Straight-away I was reminded of Jake Fried, but only in materials/process. It’s clear that Emanuele is also intuitively fleshing out the movement frame-by-frame as he goes but his work is unique in that there’s no figurative elements to recognize; only abstract geometry and form that, when quilted together, comes across as both familiar and foreign.
I’m reminded of the notebooks I used to fill with random scribbles while bored out of my mind in high school: I’d start with a stray line or a random shape and then try to make sense of it with the remaining paper, as if the choatic mess left by my pen was what I had intended to create from the beginning. It was a way to pass the time and entertain myself instead of blankly staring at the clock, fantasizing about the bell that would eventually set me free.
Thanks for passing this one along, Sam Lillard!
P.S. I recommend giving Jake’s work a look when you’re done here.
I’ve technically already posted the attached – it was, after all, included in Late Night Work Club’s ultra-rad first release, Ghost Stories – but, considering that it was my favorite of the bunch, I figured this magical bit of animation from Charles Huettner deserved its own entry on the site. ENJOY!
“14 teams of Austin based studios and freelancers participated in a 48 hour animation challenge in the spirit of an Exquisite Corpse presented by the Austin Motion Artists Group, Moontower VFX, Houndstooth Studio, and The Octopus Project.
On January 17th, 2014, each team received a specifically designed start frame, an end frame, an 11 second 4 bar phrase of the chosen Octopus Project song and a guiding theme “The Ecstatic Energy of Geometry.”
P.S. Didya see the one Cartoon Network commissioned last summer?
posted by respondcreate on Feb. 08, 2014 in Videos | tags: austin motion artists group, bizarre, colorful, exquisite corpse, geometry, hd, houndstooth studio, moontower vfx, music video, the octopus project, trippy
It’s pretty rare that I’ll post a video that isn’t HD. The attached is only 360p which is, like, 50% less than my typical minimum-p-quotient but the lack of resolution does little to diminish its charm.
It’s a music video is for a tune by Wagon Christ, an artist I first encountered during my post-college-single-and-searching-for-meaning-slash-purpose years. At the time I was living alone and working from home for a start-up which meant my long-simmering tendency to obsess was, for the first time, allowed to swell unfettered to a full, rolling boil. My mind has wrapped that entire era in a peculiar, wistful nostalgia; I have no desire to return to those days but will forever appreciate how they shaped me into who I am today.
My memories of that time have all bled together, lost in an impenetrable haze of code, photoshop, booze, solitary walks and music from SomaFM. The latter had a show, Groove Salad, that played ambient, downtempo instrumentals and I am forever in its debt for introducing me to artists like Leggo Beast, Bullitnuts, dZihan & Kamien, Tosca, Baby Mammoth and, of course, Wagon Christ.
The visuals – created by Celyn Brazier and Tom & Mark Perrett (of Nexus Productions) – are evocative of both Yellow Submarine and Castle in the Sky and tell a story about the transformative power of time, demonstrating how quickly the impressive giants of yesterday can become todays tourist curiosity.
“I do for sure. I don’t like going places and sitting around for twenty hours waiting for them to reset a shot. I made the conscious decision a long time ago: I’m done with live action. ‘Cause I can just sit in my agoraphobic darkened room and create worlds, and now I’m doing it with a bunch of awesome, talented animators and designers and we can go anywhere we want. Anywhere…more” – Justin Roiland in response to the question Do you find writing for animation more creatively liberating than, say, writing live action?
Last year, after reading that Dan Harmon would no longer be the showrunner for Community, I got super bummed-out. My love for the show is well documented and to confront the reality that it would no longer be nurtured with nutrients from its central, creative teat was pretty depressing.
A few weeks before Sony axed Mr. Harmon, adultswim announced it had picked up a pilot of an animated show he co-created with Justin Roiland (who you probably know best as the voice of Lemongrab on Adventure Time) and I distinctly remember feeling giddy at the news. Community, in many ways, already felt like an animated show – with its insane, truly far-out plotlines and laser-focused visual execution – and I figured that without any need for cameras, Dan Harmons creative vision could flow out, unencumered.
I’m happy to report that Rick & Morty is as bizarre as I had hoped it would be. Attached above is the
second third episode (you can watch the first two at adultswim) and I hope you enjoy it as much as I have.
In the weeks since sharing Masanobu Hiraoka‘s Land I’ve come back and re-watched it at least a dozen times. His ability to change composition with unbroken, constantly-evolving morphs – as opposed to the more traditionally-employed cut – consistently rewards an additional viewing; each one yields another subtle treasure I overlooked the first (or second or third or…) time.
In the attached, a music video for Yoshiharu Abe‘s ONE AND THREE FOUR, Mr. Hiraoka experiments with how his psychedelic liquid transitions appear when kaleidoscopically mirrored and/or confined to a nearly-omnipresent circular frame. It reminds me a lot of both Celyn Brazier‘s stellar animation for Chunkothy and Ori Toor’s work which is about the highest praise I can give.
Full-screen HD for sure, kiddos. ENJOY!
P.P.S. Our kaleidoscope feed is pretty rad, too.
When Ironlak discovered a large warehouse in Brisbane was marked for demolition they arranged for Sofles, Fintan Magee, Treas and Quench to have unfettered access to its interior walls. Luckily, Selina Miles was there to capture their aerosol orgy in gorgeous time lapse so we could all experience what happened. ENJOY!
Thanks for writing in to share this with us, Nathan! Cheers!!
“The majority of the 3D models used in the video are based on real objects from Space; the Hubble Space Telescope, Progress and Voyager 1. The planets and moons in the video are generated using NASA imagery, and helped to create a formal aspect to an otherwise abstract piece.”
As anyone who frequents this site knows, I’m a big fan of ‘wormhole’ videos. That’s not a formal, industry term or whatever just a little tag I started attaching to any video with a significant portion dedicated to taking bringing the viewer on a journey directly towards (or away from) the center of the frame. The first one I can remember seeing is 2001’s infamous ‘Star Gate’ slitscan sequence and I disctinctly remember wishing it had been twice (or three times) as long.
Ever since the inception of this site over three years ago I’ve tried to collect the best examples of the form and my current favorites are Max Hattler’s Sync, the bizarre and whimsical Pelican by David Wilson Creative (for The Maccabees), Jesse Kanda’s psychedelic sea-punk music video for Arca’s Manners, Quantum Leap by Thomas de Rijk (for Slugabed), and Carl Burton’s supremely strange and intriguing short film, Shelter.
Attached above is a video – by Stuart Sinclair – that fits in nicely with the aforementioned watchables. The glitchy, looped-and-syncopated music by Suns is just-right for a dive through space and the wire-frame visuals heighten the futuristic, tech-drenched vibe.
Top-marks all the way ‘round. ENJOY!
Oh and be sure to check out our wormhole feed, it’s not-to-be missed.
Full-screen HD in a dark room with a nice pair of headphones is absolutely required. ENJOY!
P.S. A massive thanks is due to Brooks Ryba for the heads-up.
P.P.S. Our stop motion feed is filled with super-rad watchables.
“Box explores the synthesis of real and digital space through projection-mapping onto moving surfaces. The short film documents a live performance, captured entirely in camera…It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering.”
Projection mapping is sufficiently magical when displayed on static surfaces but to see it like this takes the medium to a whole new level. Cheers to Bot & Dolly for some absolutely stellar watchables.
Thanks for sending this our way, Garrett!