Months of craft, ideas and styling have gone into our latest self-initiated project, developed and hand made at Trizz, the creative animation studio out of Barcelona known for its artful directing, design and animation on commercials. “Save Me” is a new music video that touches the soul and essence of a young boys inner creative battles and is scored with heart felt music (soon to be independently released out of Portland). The boy protagonist, Rafa, lives in the world of a sensitive, young country kid who is overloaded with imagination and confronted with the possibilities of self-expression and technology. Intentionally the core story is shaped with a naïve simplicity and hints at the places where inspiration evolves. “Save Me” started off as a 5 seconds test project. Trizz director and co-founder Oriol Puig was drawn to the musician's song, called him up for a chat which ended up triggering a 4 minute original film to the music. The design concept of mixed media, with an emphasis on photo realistic rendering, was integral to deepening the story mood. Starting with the boy character Rafa, who was modelled and animated in 3d to look like an older technique of hand made claymation, our team then built the miniature house out of wood and mini tiles and lots of glue and nestled it all within a real forest - little plants from the local garden centre that provided the set for capturing real filmed backgrounds. With the 3d animation completed, our illustrator then drew and animated the 2d “interactive sky” effects and finally everything was rendered together and composed into the master film. Visually and musically, this story speaks of the creative process in all of us - and shows that sometimes during the discovery for implementing an idea, that there are waves of inspiration, frustration, anger and surprise. In the end there is a very positive outcome, scaling a personal edge we also learn something new about ourselves. CREDITS Music by: Fernando Viciconte Track: Save Me Original Idea / Script: Trizz Director: Oriol Puig and the Trizz team Executive Producer: Chris Vulpi 3D Supervisor: Oriol Mayolas Animation Director: Hugo García 2D design and animation: Javier Vaquero Art Direction: Oriol Puig / Oriol Mayolas Set Design: Albert García Vila Set Construction: Albert García Vila / Laura Ibañez Animators: Hugo García / David Llopis Modeling: Oriol Mayolas Modeling ( hair ): Kepa Casado Additional Modeling: Ariadna Ollé / Luis Guzmán Compositing: Oriol Puig Rigging: Joan Buhigas Cloth Animation: Joan Buhigas / Ariadna Ollé Additional 2D animation: Bojan Pantelic 3D scanning: Oriol Mayolas / Ariadna Ollé Editing: Oriol Puig / Oriol Vives Making Of: Ariadna Ollé
From the new album 'Emergence' out now: Discover more about Emergence: Max Cooper “This chapter comes towards the end of the Emergence story, after all of the physical world around us has been established by following through the action of the simple building blocks of nature. I wanted to finish the LP with the progression left open-ended, the laws of nature being unbounded and any particular consequences impermanent and ever changing. The best way to present this seemed to be with an infinite fractal zoom, where we experience delving into a system that seems to have no end. But the problem was that I really don’t like most fractal zoom videos, as it’s a technique that has been much overused, and often relies on the same methods of synthesis which have a particular recognisable aesthetic. Luckily for me someone got in touch to suggest Morgan Beringer’s work to me, which I loved, so we started chatting about video ideas, and it seemed that Morgan might be able to pull off a new way of the presenting the unbounded zoom! Safely to say, he did an amazing job with this, with his warping saturating abstraction and hints of traditional fractals.” Morgan Beringer “The main structure of the video 'revolves' around an infinite spiral/zoom effect that is realized using an animated form of the Droste effect, combined with my trademark style of abstract visuals that continuously move in somewhat unpredictable manners. It is the first time I have combined both and a lot of experimenting and trial and error was employed before I found a combination that worked best. When combined, the overall theme of an unbounded form was expressed via both the chaotic structure of the form and the infinite motion of the spiral. I found this also reflects the contradictions that quickly appear when considering absolutes, infinities, and any such theoretical extremities that are not empirically experienced. The contradiction being that we must always 'assume' that unbounded structures are indeed unbounded, and while we might explore short journeys down these roads, the end of the spiral is never reached and the moving forms never solidify. The fact that the form of the spiral remains constant during the video (though the angles change and the colors change, etc.) helps to reflect that we rely upon bounded structures to represent unbounded structures. Beyond that overall theme I also added further details to echo these ideas, such as the grid appearing at various times to remind us that despite the appearance of an infinite/chaotic motion there is in fact a very defined structure that we get small glimpses of every now and then. The addition of several lighting effects also nods back to the main concept in that they try to remind the viewer that this is a flat video. Just light on a surface, synthetic light even, despite it's attempt to convey an unbounded infinite. So the final result hopefully giving us little glimpses of what an infinite or unbounded concept/structure might entail, flights of thought or fantasies almost, but also reminding us that these concepts are never fully understandable or attainable in physical reality beyond these short moments. My favorite moment within the song is when, for a few short moments, the rhythm extends beyond its established structure and we are left 'floating' somewhat before it comes back to ground us. Again, demonstrating that we need the established structure before we can break it, and that even when it is broken or expanded upon, we only get a few brief moments before adapting to the change/new structure.” Follow Max Cooper Follow Morgan Beringer