Here’s a new experimental short titled Memories of Paintings from director Thomas Blanchard (previously) who continues to experiment with colorful paint, oil, milk, and liquid soap filmed with a macro lens as it mixes and cascades in front of the camera. I could watch footage like this forever. Set to music by Bronix.
It turns out that watching paint mix is a heck of a lot more interesting than watching paint dry. French director Thomas Blanchard shot this lovely short of colored paints, oil, milk, and honey as they mix and bead under a macro lens. He says the video is intended as “an analogy of feelings such as anger, love, sadness and joy [as they] they mix and eventually ease.” If you liked this also check out similar liquid experiments by Ruslan Khasanov.
This exceedingly clever animation by artist Alan Warburton transforms two compositions from J.S. Bach’s The Well Tempered Clavier (Prelude and Fugue in C Major) into a visual interpretation of music. Warburton used a form of graphical notation manifested as thousands of fluorescent light bulbs mounted around a gallery space and parking garage. As each light pops on in sync with the music, the bulb shape correlates with with length and pitch of each note.
You can learn more about how Warburton and a team of programmers and sound designers created the piece over on Sinfini Music who commissioned the piece. Music performed by Pierre-Laurent Aimard.
Austrian director and visual artist Clemens Wirth created this gorgeous visual feast of gravitational experiments called Gravity. With the exception of a segment depicting digital black fabric, all the visuals were made with practical effects inside a special rig that can be rotated 360° with or without the camera. Wirth says he found inspiration both from the film Inception, and a similar project from a few years ago by Feedme Design. (via swissmiss, Vimeo Staff Picks)
Trying to describe this short film by artist Daniel Crooks (previously) is a bit challenging, but once you start watching you’ll get the idea. Crooks filmed narrow passages, alleys, and other nooks and crannies that he stitched together into this seemingly infinite corridor. Make sure to turn up the volume or put on some headphones, Byron Scullin‘s sound design adds an entirely different dimension. The piece was originally commissioned by Silvia and Michael Kantor for the National Gallery of Victoria, Melbourne.