Posts Tagged ‘headless’
Shot RED 6K, using a manually controlled rotating plinth on 18ft of dolly track.
From the Born Ruffains album, ‘RUFF’, out October 2nd on Paper Bag Records in Canada and Yep Roc Records worldwide.
Directed by Jared Raab
Cinematography by Adam Crosby
Production Design by Adam Belanger
Produced by Jeff Hanes
Co-produced by Matthew Greyson
1st AC: Chris Gruggen
2nd AC/DMT: Sheena Munroe
Gaffer: Tony Ranieri
Key Grip: T.J. Richardson
Best Boy Electric: Rohan Painter
Best Boy Grip: Spencer Johnston
Hair & Makeup: Moira Garr
Colour by Conor Fisher at Alter Ego Post
Shot at Pie in the Sky Studios, Toronto
Tim Bewcyk at Pie in the Sky Studio
Alex, Jeremy and Scott at Sleepless Records for the Van
ALBUM ART & VIDEO TEASERS
Visuals created by taking scans of nature Polaroids, and glitching them out in After FX, using the pixel-motion time remapping
Based on a trick I picked up from artist/filmmaker Geoff Pugen
Daniel Fortin // BRINKS
David French – tenor saxophone
Michael Davidson – vibraphone
Daniel Fortin – bass
Fabio Ragnelli – drums
Video by Jared Raab (jaredraab.com)
2015 Fresh Sound New Talent Records.
Directed by Jared Raab
Programmed by Tomasz Dysinski
Thanks to Nick Tiringer, Peter Dreimanis and Nadia Tan
A stereogram is an image which, when viewed with two eyes, using one of several different techniques, produces the illusion of depth perception. They’re cool. You can read all about them on Wikipedia. Some of you will already be familiar with the autostereogram, which was popularized by the Magic Eye book series in the 1990s. These are made on computers, and use subtle changes in a repeating pattern to combine depth information for both eyes into one single image. By tricking your eyes into viewing these images a certain way (see below) one can see a three dimensional scene. This video is made up of a sequence of something called a “random dot autostereograms”. These are also made on computers, but use subtle differences in a randomly generated field of noise to create the illusion.
HOW DO I SEE IT?
To view autostereograms, one must simply “decouple” or defocus their eyes, tricking the brain into seeing the slight variations in the repeating pattern as depth information. All autostereograms are made to be viewed in one of two ways, using either the “crossed-eye” method or “parallel-eye” method. Some can be viewed both ways and still look cool, but not really this one. To be nice, we made this video viewable both ways because some people are better at one method than the other. Crossed-eye stereograms are basically the same principal, but done by crossing your eyes, rather than “relaxing” your eyes or “looking through” the image. It can take a while to learn how to see them, but try practicing with some stills and take your time. It’s worth it. Try practicing with these identical images below to find out which version is easier for you to see. When viewed correctly, the image should pop out of the static towards you.
BUT WAIT, THIS IS A VIDEO. HOW DID YOU MAKE IT?
This is where it gets technical. To make your own autostereogram, one must first create a thing called a “depth map” which is a 2D representation of 3D depth information. We collected real-time depth data of Young Rival performing the song using an X-Box Kinect hooked up to a computer. The computer was running software called RGBD toolkit, designed for capturing the depth information from the Kinect using its built-in infrared system. Once we had our depth information, we unpacked it into image sequences and edited these sequences as if they were regular video. The only difference in the editing process was that depth was represented by luminosity. For fun, you can view the black and white depth-map version HERE. With much trial and error, we then ran the data through an algorithm which took each frame of depth information, converted it into a random dot stereogram image, and repacked it into the final video. Lastly, there was one more colour pass at the end, and voila.
Directed by Jared Raab
Shot by Mike Mclaughlan
Produced by Matthew Miller
Production Assistance by Graham Wright and Earl Oliveros
Thanks to Bill Byers, Marcos Arriaga and York University
Shot using 2 CRT televisions and 2 laptops set up as a make-shift teleprompter.
Director: Jared Raab & Lindsay MacKay
Camera: Pawel Pogorzelski and Jared Raab
Editing: Nadia Tan
Shot on location in and around Joshua Tree National Park, Los Angeles and San Francisco, California.
All composting was done in After Effects using simple masks: