The Hypercube is a concentric cubic sculpture illuminated with a 120 metre addressable LED array. These light pixels allow for the investigation of a range of intricate choreographies that can be obtained through its minimalistic form.
The pixels positioned throughout the sculpture are capable of indicating their virtual coordinates and therefor programmed to illuminate as they are intersected by a variety of transient virtual volumes. This capacity to reveal shape as light is automated and recorded into individual scenes which are then sampled, duplicated, resized and syncopated along a rhythmic timeline and combined with the illumination of individual elements of the structure and the inclusion of particle animation.
Sound designs are employed to deliberately cultivate a deeper audiovisual synesthetic connection. By continually cross referencing the sound and vision, audiovisual sync is gradually tightened and unified. Ambient light that is captured by the surrounding walls of the room further intensifies these audiovisual choreographies, culminating in the creation of a dynamic immersive environment.
Although the work straddles a temporal structure, is also departs from a single point of reference and positions itself outside conceptual framework and into the realms of arbitrariness and abstract expressionism. It's frenetic technical pace evokes cognitive suspension while, conversely, its moments of serenity provide a paradox of contemplative reflection.
The aim of this piece is to provide consideration into the depth and breadth of spatio-temporal relationships and how much of this information can be identified and absorbed through crossmodal sensory perception.
This work is a shocking early face mapping work. A buzz of 5 million views was born in a week.
It became the roots of the face mapping series.
This work is the theme of Japanese identity.
While feeling that Japanese are losing confidence, where is Japan 's identity?
What is the universal value that Japan can transmit to the world?
Elements of Japan's identity such as Japanese traditional beauty, future technology, Japanism, etc. were pursued and integrated by members and collaboration members of kuwahara hiroto, Paul Lacroix, and Jin Hasegawa.
Finally, when Android face transforms, grotesque dark mask appears from inside.
It seems that it is a metaphor for a strange anxiety towards the future brought about by technology that continues to evolve at phenomenal speed.
nobumichi asai (planner / producer / director / technical director)
hiroto kuwahara(makeup artist)
paul lacroix(technical director)
jin hasegawa (cg designer - spade)
takashi ishibashi (cg designer - spade)
ayaka motoyoshi (production manager -p.i.c.s.)
aya kumakura (production manager)
kazuhiro nakamura (colorist - mcray)
kenji nakazono (photographer - creative studio works)
kimihiro morikawa (photographer - shooting & lighting)
rhea tor’s inc.
k.furumoto (hair - &´s management)
yuka sekimizu (model - satoru japan)
spice (optitrack motion capture sensor)
hideaki takahashi (music - mjuc)
hiroshi sato (projector instruments - amsa)
Director: Vello Virkhaus
Producer: Anastasia King Jaress
Lead TouchDesigner Artist: Peter Sistrom for "Lost & Found"
Animation: Emilio Sa for "Slowly"
Animation: Carlo Sa for "Machine Gun" "Bedtime Stories" and "Horsefish"
Animation: Dave Foss for "Nightswim"
TouchDesigner Artist: Bryant Place for "Surge" and "Dropped from the Sky"
Creative Director: Sam Gierasimczuk for “Piece of Paper” and “Go to 10”
Creative Director: Bradon Webb for “Journeyman”, “Wooden Toy” and “Kitty Cat”
3D Animation: Jody Evenson, Katrina Nelken, David Brodeur, Blake Cartwright, Dan Tiffany, Jimi Filipovski, Dave Pasciuto
Compositing: Tim Sepulveda, Erik Jensen, Chris Beers
Design Development: Derek Weglarz, Gareth Fewel, Aaron Edwards
Editor on "Goto 10": Daniel Ryan & Vello Virkhaus (VSL)
Programmer: Adam Berg
Producer: Brandy Olsen
Assistant Producer: Krissy Estrada
Executive Producer: Chad Hutson
Executive Creative Director: Jason White
Chief Scientist: Matt Daly
TouchDesigner Consultant: Jarret Smith
Production Designer: Alex Lazarus
Set Designer: Heather Shaw, Vita Motus
Set Construction: Stefano Novelli
Live Camera Documentation: Ashley Hughes
Promo Edits & Live Cam: Mathew "Smitty" Smith
Derivative, V3 Computers, Todd Black and Dave & Mikey at Felix Lighting
Editorial & Direction: Daniel Ryan
Design & Animation: Dan Tiffany, David Brodeur, Tim Sepulveda
Design Development: Gareth Fewel
Assistant DP: O'Conner Hartnett, Dan Tiffany
Music: Pixies, Bassnectar
Visual Styling & VJ’ing: VJ.FLOOD
Original Footage: "Fight Club" by David Fincher.
VJ Video Retrospective - FLDTV0029 - Recorded 2011
Bassnectar - Where Is My Mind (Remix), VJ Video by FLOOD
Another video that worked out well for the most part.
This was like the “Star Wars” video in terms of having a visual style in mind and then looking for subject matter to fit.
The masking I had done in the past had worked out well so I decided to do a video that was ALL masks.
Also I’ve always liked the rawness of TV static and wanted to do some visuals based around that.
In this case the TV static in the background is from the movie “Altered States”.
The fact that I love the movie, the song and the visual style made this an really exciting project.
My favorite scene is the one near the beginning where Meatloaf is hugging Edward Norton (I even made some stickers based on this shot).
I also really like the glitched out faces of Ed and Brad looking into the camera.
There are a lot of things I like about Fight Club. It really resonates with me as it’s largely about peeling off the plastic veneer of life.
There are a million things I could do better in this video now, but I still think the visual concept is solid.
“The things you own end up owning you” – Tyler Durden.