Elizabeth Stegall: Assignment 2 - Tape Mapping

For all four of these creations I wanted to have a similar theme to them, that theme being music and simplicity. With the designs being geometrically intricate I wanted the motions of the center piece and the background piece to play off of each other in color, movement, and tempo. I wanted this assignment to be fluid.

Llama/Concept:

For the llama I wanted to resemble the cover of Donald Glover's Awaken My Love album while implementing the music of Daniel Caesar.

Llama/Process:

For the llama I used Daniel Caesar's Japanese Denim for my llama's first soundtrack and wanted to put a pulse to the projection map. I went to Photoshop and individually colored and isolated all of the shapes inside the artwork and manipulated the opacity by playing with the key frames of the song and binding the individual shapes to different volumes to the song so the whole llama wouldn't light up all at once creating the pulse of the music. I then rendered the video and placed a blue moving mask to give the video a bit more dimension. I then added an audio reactive arc around the llama to give it an Awaken My Love-esque feel. I gave the whole scene a glowing blue color to give it a slick vibe.

Llama 2/Concept:

I wanted to go with a more grey scale that went along with the style of Frank Ocean's latest album Blond.

Llama 2/Process:

I wanted to implement words into this piece so I used the simple title of the cover an placed it on the top in full view. With this projection map, instead of animating the blocks within the geometry, I wanted to animate the lines that make up the piece. I calibrated the speed to go along with the volume of the song and to give the map motion I used the line repeat quad and synced it with the BPM. I gave the whole piece a gray color scheme to fit the theme of the album cover.

Crane/Concept:

I wanted to give the crane figurative flight with the use of lights.

Crane/Process:

I once again isolated the geometric shapes within the crane an went to adobe After Effects where I tried a different method to make the transitions smoother and a bit more control on where I wanted these shapes pop up and when to disappear. I followed the beat to Daniel Caesar's, Get You, to make the piece have a calmer tone. I then tilted the diagonals mask to give direction to where the crane is flying while giving it a more pinkish hue.

Crane/Concept:

I wanted to create a very fluid/circular projection map that I use to get an image's silhouette to be the centerpiece.

Crane 2/Process:

I wanted to do something similar as the 2nd llama with using the whole piece as an attention grabber rather than the taped object. I used the same arc as I did for the first llama however I turned the audio reaction off to make the rings thicker and move on their own. I then took out the lines that create the object making the object rely on the foreground and background to be legible. I then animated the lines of the crane to Frank Oceans's Monks to come out boulder if the volume is turned up. 

Interpretation:

For all four of these creations I wanted to have a similar theme to them, that theme being music and simplicity. With the designs being geometrically intricate I wanted the motions of the center piece and the background piece to play off of each other in color, movement, and tempo. I wanted this assignment to be fluid.

Omar Davila - Project 2: Tape Mapping

Concept

Crane:

I loved the design for the crane from the get-go. Upon seeing it, I knew I wanted to make something related to an airline or comfort, so I mixed both concepts into the Shining Coast Airline Lounge projection. I also wanted to make something that resembled a TV bump. I started tinkering around and went for a retro callback. 

Llama:

The llama instantly looked like a Nightclub show piece in my mind. I decided to tackle it as such, initially wanting to sync it to dubstep, but I ended using a synthpop song instead. For my final projection, I wanted to do something starkly "trippy", starting with a kaleidoscope effect.

Process

Crane: 

For the Shining Coast projection, I started by making a motion graphic of a map of the Pacific Ocean as the background. I continued by adding shadows to the paper crane and texture mapping its surface to look like polished stainless steel. I reached out to my friend Maritza for the vocal track and then I added sound effects around her voice work. Finally, I created lines that were synced to the general audio amplitude.

For the MTV Projection, I began with a video of a concrete wall. I then created graphics for the background in after effects. After tinkering with the colors, I saw a playful MTV bump in the making. I then picked the "Fresh Prince of Belair" theme song, and synced lines to it. Lastly I added a gif of the MTV logo.

Llama:

For the Nightclub Llama, I thought of rave clubs having an obscure logo that sync to the music of the DJ. I chose "These Bones" by Dead Astronauts as the background song and added lines synced to it. The strobing eyes are synced to the tempo of the song.

For the Trippy Projection, I recorded a video of my brother's eyes and superimposed them onto the llama's face. I then mesh warpped a photo of a llama's face underneath. The background was made on aftereffects, using kaleidoscope effects and two looping videos.The song is "Chamber of Reflection" by Mac Demarco.

Interpretation

This project taught me a lot about audio programs and physical audio equipment alike. Looking back, I can certainly see uses for 2D Projection, such as for museums, theater, airports, nightclubs and other public spaces. I had a lot of fun creating each piece, working towards feel for each.

Jeremiah Baker - Tape Mapping

Lion - Shadows

Concept:

For the Lion taping, I wanted to try a couple of different things. I had seen a really cool tape project that made use of shadows, and made the tape look like it was popping off the wall. If you're interested, you can check that out here. 

Process:

To create this, I decided to create the entire composition using After Effects and just use Madmapper as a video player. In AE, it's not very difficult to create lights and manipulate them. This composition consists of 3 very basic AE assets. The background, the foreground (in this case the Lion with a transparent background), and a spot light. After I had created these 3 assets, I added a bit of code to the light to make it move around randomly within set parameters, and animated the background color to change randomly. As you can see in the image below, there's a bit more complexity to it than that, but those are the pieces that make it work.

original video

Lion - Panels

Concept:

I got this idea from the example Scott gave in class with the very simple panels lighting up. Each individual panel lit up at a random time and looked really elegant. I wanted to see if I could duplicate this with a bit more color and speed. (The projectors are capable of color after all, why not use it?)

Process:

This process was a bit more involved than the shadows. I began by taking the reference image for the Lion into photoshop and getting to work. My method to light each individual panel required each panel to be on its own layer. (It took forever)

After I had finished that fun task, the hard part could begin. I imported the psd into AE and added the same color randomizer I used on the background in the first comp to each panel. (No, I didn't apply each one individually. You can copy/paste effects) This made the panels flicker independently of each other, which created a pretty cool effect. 

Next came the challenge of making the panels light up without having to do incredibly tedious manual animation. By using all the forums, I learned how to write the code to make it work. Once I understood how to make it work, it was pretty simple. I created 2 null objects (essentially invisible assets that have the same properties of any other asset) and animated them to randomly move up and down in a certain range. Then I wrote an if statement and used the "checkbox" effect to tell the panels to turn on if they were between the nulls. (If you're interested in trying this yourself, the code is shown in the screenshot below. Shoot me an email if you need help with it)

Lantern - Text and Flicker

Concept:

The lantern was an interesting challenge. I wanted to combine both of the processes that I had used for the lion in this one. I wanted the main part of the composition to make the flat tape look like there was an actual candle lit in the middle, casting shadows on the wall. I also wanted to incorporate an idea with this one, include a theme. While I was brainstorming, the main question I was asking was what do you think of when you see a lamp? That's right. Psalm 119. "Your word is a lamp to my feet and a light to my path"

Process:

To create this complex composition, I began by taking the reference photo into PS and breaking it down into individual layers. After that nightmare was over, I pulled the file into after effects and applied a random opacity to the various pieces. This made them kind of flicker as if they were in candle light. I wasn't worried about color yet because I was going to take care of that with the light. I did the same to the candle, but added a color randomizer with parameters so it would stay orange/yellow.

For the build, I created a simple box out of solid layers for the lantern to sit in. I then moved everything in 3D space to where it needed to be and added lights. I animated the lights a bit to add a candle like flicker to the scene and focused them on the proper areas. The pieces closer to the candle are brighter than those further away. 

For the intro, I created a text layer with the verse and put a light in front of it so it would cast a shadow, and then turned off the actual text. This create a really cool blurred text effect that kind of shifted around a bit. 

To blend the 2 comps together, I created a quick animation of just the outlines being lit up, and then faded to black so the candle could be lit. I also added a sound effect of a match being lit to heighten the effect. 

original video

Will Russek - Assignment II - Tape Mapping

Composition 1: Llama Head - Greys

Concept

What I wanted to work with for this project was integrating MIDI Controls through Ableton Live 9 into MadMapper, so that I could work with simple lines and 2D shapes expressively to the rhythm and timbre of the music. For the first llama head, I took heavy inspiration from an old Playstation 1 game called 'Vib-Ribbon' pictured below. I wanted to achieve the minimal wireframe look while also creating sporadic motion that give emphasis to the sound.

Vib-Ribbon, PS1, 1999

Process

For my first go at using MIDI control through Ableton, I kept the amount of inputs relatively small. The first element of my setup was creating an Ableton Project where I could sync the tempo of the audio to the MIDI I would eventually create. I used the song False Noise - Greys, which happened to be at 120bpm. My first issue with creating my composition around this song was that the breakdown was 4 bars too long. Luckily, within the Ableton project I can trim out and fade sections to my liking, and allow the track to still play smoothly (see 1). To create the actions that I would eventually send into MadMapper, I created a MIDI Track (CTRL+Shift+T) and split the song into colored sections. Anything of the same color can be repeated (I found this method to speed up my process). The last step in Ableton is to send your MIDI outs through "MadMapper In". My favorite thing about this is I learned you have up to 16 channels of MIDI, which I ended up abusing in my next compositions (see 2).

1. Fades to transition to new section.   2. Setting up MIDI Output; 16 channels.

To handle this information inside of MadMapper, I opened the Controls List (CTRL+L). Within the Controls List, you have access to all kinds of external data interfaces. I just stuck with MIDI. You can right click almost any parameter throughout MadMapper and add a MIDI control. The most expressive feature in MadMapper is the option to use "Note with velocity" (see 1). By changing the velocity of the note in Ableton, you can control the value of effects in MadMapper. For example, if you have the Opacity parameter control by Note with Velocity, there are 128 velocity values (0-127) that are then applied to the Opacity percentage (0-100%). I made the best use of this with the Auto Shake on the Llama outline.

Using the filters within MadMappers MIDI Control allow to shape your input values. My favorite filter has been the Attack Release filter (see 2), since you can have certain parameters ease in and ease out at different speeds.

1. Note with velocity.   2. Attack Release Filter.

Interpretation

This first composition was, for me, an attempt at interpreting the sound of music into physical objects. I wanted to capture each drum transient and have it effect the llama head directly. I wanted to emphasize every large sound in the mix, like the scrolling background element of the bass sound, as well as highlight small intricate moments like the subtle rimshots in between each large hit.

Composition 2: Llama Head - Wildberry

Concept

After learning about the multiple MIDI channel capability of the MadMapper In, I decided to have a lot of fun with this next composition. Using channel 2, I mapped a quad to each note value from C-2 to F2, and drew MIDI that would have each quad build its way from the neck to the ears.

Process

 I wanted to use Ableton's native MIDI Effects to manipulate the opacity of the quads, so in the last section of the composition, I used the velocity MIDI Effect to make sure every value was sent through at the highest value, 127 (see 1). Then, I used an arpeggiator MIDI effect with the "Random Other" style, so it would choose quads to make visible at random every 1/48th note.

1. Full Velocity MIDI Effect.   2. Randomize visible quads.

Here's how the inside of the Ableton project looks!

Interpretation

The bright color palette popping out of pitch black darkness reminds me of the original Teen Titans series. The white eyes peering through are ominous but the overall tone is playful and that is what I hoped to achieve. I like that this composition took the first one in a full 180.

Composition 3: Paper Crane - United Airlines

Concept

Working with projection mapping in a commercial setting was an initially difficult concept for me to flesh out. I looked at each of the setups we have in the room and wondered which lent itself to some form of advertising. As cliche as it was, I felt that the paper crane would be most effective if used for marketing for an airline. I chose United airline do to there monochromatic color palette.

Like my prior compositions, I wanted to integrate MIDI for the actions of the projection. Since this would likely be an installation within an airport, I decided not to take a musical route, and to create an ambience.

Process

The process is very similar to my past two compositions, except with this one, I had the opportunity to ditch the tempo grid. To create a sort of natural ambience, I took some bird chirping and wing flapping samples and built the space to match the visuals.

Here's how the inside of the Ableton project looks!

Green = Audio, soundscape.   Orange = MIDI, Visual control.

Interpretation

This composition to me was analogous to Brian Eno for me, in the sense that I didn't want the composition to be invasive to the airport experience. Hopefully, this ad would become a calm detour to anyone's departure.

Composition 4: Paper Crane - "Orange Dreams"

Concept

For my final composition, I wanted to take a track that I have been working on, placeholder name: Orange Dreams, and present the same musical ideas in my head visually. This song made a perfect candidate in my head for mapping against the Paper Crane due to its overall spaciousness and slow-moving beat.

Process

The composition started with the Gradient pattern within MadMapper, and I wanted to slowly morph the RGB values to mimic a bright, sunny day. I used MIDI Channel 1 to effect the amount of Reds within the gradient, so it would slowly move back and forth between hot and cold bright colors. Then on MIDI channel 2, I took the rhythm of the main melody and had quads appear on each note. A subtle visual effect. I overlaid grain on each of the quads, and used the "Directional Blur" effect to make things less uniform and more organic.

Top = poorly mixed audio.   Bottom = MIDI Channels.

Interpretation

I wanted to capture the feeling of walking outside for the first time in the morning and seeing the sun, and portray a kind of windiness that the paper crane is a part of. 

Below are links to each of the compositions:

Composition 1

Composition 2

Composition 3

Composition 4

Faith Daignault - Project 2: Tape Mapping (Week 3 - 6)

Lion

Concept

     When where we asked by the professor if we had a design to tap on the walls I was one of the first to raise my hand. I knew exactly what would be good for the Tape Mapping project and quickly got to work. I was one out of six people who submitted a design for Taping and my design was a Geometric Lion.

Process

     Getting help from two fellow students, the Lion was place in a good spot in the room and ready to be projected. However, I created the Lion in Photoshop and didn't have the SGV file so I had to create the lines in MadMapper. Once the lines where created the files could be set out for the other students to use if they wished to use the Lion in their project.

     For my Project I mainly focused on my Lion Compositions. I had created a song in my Audio Technologies class last semester that had lions roars in it and I thought it would be perfect for this project. To be able to have the music matching up with the ideas I had I decided to use After Effects. I know After Effects very well from taking Motion Graphics in a pervious semester and was confident that I could make a really cool composition to project on to the Taped Lion. 

     Importing in the image of the Lion that was used in MadMapper into After Effects as well as the music, I got to work setting up the beginning of my composition and matching it with the short phrase at the beginning of the song. Once I was about 15 seconds into the composition I downloaded a plugin for After Effects so I would be able to import the After Effects composition into MadMapper to see how everything lined up and how it looked while being Projected over the tape on the wall.

Both of my compositions are complied into the same video with the song. My song was shorted to 1 minute, 19 seconds from the original 2 minutes 45 seconds because I felt that that would have been too long. When the music was at the right length and faded out at the end I started with lining up the phrase "I am Batman Lion" for the beginning of the song. This phrase is an inside joke me and my partner for my Audio Technologies project on the music did while we where making it. Its fun and seems to go perfectly with my geometric lion. 

I also added a wavelength effect ing After Effects to give a visual effect of the musics wavelength. Changing the style and color of the effect when the music hit large and noticeable beat changes the song provides to keep things different. The animation video effects I recorded previously before starting at the main components of the composition. All different and change in tune of the large beats and sometimes reversing from inside the lion, to the background to keep it from being the exact same throughout and keep the audience from becoming "bored."

After the After Effects was finished, I used the plug in on MadMapper and projected my compositions onto the wall. I made sure everything lined up correctly before making last minute touches before it was completed.

Finished Work

Crane

Concept

     When I first saw the tape mapping of the Crane I knew Immediately what I wanted to do for Compositions 3 and 4. Cranes are a large part of Chinese culture, and mostly seen in Chinese paper folder, often known as "Paper Cranes". Which, oddly enough, was what the tape mapping and design represented. I am sorry that I do not know who provided the design, but I do thank them for letting the class create their projections with it.

 

Process

     Once I downloaded the zip file, posted on Elearning of the crane MadMapper file I seen got to work on laying out what I wanted to do. The lines where thankfully already created and didn't have to work about except for adding animation to them, but that would be later. I decided that I didn't want to quad each individual shape of the Crane and would leave it whole for both Compositions.

     Because I went so far out with my Lion compositions, with the heavy punk-ish music with the fast beats and crazy animation with different colors I decided to go simple. I wanted to go with the Chinese theme I had planned and went on Youtube looking up beautiful video landscape of china. When nothing looked exactly what I wanted I decided to go with the next best thing; The Great Wall of China. I found a amazing drone footage of China a Youtube uploaded and new it was perfect. I edited it down a little so it wasn't so long and added it to the background.

     Cherry Blossom Trees are my favorite type of trees and happen to be seen all across Asia. I found a Cherry Blossom Tree gif online of petals falling from the tree. Slowing the animation down in MadMapper it gave the composition a clean, simple and relaxing feel I was looking for. I found elegant Chinese flute music to go in the background, that might just be soft enough to put you to sleep watching it.

     We where also asked to add commercial component and add text to at lest one of our Compositions. With having the Great Wall of China footage in the background, I added text to the bottom which fades in and out for effects. Its also a great way to promote visiting the great wall of China.

     For my 4th and final composition I decided to continue with the same calm and relaxing vibe as the pervious composition. I kept it very simple, using elements and animation that MadMapper already provides.

    I added two background layer masks for the background components. I didn't want just one simple animation playing in the background, I wanted two. The main background is soft flowing wisps and changing the color to a darkish pink to match the theme of Pink I wanted to go with this because of Cherry Blossom Trees. However, for the second component of the background I decided to add the complementary color of pink, which is a lime green. This gives the background more pop in color and doesn't over saturate everything in just pink. The green help breaks it up. The green lights almost remind me of fireflies.

    For the quad mask of the crane I added two as well, one for the soft solid color and the other of an animated gif of falling cherry blossom petals. They blended nicely together when i took down some of the opacity of the background crane quad so the petals could be seen. After everything was finished with the background and the inside of the crane I added animation to the lines. I found a soft fade of the lines as they moved to one point to another. Soft and transparent, slow in movement to match the rest of the compositions. It also helped that everything lined up nicely with the same music I used in composition 3. With that, both compositions of the crane where completed.

Finished Work

 

All Compositions - Finished Work

Raymond Allen: Projection 2 Tape Mapping

Concept:

• Crane01 (Shaded Crane)

For the original crane I wanted to attempt to simulate shadow on a flat white surface using nothing but the projection lighting.  It would be a rough simulation of lighting in a 2D space and would require some prior research to understand how light is manipulated around a crane.  Because I wanted to use this effort to really emphasize shadow I didn't want a noisy background to distract from the piece so I opted for a simulated drop shadow instead.

Lighting I would attempt to emulate in the Shaded Crane

• Crane02 (Linear Crane)

On the second crane I wanted to play around with line direction and see if I couldn't give the crane a sense of 3D form with animated materials.  

• Llama01 (Gothic Llama)

On both Llamas I was going in without any prior thought except for the fact that they were ripe for characterization.  The gothic llama would ultimately be conceptualized because I really wanted to see what a gothic llama would look like.

• Llama02 (IronMan Llama)

Although it wasn't preplanned, the second concept on the llama came about a lot easier.  A classmate referred to batman in her piece while demonstrating it to some of us in class so I knew right then and there I would want an Iron Man Llama.

Honestly I did not spend too much time in the concept phase because once I started working on the first piece which I planned meticulously, I was having so much fun with the process of work that the ideas came about naturally.

Process:

• Crane01 (Shaded Crane)

I attempted to use some stock materials in MadMapper to pull off a shadow effect.  Unfortunately there weren't any flat surfaces in the material library so I had to import a perfect black 1080p image of my own.  Once I had a flat black material I went about finding ways I could simulate the shadow.

The best way I found was to capture the rgb values of the crane image I provided and convert it to a percentage, I then took that overall grey scale value that I came up with and put that in for the transparency value on each quad.  The result is a basic and very simple shade, but it accomplished what I set out to do. 

I also decided because this one accomplished a goal I originally intended that it should also be the commercial composition I wanted to do.  Of course I chose to commercialize projection mapping. My only complaint about the text incorporation in madmapper is that it is painfully basic.  I had a total of maybe 3 options to manipulate the text module.  I also had to mess with the input panel a lot in order for the text to become remotely legible.

Workspace for the shaded crane

• Crane02 (Linear Crane)

The Linear crane was a product of placing a large number of quads and masking out their overlaps.  This was made simple by importing the quads from the pre-existing crane that I had made. Once lined up I applied the noisy barcode material and then reoriented any quads that were not correctly aligned for line direction.

I also utilized a simulated drop shadow beneath the crane in this composition as well, but because of the noisy background it doesn't stand out as much anymore.

Linear Crane workspace

• Llama01 (Gothic Llama)

For the last two projections I made I incorporated inverted mask primarily.  It allowed me to keep the original perspective on any material I placed on them and that resulted in easier manipulation of the input panels to get the outcome I wanted.  The llamas weren't going to incorporate text into their compositions so I was able to use the text module as a blank black texture in the Gothic Llama. Ultimately the composition was left majorly in the grey scale.

I also animated his lines and background to give the composition a bit more activity and interest.

Gothic Llama Workspace

• Llama02 (IronMan Llama)

As soon as I knew I wanted to do an Iron Man Llama I looked up the best iron man RGB pallets and started blocking out my quads.  I used larger quads in this composition and more complex masks that I would then convert to inverted masks.  Once I had all my quads and masks made I used animated textures coupled with the RGB values I pulled off of the web to give my llama the iron man treatment.  I also animated his eyes with the strob material to simulate a booting up and booting down sequence. 

Iron Man Llama Workspace

Interpretation:

• Crane01 (Shaded Crane)

The shaded crane was the most fun for me.  Ultimately it came out exactly as I was hoping it would.  The shading effects created through different transparency levels made a basic lighting representation and that's what the original goal was.  The wording wasn't as strong as it could have been, and wasn't laid out as strongly as it could have been.  Had I have known the limitations of madmappers text modules I would have started the project off in photoshop and imported the image in.

• Crane02 (Linear Crane)

The directional controls over the linear effects makes the final piece feel 3 dimensional.  It almost feels like the crane itself can be plucked out of the composition.  The line changes coupled with the careful scaling and angle control of each quad brings real depth and form to the crane. Throw it on top of a flat but animated background and it brings the form to life.

• Llama01 (Gothic Llama)

The llama looks extremely gothic. As I have said before I did not go into the llama with much  more than the impression than it can be characterized extremely easily.  The black make up coupled with the long black hair takes me back to some poor decisions in high school. Still, coupled with the line animation and subtle eye effects, this gothic llama has more depth than it did before. It feels like he has something to look forward to.

• Llama02 (IronMan Llama)

I spent a large majority of this project focusing on color muted assignments and this composition was really an attempt to prove to myself that I can work in a color space. I did the research for Tony Stark's color pallet and applied it here with different animations.  I'm convinced I can show this to other viewers and they would immediately know what my inspiration was.  The animation choices may be questionable, but still aesthetically pleasing, but there is now doubt that I turned a flat white Llama into Iron man.

Pablo Reyes - Assignment II - Tape Mapping

Concept:

Inspired by the origins of this origami crane, I constructed a composition in which all of my hypothesis regarding the nature of such are designed in a single layout. 

Crane Setup

Process:

The creation of this composition was serviced by a pre-made origami stop motion which served as the main video, free footage of a swan swimming on a lake, and a slow-motion cloud formation visual. The videos were compiled in adobe premiere pro and animated in adobe after effects.

MadMapper Setup

After Effects Sound Reaction Process

Interpretation:

This video represents three theories regarding the origin of the crane: The first is that of a single piece of white paper, folded with care yet accurately, it initially transforms into a more organic form of a crane then into a standard origami style. A second theory involves a reversed transformation, from an organic shape into a two-dimensional form. Lastly, a third theory is based on a formation of clouds that were compiled and compress until the crane shape was formed.

Video of crane context composition

MapMapper Crane Composition

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Concept:

Inspired by the music video Human by SEDVALIZA, this composition is organized as of how I perceive the visual to be projected into the following static wireframe.

2 Projector Setup-Left Projector

2 Projector Setup-Right Projector

Process:

The composition was edited in adobe's after effects and premiere pro, within the latter a series of masks were created in reference to the rectangle design of the right projector, as well as a sound reactive opacity. On the opposite side of the design, the sound reactive rectangle lines were animated in after effects implementing the keyframing assistant, a blender effect, and the ease(value, x,y, minx, max,y)  expression. The animated lines on the sculptures, speakers, the projector, and the pipe, were created within the MadMapper software using the projector as a reference.

MadMapper Setup

After Effects Masking

Interpretation:

The meaning of this composition relies on SEVALIZA's song Human, which was introduced by a friend of mine, during a trip to Cici's pizza. I interpret the video of this piece as stating that she is a human despite her minotaur half and with the lyrics, "I am flesh, bones, I am skin, soul, I am human, Nothing more than human" resonates with my perspective on how one should compare itself to another being. 

Two projector composition

MadMapper Two Projector Composition Left

MadMapper Two Projector Composition Right

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Concept:

This creation was inspired by the lamp setup and the functionality behind candle lanterns, though they are not convenient during such modern times, I always wanted to own one thus the following composition.

Lantern Setup

Process:

Pre-made footage of some animated 3d candles was taken into adobe after effects and altered using a scatterize effect, sound reactive scale transformation, and color correction. The orange lines and sound reactive ellipses were animated within MadMapper.

MadMapper Setup

After Effects Sound Reactive Process

Interpretation:

This is a lantern that is traveling through space. A distorted flame appears whenever the lamp goes through a wormhole and arrives at a dimension where enough gravity allows its shape to remain unified.

Video of lantern composition

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Concept:

I drink monster's zero ultra energy drink whenever I need that extra push. The latter inspired this composition to be a commercial implementation of projection mapping where the company would project this on a wall next to a corner store and even a building.

Lion Setup

Process:

Compiled in adobe's premiere pro, a monster energy drink 3d animation commercial by youtube user Vproductions was altered one and at times two mirror effects in order to create a kaleidoscope visual, creative lumetri color corrections and a glitch reaction to Monster Energy's logo made from scratch. 

MadMapper Setup

Interpretation:

Power, energy, and lots of movement are all I think when I see a visual of a lion, thus this composition is created based on such. I decide to keep the original audio of the animated commercial since it produced an active yet controlled sense of energy, which represents the feeling I get whenever I drink my emergency dose of this energy drink.

Video of lantern composition

MadMapper Lion Composition