For the 2015 YouTube Music Awards, Autofuss created a musical environment you could step into, made entirely of floating laser light. The launch film introduces this digital awards show with a physical exploration of light and sound.
I assisted with creative and technical direction, particularly during the "tunnels" and typography motion control shoot. I also set up the pipeline enabling Autofuss designers to deliver their animations to the laser projectors.
In fashion similar to Box, this commercial for the European model Audi A3 Sportback stars two industrial robot arms wielding circular projection canvases, this time with an upgrade to 4K projection.
I once again handled the projection calibration, mapping, and playback pipeline using TouchDesigner.
Autofuss was again asked to design an experience for the Tipping Point Community's annual benefit auction and dinner, this year happening at Pier 70 Building 12.
I conceived the initial concept and projection design for the space, which was ultimately executed by Tekamaki. Autofuss created a short film 10680 pixels wide in line with the event's theme, while All of it Now provided visuals for the afterparty featuring Girl Talk, Snoop Dogg, and DJ Rukus.
The first thing I did at Bot & Dolly was bolt a disco ball to the end of a Kuka KR150 and rent a Sharpy. Rapidly spinning a disco ball in free space turned out to be a pretty cool effect, and the demo evolved (generally by adding more Sharpys) over the course of a couple years.
Disco Bot made appearances at Autodesk University 2013, O'Rielley Solid 2014, and the Tipping Point 2014 charity dinner.
"Box" explores the synthesis of real and digital space through projection-mapping on moving surfaces. The short film documents a live performance, captured entirely in camera. Bot & Dolly produced this work to serve as both an artistic statement and technical demonstration. It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering.
Working at Bot & Dolly, I served as lead projection & lighting programmer for Box.
Layer 3 is a projection based live show designed by Flying Lotus, Strangeloop, and Timeboy. The show incorporates two screens: a downstage transparent scrim that is front projected, and an upstage rear projection screen. The end result is a multi-layered, holographic effect. Flying Lotus performs between the two layers of visuals, while Timeboy and Strangeloop VJ the front and rear screens respectively. I was brought in as a projection system tech to get the show road-ready for their North American and European tours.
Created in collaboration with Matheria Studio, V Squared Labs, and Leviathan; The Skrillex Cell was a first of it's kind live show to integrate 3D projection mapping and real-time human motion capture. Skrillex wore a custom motion capture suit while DJing inside the projection mapped Cell structure. Virtual characters ranging from monsters to aliens were then rigged to the suit's output, mimicking his exact motions as he performed. The characters were projected behind him in real time as larger than life DJ avatars.
I served as lead TouchDesigner developer and system engineer for the subsequent North American "Mothership Tour" and European "Grey Daze Tour." For the European tour we constructed the "Cell 2.0" which was 20% larger than the original North American version. The Cell tours ran between Fall 2011 and Winter 2012.
The Gateway was a projection mapped art installation for the Coachalla Valley Music and Arts Festival in April of 2012. The structure was designed by architect Alexis Rochas of stereo.bot and commissioned by Coachella as their highlight installation for 2012. The project lead was Bryant Place, lighting was designed by Simon Clark and Jeremy Roth of Stageworks, and Dave Taylor of Senovva handled projector blending and setup. I designed the custom playback & mapping system, effects, and some content which was a collection of work from many video artists including beeple and VJ Fader.
Slomo Booth was an automated slow-motion portrait booth created for the California Academy of Sciences' Nightlife. Bot & Dolly's SCOUT was fitted with a Phantom Miro high speed camera shooting at 500 FPS. Attendees of the special robot-themed Nightlife had 0.3 seconds to pose, which was then slowed down to a 10 second clip. The slomo portraits were then uploaded and tweeted to the participants.
The Kinetisphere was an interactive robotic installation created by Bot & Dolly to celebrate the launch of the Nexus Q device at Google's I/O developer conference. Installed on the 4th floor San Francisco's Moscone Center directly adjacent to the keynote speech hall, the piece was a multi-user experience that allowed attendees to steer the robotic arm around in space and control the music and visuals in real time. Users stationed around the piece would use actual Nexus Q devices (which the installation was modeled after) to control such parameters as the radius, orbit, and height of the sphere. As they moved it around the space, the surround audio and visuals would reflect their proximity to virtual "targets," which were also displayed via three augmented reality heads up monitors.
I was hired to create the real time visualizers on the sphere's 4mm pitch LED ring. Created using TouchDesigner, the multiple visualizers were manipulated by the robot's position, the user station dedicated to controlling the visuals, and the audio itself.
Hired by Seattle's Stageworks to run video for Sasquatch Music Festival's dance tent a.k.a. the "Banana Shack." Worked with VJ Scott Sunn and local video crew to run visuals for acts such as Nero, James Murphy, and LA Riots. Created some original video patches for the screens using TouchDesigner, and managed all front of house signal routing for the main LED screens and a more abstract MiStrip piece at the back of the tent.
A series of old Kinect "hacks" and more recent Leap Motion experiments, utilizing the sensors to control lights, lasers, and interfaces.
A personal project for my friends The M Machine who toured with a custom fabricated LED light wall designed after their giant "M" logo. Creator of the light wall and 1/3rd of the group, Andy Coenen, gave me the DMX output signal that controls the wall. It comes from a custom Max/MSP patch running in their Ableton Live set that converts MIDI to DMX values. I routed this data into TouchDesigner and combined with the 3D model of the M made by Scott Pagano, created a stylized video replica of the physical wall. The video M was debuted at the 2013 Ultra Music Festival.