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“MY INFLUENCE” in the sound making process, I was really inspired by Hans Zimmer and his sound storytelling. I want my piece to be thorough. His work that I’m really amazed by was the soundtrack of Interstellar. All the little bits and pieces of the elements contribute in telling the story and the build up is also done well. I wanted my piece to be mindful of time. Time is the essence of this piece. Sound element of time such as pace, or beat. I want it to sound human. I don’t know how I’m going to achieve it but I’m going to try. I also want to make it sound organic, I want it to sound like it’s breathing, like it’s alive.

“BRAINSTORMING”

neverfeedthekraken

There is no final revolution. Revolutions are infinite.

Yevgeny Zamyatin, We

1980s-90sgifs

Aired during the 1984 Super Bowl.

sweet666lord

Nice reference.

mrhenry13

sweet666lord

Fantastic cover c.r.e.d.i.t.s. t.o. o.w.n.e.r.

prostheticknowledge

INORI (prayer)

Creative collaboration from @nobumichiasai, WOW Inc, Ishikawa Watanabe Laboratory and AyaBambi is a dance performance including realtime facial projection mapping:

Here is the Making-Of video, including details on the incredibly fast projector needed for this project to work:

The director, Tanigawa (TOKYO) made a proposal for the theme of “Life.” First, the soundtrack was composed according along the theme. The creative director, WOW’s Technical Director, Asai and the CG Director, Abe was inspired by the music and then made face mapping work. Aya Sato designed choreography. The crew of TOKYO, which Tanigawa directs, completed the project by making the video work.

The music brought Asai the image of “the radioactive.” The destructive force of the radioactive could cause “death,” “suffering,” and “sorrow.” And “prayers” could overcome them. These subjects infuse AYABAMBI’s powerful performance. Their performance crushes and conquer black tears, skulls and the Heart Sutra. We built up the concept during the production and Abe designed animation for face mapping.

There was a big challenge in technical aspects. We realized the new mapping system that allows us to follow intense performances by using the latest 1,000 fps projector, DynaFlash and a super speed sensor. It is very new and it had not been done before. Projected images become part of their skin and they transform their faces.

At the beginning of our development, there was an issue, AYABAMBI would loose freedom of performances if we accelerated the tracking speed. Asai, Yoshimura (WOW), Lecturer Watanabe and Teshima (EXVISION) explored how we could keep the tracking speed securing the freedom of performances, taking three months of trial and error to reduce a few milliseconds. And we finally developed this system.

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