Zeitguised’s interpretation of „The Zoo“ (Funkstörung) is a lighthearted piece that affirmates the facility of synthetic constructions against the heavy, serious notion of established constructions, including CG’s own means of photorealism. Featured as part of their Isolated / triple media DVD.
It visualizes the track’s intricate layers of sounds by merging the flicker stop motion cutting style of Alex Rutterford’s ‘Gantz Graf’ (Autechre) with photoreal rendering, glowing surfaces and boolean geometries.
Familiarly dull and generic, the environment of unappreciated places offers a perfect backdrop for a zoo of ideas, artifacts and machines. They inhibit a technologically more and more explicit world, where human transport seems to be the least objective for them. Instead, they are part of an ever evolving stream of becoming, of development, accident, recombination and distorted proliferation. Their busy self-perpetuation creates gentle monstrocities and monstrous poetry.
It shows that the merging nano-, bio-, and information technologies have rendered the concept of human authenticity and originality obsolete, that artificial materials create their own artifacts and their future shape.
Best use of CG, Next Festival 2005, Vilnius, Lithuania
Best Music Video 2005, Short Film Festival Oberhausen, Germany
Featured in dotmov 04 and onedotzero 05.
Music: “The Zoo” by Funkstörung, Germany
Germany / South Korea 2011
film starts 1:30
Seoul seems to be a glowing, crystal-like urban canyon, each chasm illuminated and infinitely reflected in flat facets of glass. The film shows abstract formations that are scraped and cut out of the missing darkness of the city. They reveal a light volume overcoming the flatness of the façade by breaking into the space from the front or dissolving it from behind.
In its slowly evolving, almost biological structures the work is reminiscent of deep-sea creatures. These complex life forms try to attract their prey with emission of light, so-called bioluminescence. In this case the “prey” is the potential audience, who nearly lose sight of the nearby billboards and city lights as they follow a hypnotic contrast to the pulsating city life of Seoul.
scrape uses a colour palette of warm shades of blue, red and green which originate from the defined raster of neutral light sources of the media canvas. The moving afterimages painted in pure light extend over the orthogonal framework of the façade, providing a view into a stream of forms and colours. Voluminous black spaces divide and separate the scene into ever-changing ambiguous sculptural formations. With their constant process of growth and decay into darkness they seem to exist in the flat surface and the spatial depth at the same time.
Overall the film maps the fluid dynamics of the inner forces of an organic structure, recapturing and quieting a world agitated by technology.
I was offered the exciting opportunity of creating the cover artwork and a twenty second animation for this months issue.
Working with Mark Allin, an old friend and my ex-business partner from HYPA. We both developed the concept and design of the piece. I then took the designs and worked up the 3D animation in Cinema4D and completed the composite and grade in After Effects.
Thanks to Mark, who also created the sound design for the animation.
"Inspired by MoGraph's new MoDynamics and the excellent possibilities offered by CINEMA 4D's XPresso and C.O.F.F.E.E. for creating complex setups we created the film 'No Keyframes', which is based entirely on automated setups. Each scene represents a specific functionality, which in itself generates interesting effects. The film shows spheres as they travel through various environments, interacting with elements in these environments and causing different reactions in each of them. Contrary to the approach taken in classic keyframe animation it was important to us to create self-sustaining models whose behavior was controlled by the rules of physics, similar to a real-world physical environment. The results often surprised even us. This film includes a wide spectrum of CINEMA 4D features, which are combined to make the resulting effects even more complex and interesting."