Art Direction & Retouching. CGI: James Cullen
Direction, Creative, Designer & Audio
Me: Custom realtime stitcher and interactive playback/recording system. 360 Supervision.
Director: Bob Harlow
Production Company: Somesuch
Agency: Wieden & Kennedy Amsterdam B.V.
Art Director, Technical Lead & VFX Supervisor for 360 spherical capture. The car was shot practically in Brussels, VFX completed at REWIND London.
Promo Artwork, Photography & Design
MaxMSP Software & hardware development
Max2Xylo is a bespoke lighting control system I created for Ella Eyre in MaxMsp. I implemented a Keith McMillen QuNeo for hands on control for cues, chases, colours, tap tempo and delay compensation.
Using Xylobands, Max sent serial commands over radio to audience wristbands. A playlister loaded tempo information as well as a specific banks of cues and colours for each track. The tap tempo could accommodate for the musicians flexible performance and kept commands tightly in sync.
The wristbands response time was surprisingly fast but I used variable delay compensation to time correct tempo driven commands as an extra measure.
For serial reliability Max2Xylo was running on Windows 10 with a 15 inch Macbook Pro (via bootcamp).
Direction & Creative
Branding & Design
Motion / Identity 2012
Daryl A: Directing, lighting, rendering, compositing
Matthew Vernon-Clinch: Lighting, texturing & rendering
Touchdesigner & Kinect
I was asked to develop some frames to establish a lead look for the new Lexus configurator experience. They wanted to create a polygon world by defining masses with a hybrid of retro and futuristic forms. Details such as faceted landscapes, coloured pools of light and UI style anchor points on vertices were elements that we wanted to translate through to the final experience.
I worked with the team at Rewind & Amaze to bring this look to Unreal, which was to be used with the oculus rift DK1 system. I also developed the level layout for the experience as well as first pass animation on the car itself.
Direction, Edit & Grade
Fine folks at Rewind recently asked me to develop an automated capture pipeline for an interactive installation. The concept was to position a stand fitted with giant screens and a kinect 3 system at various racing events around the world. The initial deployment was set for the Grand Prix in Monaco 2014.
The experience allows for up to three visitors a time to assemble in front of a ‘magic mirror’ screen. They are each given a giant champagne bottle and can proceed to spray each other or the camera with streams of virtual champagne tracked to each bottles position. This was developed in unity by the very talented Russ at the Rewind studio.
The experience needed to be operated with a single button press. Once the participants have entered their details, the backend database would give viewers a link to a copy of their video experience for download or for sharing on social networks. Although the experience needed to be captured from the moment of the button press the video had to have a responsible drinking title inserted at the beginning along with the Mumm champagne ident at each end. We decided against having a separate capture and wrapping process for the other elements so we developed a pipeline to assemble this dynamically on-the-fly.
I chose TouchDesigner (my new favourite tool) for the task. We fitted a machine with a Blackmagic Intensity card for the HDMI feed to be captured. A push button was wired to a board that distributed a key press to both the unity application and Touch Designer. I integrated a 5 second cache buffer to allow for the video line to be delayed allowing the title card to be written to the video file first, which brought the content back in line. A series of triggers drove a crossfader to allow for smooth transitioning of video layers and cueing of indents. A thumbnail image was also snapped during the recording to match with the database video. Finally I also pulled in an additional audio file that was also mixed on top. Quite a few elements were involved to pull it all together, but luckily TD seems to take all of this in its stride.
The backend database system which would host the videos required a specific 7 digit numbering system, this was achieved using a failsafe value which was read on each capture, incremented & written to an external file in case of project corruption or resetting. The neat integration of python scripting inside TD makes it a very versatile tool for this realtime video pipeline. The python side was a real learning curve for me but with a little help for some of the guys at the studio it proved very rewarding.
MIDI ANIMATION IN 3DS MAX VIA IPAD & OSC - TUTORIAL + MAX TOUCHOSC DOWNLOADS
I created the identity for my company Sudden Black after my recent obsession with typographic curves. I wanted to spend more time on beziers as they are a difficult thing to perfect. I sketched mockups in black marker then scanned them. Instead of taking to illustrator I actually worked up the design straight into 3DSMax
Screenprint on black card
Model: Tessa Maye
Rewind asked me to overhaul their brand as they prepared to relaunch a cleaner sharper image. Taking cues from the original logo we finally settled on a neat and bold statement logo.