Director: Mate Steinforth
Art Direction: Philipp Brömme, Christian Zschunke, Julius Brockelmann
3D: Christian Hoffmann, David Weidemann, Philipp Brömme, Ronny Schmidt,
Christian Zschunke, Adrian Azadvaten
Compositing: Christian Zschunke, Helge Kiehl
Animation: David Weidemann, Chris Hoffmann, Pascal Monaco, Felix Meyer
Concept: Peter Thaler, Mate Steinforth
Music: "Miniatur" written by David Kamp, performed by "Brandenburgisches Staatsorchester"
Sound Design: David Kamp davidkamp.de
Once upon a time in Psychic Land...
We just had fun with some characters and lots of other stuff, hope you enjoy.
Follow us: facebook.com/2veinte
Art Direction & Design:
Animation Directors: Martin Salfity & Pablo Gostanian
3d Animation: Martin Salfity, Sebastian Garcia & Juan Pablo Siaccaluga
Monster Modeling & Animation: Sebastian Garcia
Postproduction: Pablo Gostanian
Additional Animation: Jorge Herrero
Music and sound fx: Hula-Music.com
- TAAFI Festival (Toronto) / Annual Toronto Animated Arts Festival International / taafi.com
- Pause Fest (Australia) / Showcases projects celebrating the art & innovation of digital culture / pausefest.com.au
- Visueltdagene (Oslo) / Annual event for the creative industry in Norway / visuelt.org
- Animayo (Spain) / VII International Festival of Animated Films, Visual Effects and Video-Games / animayo.com
- Rushes Soho Shorts Festival, London / sohoshorts.com/
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.