Things We Love

PARTIZAN DARKROOM & is this good? PYRAMID INSTALLATION

An Interactive Pyramid combining a matrix of 6 Kinect cameras, triggered DMX lighting  and a generative graphic screen projection launched at the 2013 Nuits Sonores Festival.

Designed and Engineered by ‘is this good?’ collective in collaboration with Partizan Darkroom it lasted for the duration of the festival.  Over 10,000 people were encouraged to interact and play with the installation tracking people as they moved across the space, creating stunning random light - show effects.

Quick to become the centre point of the Night Concert Hall, this monumental piece of interactive art work and installation became a meeting point, place to dance, network, flirt and take in the night and enjoy the outside live stage

This Installation took a month to put together and a week to install.   Created by Chris Cairns and collaborated with LFA (looking for architecture) the music festival Les Nuits Sonores and Darkroom. 

Congratulations guys you made something so technically complex work so beautifully and so simple to interact with.   It looks incredible.

VICTOR HAEGELIN - PROFESSOR KLIQ ‘PLASTIC & FLASHING LIGHTS’

Put simply, it’s ART when Director/Animator Victor Haegelin meets Professor Kliq

Victor Haegelin, the inspirational Parisian animator, has crafted a stunning stop-frame video for Professor Kliq’s earworm “Plastic and Flashing Lights”.

Victor has created an utterly charming figure out of wire  for the film which brilliantly encapsulates the feel of the track with clever references to the music’s sonic shifts and patterns  

Victor filmed it all at  home, shooting solidly for 23 days, using masses of wire and creating 1,222 pictures. Throughout the lengthy shoot and during post production he painstakingly dusted the set every few seconds to create the polished final product. 

It is already gathering a huge online following amongst both serious music video fans and global art gallery websites alike.  All  recognising the film for its naive, low tech cool  that owes everything to the quiet sophistication and genius of our animator.

Feel the love Victor.  You’re a breath of fresh air.

MATTHIAS HOENE & GIFFGAFF RELEASE THE UNDEAD

Nail the doors shut - he’s back. Our own Matthias Hoene once again gives us permission to laugh at our fears, directing a truly cinematic commercial for mobile company giffgaff showing us that different doesn’t have to be scary.  Agency Fallon must consider themselves blessed to have caught our master of the comedy/horror genre just as he signs with Fox to direct his latest sci-fi feature ‘Capsule’, a film based on an original story by Matthias.  Dead Cool.

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JAMES CURRAN Q&A: A YEAR AND A DAY EXHIBITION

Partizan Animation Director James Curran recently had an exhibition at Beach London.  The exhibition was a tribute to Beastie Boys co-founder Adam ‘MCA’ Yauch, who passed away May 4, 2012.  It featured 35 framed prints each showcasing three graphic representations of the bands lyrics, tracks or singles.

We caught up with James and asked him some questions about the exhibition.

PZ: When did you decide to do this project?

JC: When I heard the news about MCA’s death last year I knew that I wanted to do something as a tribute to him, but it took me a few months to decide on what it would be. Around November last year a came up with the idea of creating three icons to represent each Beastie Boys single, and thought it would be a good opportunity to organise an exhibition around it where I could raise money for charity. I’d never organised an exhibition before or even done much print work, but I thought it was a good idea worth pursuing. I knew I’d want to create an animation to promote the project too and once I’d decided on using the track ‘A Year and a Day’ as the soundtrack to it, it seemed perfect to aim for the anniversary of Adam’s death as a date for the exhibition.

PZ: How do the Beastie Boys and MCA inspire you?

JC: I’ve always admired how they could almost completely change their style but still stay relevant, and took their time releasing any new material. They never seemed too concerned about fitting in with current trends and didn’t (or don’t) take themselves too seriously. Through Beastie Boys I also became a big fan of Spike Jonze and making music videos in general, which eventually led me to be doing what I do now.

PZ: Tell me how you came up with each image in the series of stills?

JC: The icons in each image represent lyrics, music videos, artwork, or other influences related to each track. I wanted it to be a mix of easily recognisable imagery from their more popular music videos and also more obscure references to lyrics which only obsessive fans (like myself) would understand.

PZ: Favourite images from the series?

JC: I see the whole thing as one image really so it’s difficult to pick any out. When I created them I knew they’d be shown in the 7 x 5 grid so I was constantly referring back to that layout to make sure everything worked well together, as well as working well in sequence for the animation.

PZ: Hardest track to convert to 3 images?

JC: I didn’t have much trouble picking three icons for each track, but for some of them I had trouble narrowing it down to just three. Sabotage is probably the most recognisable Beastie Boys video so it was a bit of challenge to figure out how to represent that and do it justice. I designed and even animated quite a few icons that I later replaced. I even swapped out some whole tracks too…

PZ: What software did you use to make the video?

JC: It was all made in After Effects.

PZ: Did you create the prints from the video?

JC: Everything was created using vectors so could be scaled to any size, including printable resolutions. The prints don’t come directly from the video though as there generally aren’t many clean frames in the animation with everything moving so fast, so I created a custom still version of each image for printing.

PZ: Has anyone decoded each single / track from the video/exhibition?

JC: A few blogs / forums managed to decode most of the images shortly after I initially released the video, but it took them a few attempts and even then there were still a few mistakes. They were 99% there though.

PZ: Did you label which track was on each print or did you leave it for the owner to work out?

JC: I didn’t mention anything about each print representing a different track originally because I wanted to see if people would realise that on their own, but once I started to sell them I released a list to show what it all meant.

PZ: You used this exhibition to raise money for MacMillan Cancer, can you tell us more about that?

JC: A cancer charity was obviously suitable for the theme, but I’ve also had a number of family members and friends with cancer over the years and Macmillan were a big help to people in those situations.

PZ: Favourite MCA lyric?

JC: I’m as cool as a cucumber in a bowl of hot sauce.

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PARTIZAN : XANADU EXHIBITION

We recently put on an exhibition at Pictoplasma Design Festival in Berlin.  ’Partizan: Xanadu’ was an opportunity for our animation Directors to show off their artistic vision without any commercial restriction.  The resulting work was hugely varied, exciting, and a real treat to behold.  Check out the images below to get an idea of how the whole thing went down.

 Our thanks go out to the amazingly talented and passionate directors that jumped in to this project with their hearts and minds open and made it such a special event: Mustashrik, James Curran, Gal Shkedi, Kompost, Celeste Potter, Victor Haeglin.  Thanks guys!!

ANTOINE AND PEUGEOT TAKE POLE AT THE WACKY RACES

Who better to bring the Wacky Races to life than the man who turned the world into a grand prix track for Ferrari, helped Yogi Bear and the Mr. Men brighten up the city for Muller, and created a team of superhero flight attendants for Virgin? Antoine Bardou-Jacquet is back on your TV screens this spring with another larger-than-life hero epic that will knock your socks off.