File under: LOLWAT
P.S. If you enjoyed the attached you’ll probably love The External World, too.
“A heartwarming tale of seasonal goodwill. Probably not safe for small children…”
File under: LOLWAT
NSFW Disclaimer: If you couldn’t already tell from the tease plate above, this video is a veritable bag-o-animated-dicks so you probably shouldn’t watch this at work.
There’s something inexplicably wonderful about professionally executing such a ridiculous premise. Paul Jaulmes, Guillamume Cunis and Boris Croisé made the attached while at Supinfocom Arles and would like it to be the first in a – ahem – longer series so, if you want to see more phallus-centric adventures, head over to their aptly named ‘The Willies’ Indie-Go-Go site and donate some euros.
P.S. Hit up our Supinfocom feed for more rad student-created animated shorts.
Go watch Loom next.
File under: LOLWAT
First off, you better have some killer headphones at the ready before diving into the attached. I honestly can’t remember ever featuring a video with better sound design; it’s easily the star of the show.
That’s not to say the visuals are in any way lacking – they aren’t – but having such well-mixed, tangible foley work and layered, atmospheric background noise goes a long way to selling the immersion…especially when dealing with subject matter as conceptually out-there as this.
I don’t want to spoil where this one is headed but my favorite sequence kicks off at 4:38. Over the course of a scant 30 seconds, director Carl Burton makes four perfectly-timed cuts that both establish the scene and give you a concrete sense of place within it. My first viewing was late last night and the instant sense of ‘cozy’ I felt at 5:00 was palpable; it was as if I was there, temporarily shielded from the rain. It’s magic; just stellar stuff.
A big thanks is due to the aforementioned Mr. Burton who took the time to write-in and share his work with us. For the measly asking price of $3 you can own an HD download of Shelter, an 18-page making-of PDF and a bunch of wallpapers. It might seem silly to spend money on something you just, moments ago, saw for free (legally, too) but whenever I do I feel better. Why?
It’s a truly voluntary act that helps break up the monotony of my daily obligations and an opportunity to express my appreciation for art someone made beyond a ‘Like’ or a ‘Comment’. It’s IRL ‘Like’. It’s ‘Here, I want you to make something else awesome real soon, please.’ Facilitating that is easily worth the price of a coffee.
Absolutely loving the spartan, monochromatic and tight-as-fuck animation in this Mathieu Bétard-directed music video for Kris Menace. It’s a delicate mix of mirrored-and-repeating geometric ‘morphables’, rotoscoped figures and bizarre transitional touches where everything besides line, form and movement is swept aside. Just absolutely gorgeous stuff.
If you enjoyed the attached then definitely give Chunkothy a watch next, I’m 100% positive you’ll dig it. Cheers!
posted by respondcreate on Nov. 21, 2012 in Videos | tags: animation, bizarre, black and white, electronic music, geometric, hd, kris menace, mathieu bétard, mirror, miss kittin, monochromatic, music video, rotoscoping, trippy, wizz
“In this endless freedom of thought you found no answers to these basic matters of human being, only a myriad choice of ideas lost in a deep dark hole of uncertainty.”
My first thought after watching the attached was, ‘this could have easily been in The Animatrix,’ so prep yourself for some late-night, cerebral, sci-fi shit. It was inspired by GOLEM XIV, a short story by Stanislaw Lew, and its visuals, atmospheric soundtrack and cold, sterile narration all pay proper homage to the deep, apprehensive spirit of his writings.
Co-directors Patrick Mccue and Tobias Wiesner said that their creative intention for the film was to inspire others to, ‘face [their] own process in this world with reflection and self responsibility, to stay curious and create, look for new ideas and stay keen,’ so get your mind shifted into the proper gear for maximum absorption.
For me, that means full-screen-in-a-dark-room with a nice pair of headphones on.
The attached animated short by Joanne Smithies, Eric De Melo Bueno, Michael Moreno, Hugo Bailly Desmarchelier and Camille Turon (all students at ESMA Montpellier) is gorgeous, atmospheric and sumptuously textured; an absolute treat. ENJOY!
posted by respondcreate on Nov. 05, 2012 in Videos | tags: animation, art, atmospheric, camille turon, eric de melo bueno, esma, gorgeous, hd, hugo bailly desmarchelier, japan, joanne smithies, michael moreno, paper, trippy
This bizarre, gorgeous short created at Supinfocom Arles by Paulin Cointot, Dorianne Fibleuil, Antoine Robert and Maud Sertour is packed to the gills with gobs of subtle, pleasing visual detail. Full-screen is a must. ENJOY!
“When you don’t know what you want,
You just repeat yourself again;
In the end, you just repeat yourself again.
When you don’t know who you are,
You dig yourself the hole you’re in.”
Another stunner from Gotye, y’all…this time with visuals by Saiman Chow. Grab your headphones, dive-in and enjoy.
A big thanks is due to Colton for the heads-up! Cheers!
“Where do all these melodies come from?
Where do all these melodies run from
to then find solace in sun, son?
Honestly? I’m stumped.
All I know is somehow when I’m stuck,
Maybe it’s dumb luck, I give up;
I’m just as dumbstruck.”
Steve first sent us this video in the spring but, truth be told, I didn’t take the time to really dive in and pay attention to what was going on until a few days ago. Don’t make the same mistake.
I never really caught on to what the song was about because I was too fixated on the visuals. For whatever dumb reason I tend to not like when shot footage and animation are combined unless they’re seamlessly mixed together. That’s certainly not a rule, just a general prejudice rooted in the sticky cellar of my psyche. When I was a child I used to separate my food into neat little piles; the stuff I liked least was eaten first and, when it was finished, the next mound in the hierarchy of flavor was tackled until my favorite was last on the plate. It sounds dumb now that I’m typing it out but, at the time, this behavior seemed perfectly logical. I was a little obsessed by the process to the point that I’d have a mini freak-out if different foods touched each other.
To enjoy something on it’s own terms is, to me at least, fundamentally satisfying. I find that both sobriety and intoxication are agreeable in their own way but to be either one or the other for too long a span of time spurs a vague discomfort as each plays an integral role in calibrating the poles of my consciousness.
Yin and yang, bruh.
So, separate and tackle in turn. If shot footage and hand-drawn animation are fused into one film, why wouldn’t you want to make the finished product look as homogeneous as possible? You know, invest the necessary time and attention to do a proper blend; apply some craft ‘n shit. This is probably why I glossed over the attached when I first saw it. But I didn’t dismiss it...how could I? Mr. Steven Smith himself made it for goddamn Stones Throw and, seeing as I’m a big fan of both, decided to tuck it away and return later. On a recent trip to the Midwest I did just that and, away from the pressures of work, had time to properly marinate in what was going on.
Anyways, the song is about the creative process and – even though Homeboy Sandman is specifically referring to his methodology for writing rhymes – the themes he covers are pretty universal to anyone who makes things. At it’s core, creating something is a frustrating mix of volition and luck. You’ve got to do what you can to get the ball rolling but ultimately, what’s going on isn’t completely within your control. It’s haphazard and messy and inexact and – for beings whose evolutionary success depended primarily on an ability to exert dominance over the surrounding environment – supremely frustrating.
“I think ‘What is this melody meaning to me?’
The answer might come in a week.
The answer might come immediately.
What is the recipe?”
Lyrically, it’s a tightly-packed, mad, stream-of-consciousness tumble and the accompanying grab-bag of colorful, whacked-out visuals heighten the sense of anticipation for what he’ll say next. It took me until the ninth or tenth viewing to finally notice that the only shot footage is of Sandman’s head, the physical case for an internal universe of grey matter that simultaneously contains both the hindering, fickle spontaneity of his creative muse and the honed mastery of language that eventually liberates and externalizes it.
At that moment everything shifted; the heterogeneous, sharp-edged contrast of the visuals morphed from the thing I didn’t like to my absolute favorite part. Maybe you’ll like it, too?
Absolutely loving this two-and-a-half minute dose of delicate, hypnotic, hand-drawn, constantly-morphing line animation from Katayama Takuto. The sparse, plodding piano backing (by Kikuchi Ryouta) compliments the visuals quite nicely, too. Enjoy!
“Go on: bury me,
under stone or under sea;
Silent picture, keep the fishes company.
There is little else for me now…
...but I will find my way,
out of the dark some day,
into a crimson, yellow sun.”
Kyle Mowat‘s thesis film, Ballpit, is a haunted toymaker’s fever-dream with its psychedelic tangle of fluid, soft-edged gizmos, trinkets, and doo-dads that spontaneously erupt into morphing, frenzied movement. The ethereal, echoing Fisher Price-instrument soundtrack by Lido Pimienta is a just-right accompaniment to the madness. ENJOY!
A big thanks to Mr. Sam Lillard, fresh back from his three-month Alaskan sojourn, for the suggestion. Welcome home Sam, we’ve missed you! Cheers!
Been itchin’ to post this one since last Wednesday when I first saw it pop-up in Mr. Lotus’ twitter feed. He’s got a new album, Until The Quiet Comes, set to drop on October 1st and made the brilliant decision to hire Sir Cyriak to create a video to promote it’s release.
It’s a true collaboration and exactly what you’d expect when creatives of this caliber combine their unique skill sets. The tune itself fuses together two of Flying Lotus’ fortés: sterile, machine-pulsed-and-stripped-down beats and his trademark spacey, rambling, warm-and-jazzy tones. Cyriak takes that contrast and runs with it, creating a world populated with regiments of single-purpose robots that is forever changed after one of them spontaneously evolves, trading in its initial programming for a more familiar-to-us set of survival-of-the-fittest, kill-or-be-killed instincts. The video escalates in typical Cyriak fractal-fashion, progressing in complexity from the micro to the macro until everything-is-everything and then back again. Word.
It’s a treat, y’all. ENJOY!
“You know I never want to let you down,
It cuts me up to see you sad.
And I wish that I could undo what I’ve done;
Give back the faith in me you had.”
Another day, another fantastic music video for a tune from Gotye’s Making Mirrors. This one’s packed with playful, surreal hand drawn visuals (directed/animated by Gina Thorstensen and Nacho Rodriguez with help from Giulia Bellunato) that do a great job fleshing out and exploring the themes of regret, longing, identity, forgiveness and hope presented in the song.
As alluded to above, we’ve posted loads of great music videos from Making Mirrors to the site that can be conveniently accessed via our Gotye feed. Happy browsing!
posted by respondcreate on Sep. 19, 2012 in Videos | tags: animation, bizarre, colorful, ethereal, gina thorstensen, giulia bellunato, gotye, hand drawn, hd, love, music video, nacho rodriguez, surreal, trippy
it’s multi-versal; pages and journals.
My journey here is ended soon –
we blow eternal.
My mind expands
with widening strands
of indigo and purple.
This music’s not commericial,
We’ve been watching Ori Toor make shit since first discovering the ‘unofficial’ music video he created for Animal Collective’s Lion in a Coma. Since then he’s made a few more and each exhibit his distinct ‘stream of consciousness’ style of staggered-and-repeating organic, undulating shapes. Ori’s approach has subtely shifted in each of them but they’ve all, for the most part, remained abstract studies in colorful form. The attached, his latest, veers into new territory and I’m absolutely loving how he’s mixed in some representational imagery to compliment the usual assortment of evolving, fluid structures.
It’s my favorite Ori-joint yet and easily an ‘instant classic’ of the site…it’d be a crime to watch this in anything but full-screen HD. Oh and a nice pair of bass-friendly headphones is a must, too; Kingdom Crumbs knows how to properly fatten-up the bottom end of their kicks and basslines and you’ll want to rattle-and-bathe in each one.
Speaking of which, I picked up their eponymous album this morning and have been listening to it while I cobble together this post. It’s thoughtful, positive, mellow, rambling-in-a-good-way hip-hop undergirded by some spacey, out-there synthesizers and easily worth the ten bucks in iTunes. If you’re strapped for cash, head over to Bandcamp and name-your-price; even the most frugal of budgets can accommdate a few cents, right?
Here’s another delectable morsel of hand drawn animation from this year’s bountiful Gobelins harvest. It’s by four, third-year students – Todd DeJong, Tom Law, Wandrille Maunoury, Etienne Metois and Jonathan Vermersch – and does a fantastic job illustrating a distinct flavor of anxiety we’ve probably all experienced.
posted by respondcreate on Sep. 08, 2012 in Videos | tags: animation, bizarre, colorful, etienne metois, gobelins, hand drawn, hd, jonathan vermersch, love, psychedelic, todd dejong, tom law, trippy, wandrille maunoury