1. Hyper-Reality presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. If you are interested in supporting the project, sponsoring the next work or would like to find out more, please send a hello to info@km.cx

    by Keiichi Matsuda | km.cx
    more at hyper-reality.co

    # vimeo.com/166807261 Uploaded 3.1M Plays 368 Comments
  2. cmiVFX Presents Brand New C4D Data Visualizations Video
    High Definition Training Videos for the Visual Effects Industry

    Princeton, NJ (September 3rd, 2014) cmiVFX launches its latest Full Feature training video for Cinema 4D "Creating Data Visualizations." Once again on the cutting edge of creating innovative projects, cmiVFX demonstrates how use Cinema 4D and Python to read raw information from the web or other sources and process it into objects and points that we can manipulate to create interesting visuals. Data visualization can breathe new life into what would otherwise be boring information. Building your graphics piece by piece manually is an incredibly time consuming process, so cmiVFX has streamlined this process with an innovative method of pulling in data procedurally, which will help you create complex graphics very quickly with ease. This video will help you use python to make a huge impact on your workflow, driving your next big information graphics project in a positive direction for a look that is nearly impossible to create manually. Until now, most C4D users only built what they could see, but now, C4D users can build anything the world sees through collective data processing!

    Vimeo Teaser Trailer
    vimeo.com/105155012

    Short Description
    Use Cinema 4D and Python to read raw information and process it into objects that you can manipulate to create interesting visuals.

    |||||||||||||||||||||| Cinema 4D Data Visualizations ||||||||||||||||||||||
    https://cmivfx.com/store/611-Cinema-4D-Data-Visualizations

    Introduction
    We'll discuss what the ingredients are for data visualization and take a look at some various examples ranging from informative to artistic. We'll also explore different sources to obtain data freely for use.

    Reading Data Sets
    In this chapter we’ll learn how to read a raw data source in Cinema 4D and we'll do some basic parsing of the data set after identifying key parts of it. We’ll construct the data into geometry by building a BaseObject and setting its points to match the thousands of values in the data set.

    Data Filtering
    We’ll upgrade our python script to use the csv parsing module for greater efficiency and we'll look at regular expressions to see how we can use them to our advantage for finding certain patterns in our data set.

    Isolating Sets
    We’ll look at how to organize the data we’ve read into groups that will be based on similarity and we'll sort our data set into separate python lists. Then we'll use this structure to build a separate geometry for each part of the data, so we can have individual objects and control.

    Animating and Rendering Data
    For the final chapter of this video, we’re going to take a look at how to add animation to our data sets using the mograph tools and dynamics. We’ll also explore the hair shader and how we can use it to render clean lines and add additional features to our visuals.

    About The Instructor
    Ryan Hussain is a developer, visual effects artist, and entrepreneur in the commercials and motion picture film industry in New York. He graduated from Parsons School for Design and currently runs a creative services agency called Splicer. He works on feature films and commercials as an effects animator and TD. He’s developed several Cinema 4D tools and software for studios such as The Mill. He’s never settled with one piece of software and always looks for a way to invent new features or tinker with old ones. You can see his work at http://www.splicer.tv and you can find him on LinkedIn here: http://linkedin.com/in/ryanhussain

    Project Contents
    All cmiVFX videos come with all the training materials you need right from our website. No matter what time of day, your location, or how your feeling, cmiVFX will be there waiting for you!

    This video is available today at the cmiVFX Store: http://www.cmivfx.com

    About cmiVFX
    cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for free and receive hours of free content at the cmiVFX Video-on-Demand Player. Copyright 2014 cmiVFX | cmiStudios. All rights reserved.

    # vimeo.com/105155012 Uploaded 12K Plays 0 Comments
  3. Some impressions of our shooting.

    More about the project and the SYZYGY Lab:
    lab.SYZYGY.de

    _

    Soundtrack:
    Telekinesis "Please ask for help"
    telekinesismusic.com

    _

    # vimeo.com/22332554 Uploaded 1,580 Plays 0 Comments
  4. Still shocked and excited from last night, it's an honor for us to show you this absolutely MINDBLOWING TITLES made for OFFF by PostPanic.

    Thank you so much to PostPanic, and specially to Mischa Rozema, Ania Markham and Si Scott, simply epic!!!

    Written by Mischa Rozema and British graphic designer, Si Scott, the opening titles reflect their dark thoughts on a possible future. Directed by Mischa and shot on location in Prague, the film guides the viewer through a grim scenario embedded with the names of artists appearing at this year’s OFFF festival. The live action was brought back to Amsterdam for post, primarily carried out by PostPanic’s in-house team of artists but also with the additional help of freelancers and partner companies that we have enjoyed strong creative relationships with over the years. It’s really fair to say that this was a labour of love by a passionate crew of people.

    Says Ania Markham, Executive Producer at PostPanic:
    “The images created by the crew of people working on the titles has been unbelievable, with nationalities represented including Dutch, Czech, English, American, Polish, German, Swedish and Belgian. It’s been a great opportunity for all of us to work together on a non-commercial project we’re passionate about and we’re so proud of the combined effort and final result.”

    DIRECTORS NOTES (Mischa Rozema)

    This project started out as a collaboration between myself and Si Scott. Right from the start, we decided that it should be the darkest thing we could make. I think it just felt natural to the both of us; if we had to nail the future, it would not be a nice place.

    This idea evolved into a clash of times. Inspired by an idea from the late Arthur C. Clarke. He wrote about different historical civilizations meeting in a single point in time. So what happens when civilizations meet? The 'weaker' one gets eaten by the 'stronger'. You only have to look at history to see the destructive power of civilizations.

    So the main underlying idea is: what would happen if the future lands on our doorstep today? Let's take mankind, add perhaps 100 years and then let them show up on our doorstep today. The future would pretty much devour the present. Probably in a matter of, let's say, 7 days… So that's what we're looking at. But every ending also means a new beginning, hence Year Zero.

    There's all kinds of hidden messages in there. Like the virus eating away at reality, buildings and people, even at the viewers brain. It's behaving off course much like a computer virus. And the network of wires represents the future of social networking. I just made it physical and let it 'catch' the city and it's people like a net. All these ideas just serve as inspiration for us to create a future that worked for this concept. They're not meant to be deciphered by the audience. It's still meant to be just a title sequence and not an actual movie.

    Now what makes a good title sequence? Personally, I think it's something that gets you in the mood, warms you up for what you're about to experience, be it a film, tv series or in our case, the OFFF festival. We decided to treat the OFFF festival as a feature film experience. So all we had to do was get the viewer into the right state of mind. Without, of course, being too narrative led. The best title sequences out there are nothing but a random collection of images/scenes that don't tell a lot if you watch them on their own. But edit them together and a new context is created. A context that matters, a feeling that gets the viewer ready for the main event, in our case, the festival.

    To get started, the next thing we did was make a collection of ideas that would scare me and Si. So, anything drawn from our youth, right through to stuff that's inspired us over the years as well as seemingly random compositions that trigger the imagination of the viewer. For example, when we show you the aesthetics of a car explosion, it's carefully constructed. Why a car and not something else? Because an exploding car brings extra content to an otherwise simple aesthetic display of violence. A car doesn't explode by itself so instantly the brain tries to formulate the background behind it. It adds an either political or criminal edge to the violence. To me it felt appropriate because of the sense of protest and rebellion the shot has. And maybe the biggest question; was there someone in the car and if so, who was it? For me, every idea should provoke these kind of questions; from a girl in a prom dress holding a rocket launcher to a riot cop standing in the kitchen. All scenes have a pre and post story to them. In no time you're actually trying to connect these seemingly random scenes and boom; you've just created your own strange context. You now have a feeling, a taste and lots of questions probably. Questions that normally would be answered by watching the actual movie. But since there's no actual movie here we'll leave stranded with, hopefully, an uncomfortable feeling and lots of questions - some might feel unsatisfied and wondering why. Just like a nightmare.

    We also wanted the actual titles to be different this time. Most of the time festival titles are driven by the idea on how to show titles. A mechanism that displays titles in a creative way. We actually thought to bring the festival theme to the foreground and have the titles play a part in it. Incorporate them so they become the actual fiber/texture of the piece itself. Practically I still think it's nice that the viewer has to actively look for the names and not get too comfortable. Even if it means to see it a couple of times which surely is the best we can aim for as a free project ; )

    How about the shoot? Well, prior to Prague we created more than 50 ideas I could play with. This was always the intention. Go out shooting with a tiny crew, acting like we're still in art school and be open for anything that might happen. That's why we shot everything on 2 Canon 5D's (that and having no budget off course). This was a really nice change for me. Normally I prepare commercial shoots to the very last detail and there's a lot more people involved. Savage helped us out big time in Prague. We also had some bad news. Due to his back problems Si Scott had to abandon the project and couldn't join the shoot.

    When we came back from Prague I started editing straight away and soon came to the conclusion we had about 60 vfx shots to work on and no budget and increasingly less time. Remember that this project was a side dish for PostPanic, we had to work on commissioned jobs also. But everybody involved soon fell in love with the project, including STORM Postproduction who are our neighbors (luckily for us).

    In the mean time we received the title list. It had about 70 names on it! That's when I found out that the dynamics I wanted to use would probably not work. Just too many names that would make the piece too long to just show random images. So in the plane towards Prague I thought of bringing in a tiny bit of narrative. Which turned out to be the beginning of the sequence (1st act). I wrote in a lead character that would relate to the viewer.

    The idea was to trick the audience into thinking they're watching some kind of documentary. We basically follow a guy going home. Bit by bit his environment gets stranger and more uncomfortable to watch. Is he living in a war zone? Slowly the background takes over and the piece changes into an urban nightmare. And like a nightmare, the story/edit doesn't always make sense but makes you feel really uncomfortable. I also wanted the viewer to experience the nightmare. That's where the dark matter comes in. Dark matter is what I call the macro shot bits. Flashes that derail your train of thought like there's something eating away at your brain as you try to make sense of the nightmare. I wanted the viewer to go nuts, alongside with the cast. Erase the line between nightmare and reality. The end result is something you won't come across easily on your tv. And is also just another fun way to do titles.

    The sound design and music made by Hecq added a lot to the feel and scale of the film. It clearly divides the 3 acts (1st act: up to execution, 2nd from execution, 3rd final shot) and makes completely different ideas and scenes feel coherent. It also emphasizes the dynamics of the film and brings the much needed pace at the end. It's been great working with Ben. We've been surfing the same wave length throughout the project.

    Finally I want to thank everyone involved for making these titles possible. For creating something out of nothing. For showing so much love for something as dark as this.

    CREDITS

    Directed by Mischa Rozema
    Story by Mischa Rozema & Si Scott
    Production Company: PostPanic
    Executive Producers: Jules Tervoort, Ania Markham
    DoP: Jiri Malek, Mischa Rozema
    Music & Sound Design: Hecq
    Senior Producer: Annejes van Liempd
    Production Assistant: Jacinta Ramaker
    Production Designer: Roland Mylanus
    Editor: Mischa Rozema

    Prague Cast:
    Main Hero: Vladan Bláha
    Grafitti Guy: Tom Malar
    Main Hero Sister: Katerina Galova

    Post-Production: PostPanic
    CG Supervisor: Ivor Goldberg
    VFX Supervisor: Chris Staves
    3D Artists: Jeroen Aerts, Matthijs Joor, Jurriën Boogert, Marnix Reckman, Adam Janeczek
    2D Artist: Erwin van den IJssel
    3D Interns: Cara To, Xander Clerckx
    2D Interns: Mathijs Luijten, Per Westholm
    Compositing: Chris Staves, Ivor Goldberg, Adam Janeczek, Matthijs Joor
    Graphic Designs: Si Scott
    Additional Graffiti Elements: Florian Stumpe
    Matte Painting: Wieger Poutsma
    Additional 3D and Compositing: Storm PostProduction

    Production (Prague) by Savage:
    Executive Producer: Klara Kralickova, Pavla Burgetova Callegari
    Producer: Michaela Berkova
    Production Assistant: Vojta Ruzicka
    Prop master: Jan Fiala
    Location Scout & Management: Petr Bastar, Adam Fuchs
    Location: CREVISTON, a.s.
    Tattoos made by: Wowa tattoo prague

    # vimeo.com/24982650 Uploaded
  5. A short futuristic film by Eran May-raz and Daniel Lazo.
    This is our graduation project from Bezaleal academy of arts.
    Check out our official site: http://www.robotgeniusfilms.com

    Please share if you enjoyed it!

    Contact:
    Daniel Lazo: duniol2@gmail.com
    Eran May-raz: eranmayraz@gmail.com
    Hanan Revivo: hanan5712@gmail.com
    Boaz Bachrach: hearfeel@gmail.com

    Guidance:
    Eric Lerner

    Actors:
    Ori Golad: ori.golad@gmail.com
    Deborah Aroshas: deborah.aroshas@gmail.com

    Animated Starry night by: Petros Vrellis, vimeo.com/36466564

    # vimeo.com/46304267 Uploaded 2.9M Plays 878 Comments

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