Tag Archive: CGI

Anetha, UFO95 & Orgaphine uncover mutant forms of slippery sexuality in Wet For It

Casting their gaze over a menagerie of cybernetic, biomechanical and chimeric creatures, producers Anetha & UFO95 and CGI artist duo Orgaphine build a world in which fetish and phobia blur into one another.

‘Wet For It’ is the second collaborative track from producer, DJ and Mama Told Ya label head Anetha and rising talent UFO95, aka Killian Vaissade, a lethal, headlong charge through subterranean technoid textures, death drive synthesis and IDM inflected alien choruses, drawing influences from the duo’s shared love of hardcore techno, contemporary reggaeton and experimental sound design. “Killian is one of the most talented and proactive producers of his generation,” says Anetha. “I love his work and his universe.” Appearing on his second album, Use your difference to make the difference, ‘Wet For It’ is a thrilling glimpse of a new live project from the two artists, serving as an introduction to their collaborative sound. “With this new album I wanted to go further in my music making process, to not fix boundaries,” explains UFO95. Finding inspiration in ’90s IDM, specifically Richard D. James’s releases as Polygon Window, UFO95 worked to incorporate these sounds into Use your difference to make the difference. To match the dark ecstasy of the music, Anetha and UFO95 enlisted the talents of another creative duo, Orgaphine, the collaborative project of CGI artists Salika Kadita and Computer.kitty, to build a suitable world for ‘Wet For It’ to live inside of. The result is an ecosystem that surges between psychosexual manifestation and body horror mutation, in which fetishes and phobias blur into each other.

Following a twisted menagerie of cybernetic, biomechanical and chimeric creatures, Orgaphine explore their own sexual identities and bodies through various environments and avatars: shallow-breathing horse babies illuminated by floodlight, visions of an entropic, hermaphroditic fertility goddess, nests of umbilical cords and fallopian tubes. “The narrative is centered around Agena, who is the bird-like being with horse legs,” explain Orgaphine. “Agena moves around in this universe and connects with the horses through hoses and creates symbiotic, mutually benefitting relations. Agena is there to nurture the horses.” This central figure appears throughout the world of Wet For It, running figurative and literal lines through and from its different figures and scenes. Both nurturing mother and bound abomination, Agena’s erratic movement traces the strange momentum of Anetha and UFO95’s sound. “We tried to create a sexual space we can bring multiple sides of ourselves into and challenge a dominating stand on these topics; internalised ideas of our own bodies and sexuality,” Orgaphine explain. “Though we introduce sensitive topics, especially in the context of sexuality, like fear of umbilical cords, hyperventilation, dysphoria and the visual language itself, we wanted to tell a story where we can explore such things not for the sake of phobia, but to be recognized and included.”

“It does speak to some darkness, but we feel like, seen purely, it’s simply what’s going down in their world and they are having the best time,” they conclude. In the virtual worlds of Wet For It, sites of horror are reproduced as erotic zones, low-lit, Twin Peaks-esque nocturnal woodlands become a space for exploration, breath play reconfigured as a characteristic of the defenceless and viscera slick horse baby. A industrial cavern and rain-lashed canyon house strange bio-mechanical golems processing in solemn strides, dysphoric forms obscured by metallic face filters suspended from metallic exoskeletons, technologically mediated reproductions of their own likenesses constructed as ceaseless voyeuristic avatars, consigned to a trudging search. In the visual’s climactic moments, ivory white horses, born of fallopian nests swollen with eggs, are butterfly pinned to the concrete of a warehouse floor, the flailing dance of Agena channelled into a mutant ritual of care performed by an ersatz mother.

You can find Anetha, UFO95 and Orgaphine on Instagram. ‘Wet For It’, taken from Use your difference to make the difference, is out now.

Watch next: Rebecca Salvadori reflects on intimacy, community and liminality within London’s contemporary rave scene in The Sun Has No Shadow

Mitrilo dream of sci-fi apocalypse in Break-Cycle

AV art collective Mitrilo present 12 stunning CGI vignettes based on astrological interpretations of dreams.

Mitrilo describe themselves as a “decentralized artistic research collective”, focused on live performance visuals, music and audiovisual arts. Comprised of some of the most skilled and visionary artists of the emerging AV art space, including Sevi Iko Dømochevsky, Razorade, Darío Alva, Daniel Benza, Diego Navarro, Otro, Noha Manfredi, Valeria Baret, Cesar Rodrez, Marco Henri and Miguel Ballarin, collectively Mitrilo count Arca, Holly Herndon, 100 gecs, Grimes, Lady Gaga, Ashnikko and Post Malone among their clients and collaborators. “Mitrilo was born out of the necessity of giving a voice to all of our scattered artistic outlets,” the collective explains, “trying to get them together under the same umbrella to funnel all of our efforts towards something more community oriented, and see how much ground could we cover with all of our skills combined.” Their first project as a collective is Break-Cycle, originally commissioned by Mira Festival to be presented as a panoramic, 360-degree projection at IDEAL in Barcelona, which combines 12 stunning CGI vignettes based on astrological interpretations of dreams.

“It was produced in under a month with very little resources and in a very open manner, following a set of basic structure and guidelines,” the collective continues. “We used astrology as our means to extract symbology from a bunch of dreams we had noted down and produced 12 little short movies trying to give an emotional and narrative context to these abstract and universal matters. We never saw the piece together until the premiere day.” Moving through 12 intricately crafted environments to the beat of a surreal, non-linear dream logic, Break-Cycle traces an abstract narrative of regeneration, repetition and reification. “Even in the need of some new course it was possible to form light out of old flesh,” announces the film’s narrator at the beginning of an expansive passage of gnomic verse that serves as the work’s spine, linking each of the scenes with dense, obfuscating storytelling. This is set against an evocative score of science fiction sound design from Grotto Studio, amplifying both word and image with textured, world-building sound design.

Swirling between cosmic storms of the ruins of lost civilisations, sparse wastelands populated with abandoned television screens and demonic dogs, ceremonial ruins that lead a giant golem towards a glowing portal, abandoned train stations, haunted houses, a Lovecraftian cityscape presided over by decaying dragons, a dystopian apartment block, spatio-temporal voids filled with unrecognisable biomechanical apparatus, undulating Eldritch forms, alien altars, a winking server farm housed in a dark cathedral and, finally, a floating steampunk temple glinting in the crepuscular rays of twilight, Break-Cycle seems to revolve around just a few of many possible worlds. Each scene represents, in 12 different ways, an escape, a break from the story cycles they represent, each a new ending, a way out.

For more information about Mitrilo and their work you can follow them on Instagram.

Break-Cycle Credits:

Directed by @sevi_iko_domochevsky
Produced by @mitrilo.st
CGI – @razorade @daniel.benza @sevi_iko_domochevsky @lei.1.6 @rvdimir @cavecanems @hohl0h
Music/SFX – @diegovnavarro @marco.henri.000@seraaan @oottrroo
Voiceover – @dyboski
Vocal processing/Mixing – @marco.henri.000 @juryofficial
Script – @Nohamanfredi @seraaan @riusforza
Production – @rnrzrb_

Watch next: LUX: Julianknxx – Black Corporeal (Breathe)

No_4mat captures the spirit of nature in ‘heaven is real’

CGI artists Kwan Au, Jin Fang Jiang, Richard G Kim, Rui Zhu and Thomas Shek have come together to bring a fantastical sci-fi landscape to life.

‘heaven is real’ is the blissful introduction to No Fear, the debut album from New York-based producer and VFX artist No_4mat. Taking cues from transcendental trance and RPG OSTs, the track sets the scene on the high-definition emotion and maximalist sonic palette that proliferates the album.

Drawing from No_4mat VFX connections, he sought out SHIFTMATTER studio to produce this video. With a team of CGI artists, including Jin Fang Jiang, Richard G Kim, Rui Zhu, Thomas Shek and director Kwan Au to bring the fantastical sci-fi soundscape of the track to life.’

No_4mat’s track provides the perfect score for the short, which depicts processes of creation and the spirit of nature in a style that is equal parts Princess Mononoke and Hyper Light Drifter.

‘heaven is real’ is taken from No Fear, which is out now on DISSOLUTE.

Watch next: object blue & TSVI consider machines and sentience on Thought Experiment

Shygirl shares CGI video for Sega Bodega-produced single, ‘FREAK’

The NUXXE co-founder’s digital avatar emerges from a mass of amorphous goop in the self-directed visual.

Shygirl explores CGI sexuality in the video for her new single ‘FREAK’.

Produced by fellow NUXXE co-founder Sega Bodega, the high-speed sensuality of the new track perfectly soundtracks the emergence of a digital Shygirl avatar from an amorphous mass of pink and green goop.

‘Freak’ marks a continuation of an ongoing collaboration with Sega Bodega, and follows videos for their tracks ‘UCKERS’ and ‘BB’. Earlier this year she released ‘unconditional’, a collaboration with Arca and collaborated with SOPHIE for a live streamed AV set originally intended for Los Angeles’ online party HEAV3N.

‘Freak’ was made in collaboration with Maurice Andresen, Sy Blake and Mischa Notcutt.

Watch next: Siobhan Coen and Haroon Mirza induce audiovisual hallucinations with Dreamachine 1/0

Andrew Thomas Huang Presents: Björk – ‘The Gate’ (Behind the Scenes)

A look behind the scenes of Björk’s 2017 video.

Back in 2017, Gucci’s Alessandro Michele, poet and hand embroidery artist James Merry and Andrew Thomas Huang came together in collaboration with Björk to bring into being the surreal world of ‘The Gate’.

The utopian vision, which takes cues from fantasy video game landscapes, sees Björk inviting us to observe her inner most processes, as she allows us to glimpse into the wound that featured prominently in the imagery surrounding her 2015 album, Vulnicura, before exchanging energies with an intricately animated CGI lover.

Photos by Andrew Thomas Huang

For the final instalment of Andrew Thomas Huang’s residency, the Grammy-nominated filmmaker deconstructs his mind-expanding vision for ‘The Gate’, shedding light on every aspect of the production, from the Alessandro Michele-designed dress that Björk wears, to the motion capture performers and jaw-dropping 3D animation from visual effects team Wolf & Crow.

The video is the culmination of a five-year period of continuous collaboration between Huang and Björk, which includes stunning visual accompaniments for ‘Mutual Core’ and ‘Black Lake’, a “moving album cover” and a series of digital avatars for Vulnicura, VR works for ‘Stonemilker’ and ‘Family’, as well as a dual-screen installation at the MoMA.

For more information about Andrew Thomas Huang and his work, you can visit his website and follow him on Instagram.

Björk – ‘The Gate’ Credits:

Director: Andrew Thomas Huang
Creative Directors: Bjork, James Merry, Andrew Thomas Huang & Alessandro Michele

Executive Producers: Tom Berendsen, Sara Greco, Kevin Shapiro & Tai Thittichai
Producers: Sara Nassim & Jeremy Hartman

Cinematographer: Oliver Millar
Production Designer: Grace Alie

Dress by Gucci

Choreographer: Nina McNeely
Avatar Dancer: Leo Morimune
Makeup by Andrew Gallimore
Hair by Johnny Stuntz

Visual Effects by WOLF & CROW
Production Supervisor: Conor Bailey
Production Coordinator: Jenni Lopez
1st A.D.: George Nessis
Art Director: Alex Nawrocki
Art PA: Carlyn Hauk
Choreography Assistant: Danny Axley
1st A.C.: Wayne Goring
2nd A.C.: Dom Jones
DIT: Mark Wilenkin
Crane Operators: Christian Hurley & Derrick Rose
Pursuit Systems Operator: Yuriy Fuks

Gaffer: Drew Valenti
ACLT: Joey Waring
SLT: Will Martinez
Board Op: Derek Hoffman
Key Grip: Chris Bauer
Best Boy Grip: Christopher Pevey
Grip: Steve Coreas
Grip: Ricky Walter
Grip: Michael Telfer

Dress by Gucci
Creative Director: Alessandro Michele
VIP Designer: Daniel Del Core
Pattern Maker/Modelist: Carlos Garcia
Tailor: Paola Biasini

MOTION CAPTURE by Animatrik Studios
Tom Armbruster
VTR/Playback: Matt Hillyer
Script Supervisor: Nathan Snyder

Office PA: Nick Jaicomo
Truck PA: Doug Koontz
AD PA: Manny Jimenez
Set PAs: Jim Ryan & Cecilia Sweet-Coll
Craft Service: Paloma Aguirre
Site Rep: John Dexter

Visual Effects by Wolf & Crow
Executive Producer & Managing Director: Kevin Shapiro
VFX Lead: Adam Swaab
CG Lead: Matt Berenty
Compositing Lead: Matt Lavoy
Character Animation Lead: Mitch Gonzalez
2D Animator: Kevin Stein
3D Animator: Scott Pinson
Compositor: Kevin Kim
VFX Animator: Wilfred Driscoll
On Set Supervision: Benoit Mannequin
Colorist: Mark Wilenkin
Senior Producer: Matthew Olson
Associate Producer: Sophia Richard

A Strangelove Films Production

Watch next: Andrew Thomas Huang Presents: FKA twigs – ‘Cellophane’ – Behind the Scenes

B.o.B – Uncomfortable (Elements Album)

My creator
My creator, my creator, my… creator
My creator, my creator
My creator, my creator, my…creator

[Verse 1]
My creator said I’mma forever love ya
Through the good and the bad and the ugly
My creator dun’t never hold grudges
My creator only one could ever judge me
My creator of conscious was here first
If I’m not conscious the universe was birth
My favorite plant in the dirt
But how that make something illegal that grow up out the earth?

My creator, my creator
Did you ever get the prayers?
A few of us just had a couple questions for ya
A few of us just wanna ask you for a favor

[Verse 2]
My creator you gon’ sit around and watch?
My creator you can make all of this stop
You ever notice for a second we in trouble?
You probably think that we all just a bunch of fuck ups
If you was human, what would be your skin color?
Why you let them take MJ from us?
Why you ain’t tell MLK take cover?
My creator I’m really starting to wonder
My creator

My creator, my creator, my creator, my… creator
My creator, my, my creator
My creator, my creator, my… creator

[Verse 3]
Oh shit, this like the part in The Matrix when he take the red pill and he wake up and go ape shit
They told us we evolved on some ape shit
But I guarantee ya Charles Darwin was a Mason, damn
They like you humans so peculiar
You just appeared after a big bang of gas and started fumin’ together to make life
Don’t need to think twice
There’s nothin’ bout you special. You basically sand mites
On this tiny fuckin’ speck of dirt called Earth
The only sign of life in the entire Universe
Oh and every star’s a billion, trillion miles away
So how the fuck we got a picture of the Milky Way?

My fellow Americans, we have just discovered a new planet
Uhh.. Although we spent dozens and dozens of years researching and billions and billions of tax payers money researching space and exploring space science, we just saw this planet. We overlooked it. It was hiding behind a blackhole or something, I don’t know. But.. but, uhh.. here, he- here are the images
Where are the images? You got the images?

So, here, here are the images clearly as you can see
It’s about 8 light years away. Uh.. how do we have pictures?
Uh.. We have, we have super fast, we have million mile internet. Faster than anything Earth has seen, but we just use it for to explore space
Uh.. but I tell ya, yanno you can look at these pictures yourself
We got all the planets. Uh.. but theres nothing out there
I mean, HA! I tell ya, there’s nothing out there
Yanno we’re gonna keep spending money and keep looking
We’re gonna keep sending cameras into space
We’re gonna keep sending fucking astronauts into space
We’re going to keep going out there and keep sending back CGI
Pictures – I mean, cough cough…
We’re gonna keep sending back pictures
Just to let you guys know you’re alone
You’re alone
And you’re insignificant creatures
Signing off