TAAFI Festival (Toronto) / Annual Toronto Animated Arts Festival International / taafi.com
- Pause Fest (Australia) / Showcases projects celebrating the art & innovation of digital culture / pausefest.com.au
- Visueltdagene (Oslo) / Annual event for the creative industry in Norway / visuelt.org
- Animayo (Spain) / VII International Festival of Animated Films, Visual Effects and Video-Games / animayo.com
- Rushes Soho Shorts Festival, London / sohoshorts.com/
Project by Daniel Franke & Cedric Kiefer
Music: Machinefabriek "Kreukeltape"
Text: Sandra Moskova
The basic idea of the project is built upon the consideration of creating
a moving sculpture from the recorded motion data of a real person. For
our work we asked a dancer to visualize a musical piece (Kreukeltape by
Machinenfabriek) as closely as possible by movements of her body. She was
recorded by three depth cameras (Kinect), in which the intersection of the
images was later put together to a three-dimensional volume (3d point cloud),
so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the
digital camera, without limitations of the perspective. The camera also reacts
to the sound and supports the physical imitation of the musical piece by the
performer. She moves to a noise field, where a simple modification of the
random seed can consistently create new versions of the video, each offering
a different composition of the recorded performance. The multi-dimensionality
of the sound sculpture is already contained in every movement of the dancer,
as the camera footage allows any imaginable perspective.
The body â€“ constant and indefinite at the same time â€“ â€œburstsâ€ the space
already with its mere physicality, creating a first distinction between the self
and its environment. Only the body movements create a reference to the
otherwise invisible space, much like the dots bounce on the ground to give it
a physical dimension. Thus, the sound-dance constellation in the video does
not only simulate a purely virtual space. The complex dynamics of the body
movements is also strongly self-referential. With the complex quasi-static,
inconsistent forms the body is â€œpaintingâ€, a new reality space emerges whose
simulated aesthetics goes far beyond numerical codes.
Similar to painting, a single point appears to be still very abstract, but the
more points are connected to each other, the more complex and concrete
the image seems. The more perfect and complex the â€œalternative worldsâ€ we
project (VilÃ©m Flusser) and the closer together their point elements, the more
tangible they become. A digital body, consisting of 22 000 points, thus seems
so real that it comes to life again.
nominated for the for the MuVi Award:
see video in full quallity:
Algorithms as narrative
There are plenty sorting algorithms out there, and each fresh computer scientist has to learn and understand them. They are categorized by how fast they are, or how many memory they use. A sorting algorithm is a strategy to order a random or chaotic set of numbers. The most were invented between 1945 and 1964, in the very early days of computer science.
While a sorting algorithm itself is very techno centric, we are intrigued by possibilities of using the process of sorting as a narrative. It contains the story of something unordered becoming meaningful. Finding references in the chaos. Those who sort and organize might be able guide others.
As an experiment, we wanted to investigate in the different visual forms, the process of sorting can have. Each sorting algorithm reveals its particular strategy as a unique pattern. We took a row of pixels of a photograph and sorted the pixels by their color value. Since Processings color object is actually a number, they are perfect to be ordered. It worked well with grays, but revealed an unintuitive sorting of the colors. While they are ordered mathematically, one expects the gradients to be different.
In the next step we took each pixelrow from top to bottom, scanning and sorting image. This way a certain rythm of color hues, brightness and darkness is added to the sorting processes. Each animation has a duration if 720 frames, since 720 rows were sorted from top to bottom. We like the idea of translating the image dimension into the time. The next step would be to think about how the image has to look like, to create a certain rythm, and in the end maybe a story.
Music: Ranta by Vladislav Delay
Image of the Enchanted Forest: Andrea Andrade
Exploring the tension between Surface and Volume.
One gives birth to the other as white lines rise from
black space and give shape to invisible structures that
are driven by sound.
Inspired by the dazzle paintings of Edward Wadsworth
and powered by the energetic music of The Glitch Mob.
Directed and animated by Markus Feder.
Direction & Animation: Markus Feder
Music: The Glitch Mob
Track: “Fistful of Silence” from the Album “Drink the Sea”
Length: 2 min 50 sec
Available formats: HD 720p file, DVD
you wouldn't understand – it's a secret
Top notch Motion Graphics / VFX / Art / Psychedelia / Generative
Browse This Channel
The fairy-tale room 'Transformations' vimeo.com/79008150
A M • N is a conceptual short film.
The purpose of the project is to bring the viewer through a series of experiments made by a fictional corporation, the A M • N CORP who controls paranormal phenomena through technology.