OBLIO invites the audience to draw and sketch together using specialized remotes. The lines sketched become landscapes, shapes fall from the sky and interact with the user-created content, all while generating responsive sounds, movement, and color. Users can also choose from emoji-like “stamps” to imprint on the screen. The visual canvas is ever-changing and the user’s sketches are temporary, fading after a few seconds. OBLIO celebrates a sense of playful chaos and digital vandalism.Enjoy!
Projects
UPDATE: WAKE was picked up by The Creator’s Project! ———— A live video installation, made using TouchDesigner. All of the graphics were generated in real-time, based on the talented models’ dancing. More information and a photo gallery at lightbeast.net CREDITS: Creators: Moses Journey & David Glicksman Cinematographer: Cindy “Mimi” Phan Producer: Lizet Lopez Assoc. Producer: Javier Lopez Model/Makeup: Liz Gideon Model: Emma Gregg Model: Renée Gunter Camera Asst.: Shauna Brown Camera Asst.: Magali Lozano Gaffer: Paul Cannon Studio Owner: Marco Campobasso Costume Design: Edna Vogel Dressmaker: Dinora Ibanez Music and Sound Design: Calvin MarkusProjects
This jobs was an unexpected challenge, and was unexpectedly rewarding. After coming on board to do previz for a toy commercial at Laundry! Design, I ended up acting as CG supervisor, TD, and production VFX consultant. Our team was incredibly small relative to the production quality we were able to pull off, and it was a joy to see my exotic technical ideas turn into reality. More details soon – for now, enjoy Anki DRIVE – The Battle Begins!“Along with a new opera, a new chapter in opera history may have opened Friday night at Winspear Opera House. Jake Heggie’s Moby Dick distills several longterm trends in what might be called—with either approbation or disdain—a ‘special effects’ opera.”
My secret media installation is now live!
As best we know it’s the world’s largest, most complicated permanently installed media sculpture. For NDA reasons I still can’t go on an all-out media blitz, but here’s a gallery of images.
It turns out that a can of spray foam, some painter’s tape (for face tracking dots), and my iPhone’s camera can go a loooooooong way.
Projects
I had been stalling for a while on getting caught up with Maya, especially for VFX work, but Wolf & Crow gave me the perfect opportunity. W&C let me join the team for The Avengers: Battle For Earth even though none of my VFX experience had been with Maya, and within a month I was up to speed – smashing cars, lighting things on fire, throwing around debris, and eventually simulating superheroes’ hair. Here is the finished piece. It’s the culmination of months of work by some of the most talented artists I have ever worked with. It was a great experience and I’m glad I had the chance to do it. [jwplayer mediaid=”546″]Projects
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So this is a bit old already, but I made this video while doing RnD for a larger project with my good friend Moses Journey. It’s amazing how much you can accomplish with just some magic markers, a latex glove, After Effects, and a healthy dose of idiocy. For the stout of heart, I also offer the raw motion capture session which, upon review, is a lot more unsettling than it has any right to be.[jwplayer mediaid=”358″]
Projects
Wolf & Crow asked me to be CG Supervisor on this job and, perhaps foolishly, I jumped at the opportunity. I worked as CG Supervisor, pipeline developer, VFX Artist, and cheerleader. We accomplished the Herculean task of finishing two months worth of work in something like three weeks, and nobody died in the process.
Considering how little time we had, I think it came out rather well!