Future Cinema presents Ghostbusters. I was working as Projectionist and AV tech at one of FS's favourite venues, the Troxy. We installed 2 projectors and simultaneously screened some animations by the Flipper Brothers which accompanied the film, you can see audience footage of one of these bits here. The show featured a massive Mr. Stay Puft and an interactive GhostBusters Lab for which I also did some AV work.
This month I was working on one of the longest motion graphics commissions to date. I was working with professional animator and compositor Ian Sargent under the direction of Franchesco Pastori. The project brief was to create a 20+ minute rolling fantasy landscape animation which would be viewed through a train window TV display (the same one I installed back in September) at private members club LouLou's.
At the start of the month I was mainly creating content for Ian to use for the creation of the scenes in the animation, as the project developed I started compiling entire scenes by myself like the ones pictured above. I became much more comfortable using 3D elements within After Effects. I also had a great learning experience creating a workflow from Cinema 4D; importing camera data and 3D location markers, matching up footage etc. Overall the experience was great and I hope to work on more projects like this in the future.
I had an interesting opportunity this month to work on an advert for Giff Gaff by Fallon as Art Department via Ollie Tiong. It was a crazy job, I hand crafted around 100 synthetic eyeballs using my own improvised style and helped craft large quantities of fake blood, guts and other internal treats. It was great working with old friends and new alike!
This month has been great. I’ve been working on motion graphics content for a post-apoc sci-fi feature film set in Norfolk. I made content for an array of monitors for one of the scenes in the film. I was commissioned by Ollie Tiong. I will upload the videos and hopefully film snippet as soon as I am given permission.
After that I got to work for Franchesco Pastori again on a show in a private club in Mayfair. I had to set up and sync a series of 50” monitors with a hidden tannoy system. After the show the club owners were so impressed they made the TVs a permanent feature. woahm8. They are set up behind fake train window frames to give the feeling that you are on a moving train carriage.
Personally I found the work I did for Franchesco back in February more mentally stimulating, I designed a complex interactive phone answering machine patch in Max MSP which had 2 stage answer and question archiving interfaced with an old rotary telephone and used motion detection. I also got to work with Yoshi, he hacked the rotary telephone so I could interface with it. He is also one of the most interesting people I have ever met; you have to check out his blog. He did a little post about our project here
July and August 2013
Immediately after I finished working on SC Brazil I worked on Secret Music: Laura Marling, my job included audio operation, technical set-ups and digital and analogue projector operation and maintenance. It was in the same building where our Shawshank show was set. A lot of my tannoy cables were still intact from that previous show, which was handy. After that in August it was a similar job except outdoors in Hackney Downs Park, Future Cinema presents Dirty Dancing. We used the same inflatable air screen from last year in September when we did Grease. I can’t say I didn’t enjoy working in the sun and it feels great to see 5000 people a night turning up to these shows.
The past 4 months have been crazy, the biggest Secret Cinema Project yet. Terry Gilliam himself came to check out our presentation of Brazil, I heard he was especially impressed by the technical/AV aspect of the show which I was deeply involved in.
It’s very difficult to describe the challenges we faced on this project, over a hundred monitors including PCs, TV walls, projectors (including the two main 20k lumen beasts), an improvised CAT5 AV network, audio monitoring patch bays.. To give a small impression, the show was in this building.
Additionally, before the build started I was commissioned to create a series of idents for the pre-narrative project for the show which would be integrated with viral videos and various other campaigns. I was given source material (cherubs and sketches) and asked to visualise them as fully animated idents, you can check them out here.
Don't forget to check out the photos
Over the past 3 months I was working for Christian Mock, we are the 2 man AV team for Secret Cinema. This time we did The Shawshank Redemption. The setup in the office was great. We had a backup in place for the screening equipment which really bulked out my op table. There were a total of 3 screening rooms, 2 in the main building and 1 in the GYM which could hold a good few hundred people. Overall we had around 400+ people a night. On top of that I also had a 16mm projector to look after. The audio set-up for this event was quite complex, we had some high end equipment hired from Mark Hornsby as well as our own tannoy speakers which I setup and wired personally with separate zones for different sections of the building.
In recent months I've mainly been learning Max MSP and developing Max for Live apps for Seiji. Below is a snapshot of a personal max standalone app I've been working on:
The patch consists of 4 sequencers, each with a wave buffer and sub-sequencer for automation of wavetable selection. The patch has an instant midi-mapping interface and is set up for instant access to sample playback speed, direction and cropping which can all be snapped to specific time notations. It can also be used as a midi note and CC sequencer. Feel free to contact me if you would like to test out the patch while it is being developed to make any comments or suggestions. The patch uses standard max 6 objects and should run on PC and Mac.
Some audio created using this patch:
September - December 2011
Have been keeping busy with multiple cover art jobs and looking for a new flat.. During October and November I worked on a.. secret project which fell through.. But towards the start of december all of my time was consumed by the new Secret Cinema production "So Long Holly" (screening The Third Man), doing multiple installations in the police department, also including Dr Winkel's flat. I collaborated with Helen Haywood and Aurelien Farjon in these areas. I also have to thank Luke Harcourt and Adam Pang who were head of the Art Department and helped with the massive props and construction (respectively). The event was massive, I helped grease the event with various little extras like design for fake documents, projector slides and helping out Christian Mock in the AV department.
You can see photos of the event (offsite) on the Future Shorts Flickr page.
As for the cover art, check out the project pages in the work section, or go offsite through these thumbnails:
Developing ideas for an audio-visual production between me and Daniel Swilley, electroacoustic composer. Proceed to project page.
March 2011 (+April update)
Rhizome project uploaded. This consists of excerpts from a large body of experiments using generative branching organic particle systems.
Cosc audio-visual released under Entity net label
I made this animation as my 3rd year final animation project at UEL.
The project involved motion capture for organic camera movement, video textures and various audio - visual data interpretation techniques.
December 2010 - Secret Cinema Berlin - ALIEN
This was the first time Secret Cinema held an event in Berlin. It was also my first time creating motion graphics for such a large scale event. Fortunately the theme did not involve a lot of intensive rendering so I was able to create a wide range of footage within the space of a week before travelling to Berlin.
Once in Berlin, I had time to render out a few more videos of data scrolling and tech diagrams moving around. I worked closely with certain members of the german team Flora and Fauna to ensure my work, amongst other visuals were displayed in suitable areas.
Behance project can be viewed in the work section, alternatively my vimeo project folder also.
In my free time I have been coding a midi sequencer application in Processing which uses variable clock combination IDs to send MIDI notes and controll CC. Its great for generative drum patterns.
This program is a re-design of the same concept I created using MAX MSP but has much more potential control. You can see what the Max MSP version sounds like here. The idea is inspired by lasal's Hexagrama.
Started a part time short course in Max MSP.
July - August 2011
Working in Indonesia; -analysing seabed morphology.
-Creating 3D visualisations of sub surface reflector and amplitude layers.
Working on a new Ion-Cannon design for Eternal Silence, a free multiplayer HL2 mod.
Motion track to audio control test.
Short Pure Data experiments
Combining narrowband filter exposures of galaxies and nebulae (uploads coming soon)
Established automated method of hex editing unlimited quantity of files. (win hex script)
This saves me a lot of time and allows me to create higher resolution animations as well as making them in chunks longer than 30 seconds using filmstrip format.
Possible audio-visual collaboration with Otets Dekan / Foul Shape (link to his latest EP)
Midi control derived from video using after effects. video