1. Compressed 02

    01:56

    from Kim Pimmel / Added

    1.1M Plays / / 260 Comments

    I combined everyday soap bubbles with exotic ferrofluid liquid to create an eerie tale, using macro lenses and time lapse techniques. Black ferrofluid and dye race through bubble structures, drawn through by the invisible forces of capillary action and magnetism. Time-lapse sequences: Nikon D90, Nikkor 60mm macro lens and custom built intervalometer. Motion-control: Arduino driven scanner platform and mirror rigs Score: Ableton Live View Compressed 01 http://vimeo.com/22866665 Twitter http://www.twitter.com/kpimmel

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    • METACHAOS

      08:28

      from Alessandro Bavari / Added

      265K Plays / / 161 Comments

      Alessandro Bavari: Camera Tremula 1, Noise Melange, XYZ Ocula Depth Fulvio Sturniolo: Camera Tremula 2 Jeff Ensign aka Evolution Noise Slave: Sonic Harmonium Format: Pal Widescreen 1050x576 Duration: 8:27 mins --------------------------------------------------------------- Prizes - Golden Nica at Prix Ars Electronica 2011. - Special Award IED at Skepto International Film Festival. - Best Experimental Film at the 2nd Stortford Film Festival. - Best Direction Prize at the Cinemavvenire Video Festival. - 1° Prize Art Lab at the Festival Internazionale del Cinema d'Arte. - 1° Prize ex aequo at the Corto Dorico Short Film Festival + a Special Mention Prize. - Best Design Prize at the 13th Animation Film Festival Animated Dreams. - Finalist as Best Direction at the Animago Award. - Finalist at the Bolzano Short Film Festival. http://www.alessandrobavari.com/ info@alessandrobavari.com --------------------------------------------------------------- SINOPSYS Metachaos, from Greek Meta (beyond) and Chaos (the abyss where the eternally-formless state of the universe hides), indicates a primordial shape of ameba, which lacks in precise morphology, and it is characterized by mutation and mitosis. In fact the bodies represented in METACHAOS, even though they are characterized by an apparently anthropomorphous appearance, in reality they are without identity and conscience. They exist confined in a spaceless and timeless state, an hostile and decadent hyperuranium where a fortress, in perpetual movement, dominates the landscape in defense of a supercelestial, harmonic but fragile parallel dimension. In its destructive instinct of violating the dimensional limbo, the mutant horde penetrates the intimacy of the fortress, laying siege like a virus. Similar to the balance of a philological continuum in human species, bringing the status of things back to the primordial broth. STATEMENT METACHAOS is a multidisciplinary audio-visual project, articulated in a short film, a set of photography (http://www.alessandrobavari.com/english/Metachaos-photographies/gallery_Metachaos-photographic_series.htm) and mix-technique paintings. The purpose of the project is to represent the most tragic aspects of the human nature and of its motion, such as war, madness, social change and hate. An accretion of feelings that are metaphorically represented by specific visual forms, which are abstract conceptually, but concrete and tangible formally. The application of acid and monochromatic tints, besides the strong contrasts, makes everything intentionally more oppressive and tragic. In order to obtain a more immersive and plausible version, the shot was taken adopting the camera live technique. The extreme and frenetic motion of the shoulder camera, similar to the subjective one, becomes a main constant, so that, along with the persisting cuts used to edit the video, create a bigger sense of instability and danger. In fact, thanks to the dissemination of Technology, it is possible to notice that the unconscious-esthetic potential of the shots available on Youtube, characterized by a pseudo-documentary and amateur approach, often offer an unexpected emotional involvement, which trigger an exhibitionistic-voyeuristic interchange between the author and the consumer. The irrational gesture and action of the bodies, as if a collective form of madness controlled them, are inspired by artists like Bosch and Bruegel who, between the ‘400 and ‘500, produced an iconography where irrational images show sickly madness and pain. The project has been realized using different techniques: live shots taken in discharged industrial sites, CGI animations, tracking and motion captures, besides various other analogical ones. American Jeff Ensign, aka Evolution Noise Slave composed the original sound track, which has been progressively updated during the video production. The musical score was inspired by 6 separate pieces Jeff had previously created that were then combined into a hybrid. The composition was also based in part from a sonic interpretation of the ideas presented in Antonin Artaud’s the Theater and Cruelty overlaid on Bavari’s images. JURY STATEMENT FROM PRIX ARS ELECTRONICA 2011. Alessandro Bavari’s “Metachaos” is an impressive display of the amazing graphics that can be produced with leading-edge hardware and software. The 8-minute clip begins with a sequence of clear, geometric forms that suggest a serene world. But it doesn’t take long until it’s apparent that this was just the calm before the storm. Shadowy creatures and shockingly grotesque figures intrude into this domain rendered in black & white and sepia tones and rip it to pieces. Using the interplay of light and shadow, intentionally shaky camera movements and quick cuts, Bavari takes us on a tour de force through an unsettling imaginary cosmos that grips viewers and doesn’t let them loose. In addition to its extraordinary visuals, “Metachaos” features an impressive composed soundscape of incredibly concentrated intensity—noise elements paired with driving beats, panic-stricken screams, the rattling of bones and gale-force winds. While some of as did not necessarily share the apocalyptic view of this film, we found that it left the most indelible impression. Narrowly passing through the first round, it grew on us, so that on repeated viewing it miraculously made its way to the top. What starts as a cinematic, kinetik, yet clean field of geometry and bodies, gradually evolves, or devolves, into the artist’s vision of a nightmarish black-and-white world created by a continual collision of the human and the architectural form. It finally culminates in a screaming dance among the ruins. In a impressive virtuoso tour de force, Alessandro Bavari creates a constant mêlée of grime, projectile muck and dust among collapsing spaces at the stage for metamorphosing human bodies with branching limbs that seem constantly to break the architectural environment apart. Zombies with missing limb sand decaying skin and faces sometimes stand around listlessly and other times appear to engage in orgasmic sex. The human forms become insect-like and multiply in hordes across the building forms. Dust particles and snakes of turbolent, ferrous liquid finally explode into an apocalyptic ocean of flotsam and sludge. Bavari’s few collaborators helped shape what the credit call “camera tremula” (shaky, documentary-style camera) and sound design. We commend his dedication to a singular artistic vision that is grounded in his practice as a photographer. This is a representation of a caustic end of the world, a world of a audible pain and hopeless destruction rendered with a disturbing reference to 80s-style computer-generated animation as well as 60s “actionism”.

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      • FOTB 2010 Titles

        03:32

        from Süperfad / Added

        250K Plays / / 120 Comments

        This year's titles for FOTB were created by Nando Costa through the use of macro motion pictures and materials with magnetic properties. The choice of materials was driven by the desire to graphically represent the concepts of attraction and repulsion. The idea that graphic artists of all sorts attend events such as FOTB because they are inspired and therefore attracted to each other's work, while at the same time often competing in the same fields as peers, which represents the repulsion factor. Music by Darrin Wiener - http://music.wiener.us & Marcelo Baldin - http://www.combustion.ws * You may view large stills of the animation on Flickr at http://www.flickr.com/photos/nandocosta_work/sets/72157625165746572/ * You may download the song for your personal enjoyment here: http://superfad.com/uploads/2010/fotb/FOTB_Titles_2010.mp3.zip

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        • Compressed 03

          02:30

          from Kim Pimmel / Added

          99.8K Plays / / 57 Comments

          Compressed 03 continues my interest in telling stories through analog visual effects - everything in the film was made with physical materials and tools in my studio. By using frame by frame stop motion and time lapse techniques, fluid dynamics and magnetism are transformed into majestic explosions and seething storms. Sounds best on headphones, and looks best fullscreen! Shot with Nikon D90, macro lens & custom built timer / trigger Edited in Adobe Premiere Scored in Ableton Live http://portfolio.kimpimmel.com/ Twitter: http://www.twitter.com/kpimmel Compressed 03 Process I find analog things appealing - whether it's vinyl or photographic film, there's a certain richness and magic that's difficult to replicate with digital means. The Compressed series showcases analog visual effect techniques, so everything in the films is made by hand, with physical materials and tools in my studio. For each of the Compressed films I try to develop and master a set of analog techniques with which I can craft a narrative. For the effects in Compressed 03, I was drawn to the dynamic interactions between liquids. I spent about a month playing mad scientist to see what gave the most interesting results. I raided the kitchen for common stuff like milk, oil, and molasses. I stopped at the drug store and buy random things such as witch hazel, nail polish, and bubble blowing mix. I ordered exotic stuff like ferrofluid online. Some liquids repelled each other, some caused coagulation, and some created intricate patterns. I settled on ferrofluid as my primary liquid, since it yielded some nice interactions with other liquids and could be manipulated using magnetism. All of the black or brown seen in the film is ferrofluid - needless to say it was a very messy few months! The whole film is shot with a Nikon D90 DSLR, frame by frame, and animated using stop motion and time lapse techniques. This allowed me to control the effects by manipulating various parameters by hand - for example I could blow air onto the scene with a straw to adjust flow direction, or add liquid outside the shot to accelerate an effect. I also hacked a flatbed scanner so I could control it from my computer - and by physically connecting the scanner carriage to other equipment I could adjust parameters of the scene very precisely. To control the camera for the frame by frame animation, I used a custom timer that I had built for a previous project. Except for the opening title sequence, everything was shot with a macro lens. While the scale of the scenes in the film may seem grand, they actually range from the size of a post-it, to the size of a playing card. To work at that small scale I used syringes to dispense minuscule amounts of liquids, as well as a whole assortment of tiny magnets to control the ferrofluid. As anyone who has worked with macro can tell you, it's a pain to work with, but it opened up a whole world of visual opportunities for the project. Once shooting was wrapped, I edited the film with Premiere, while concurrently writing the soundtrack in Ableton Live. Since I'm kept pretty busy during the day designing software for Adobe, the film was made during my evenings and weekends over the span of about 4 months.

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          • MACROS/ INK world _v01

            01:35

            from Antoine Delach. / Added

            68.9K Plays / / 21 Comments

            More ink work CHEMICAL BOUILLON : http://www.youtube.com/channel/UCx6IrJIvDl1LKw_yIhzHT0Q Vidéo expérimentale sur differents mélanges de liquides filmés en macro. musique : Blockhead -serenade www.antoinedelach.com

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            • La Marche

              02:37

              from Simon Rouby / Added

              64.5K Plays / / 45 Comments

              "La Marche" Written by Simon Rouby & Séverine Lathuillière Directed by Simon Rouby Animation: Christophe Pinto, Simon Rouby, SPÉ Ferrofluids: ACCRETION (vimeo.com/28936077) Music by Pablo Pico 3D Modeling, Animation, Render: Thierry Marchand Live Shots: Thomas Hardouin Storyboard done with SPÉ. (see the original drawing there: http://www.direct420.com/La_MarcheSTB.jpg) Produced by www.naia.pro www.simonrouby.com festivals & distribution: contact@naia.pro

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              • The Flow II

                02:12

                from Bose Collins / Added

                60K Plays / / 29 Comments

                The second piece from a series of motion studies Creative Direction: Bose Collins Directed and produced by David Vigh Camera: András Már For more Takkra: soundcloud.com/takkra

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                • Ferrofluid

                  00:59

                  from Shawn Knol / Added

                  51.5K Plays / / 29 Comments

                  Just playing around with some ferrofluid, and my Canon Rebel XT dslr. Music by squarepusher

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                  • Eye Catcher

                    01:39

                    from Interactive Architecture Lab / Added

                    43.4K Plays / / 5 Comments

                    http://www.interactivearchitecture.org/ Using a combination of industrial robotics and high power magnets, a seemingly inconspicuous frame on a wall, magically comes to life. Through a series of experimental films, photography and physical prototypes, the primitive effects of eye (and eye-like) stimuli have been investigated. The Eye Catcher project in its conclusion has developed a novel expressive interface where emotion recognition algorithms read audience faces and in-turn trigger the animation of a face formed of ferrofluid. As people walk by, unaware of the interactive installation, out of the corner of their eye, they see an unexpected movement. Turning their head, they find an empty frame on the wall appearing to move towards them and as they stop in disbelief it positions itself to look straight at them. Suddenly from the murky black liquid sitting in the bottom of the frame, two primordial pupils rise up and seem to stare back at its viewer. A hidden pinhole camera in the frame captures the facial expressions of the onlooker and responds with a range of emotions crafted out of the subtle manipulation of motion cues. An uncanny and playful interaction is formed as expressions are exchanged. Principle Researchers: Lin Zhang, Ran Xie Supervisors: Ruairi Glynn and Dr Christopher Leung with William Bondin Interactive Architecture Lab The Interactive Architecture Lab is a multi-disciplinary research group and Masters Programme at the Bartlett School of Architecture, University College London. Interested in the Behaviour and Interaction of Things, Environments and their Inhabitants, their focus includes Kinetic Design and Robotics, Multi-Sensory Interfaces, the Internet of Things and the design of public interactive installations.

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                    • Ferrowatch

                      00:32

                      from zaouaikarim / Added

                      43K Plays / / 1 Comment

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