1. The signage system of the alternative music festival DISFORM 2012 has two purposes: to direct the audience, informing where each area is located; and to enrich the whole experience of the festival itself, by creating an engaging dialogue between the signs
    and their surroundings.

    The animation and the editing are directly affected by the live music performances, using OpenGL technology. The additional layer of information is dynamic and updated in real-time in order to help the audience of the festival.

    My graduation project for the Bezalel Academy of Design and Arts / 2012

    Watch the signs in action:
    BAR sign - vimeo.com/45349390
    PARKING sign - vimeo.com/45350003
    FOOD COURT sign - vimeo.com/45350885
    RESTROOMS sign - vimeo.com/45351447

    Music by: Sufjan Stevens, Beck and Deerhoof

    # vimeo.com/45296730 Uploaded 78.5K Plays 98 Comments
  2. Signal Morphor: vimeo.com/37713150
    More info: d-p.cc/signalmorphor/

    This is video documenting the final testing of "Signal Morphor".
    In the testing, we tone the Signal Morphor to different levels of the sensitivity. (The sensitivity of how many strong signal received in order to morph, and also the size of sensing area)

    此影片紀錄作品 "訊.變"的最後測試過程。

    Testing Date: 19.07.2011
    Testers: Kevin Lau, Keith Lam
    Venue: Dimension+ Hong Kong

    # vimeo.com/40229719 Uploaded 197 Plays 0 Comments
  3. The FITC and Munko's relationship runs deep, with over 15 speech collaborations over the span of 8 years.. So when FITC Founder and Master of Ceremonies Shawn Pucknell tapped munko to design the Creative / Print Campaign for the fan-favorite 2013 Amsterdam Conference, it was a great opportunity to make something Enter the Void-esque and radical-fresh...


    The main inspiration for the creative came from the DMT-Delicious moments in the super-favorite film Enter the Void… Munko has been on a tunnel infinite-void kick for some years now and wanted to build a practical, LED installation driven by graphic sequencing, utilizing the techniques learned from the FOTB Titles and applying them into a more densely packed setup called the PYRADICAL... Once the Pyrad was constructed, the aim was to capture the visuals with both high-resolution Film and Still cameras, which would generate a vast library of content to pull from to produce the artwork for the Conference Package..

    He tapped super-friend and lighting genius Michael Fullman to help him execute the concept, which was to construct a triangular volume out of three LED panels, flanked on either end by a trio of Light Tubes that would complete the design. Once Munk and and Michael had the concept and build nailed down, he tapped frequent collaborators Kevin Gosselin and John Nguyen to capture the installation on the Arri Alexa and Nikon D800.


    One of the most important aspects of the conference package was the Typographic Language.. Realizing it had to amaze all-balls involved, Munko reached out to another super-Friend and typography master Brian Gossett, who designed a massively gorgeous lockup for all the deliverables.. The typography was all based on the loverly YWFT font called Sevigne, which Brian and his talented wingman Gera Frascaroli altered to perfection...


    To assemble the Print Campaign, the only real challenge was digging through all the imagery and pulling the selects; which was tricky given the vast amount of data captured on shoot day… Once the selects were pulled, taking the visuals and typography and turning it into the Print Campaign was quite the easy-breezy part…


    In building the actual structure for the Pyrad there were some pretty unique challenges to attain the desired aesthetic. We needed to not only communicate forward and backward motion but also communicate negative space and scale.

    The structure itself is made up of two main elements. The LED Panels and the LED tubes. 3 LED panels were used to make up the walls, all controlled by video content from a control computer. This allowed us to have open ended control over the motion, color, and effects that were applied to the video content. In addition to the 3 LED panels, 6 LED tubes were used to border the structure at both the front and the back opening. These tubes were also controlled by a mapped video signal that corresponded with the content playing on the main panels. That way we could accomplish moments of punch and exclamation as the content traveled both toward and away from the camera. They also provided a really nice frame for the shot, showing us the beginning of the space and the end.

    The real challenge was to trick the viewer into not realizing the scale of the actual structure. Which is really about the camera position, lensing, and light control in the structure, using both the presence and absence of light.


    The Motion Titles were also generated based on the Pyrad Creative; and executed to perfection by Ultra-Favorite Dutch studio Onesize.. Munko was elated to be informing such a talented group and they certainly took the visuals into an even deeper Void-ical with their efforts.. ( video post coming real soon ) ...

    PYRADICAL Credit List:

    Concept: Bradley G Munkowitz
    Design Director: Bradley G Munkowitz
    Lighting Design Director: Michael Fullman
    Typography Design: Brian Gossett, Gera Frascaroli
    Graphics Animators: Alexander Perry, Navarro Parker
    Arri Alexa Director of Photography: Kevin Gosselin
    Nikon D900 Director of Photography: John Nguyen
    Special Thanks: Shawn Pucknell, Loyola Maramount
    FITC Motion Titles: Onesize

    # vimeo.com/58679460 Uploaded
  4. Made with Processing. Audio by Flashbulb ("In an Instant" from the album "Red Extensions Of Me")

    This is a time-based documentation of how the Magnetic Ink prints are created. The orbital vector is quite noticeable in this video.


    # vimeo.com/615344 Uploaded 216K Plays 52 Comments
  5. *Update*
    Music download link (+ a few extra variations of the song I worked on before the final version, hope you enjoy!): https://soundcloud.com/dee-san

    My thesis animation done at School of Visual Arts, class of 2013, Computer Art MFA.

    Software used: Houdini (animation), Reason (music), Nuke (comp), After Effects (final render), Processing (pre-RnD)

    A full description of the piece along with some still frames can be found at: dsierra.work

    # vimeo.com/65475425 Uploaded 933K Plays 480 Comments

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