Gallery

3ds Max Interactive, Corona

This video is intended for exhibition at an international visualization event as part of our studio talk. It showcases some of the projects we intend to explore in the future. The project had to be special and to allow us to experiment with the process of creating 3D animation, a venture we had not previously undertaken. We decided that the animation project would take the form of a music video. This choice was influenced by our shared passion for music, as many of us in the office are avid musicians in our spare time. It also offered an opportunity to explore a less common form of animation within the visualization field. We selected a track from the band "Muay" which is associated with one of our founders. This allowed us to intimately understand the music's nuances and the emotions it should convey, enabling us to communicate in the band's unique language. To create the animation, we dissected the music into distinct moments, each corresponding to changes in tempo, mood, and intensity. We assigned descriptive names to these moments, such as "calm," "tension, "a fall," and "fade." Subsequently, we sought reference images that could visually represent and capture the essence of each musical segment. For the initial segment, as the music gradually emerged from a soft fade-in, building up its pace, we employed a dolly shot that slowly approached the central subject. Initially out of focus and distant, the subject became progressively closer, almost uncomfortably so, while maintaining focus on the cracked rock. This segment drew inspiration from a photograph of the Atocha Station Memorial in Madrid and an image from the light gallery at the Orgen Center. Both of these references exude an ethereal and disquieting ambiance that aligned with the accelerating pace of the music: https://www.ribapix.com/images/thumbs/031/0311851_RIBA114693_600.jpeg https://blog-imgs-33-origin.fc2.com/h/i/k/hikaritaiwa/01_convert_20090808062210.jpg Following this introduction, we crafted slow and abstract shots to harmonize with the bass notes' gradual tempo. These shots were designed to be abstract yet containing subtle details that could be better appreciated upon subsequent viewings. Our inspiration for these abstract shots came from a James Turrell installation image, which, when viewed without context, is abstract and enigmatic: https://doorofperception.com/wp-content/uploads/doorofperception.com-james_turrell-24.jpg Additionally, an image from José Campos' photography of the "Casa no Tâmega" project by Hugo Ferreira and Nuno Sousa Architects was a reference. This image illustrated how natural rocks and man-made stone constructions could visually merge, creating an abstract composition: http://www.ondiseno.com/fotos_proyectos/404/grans/291708.jpg The scene, with the empty rock throne inside the room, symbolizes the throne as metaphor for isolation and loneliness. We then used an image from a poster of the movie "Holy Mountain" to gather reference of this idea of a stone carved throne: https://cdn.posteritati.com/posters/000/000/062/944/the-holy-mountain-md-web.jpg As the music progressed, the building began to disintegrate, with the house almost appearing to float and break into large pieces. To capture this surreal moment, we drew inspiration from Espen Dietrichson's illustrations, which portrayed levitating buildings in a surrealistic manner: https://journal.b-pro.org/wp-content/uploads/2020/11/Figure-01-.-Hard-Edges-Cloudy-Cities-1-copy-1.jpg At the climax of the music, rocks collided and exploded to match the music's intensity. To achieve the desired visual impact, we looked to the movie "Covenant" for inspiration: https://atseajournal.com/cinematography/alien-covenant/alien-covenant_2758_good.jpg Many of the interior gadgets, furniture, and decorations were crafted from components of a 3D model provided by NASA of the Apollo Lunar Module. To create elements that make sense within the context and convey a futuristic yet retro aesthetic, we turned to the "Space: 1999" TV series: https://www.uploadhouse.com/imgs/20122302/ The building's rough and brutalist aesthetic, meant to evoke a sense of rudeness and handmade craftsmanship, required careful development from scratch. We found inspiration in Studio Anne Holtrop's projects, which effectively depicted raw, uneven walls that appeared handcrafted: https://64.media.tumblr.com/0d6370740c2048c70248246817370705/b7bfd7aeee105c37-cc/s540x810/a0f9f328ee92105894269b3a5f1b8c3f658c958a.jpg https://64.media.tumblr.com/2ad03848b8efaa811ffc988e56d59b1f/597df5fb0c98751f-fa/s540x810/00331b7b6a67420f7998d34dd89a0401d3b9e5fb.jpg For the final segment of the short film, we explored the concept of someone living on the moon for an extended period. This would result in the creation of land art pieces, reminiscent of the works of Richard Serra, Richard Long, and Michael Heizer. This segment was a direct homage to their iconic pieces: https://numero.twic.pics/images/flexible_grid/100/richard-serra-east-west-numero-magazine.jpg http://www.richardlong.org/Images/2011webimages/bw/sahaline.jpg https://media.newyorker.com/photos/590979762179605b11ad8b24/master/w_2240,c_limit/160829_r28571.jpg The decision to present the film in black and white was twofold: it simplified our initial foray into animation, and it paid tribute to one of our recent favorite movies, "The tragedy of Macbeth" as shown in the reference image: https://i.ytimg.com/vi/KEjdZsPMd64/hq720.jpg?sqp=-oaymwEhCK4FEIIDSFryq4qpAxMIARUAAAAAGAElAADIQj0AgKJD&rs=AOn4CLCFyWU3dpDg4BJMDnNAERiMUmF4Sg To punctuate the black and white aesthetic, we incorporated intercalated red scenes, a nod to the band's customary use of red lighting in their live concerts: https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQ_uJbnTFCjLpk5mDnMNLOPckGnuMp1sTNbuXAwMI72Rp4xTiUVFr6GIwRrCl1AO7RtBIo&usqp=CAU https://www.instagram.com/p/Ct-Qk8Nt1CM/

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