Motion Graphic Designer & Motion Technician

출처 : 3D 입체영상 모임

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쉽게 잊혀져가는 이 세상에
나란 존재를 기억의 한 귀퉁이에 넣어 둘 수 있다는 것 만이라도
나는 이 세상을 훌륭하게 살았다는 생각을 한다.

기억의 한 귀퉁이에 내 자리를 만들기 위해 난  나의 삶을 저금하고 
내 삶의 이자를 받아 더 넓은 귀퉁이로 만들어 나가는 것이 나의 목표이며
내 삶의 목적일 것이다.

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As far as I’m concerned, OK Go are winning at internet video. From the self-conscious genius of A Million Ways, iterating through Here It Goes Again, stopping at the artistically hip Do What You Want, before blasting through CDMo favorite WTF? to the new hotness of This Too Shall Pass, which they’ve actually released two completely distinct single-shot videos for this year!

Their work has run the gamut from ridiculously simple and cheap, to equally ridiculously complex and expensive. Throughout this progression, they’ve produced work which is varied, yet instantly recognizable. The productions maintain a thread of simple, effective, creative concepts, and each has been appropriate to the band’s available resources.

I think this is the essence of creativity, and what makes “indie” production so compelling. It’s not sustainable to continuously produce work which strains your budget or resources, so we all generally work with a set of constraints built around what we have available. Record labels have ready access to film studios with white walls and bright lights, so a frightening majority of label-released videos follow a sadly predictable path of “something something story something, and then the band mimes along in a white-walled studio with bright lights”.

OK Go are on a label (Capitol/EMI), but they’ve definitely managed to maintain the level of control required to call the shots, and decide where their budgets should be spent. Gizmodo just posted an interview which purports to “tell the secrets of the band’s geeky videos”. I didn’t really discover any production secrets, but the band’s attitude towards creativity, and  record label constraints is quite interesting:

Our label, bless their moronic hearts, was given our record nine months ago. It kept getting pushed back. We basically wound up with several months of our lives to just get in trouble. If we’d had to go into promo land and get on tour we wouldn’t have time to do this kind of stuff. Basically I got home when the record was done and wrote down my dream list of videos. This whole project started with a two-paragraph description that I put down online as a job post, essentially. I asked for two creative engineers, because I figured that’s about what it would take. Two engineers, and a couple of months. It ended up being more like 60 engineers, and five months of work.
[from Q&A: OK Go's Lead Singer Tells Us Secrets of the Band's Geeky Videos]

For me, “wrote down my dream list of videos” is the key phrase here. None of OK Go’s clips are contrived or cynical attempts to “go viral”. They obviously love the medium, they love creating new things, monkeying around on treadmills, making the world’s biggest tv-smashing, paint-firing machine. They’re obviously having a blast while they’re doing it, and if you love what you’re doing, your audience can’t help but love it too.

OK Go - WTF? from OK Go on Vimeo.

When WTF was released, I wrote about “originality”, and the concept of making creative work from well-understood building blocks.

As long as you produce something which has personality, and creates an emotional connection with your audience, then I think anyone who accuses you of being “unoriginal” is missing the point.

The Rube Goldberg Device is the ultimate collection of “well understood building blocks”, and a beautiful metaphor for the art of the visualist. We’re taking the objects we have ready access to, building new things to interface them together, and making something amazing.

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Prototype du réveil de la Tour vue au 104 à Paris / 24-25 Avril 2009

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Federico Bebber was born in 1974 in Udine, Italy. Since 1998 he has been creating digital art. He uses digital tools based on photography
Creative Illustrations by Federico Bebber

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We got to once again enjoy the work of Beeple aka Mike Winkelmann this week with his Instrument Video Nine, featuring a new batch of 3D sound-making robots. The work landed him on the top of Vimeo, and rightfully so. Mike now shares some of his work flow

All the (wonderful, hand-rawn) pictures by Mike Winkelmann. The robots video at bottom.

Tools used:

Video: Cinema 4D, After Effects, Flash, Vegas, Fireworks
Audio: FL Studio, Vegas

What was the workflow like?
A lot of people ask what came first, the music or the video. They really sort of came out of a back and forth process. Sometimes, I’d first model something like a mechanical arm. And then I’d find a sound that kind of fit it. Then I’d sort of fit it into the music and finally animate it. Then I’d kind of go back and maybe tweak the sound or tweak the instrument as need. Other times I’d start with a sound that I really liked and figure out what I can model that might look like it makes that sound.
After the 3D animation was done, then I did post production work in After Effects which was new to me. Subprime was pretty much a straight render with very little even color correction. So learning how to do more of a proper post production was also a challenge.

How were the audio and video synced?
In terms of how the audio and video were synced, this was mostly the “brute force” way. When I first started out, I tried to use some of the built in tools in Cinema 4D to sync sound and animation, but found them to be a bit too simplified for what I was look for.. I am still too new to 3D animation to understand much of the scripting language in Cinema 4D which I no doubt could have used to automate this process. That combined with zero knowledge of MIDI really limited my options to just sort of buckling down and busting this motha out the only way I knew how… a whole lot of keyframes. This was definitely quite tedious but because the timeline is so well laid out in Cinema 4D, it really wasn’t too bad.

What was your inspiration for the piece?
I really just wanted to make some sort of glitched out, futuristic, infographicy, 3D mechanical robot thing that was perfectly synced to music. I also wanted to it be much, much ‘darker’ than subprime. Early on in the making of it, I saw this video by New Judas that I absolutely fucking love. http://vimeo.com/764015 I also really like some of the infographic stuff that has been going around, obviously the Royksopp piece and the Feltron project http://feltron.com/. I wish I could have done a better job with that piece of it, but that was done towards the end of the project and by then I was pretty well spent on ‘er.

Did the “cult” success of your earlier pieces get you work which allowed you to put together more detailed projects?

My commercial work and my personal work are VERY seperate. My day job is a graphic designer for a very, very small IT firm, where I am the only designer. I do mostly web design for pretty reserved corporate sites that leaves very little room for too much creativity. Thus the need for my personal work where I can blow off a little steam The videos I am doing now is the result of having more patience putting together more involved pieces and also actually having learned the tools needed to put together more involved pieces. But yeah, my personal work is my personal work, I’ve made very, very little money from it and I don’t see that changing anytime soon.

Jaymis Loveday contributed to this story.

instrumental video nine from beeple on Vimeo.

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예전 자료들 너무 아까워서 다시 왔음.;;
근데 영상이나 이런것들 다 날라가서...언제 다시 업로드하고...언제다시 만드냔말이다.;;
없는 영상들도 많은데..흑...ㅠㅠ

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머 좋다는거 같다 ㅋㅋ

iPhone 에서 작성된 글입니다.

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누구보다 가장 힘들었고 누구보다 열심히 했다.
미래를 설계하는데에 있어서 남들보다 깔끔했으며 오직 내 맡은바 일에만 몰두했고
또 나의 길을 막으면 과감히 버렸으며 나에게 맞는 미래를 위해서 스스로 노력해왔다.
내가 가는 길이 본래의 길과 다르다는 평을 받았지만 그것은 본래의 길이 현재의 길의 시작이었을뿐
다른 적은 없었다. 충분히 할 만큼 했고 나 스스로 충분히 일구어낸 일이다.
생각보다 오래걸렸다. 아니 더 오래 걸릴 수 도 있었다.
하지만 나 스스로에게 자신이 있었고 잠시 그 자신감을 잊어 허둥대고 있었지만
나의 자신감, 자존심 이것들을 모두 다시 찾고 있는 중이다.
한단계 한단계 그런 아픔을 알지 못하고 올라서는 사람은 자신이 힘들어지는 순간에 가차없이 무너지겠지만
나는 충분히 힘들었고 충분히 노력했고 충분히 이겨냈다.
아직 갈길은 많지만 찌질한 너네들보단 내가 짧지만 많이 왔다.
그것만은 알아두길 바란다.



합성아님

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