A short abstract movie dealing with nature and maritime creatures, metamorphosis and transformation – it connects art and science. Strong emphasis on sound, related to the idea of visual music.
The Style is soft but clean, focussing on black & white.
I studied media design at University of Applied Sciences in Mainz and this is my diploma thesis – it´s not the official musicvideo.
Modeling & Animation: Cinema 4d
Compositing: After Effects
Editing: Final Cut
»Warm Signal« taken from the Album Duplex (Label: Shitkatapult)
I have always been inspired by the music of Eskmo, so when I saw the album cover that Trek Matthews had done I immediately picked up on the opportunity of combining the two creative arts and add a third element: animation.
When creating the animation I discovered that Trek had just planned a trip to NY and was able to meet up with me to chat more about these creative ideas. A few weeks later Eskmo played a set here in NY and we had a chance to meet as well. We're hoping you will enjoy the collaboration of our three talents coming together as one.
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.