|Year||Type||Title||Company||Client||Location||Form||Role||Friends||Key Link||Note||Instagram Text||Description|
|2021||Commercial||coming June 2021||Moment Factory||Montreal||Show||Creative Director||Producer: Matei Paquin|
Line Producer: Chloé Rondeau
Multimedia Direction: Guillaume Borgomano
Lighting Director: Marc Tetreault
|2021||Commercial||coming April 2021||Moment Factory||New York||Realtime Environment||Creative Director||Producer: Jamie Reilly|
Co-Creative Director: Jean-Francois Larouche
Line Producer: Karine Gagnon
Multimedia Director: Sophie Midavaine
|2021||Commercial||coming March 2021||Moment Factory||Hong Kong Airport||Hong Kong||Installation||Creative Director||Co-Creative Direction: Amy Chartrand|
Technical Direction: David D'Anjou
Producer: Mikael Charpin
Line Producer: Olivier Grant
|full description coming soon|
|2020||Commercial||Moynihan Station||Moment Factory||Empire State Development||New York||Installation||Creative Director|
Co-Creative Direction: Catherine Turp
Producers: Richard Cormier and Jamie Reilly
Video Direction: Nathalie van Sasse van Ysselt, Tim Rice, Aaliyeh Afsar and Guillaume Borgomano
Line Producer: Karine Gagnon
|Catherine Turp initiated this project, setting it up to be awesome. I took over during the contract signing and carried it through to delivery (where Cat rejoined and put the final kiss on it).||NYC’s new transportation hub reinvents an architectural icon, creating a world-class destination that charms travelers with the magic of experiential multimedia.|
As part of New York’s major upgrade to the transportation infrastructure at Pennsylvania Station, America’s busiest transit hub, the city’s cherished Farley Post Office Building has been transformed into the new Moynihan Train Hall, a world-class transit hub. To bring this reinvention to life, Empire State Development invited Moment Factory to collaborate on key media features that bring back the romance of travel while entertaining both daily commuters and travelers from afar.
Our team developed a multimedia content strategy, as well as 7 animated capsules that highlight the vibrancy of New York city and NY State, the history of the iconic building, it’s unique architecture and the natural beauty of the state at large. Spanning 4 massive LED screens, identity, ambient and event capsules with custom transitions bring delight and discovery to the passenger journey, making the hall feel alive.
Adapting our process to the challenges of the COVID-19 pandemic, we ensured a safe and seamless integration process with the on-site presence of our NYC office. We are thrilled to have contributed to a project that reinvents an NYC icon and brings wonder to travel and to public space.
|2019||Commercial||Changi Studio Experience||Moment Factory||Changi Airport||Singapore||Installation||Creative Director||Multimedia Direction: Sylvain Dumais|
Technical Direction: David D'Anjou
Producer: Andrew Merkin
Line Producer: Genevieve Dufault
|https://momentfactory.com/work/all/all/changi-experience-studio-at-changi-airport||2019 — Changi Studio Experience. Two interactive installations for the Studio Experience. Client: Changi Group. Directed by Sylvain Dumais. Made at Moment Factory with David D'Anjou, Andrew Merkin, and Genevieve Dufault.||As part of Moment Factory's ongoing collaboration with Changi Airport Group, we were mandated to design two new fun and inspiring airport-themed multimedia experiences for the Changi Experience Studio, a unique visitor attraction located within the airport’s groundbreaking Jewel mixed-use destination.|
Changi Experience Studio strives to go beyond entertainment, to encourage the physical health and well-being of travellers. With this challenge in mind, we created ‘Amazing Runway’, an interactive multiplayer game for up to ten participants, inspired by the airport’s 2009 legendary race between a Boeing 747 and a Porsche Carrera. As visitors pedal custom-built stationary bicycles, they team up to accelerate their famous vehicles down an immersive digital runway towards the finish line, in an exciting, richly animated competition.
As the world’s top-ranked airport, Changi has sparked deep public interest in its success story of innovation and excellence. To satisfy the curiosity of visitors, our creative teams also conceived and produced ‘Finale’–an exciting virtual journey into Changi Airport’s dramatic history and its visionary dreams for the future, all set on a 180º screen.
|2019||Commercial||Microsoft London Holiday Campaign||Moment Factory||Microsoft||London, New York, Sydney||Video||Creative Director||Video direction: Armando Gomez|
Producer: Joy Marsal
Line Producer: Sophie Carle
|https://momentfactory.com/work/all/all/microsoft-flagship-store-campaign||2019 — Microsoft Holiday Campaign. Video wall content for all the flagship stores. Client: Microsoft. Directed by Armando Gomez. Made at Moment Factory with Joy Marsal and Sophie Carle.||For this project, we created a Holiday capsule to support the Microsoft Store Holiday campaign across their three flagship stores – Sydney, New York and London – located in high-traffic, high-profile shopping locations.|
Our challenge was to create a single overarching concept that would complement each location’s culture and distinct architecture. Microsoft wanted their stores to be part of the communities’ holiday celebration, yet stand out from surrounding décor.
High-quality 3D animation was used to create a visual narrative and an illusion of space with lights mimicking the surroundings in a dance of movement and colour. The content was customized to fit the architecture of each location, playing with the screens’ 360° potential and creating virtual spaces beyond physical boundaries.
Each immersive retail experience delivered impactful moments that captivated store visitors and passersby alike. Our holiday content was further extended, by creatively adapting it to the new year celebrations, allowing Microsoft to run its campaign all the way through January.
|2019||Commercial||Microsoft London Flagship Store Launch||Moment Factory||Microsoft||London||Video||Creative Director||Video direction: Kun Chang|
Producer: Joy Marsal
Line Producer: Sophie Carle
|https://momentfactory.com/work/all/all/microsoft-flagship-store-in-london||2019 — Microsoft London Flagship Store Launch. Video wall content. Client: Microsoft. Directed by Kun Chang. Made at Moment Factory with Joy Marsal and Sophie Carle.||Located on London’s Oxford Circus and occupying almost 22,000 square feet over three floors, this impressive space was the perfect canvas for the Moment Factory teams to create an immersive in-store experience. The 360-degree video walls, running throughout the store, evolve the space through a series of worlds and moods, from architectural illusions to sensorial abstractions.|
A collaboration with Microsoft from beginning to end, the space transforms through 3D animation, taking visitors on a journey into the many digital dimensions of the Microsoft brand. Inspired by their mission to empower every person and organization on the planet to achieve more, our collective goal was to make visitors feel like they’re part of building something epic.
|2018||Commercial||Secret Artist Bible||Moment Factory||Sony Music Japan||Branding Book||Director||Creative Direction: Jesse Lee Stout|
Producer: Daniel Jean
Creative: Franc Fernandez
|Sony Music Japan wanted to launch an artist in a new way. Our mandate was to define a new type of musical act, that combined performance and technology. The end result was an artist bible - 100 pages of creative direction covering style, performance, technology, and vibe.|
|2018||Commercial||Clash Royale World Championships 2018||Moment Factory||Supercell||London||Event||Director||Creative Direction: Jesse Lee Stout|
Producer: Andrew Merkin
Technical Direction: James Richardson
Co-Director: Mathieu Gatien
Line Producer: Mathieu Grainger
|https://momentfactory.com/work/all/all/clash-royale-world-championship||At the time of broadcast, Clash Royale was the most played mobile game in the world. I was the animation director but the 3D worlds were built by the amazing https://pinata.fi/||2018 — Clash Royale World Championships 2018. Scenography and Animation for live event. Client: Supercell. Made at Moment Factory with Jesse Lee Stout, Andrew Merkin, James Richardson, Mathieu Gatien, Mathieu Grainger and Done&Dusted.||Moment Factory defined a new experience for mobile game tournaments with a high-impact thematic stage at the first Clash Royale Crown Championship.|
Mixing pro sports adrenaline with the look and feel of a mobile game, Moment Factory brought the action and excitement of Clash Royale to life at its first-ever world championship tournament.
We were invited to set the stage for the Crown Championship World Finals in London. It was our first foray into eSports, and we went big. We wanted to define a new format for mobile game contests, one as immersive and memorable as its epic battles.
We created video content, production and set design for the tournament. Working closely with the game developer, Supercell, and event firm Done and Dusted, we made a stage with real fire pits, oversized figures of characters, platform towers for players and 3D graphics for camera audiences. The atmosphere absorbed spectators into the visual world of this cult-following game as its best players staged assaults.
The championship was streamed in 9 languages on multiple platforms and had 1.7 million views on English YouTube alone. We expanded the action by staging gameplay across the floor with projection mapping. Evoking the drama and power of pro sports let us scale the game from a handheld experience into a landmark event.
|2018||Commercial||Soundtracer||Moment Factory||Brooklyn Academy of Music||New York||Installation||Creative Director||Producer: Jamie Reilly|
Co-Creative Direction: Catherine Turp
|https://vimeo.com/258695247||2018 — Soundtracer. Interactive toy. Client: Brooklyn Academy of Music. Made at Moment Factory with Jamie Reilly, Catherine Turp, Hugo Daoust and Guillaume Levesque||An interactive toy for the Brooklyn Academy of Music's 2018 Teknopolis Festival. Explore the complexity of multimodal experience; where sound, touch, vision and movement become blurred together, and it’s unclear which sense is taking the lead.|
|2017||Commercial||Jacques-Cartier Bridge Interactive Illumination||Moment Factory||Jacques Cartier and Champlain Bridges Incorporated (JCCBI)||Montreal||Installation & Show||Director||Producer: François Morel|
Creative Direction: Gabriel Pontbriand
Technical Direction: David D'Anjou
Co-Director: Marie Belzil
Lead Dev: Pascal Michel
|https://momentfactory.com/work/all/all/jacques-cartier-bridge-illumination||I joined the project 2 years into the 3 year process. Gabriel Ponbriand and Marie Belzil had already determined the light layout, the fixtures, and the top level concept of a smart, responsive city. My mandate was to bring this to life through the software development, and animation.|
A concept by Moment Factory. In collaboration with : Ambiances Design Productions, ATOMIC3, Éclairage Public / Ombrages, Lucion Média, Réalisations and UDO Design.
|2017 — Jacques-Cartier Bridge Interactive Illumination. Smart city programming and live visualisation. Client: Jacques Cartier and Champlain Bridges Incorporated (JCCBI). Made at Moment Factory with Gabriel Pontbriand, David D'Anjou, and Marie Belzil.||An urban data-responsive light installation engineered to reflect the digital pulse of the city.|
In 2017, Moment Factory and six local partners fulfilled a long-held dream of lighting up the Jacques Cartier Bridge–an architectural jewel and iconic Montreal landmark. Directed by Jacques Cartier and Champlain Bridges Incorporated, collaborators shared one common goal: to give Montreal a new visual postcard and a showcase for the city’s creative and technological vanguard. The collaboration would result in the world’s most-connected bridge, a smart city illumination activated by real-time social media activity and big urban data.
At nightfall, the bridge comes to life, expressing the team’s Living Connections concept in two ways. First: the bridge’s interior volume reflects the city’s changing seasons with an ambient colour for each of the 365 days, while the bridge’s exterior is animated by light particles driven by real-time social media that tags Montreal. These particles are influenced by data pulled from the day’s weather, traffic, news and mood.
The bridge, now as impressive at night as during the day, is a unifying symbol of the city. The project broadcasts Montreal’s creative expertise to a world seeking solutions that elegantly unite smart-city infrastructure with artistry and design.
Concept: Living Connections
The Jacques Cartier Bridge, an iconic Montreal landmark, has been brought to life with a new and innovative lighting concept by Moment Factory in collaboration with six local partners. In a world’s first, the display is powered by both real-time social media and smart-city data from across Montreal. Activated and driven by the rhythm of the millions of human connections of the city, it represents the pulse of Montreal. A unifying symbol has become a reflection of Montreal’s dynamism.
|2017||Art||Solace||Nexus Studios||-||Web||Director||Executive Producer: Luke Ritchie|
Producer: Sarah Arruda
Story: Jeff Noon
Sound: Dave Meckin
|A self initiated project that took 2.5 years working between commercial jobs.||2017 — Solace. Interactive film for the web. Made at Nexus Studios with Luke Ritchie, Sarah Arruda, Dave Meckin, and the JSGeeks.||Released in 2016, Solace is an interactive animated film based on celebrated science fiction writer Jeff Noon’s short story about a near future in which marketing and addiction are disturbingly Intertwined.|
Central to the story is a sugary drink whose flavour is determined by twisting the cap. I used this drink as a starting point to visualise the story as a real-time, interactive, liquid simulation for the web. Everything that a user sees and is able to interact with is made out of touchable liquid. Think of the narrative as a magical substance that one can play with directly in the browser. One part narrative film, one part playful, surprising interactive experience.
|2016||Commercial||The New Yorker - The Innovators Issue||Nexus Studios||New Yorker||New York||AR||Creative Director||Executive Producer: Luke Ritchie|
Director: Christoph Niemann
Producer: Mariano Carrara
|https://nexusstudios.com/work/innovators-issue/||as seen on Netflix's "Art of Design" S01E01||2016 — The New Yorker: The Innovators Issue. Augmented Reality magazine cover as seen on Netflix's "Art of Design" S01E01. Client: DDB / Qualcomm. Made at Nexus Studios with Luke Ritchie, Christoph Niemann, and Mariano Carrara||For The New Yorker’s Innovators Issue, we worked closely with the artist Christoph Niemann, to bring the front and back covers to life in AR for the very first time. |
The whole experience is rendered real-time and you’re able to move around the city and navigate each element of the city in detail. The project was featured in the Netflix’ documentary series ‘Abstract’ about Niemann and is considered a defining piece of work in the new wave of Augmented Reality. Niemann has hidden a few hidden surprises within the cityscape, why don’t you see if you can find them?
|2016||Commercial||Qualcomm Invisible Museum||Nexus Studios||DDB / Qualcomm||Las Vegas||AR||Creative Director||Executive Producer: Luke Ritchie|
Producer: Jenny Lam
|https://nexusstudios.com/work/invisible-museum/||as seen at the 2016 Washington Post's reception of the White House Correspondence Dinner||2016 — Qualcomm Invisible Museum. Augmented Reality exhibition area. Seen at CES 2016 and the 2016 Washington Post's reception of the White House Correspondence Dinner. Client: DDB / Qualcomm. Made at Nexus Studios with Luke Ritchie, Matt Bilson, and Jenny Lam||Invisible Museum for Qualcomm is an Augmented Reality experience that has been showcased at events all across the world, including CES, SXSW and the White House Correspondence Dinner. The Invisible Museum is a pop-up space that features six ‘invisible’ artworks that can only be seen using Qualcomm’ latest technology, which is mostly invisible to the naked eye.|
Each artwork comes to life when a visitor simply points a tablet at the empty plinth, immersing visitors in a series of whimsical and colourful animated 3D worlds and in complete contrast to museum environment.
|2016||Commercial||Mind Enterprises’ "Chapita" 360 Music Video||Nexus Studios||becausemusic||London||VR||Creative Director||Director: Eran Amir||https://nexusstudios.com/work/chapita/||First 360 video on google platform||Mind Enterprises’ single, ‘Chapita’, has been brought to life in this innovative and colourful VR experience that combines an ambitious 360 storytelling experience with cinemagraphs and clonemotion technology.|
The story follows a dancer who leads us into a multi-coloured world of choreographed loops set against a backdrop of stark contrast that lends a sense of infinite space. For this music video Nexus Studios devised a pioneering custom-built single camera rig to capture the action in 6k using only a single stitch.
|2016||Commercial||Google Made wCode - Starbucks||Nexus Studios||New York||Web||Director||Executive Producer: Luke Ritchie|
Producers: Sarrah Arruda and Faye Barber
|https://sandrawho.com/Google-Made-With-Code||An extension of the Made with Code Emoji project, this allowed girls to transfer their custom emojis to the foam of a Starbucks drink.|
|2016||Commercial||Google Made wCode - Emoji||Nexus Studios||New York||Web||Director||Executive Producer: Luke Ritchie|
Producers: Sarrah Arruda and Faye Barber
|https://sandrawho.com/Google-Made-With-Code||A web app that allowed girls to create their own custom emojis through code.|
|2016||Commercial||Google Made wCode - Love||Nexus Studios||New York||Web||Director||Executive Producer: Luke Ritchie|
Producers: Sarrah Arruda and Faye Barber
|This collaboration with Google and 72&Sunny was in the bag but a permit snafu, the day before launch, means the project never saw the light of day.||The intended project was a water projection show, in the San Francisco bay, of digital designs, coded by girls through the Made w/ Code website.|
|2015||Art||Christmas Experiments 2015||Independent||Worldwide||Web||Director||https://christmasexperiments.com/2015/12/linestudy/||The Christmas Experiements is a WebGL advent calendar, started in 2012, where a different artist experiement is showcased in the run-up to Christmas. I was invited to contribute to the 2015 edition.|
|2015||Commercial||Sky Q Fluid Viewing Experiential||Onedotzero||Sky TV||London||Installation, Retail||Conceptor||Realisation: Onedotzero||https://vimeo.com/177573054|
|Nexus won the pitch on the concept of an interactive fluid wall. After the initial concept stage was complete, Onedotzero took over the production, bringing it to life in a wonderful way (and adding a few new, nifty features)||2015 — Sky Q Fluid Viewing Experiential. Interactive retail space. Client: Sky TV. Realisation: Onedotzero||onedotzero launched Sky Q with an experiential campaign that took over the Sky studios at the O2, sky’s iconic store at Westfield London and numerous destination shopping centres across the UK.|
|2015||Commercial||Concert of the Wind||Nexus Studios||Ping An Financial Center||Shenzhen||Installation||Creative Director||Executive Producer: Luke Ritchie|
Producer: Luis de Jorge Ladrero
Director: Sitraka Rakotoniaina
Sound: Dave Meckin
|https://www.adobomagazine.com/global-news/campaign-spotlight-saatchi-saatchi-south-china-orchestrates-concert-of-the-wind-for-ping-an-finance-centre/||2015 — Concert of the Wind. Interactive sculpture. Client: PING. Directed by Sitraka Rakotoniaina. Made at Nexus Studios with Luke Ritchie, Luis de Jorge Ladrero and Dave Meckin.||Commissioned by the Ping An Financial Center (PAFC) Wind Concert is an instrument designed to convert the high speed winds at the top of the tower (600 meters) into music.|
The trajectories of flocking birds were translated into curves then used to inform the overall design and geometry of the steel pipes. Their length as well as the shape
of the embouchures have been designed to create varying tones corresponding with those heard in traditional Chinese scales.
After completion, PAFC will be the fourth tallest building in the world and the instrument will be permanently installed in their ground floor atrium.
|2015||Commercial||Google Made w/ Code - Zac Posen Dress||Nexus Studios||New York||Installation, Web||Director||Executive Producer: Luke Ritchie|
Producer: Sarrah Arruda
Developer: Charles Yarnold
|https://nexusstudios.com/work/zac-posen-led-dress/||The dress premiered on the catwalk but was later worn by Lupita Nyong at the Force 4 Fashion event, one of the leadup events to the Force Awakens premier. She later worn it on the Daily Show with Trevor Noah.||2015 — Google Made w/ Code: Zac Posen Dress. Interactive dress and website for Google charity initiative. Client: 72&Sunny / Google / Zac Posen. Made at Nexus Studios with Luke Ritchie, Sarrah Arruda, and Charles Yarnold.||In partnership with Zac Posen and Google Made w/Code, Nexus Studios created a dress with hundreds of LED lights as part of Posen’s Spring/Summer collection for New York Fashion Week. The project gave young women a moment to shine by allowing them to light up a couture LED Dress – all through the power of code.|
With no paid media, the project received 240 million earned media impressions, while the site logged 802K unique visitors with an average of 16 minutes per visit!
|2014||Commercial||Google Made w/ Code - Holiday Lights||Nexus Studios||Washington DC||Installation, Web||Director||Executive Producer: Luke Ritchie|
Event Producer: Jess aan de Wiel
Web Producer: Sarrah Arruda
Developers: Arturo Castro, Charles Yarnold, and Tim Gfrerer
Lighting Direction: Fx Goby
|https://nexusstudios.com/work/holiday-lights/||2014 — Google Made w/ Code: Holiday Lights. Lighting installation and website for Google charity initiative. Client: 72&Sunny / Google / National Parks Service / The White House. Made at Nexus Studios with Luke Ritchie, Jess aan de Wiel, Sarrah Arruda, Arturo Castro, Charles Yarnold, Tim Gfrerer, and Fx Goby.||For the 92nd Annual National Christmas Tree Lighting Ceremony at the President’s Park in Washington, young women were invited to code their own animation which appeared on the 56 Christmas trees in front of The White House, each representing a different US state or territory.|
Launched by President Obama, Nexus Studios managed all the creative, technical and logistical requirements to take every single girl’s coded animation from the website and display it in real-time on their Christmas tree in the President’s Park. The project had millions of submissions, with girls traveling across America to see their design in lights and aired on PBS and YouTube Live. The project ran for 6 weeks across the holiday season.
|2014||Commercial||Google Made w/ Code - 8 Projects||Nexus Studios||Washington DC||Installation, Web||Director||Executive Producer: Luke Ritchie|
Producer: Joana Flor
|https://www.dandad.org/awards/professional/2015/white-pencil-creativity-for-good/24238/google-made-with-code/||2014 — Google Made w/ Code. Website for Google charity initiative. Winner of D&AD white pencil. Client: Red&Co / Google. Made at Nexus Studios with Luke Ritchie and Joana Flor||A mobile-first platform to capture girls' imaginations with a curriculum of 13 creative coding projects. The aim was to show young girls that coding is connected to the things they love: music, fashion and art. |
Nexus' remit was the 8 WebGL accelerated projects.
|2013||Art||Untitled No. 1||Independent||The Creators Project||Worldwide||Film||Director||Co Director: Parag K. Mital|
Executive Producer: Luke Ritchie
Producers: Anna Richmond, Beccy Mccray
Muisc: Rob Hart
|https://www.itsnicethat.com/articles/24-hour-news||Originially, this was a music video for David Lynch but he turned it down the day before it was to premier (he didn't like the colour supposedly). Video was reqorked with music by Eaten by Children.||2013 — Untitled No 1. Experimental film collaboration with Parag K. Mital. Made at Nexus Studios with Luke Ritchie, Anna Richmond, Beccy Mccray, and Rob Hart.||Dec 11 2013. Parag K. Mital and Evan Boehm collaborated on the following video collage using only images collected from the previous 24 hour news cycle. The entire video was computationally generated from those images over the 24 hours.|
Previously unreleased, this is the result.
|2013||Commercial||Cotton or Nothing||Nexus Studios||DDB||USA||Film||Director||Executive Producer: Luke Ritchie|
Producer: Anna Richmond
|2013 — Cotton or Nothing. Experiential stunt and stop motion film. Client: DDB / Cotton Inc. Made at Nexus Studios with Luke Ritchie, Anna Richmond, and Dave Walker.||An experiential stunt and interactive, stop motion film for Cotton Inc. Clothing manufacturers were using lower cost fabric alternatives like polyester-cotton blends to make their apparel. Cotton Inc. wanted to convince these manufacturers to go back to using higher-priced quality cotton fabric.|
We decided to stage a stylish mannequin revolt at an area where manufacturers would hear us the most—Fashion Week at the Meatpacking District in New York City. We called the protest, Cotton or Nothing. Mannequins are usually the first to try on these non-cotton fabrics, so what if we gave them a voice. No one, not even inanimate objects, should have to settle for itchy, smelly fabrics.
|2013||Art||Looking at a Horse||Independent||Brighton||Installation||Director||https://www.wired.com/2013/10/the-more-people-looking-at-this-horse-the-more-spectacular-it-gets/||2013 — Looking At A Horse. Interactive Art Piece. "As More People Look at This Digital Horse, It Gets More Spectacular" - Wired||Looking at a Horse is about the context and experience of viewing art. It is a piece that changes its appearance depending on where it is located and who is viewing it. Moment by moment, in real-time, it updates how it looks in response to its surroundings, creating a feedback loop where the viewer and context are part of the piece.|
Art has a value in being looked at. Our perception of its value can be linked to where the work is viewed and who is viewing it. To look at art is to place it in relation to ourselves and the space around it. Looking at a Horse plays on this by changing its value in response to visitors. Simply, the more people viewing the piece, the more beautiful it is.
|2013||Commercial||Memory Palace Website||Nexus Studios||Sky Arts||London||Web||Director||Executive Producer: Luke Ritchie|
Producer: Joana Flor
Director: Johnny Kelly
|https://nexusstudios.com/work/memory-palace-exhibition/||Johnny Kelly was asked to be part of the an exhibition at the V&A London. I looked after the web half of the project, inspired by his concept.||2013 — Memory Palace Website. Website companion to installation by Johnny Kelly. Client: SkyArts. Made at Nexus Studios with Luke Ritchie and Joana Flor.||This multi-dimensional exhibition experience at the V&A museum in London was commissioned by Sky Arts and based on Hari Kunzru’s fictional novel about the art of memory.|
As the only interactive work in the exhibition Johnny Kelly devised a digital platform where visitors were able to draw and submit their memories at the venue on a tablet. The submissions were presented as a mosaic of memories inside the Memory Palace. In addition each week, an A1 poster of all the memories was screen printed and displayed at the venue, adding to the growing installation.
My mandate was the accompanying website. Inspired by the physical installation, it was an infinite canvas that anyone could draw on.
|2013||Art||The Carp and the Seagull||Nexus Studios||The Creators Project||Worldwide||Web||Director||Executive Producer: Luke Ritchie|
Producer: Tim Dillon
Developers: Mark Lundin, Ben Blundell, Diederick Huijbers
|http://thecarpandtheseagull.co.uk/||2013 — The Carp and the Seagull. WebGL film. Client: The Creators Project. Made at Nexus Studios with Luke Ritchie, Tim Dillon, Mark Lundin, Ben Blundell, Diederick Huijbers, and Plaid||‘The Carp and the Seagull’ is an interactive short film about one man’s encounter with the spirit world and his fall from grace. It is a user driven narrative that tells a single story through the prism of two connected spaces. One space is the natural world and the other is the spirit or nether world.|
The film's protagonist is Masato, a simple fisherman, spending his days fishing the waters near his village eking out a quiet, structured life. The Carp and the Seagull focuses on his encounter with the Yuki-onna ghost.
The word ‘Yuki’ is Japanese for snow and a Yuki-onna is a snow woman that strikes fear in mortals with her deathly eyes and pale skin. She is associated with snow storms and blizzards and inhabits both life and the after-life.
The story is told in a stripped down polygonal style that reflects the emotional, spiritual states of the characters. High density, smooth polygon vertices indicate oneness with the world while distorted, non-uniform shapes show unease within the characters.
The film's original score and sound design by Plaid lead the user through the interactive journey.
|2012||Commercial||Project Runway||Nexus Studios||Lifetime||New York||Installation||Director||Executive Producer: Luke Ritchie|
Producer: Ulla Winkler
Developer: Tim Gfrerer
|https://nexusstudios.com/work/project-runway/||2012 — Project Runway. Installation on the NYC Highline. Client: Lifetime. Made at Nexus Studios with Luke Ritchie, Ulla Winkler and Tim Gfrerer||To celebrate Project Runway’s milestone 10th anniversary, Nexus Studios transformed a portion of the High Line in New York City into a virtual runway with a dynamic, 20-foot long, interactive installation that featured the stars of the Emmy Award-nominated hit show.|
Each judge from the tv show was captured in a studio and then integrated into a custom system we designed that allowed us to programmatically control them like a digital puppet. The same concept would have been infinitely easier in CG, but we wanted to bring audiences as close to the real judges as possible, therefore all the content is rendered in 4K but fully interactive.
The system is then able to track people walking past the installation in real-time and then activate the judges to react to what people are wearing.
Keri Elmsly: Producer
Matthias Kispert: Sound Design
Paul Mumford: 3d (lighting; rendering)
Maxime Causeret: 3d (custom plugin)
Murat Pak: 3d (custom plugin)
Evan Bohem: 3d (R&D)
Giorgio Gremigni: Editing Assistant
|https://quayola.com/work/selected/matter.php||Matter is a time-based digital sculpture; a celebration of matter itself, the substance of all physical things. It describes a continuous dynamic articulation of a solid, pure block of matter, from the simplest primitive forms to the highest details of geometric complexities, and vice versa... from the unpredictable grace of geological processes to the perfection, beauty and precision of man made crafts.|
The subject of this piece is Rodin’s sculpture Le Penseur (The Thinker), a masterpiece born as the avant-garde that has since become a universal classical icon, and now considered the bridge from classical to modern sculpture.
Commissioned by Audemars Piguet
Opened March 21st, Park Avenue Armory, New York
|2012||Commercial||Machine of Truth||Nexus Studios||Clear Channel||Cannes||Digital||Director||Executive Producer: Luke Ritchie|
Producer: Claire Spencer Cook
|The Machine of Truth was a pair of Rube Goldberg machines built into a Clear Channel outdoor advertising display. It worked like a magic 8 ball - anyone could tweet to it and receive an answer to their question.|
|2011||Commercial||Coke Music 24hr Session with Maroon 5||Nexus Studios||Coca-Cola||Worldwide||Web||Animation Director / Art Director||Executive Producer: Cedric Gairard|
Directors: Hellicar & Lewis
Producer: Tim Dillon
|https://nexusstudios.com/work/coke-music-24hr-session-with-maroon-5/||Working under the directors Hellicar&Lewis to bring this installation (and the online films) to life.||Coke Music brought Maroon 5 to a London recording studio with a challenge – write and record a brand new track, inspired by fans from around the world, in just 24 hours.|
The project, conceived by Wieden + Kennedy, was brought to life by Nexus directors Hellicar & Lewis. With the use of innovative technology and a live stream broadcast platform, they enabled fans to inspire the creation of the song. 139 countries participated to this unique experience in the world of live music.
Using OpenFrameworks input was taken in real time from the band’s instruments and their movements in front of a large-scale projection-mapped sculpture. When the fans visited the site they were able to see the studio from a variety of angles, and comment via Twitter. These comments were then projected into the studio in real time, allowing a feedback loop between band and audience. As well as commenting, fans could suggest ideas for lyrics, riffs and rhythms for the new single, that was composed entirely from scratch during the session.
|2011||Art||The Old Man and the Sea||Independent||C++||Director||https://vimeo.com/13634768||My week's output for the Visualist Master Class at Eyebeam NY, July 19th-23rd. This piece was written in C++ and is fully interactive.|
The basis of the course was to create a visual accompaniment to a song off the Ghostly International label. Choosing The Sight Below's 'Simmer' I decided to recreate Hemmingway's The Old Man and the Sea as a serious of 3D dioramas.
In the novella, the protagonist has lost his pride and respect within the community because he has not caught a fish for 86 days. On the 87th day, a giant Marlin appears who he battles to catch. After a long struggle where he refers to the Marlin as 'brother,' he finally subdues the fish and brings him aboard. On the way back to land, the fisherman has to fight off numerous sharks who are attracted by the trail of blood in the water. Eventually, the fisherman returns to land with just the massive bones left. The ordeal can be read as the man's fight for his sense of self and purpose with the Marlin the physical representation.
My interest lay in the use of polygon reduction as a storytelling tool. 3D graphics models are made up of a series of points (vertices) that are 'skinned' to create models. The more points, the smoother and more detailed the model. Could reducing/increasing the number of points on a model be used to drive a story forward or create a emotional response? Throughout the piece the character's emotional state is represented by both the polygon count and distortion of the water.
|2011||Commercial||Call of Duty: Black Ops 2||Spov||Activision||Worldwide||Film||Art Director||Creative Direction: Allen Leitch|
Quake Partners: Kieran Gee-Finch & Chris Boyle
|https://www.spov.tv/projects/call-of-duty-black-ops-2||With a storyline set in both the 1980s and in 2025, Spov developed two distinct art styles and production routes to clearly differentiate between eras. The narrative sequences were designed to tell the 1980s backstory and give context to the 2025 sequences as they evolve in realtime for the player. |
Current commercial and military technology prototypes were used for inspiration to develop screen graphics depicting how the world might be viewed in 2025. From this emerging technology, Spov created a technical vision through which the global narrative could unfold as the player tries to make sense of tangled events and prevent an emerging catastrophe, put in motion by the game’s calculating villain, Raul Menendez.
|2011||Commercial||Kode9 Logo Live Visuals||Independent||Hyperdub||UK||Live||Animator||Design: Optigram||Visuals for Kode9's live show - animated versions of Optigram's work.|
|2011||Commercial||Madame Tussauds Vienna||Independent||Pretzel Films||Vienna||Interactive Game||Art Director||Creative Direction: Matt Fretwell||During the shoot, my legs were measured as a base for Justin Bieber's model||An interactive game about the behind-the-scenes work of a Madame Tussards|
|2011||Commercial||Lost in Lace||Nexus Studios/Sembler||Crafts Council||UK||App||Director||Producer: Beccy Mccray|
Co-Director: Max Worgan
|You can create abstract, three-dimensional, laced sculptures of your photos with Lost in Lace, a free iPhone app launched by Nexus Interactive Arts to support a UK Crafts Council exhibition about lace. Lace yourself and your friends. Inspired by contemporary artworks from the Lost in Lace exhibition at Birmingham Museum and Art Gallery.|
|2011||Commercial||Two Inch Punch: Up in Your Mix Music Video||Independent||Pulse Films / PMR Records||Worldwide||Film||Director||https://vimeo.com/31060475||2011 — Two Inch Punch: Up in Your Mix. Music video. Client: PMR Records. Made with Pulse Films.|
|2010||Commercial||Darkstar: Gold Music Video||Sembler||Hyperdub||Worldwide||Film||Director||Developer: Max Worgan|
DP: Mark Adcock
|https://vimeo.com/15391189||2010 — Darkstar: Gold. Music video. Client: Hyperdub Records. Made with Max Worgan.||Commissioned by Hyperdub Records, I directed, animated and programmed the music video for Darkstar's first single off their first album, North. Titled Gold the video is an artistic representation of the concept of memetic contagion i.e. an idea as something that you can catch, that finds a host in the mind of a person.|
To create the 3D point clouds of Darkstar's heads, we used Kyle Mcdonald's open source structured light scanner. By projecting three phases of a cosine pattern across the faces of Darkstar we produced accurate 3D models of each member. With a bit of coding trickery, we then brought this data into After Effects to animate the individual points.
Instead of relying on the usual package of particle software, we wrote our own. Written in C++ with openFrameworks, the aim was to give the 'gold contagion' a unique look and one that wasn't out there in the usual After Effects/Cinema4D arsenal.
So how to show the insides of Darkstar? The thought of building a 3D model of the brain occurred to us but we wanted it to look as realistic as possible. To do this we decided to source images directly from The National Library of Medicine in Maryland. A program they run, The Visible Human Project aims "to create a digital image dataset of complete human male and female cadavers in MRI, CT and anatomical modes." Using the anatomical and MRI data sets we constructed traversal animations as biological stand-ins for Darkstar.
|2010||Art||Microfest with Apparat||Sembler||Microfest||Brighton||Performance||Director||Developer: Max Worgan||A live, performance (by an acrobat) generated visuals for Apparat at Microfest|
|2010||Art||A Christmas Carol||Independent||DotDash||London||Performance||Content Director||Director: Jessica Jordan-Wrench|
Lighting: Eoin Furbank
|A dystopian rendetition of the classic A Christmas Carol. I was charged with creating all the video pieces for the play.|
|2010||Art||Midsummers Night Dream||Sembler||London||Performance||Content Director||Co-Director: Max Worgan||Real-time visuals for a production of a Midsummers Night Dream performed in a London crypt.|
|2010||Art||Walt Head Shoots Lazers||Sembler||London||Installation||Director||Co-Director: Max Worgan||A video installation for the entranceway of a squat party. A projection of Walt Disney's head would follow people through the space and if they lingered too long, shoot lazers out of his eyes.|
|2010||Art||Strata #4||Independent||Quayola||Worldwide||Film||Coder||Artist: Quayola|
Beccy McCray: producer
Matthias Kispert: sound design
James Medcraft: photography
Kieran Finch, Cai Matthews: animation assistants
|https://vimeo.com/30455902||Strata #4 is a multi-channel immersive video-installation commissioned by Palais de Beaux Arts in Lille. The subject of this work is a series of iconic pieces from the museum’s Flemish collection, focusing specifically on Rubens’ and Van Dyck’s grand altarpieces. Strata #4 is the result of a study and exploration of the paintings themselves, delving beneath their figurative appearance and looking at the very rules behind the composition, colour schemes and proportions of each piece. It is a precise process aimed at creating new contemporary images based on universal rules of beauty and perfection. Documenting the improbable collisions between classical figuration and contemporary abstraction, Strata #4 aims to create an harmonious dialogue between worlds that may appear very distant from one another, but in fact share so much in common.|
|2010||Commercial||BFI Hitchcock Season||Independent||Pretzel||UK||Film||Director|
|2010||Commercial||BNY Mellon||Independent||Scorch London||UK||Film||Director|
|2010||Commercial||Dowd Prize Ident||Independent||Pretzel||UK||Film||Director|
|2010||Commercial||Looking for the Lone Star Film Titles||Independent||Guy Paterson Films||UK||Film||Animator||Creative Direction: Guy Paterson|
|2010||Commercial||Light Fantastic Safety||Independent||Illumina||UK||Film||Director|
|2010||Commercial||Jackpot Party||Independent||Scorch London||UK||Film||Director|
|2010||Commercial||High Artic||Independent||UVA||London||Installation||R&D Art Direction||Creative Direction: Matt Clark|
|2010||Commercial||Travie McCoy MOBO Awards||Independent||Warner Bros||London||Film||Director|
|2010||Commercial||The Pavement Website||Independent||The Pavement||Worldwide||web||Director|
|2009||School||Darkstar: Labryinths||Independent||Goldsmiths||Live||Director||https://vimeo.com/6593757||Created as part of my MA degree.||2009 — Darkstar: Labryinths. Reactive visuals for live performance. Client: Hyperdub Records||Labyrinths is a software suite that acts as a platform for musicians and film-makers to structure, then perform, hypertextual works of film in real-time. Drawing on the modernist form of multi-linear narration, it aims to bridge the gap between online hypertexts (such as the world wide web) and live video performance.|
To demonstrate the software, I have created an animated film entitled "Aidy's Girl Is A Machine." This is based on the music of Hyperdub recording artist Darkstar. Directed alongside Darkstar, the film explores the emotional relationship between two machinic beings. Written in four chapters, and divided into over 300 individual animations, Aidy's Girl Is A Machine encapsulates a simple one-dimensional story but, taking place within the mind of the protagonist, is fragmented and redrawn through memory and time.
|2008-2006||Commercial||Various DVDs||The Pavement||The Pavement||Film||Animator|
|2005||Commercial||Various UMDs||The Pavement||The Pavement||Interactive||Programmer|