Thursday, July 15, 2010
Projector Inspiration
http://thecreatorsproject.com/creators/muti-randolph
Nosaj Thing Visual Show Compilation Test Shoot from Adam Guzman on Vimeo.
Curious Displays from Julia Tsao on Vimeo.
We should definitely not fill up the whole screen, it seems like the more black we show the bigger the space we create. Also bolder colors and shapes seem to work the best since projectors tend to wash out gradients…
Nosaj Thing Visual Show Compilation Test Shoot from Adam Guzman on Vimeo.
Curious Displays from Julia Tsao on Vimeo.
We should definitely not fill up the whole screen, it seems like the more black we show the bigger the space we create. Also bolder colors and shapes seem to work the best since projectors tend to wash out gradients…
Saturday, July 10, 2010
PROJECT BREAKDOWN
We have broken the song down in to 7 main sections and used the progression of the music to relate back to the life cycle of a relationship, and then used that as a launching point for developing the actions and visuals we will use to symbolize those feelings and actions on screen.
Description of song
Relationship metaphor
What we see on screen
ACT 1
Song: the intro, elements are slowly building up and stacking on top of each other, a general happy tone
Relationship: first meeting each other
Visual: lines and strips of cleanly cut paper creating random patterns. BLUE
ACT 2
Song: very light and sunny, has a feeling of travelling or going on a road trip, progression
Relationship: discovery. Really getting to know someone, very exciting.
Visual: the random strips begin to assemble in to something we can actually recognize. YELLOW
ACT 3
Song: flattens out a bit, serves as a transition or middle ground between these sunny parts and later darker parts of the song
Relationship: settling in, getting almost too comfortable as things get a bit boring and predictable.
Visual: these assembled elements are stacked and sorted in a very organized and routine way again and again.
ACT 4
Song: a culmination where it is sunny again, and we revisit pieces from all 3 previous acts. A mashup of sorts.
Relationship: rediscovery. You rediscover all the same passion and thrills you had in the beginning of your relationship.
Visual: deconstruction and reformation as different elements are jumbled and reorganized to create new elements from old similar parts
ACT 5
Song: rough and dark with heavy percussion. Short and quick, kind of hard rock.
Relationship: Conflict. Now that you are comfortable and have the same high passion, this can lead to some intense fights where you really throw some low blows.
Visual: violent destruction as ideas are scrapped, paper gets ripped/burned/shredded/crumpled/etc
ACT 6
Song: starts real hard, but has moments of light break through as it builds back up again
Relationship: Forgiveness. Here you get over what got you so angry, and start to realize how ridiculous your fighting had been, as you occasionally start laughing in the middle of a fight.
Visual: beautiful images begin to form from the destroyed scraps. Just as pretty and cohesive as in ACT 2, but this time it’s more rough around the edges and haphazard.
ACT 7
Song: very eclectic as samples from the entire song are brought in and laid on top of each other in new ways, switches from sunny to dark to overlaying both all around.
Relationship: W/R/R. This cycle of ups and downs will continue on and on again forever, with occasional unexpected bits, until ending on a final note of questioning or loneliness.
Visual: everything together at once. Clean images, things being destroyed, rough collages, all of it.
Description of song
Relationship metaphor
What we see on screen
ACT 1
Song: the intro, elements are slowly building up and stacking on top of each other, a general happy tone
Relationship: first meeting each other
Visual: lines and strips of cleanly cut paper creating random patterns. BLUE
ACT 2
Song: very light and sunny, has a feeling of travelling or going on a road trip, progression
Relationship: discovery. Really getting to know someone, very exciting.
Visual: the random strips begin to assemble in to something we can actually recognize. YELLOW
ACT 3
Song: flattens out a bit, serves as a transition or middle ground between these sunny parts and later darker parts of the song
Relationship: settling in, getting almost too comfortable as things get a bit boring and predictable.
Visual: these assembled elements are stacked and sorted in a very organized and routine way again and again.
ACT 4
Song: a culmination where it is sunny again, and we revisit pieces from all 3 previous acts. A mashup of sorts.
Relationship: rediscovery. You rediscover all the same passion and thrills you had in the beginning of your relationship.
Visual: deconstruction and reformation as different elements are jumbled and reorganized to create new elements from old similar parts
ACT 5
Song: rough and dark with heavy percussion. Short and quick, kind of hard rock.
Relationship: Conflict. Now that you are comfortable and have the same high passion, this can lead to some intense fights where you really throw some low blows.
Visual: violent destruction as ideas are scrapped, paper gets ripped/burned/shredded/crumpled/etc
ACT 6
Song: starts real hard, but has moments of light break through as it builds back up again
Relationship: Forgiveness. Here you get over what got you so angry, and start to realize how ridiculous your fighting had been, as you occasionally start laughing in the middle of a fight.
Visual: beautiful images begin to form from the destroyed scraps. Just as pretty and cohesive as in ACT 2, but this time it’s more rough around the edges and haphazard.
ACT 7
Song: very eclectic as samples from the entire song are brought in and laid on top of each other in new ways, switches from sunny to dark to overlaying both all around.
Relationship: W/R/R. This cycle of ups and downs will continue on and on again forever, with occasional unexpected bits, until ending on a final note of questioning or loneliness.
Visual: everything together at once. Clean images, things being destroyed, rough collages, all of it.
Friday, July 9, 2010
Example Journals
Dan Eldon's Journals
A war photographer who was killed at a young age. He kept some really interesting journals.
Blu, of the infamous stop motion spray painting videos, has his website designed around his journals and features some of the pages.
Playing with loops
just because I love fluorescent green poster board.
from these layered files:
3 loopers from mtestklok on Vimeo.
from these layered files:
hoodie no more! from mtestklok on Vimeo.
LEGOS! ZOMG!!! from mtestklok on Vimeo.
PAPER IZ TOURN! from mtestklok on Vimeo.
Thursday, July 8, 2010
Impacterview
Impactist interview
Can you talk a little about your process? Both in creating these new films and also in general, how do you work together?
Our process is generally pretty free flowing. Individually, we have our own strengths, but we are both equally capable and comfortable with all aspects of production. It’s kind of nebulous in that we seem to naturally take over certain parts of a project and then the other person fills in or refines what else needs to be tended to. Like water finding its own level. We don’t have job titles between ourselves. When we find the groove of a project, our brains seem to find a way to lump together and a sort of design intuition forms which keeps us pretty darn efficient.
With these specific projects, the album was crafted first. Each track has its own initial inspiration, but as they are worked out, we expand further and further until we feel we’ve found what we’re after.
These two particular projects have visuals that differ in their execution, but both began the same way with lots of scribbles in paper notebooks. Rough drawings and written notes serve more or less as quick reminders that are easy to glance at and keep us on track. We have stacks of notebooks filled with similar project notes. Tabletop workspaces and the immediate area around our computers witness an ebb and flow of paper tides when we are in the middle of a project. From those ideas, we begin finding materials or shooting footage, ready them for import, and then begin laying down a rough timeline so we know time-wise what we have to work within. From there it’s just getting through the piece, moment by moment, and watching for those unexpected surprises and mistakes that turn into treasures we couldn’t have possibly anticipated, but are fully ready to exploit.
The freedom of noncommissioned work permits us to take these leaps and explore these ideas. In turn, it’s these projects with their varied styles and alternative concepts that has attracted clients to ourselves for project opportunities.
Can you talk a little about your process? Both in creating these new films and also in general, how do you work together?
Our process is generally pretty free flowing. Individually, we have our own strengths, but we are both equally capable and comfortable with all aspects of production. It’s kind of nebulous in that we seem to naturally take over certain parts of a project and then the other person fills in or refines what else needs to be tended to. Like water finding its own level. We don’t have job titles between ourselves. When we find the groove of a project, our brains seem to find a way to lump together and a sort of design intuition forms which keeps us pretty darn efficient.
With these specific projects, the album was crafted first. Each track has its own initial inspiration, but as they are worked out, we expand further and further until we feel we’ve found what we’re after.
These two particular projects have visuals that differ in their execution, but both began the same way with lots of scribbles in paper notebooks. Rough drawings and written notes serve more or less as quick reminders that are easy to glance at and keep us on track. We have stacks of notebooks filled with similar project notes. Tabletop workspaces and the immediate area around our computers witness an ebb and flow of paper tides when we are in the middle of a project. From those ideas, we begin finding materials or shooting footage, ready them for import, and then begin laying down a rough timeline so we know time-wise what we have to work within. From there it’s just getting through the piece, moment by moment, and watching for those unexpected surprises and mistakes that turn into treasures we couldn’t have possibly anticipated, but are fully ready to exploit.
The freedom of noncommissioned work permits us to take these leaps and explore these ideas. In turn, it’s these projects with their varied styles and alternative concepts that has attracted clients to ourselves for project opportunities.
OYFMW Promo "Nerdmask" from impactist on Vimeo.
Wednesday, July 7, 2010
Impactist
more non-digital looking approach...
OYFMW Promo "Open Your Face and Make Words" from impactist on Vimeo.
Tuesday, July 6, 2010
VJing software and equipment
Been looking in to it, and these seem to be the more popular VJ software packages:
Arkaos GrandVJ
Modul8
Resolume
Livid Union
There's also some dedicated VJ hardware like this set by Arkaos, but really any USB djing hardware will work with most any software, and seemingly any midi guitar pedal will work too.
I've gotten those 3 software packages and am taking a look at them. Kind of a lot to wrap my head around at once, but nothing too crazy.
Arkaos GrandVJ
Modul8
Resolume
Livid Union
There's also some dedicated VJ hardware like this set by Arkaos, but really any USB djing hardware will work with most any software, and seemingly any midi guitar pedal will work too.
I've gotten those 3 software packages and am taking a look at them. Kind of a lot to wrap my head around at once, but nothing too crazy.
Saturday, July 3, 2010
BPM
Watch live streaming video from cineversity at livestream.com
Check out 17min
He goes over FPS to BPM and how to make animations go with the beat:
So to get FPB = (60xFPS)/BPM
I can't figure out which one is the right now, I used this widget where I tap and it calculates the BPM, and I came out with the following:
(60X30)/66 = 27.27
(60x30)/132= 13.63
(60x30)/270 = 6.66
UPDATE: I double checked with some BPM software, and it said 133…
I still haven't watched the whole video…
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