Motion

Double-Blind No.1

GMUNK 9 R.V. 9 P.T. 8.1 V.M.H. 9.5 J.M. 9 M.P. 7.5 G.R. 9 F.A. 9.5 D.B. 8 A.J. 10 Creative 8.9 GMUNK 8 R.V. 7 P.T. 8.3 V.M.H. 9.5 J.M. 8 M.P. 7 G.R. 7.5 F.A. 9.5 D.B. 8 A.J. 9 Design 8.2 GMUNK 9 R.V. 9 P.T. 8.5 V.M.H. 10 J.M. 9 M.P. 7 G.R. 8.5 F.A. 9 D.B. 9 A.J. 9 Craft 8.8 GMUNK 8.7 R.V. 8.3 P.T. 8.3 V.M.H. 9.7 J.M. 8.7 M.P. 7.2 G.R. 8.3 F.A. 9.3 D.B. 8.3 A.J. 9.3 Total 8.6
Five VFX artists set out to test the theory that a fine-art technique relying on chance could be applied to a motion piece.
The Concept

No script, no storyboards, no concept art. The artists selected shots from raw footage, then worked independently to produce unique VFX shots, experimenting with different creative styles and techniques. The shots were edited back together with the intention of producing a creative, visually interesting piece with no planned narrative

The Production

The five artists collaborated on the shoot day. They were not working from storyboards or a shotlist but arrived at the shoot with some rough ideas for framing and action. After the shoot, they each selected their preferred shots from the raw footage, then spent the following few months working independently.

Once shooting wrapped, the artists selected their shots and worked independently. The team experimented with different techniques, sometimes discarding and sometimes refining.
Using Cinema 4D, they created the special effects.
Final

After months of designing, animating and compositing, the finished shots were handed over to an editor and sound designer. They were encouraged to also approach the project with open minds and no restrictions.

Making of Video
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