For Beyonce's performance at the United Nations for World Humanitarian Day I'd worked dually as art director and tech director, expanding on key visual themes developed in initial storyboards by director Kenzo Digital which would be presented on the world's most massive projection surface. Not only did the end product need to be technically achievable, but it had to stay true to the director's vision, include branding ID coming from Droga 5 and RSA, feedback from the Beyonce's team, and consistently changing technical schedules. Our pipeline was complicated, involving 15 high resolution projectors, 16k video composites and 24 unique animated vignettes with 24 scenes split between two production companies. Our team took 3D scans of the General Assembly Hall interior to get exact measurements which were converted into a 3D and scale model, which we used to design infrastructure and test dailies. We also created a curvilinear production framework through which we could stitch rectangular rendered frames, ultimately fitting a massive 270∞ curved scrim, which covered the facade of the United Nations General Assembly Hall. The end product seamlessly told the story of World Humanitarian Day and Beyonce's commitment to global responsibility.
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Beyonce’s performance at the 2011 Billboard awards celebrated her artistic career ending with a performance of her hit single, “Girls (Who Run The World)”. I'd worked with director Kenzo Digital, creating several unique scenes which would interact with Beyonce's live televised choreography. Greenscreen performances were shot with the artist weeks in advance and composited into unique sequences including both Beyonce and the LES twins. We coordinated this unique experience along with fireworks display and breakout motion graphics elements, into a seamless experience for national television which had previously not been seen.
For Lady Gaga's Born This Way Grammy's performance I'd worked with two teams, with Director Nick Knight and a New York City fabrication team. For the NYC design team I'd worked with fabricators on lighting effects within the egg, including arduino system hidden within its hinges. II would also create a background to be projected behind Gaga's performance, an egg-shaped planet dripping with black irridescent oil. The projector bulb broke just prior to performance and was never aired.
I was invited to continue collaborating with Nick Knight who was already in the process of working on the “Born This Way” music video for Lady Gaga. I worked with Knight directly throughout the compositing stage, ideating 14 unique scenes which would stitch his greater vision together into a symbolic narrative journey, and ultimately work to design the finale which would complete the journey. I worked with a team of 6 compositors and 2 editors, completing the video in time for it's scheduled release.
I provided art to Nick Night by developing key themes that would inspire the Born This Way album cover, including motorcycle-human hybrid and typography influences.
Joining Nick Night once again, I provided creative direction and technical direction for Kanye West’s “Blackkk Skkkinhead” music video. This technically heavy process involved 3D scanning using dual structured light scanning (Rapido3D), full body motion capture using Optitrack (Centroid3D), facial capture (DynamicXYZ/Mimic). I pulled teams together from London, New York, LA and France to record these various assets, and recruited and built the team of Maya animators to work near the director in London. I would work with the director and the artist directly in a process that evolved creatively over the course of several months, through a technically heavy process.
I co-directed this music video for Kanye West’s “Lost In The World” with director Ruth Hogben. Exploring naturalistic surrealist themes such as onyx shards flying through space and an alien desert planet, we delved into the isolation, beauty and dissolution. This project was composited using studio footage mixed with bespoke digital environments which I created specifically for this publically unreleased video.
Kanye West’s music video for “Mercy” was recorded using a motion control camera in a Dubai parking garage. Shot in 45 sequences with a total of 8 subjects, these takes were stitched together into a single continuous shot. Working as a tech lead with director Nabil and post-production company Omega Darling, we composited these shots by stabilizing footage, reverse-warping camera lens distortion and rotoscoping scores of overlapping performances. The final product was ready for summer season and the song release.
I was requested by Kanye West to ideate imagery that would support his upcoming Yeezus tour. My work was seen in the initial tour poster, along with high resolution images pulled from the “Blackkk Skkkinhead” music video which was printed on 3 different t-shirts.
Kanye's clothing line, Been Trill, opened a unique location hidden deep within a vendor stall in Chinatown on Canal Street in NYC. For this high tech digital shopping experience, I worked with store director Matthew Williams creating the look of the installation from Photoshop through to digital renderings. The finished product included dual vertical 80' LED screens which included content I'd directed along with Augmented Reality displays using the Microsoft Kinect (by SuperUber) which overlaid psychedelic effects, digital landscapes and glitchy logos, transporting our audience to surreal tech landscapes. Clips from these videos would be available for download and social media on the Been Trill website.
Working with Been Trill Director Matthew Williams, I created several brand Idents that would accompany video promos and related artist materials. Some of these would also be printed large-scale onto apparel.
Working closely with their executive creative staff, I directed the Kickoff Campaign popup experience for the Calvin Klein Fall/Winter 2018 season. Following visual guidelines and using reference images from their upcoming collection, I coordinated with 2 agencies to create this large scale popup experience within their first floor showroom. Working with NYC based LED Labs and Ncyclomedia, we created a raised five-sided digital display from 108 LED panels which would show a 7 minute sizzle video of my making, to inspire their designers for the upcoming design season. In addition we would transformed the showroom using multiple lines of LEDs in the style of James Turrell and Olafur Eliasson. Custom fabricated tabletops were designed to display former collection items.
Working with the Calvin Klein executive creative staff, I directed the Kickoff Campaign popup experience for the upcoming Fall/Winter 2018 design season. Working with a rich inspirational image selection from the client, I coordinated with Ncyclomedia and transformed their first floor showroom into an arctic themed environment to support the themes of the upcoming design season. I would also direct a 10 minute sizzle video to inspire their designers for the upcoming collection. This content was projected against the facade of the showroom. Throughout the exhibition, former collection garments and adornments sat on the custom fabricated ice mountains.
For SHOWStudio I'd supplied creative direction and created this promotional video for Lane Crawford 2013 seasonal storefront which would appear in their Hong Kong flagship store, showing new collections from Gicenchy, Heider Ackerman, Mcqueen and more. 3D scanning (Rapido3D) and motion capture (Centroi3D) was taken of Chinese supermodel Ming Xi and integrated into an explosion of geometry and this digital abstract take on fashion film, directed by Nick Knight.
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I directed this video as a commission from SHOWStudio as an editorial fashion film for Zana Bayne. Working in conjunction with Wilhemena Models, SooJoo Park served as my etherial subject. In the film I integrated match-moving and stop motion techniques to achieve a seamless zero-physics effect. I also worked with hat designer Heidi Lee to design and create this custom, Arduino controlled LED headpiece.
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Nowness commissioned me to direct this fashion-film for the limited run of Fujiko Nakaya's fog installation at the Phillip Johnson Glass House. Working with IMG models and latex-costume designer Tableaux Vivants we filmed this almost-narrative sequence at a breakneck pace. This supercut explored the relative dimensions of the space, exploring themes of inclusion and dissolution.
