One of the most fun and catchy (in an artistically appropriate way, mind you) videos of last month was ‘Barkie’, a song from the new album of Dutch electronic four-piece De Jeugd van Tegenwoordig.

Directed by Opslaan Als productions together with visual artist Thomas de Rijk, the 3D animated characters seem to come straight out of a video game. Where have we seen that before? We asked Thomas de Rijk to rank and rate Barkie and its crappy animated brothers and sisters.

4. Vinyl Williams – ‘Stellarscope’ directed by Lionel Williams & Nikita Arefkia

Thomas: “If this really supposed to be an interactive music video, I wish more would be happening. Designing a world that aesthetically connects with the music is just the beginning for many music videos. So going through that process and than just walk through it, is a bit too easy, I think.”

“A better alternative is ‘Exo’ the album from Gatekeeper. The whole album is made with Hollywood sound effects and the visual game world closely connects to it. It’s super HD with fancy graphics, but also a bit kitsch and just not quite right. In the game, you walk through the whole album while being dragged from pillar to post.”

3. De Jeugd van Tegenwoordig – ‘Barkie’ directed by Opslaan Als and Thomas de Rijk

Is this video one big happy little incident? Thomas: “I’m glad it appears nonchalant to you! Everything, including the final implementation of animation and composition is thoroughly scripted and thought through.”

Nonchalance?
“Sometimes though, there are some spontaneous ideas that arise in the moment. Like Bas who stands on top of Freddy [two of the characters], while he walks towards the appearing road. One of my favorite moments in the video. Maybe nonchalance is the wrong word though, cause even these ‘mistakes’ take up hours of work.”

2. Liars – ‘Brats’ directed by Ian Cheng

“Awesome! Just like all of Cheng’s work. Especially cause he uses a real game engine and his videos are a live capture of these ‘performances’. A pity though, that it’s a bit too artsy and ‘performance’ for me, and not enough video/film. He should do more with shots, cuts, tension build etcetera…”

Tasteful or tasteless
“With my fascination for games and 3D, you quickly see how things work in this art. There’s a thin line between using this technique in a tasteful or tasteless way. But this is more than just transforming 3D models and you clearly recognize it as a product of the artist.”

1. Is Tropical – ‘Dancing Anymore’ directed by Megaforce

“Classic! One of my favorite videos ever. Everything about it is so brilliant and without all the 3D stuff, it would still make a great video.”
“It’s also the best implementation of 3D sex ever. On the internet, there’s a huge market for this kind of stuff including 3D models of nude women completely adaptable to whatever you fancy. Generally, those look just like the ones in this video, so Megaforce has hit the nail hard on the head here.”

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Winner Takes It All… But in the case of the TAX Videoclipprijs, the runner-up steals the show!

TAX Videoclipfonds awards the best music video in Netherlands Film Festival’s Online competition.

Last Saturday, the jury made up from David Kleijwegt (journalist and director), Sander van de Pavert (Lucky TV), William Linders (content director for UPC), Tamara Vuurmans (creative producer for Viewpoint) and Lize Korpershoek (filmmaker), chose Torre Florim’s “Firestarter” as the winner.

After watching the nominees, we have to admit that we also *really* liked Iris Deppe and Roos Wijnen‘s “Look… The Sun is Rising” for The Flaming Lips. This poetic essay on what happens to people experiencing suffocation, gets a “chapeau” from us! Take a deep breath…

So what’s this TAX fund all about?

Well, in the tiny Northern European Kingdom that is the Netherlands, artistic music video makers can apply for a state subsidy, in order to finance extra special music video projects. Sounds crazy to foreign ears, but did we mention that Holland is tiny? Therefore, the music market is small, as are the budgets for music promos. TAX supports original and artistic music videos that would have been impossible to produce without this fund. It’s the Dutch way of fostering upcoming film talent, and aids with the exposure of Dutch music. Win-win!

Submarine produced two music videos with TAX support. Sverre Fredriksen‘s two-months-in-the-making pyrographic stop-motion for Tim Knol’s When I Am King. And Mirka van Duijn & Nina Spiering‘s music video for Blaudzun’s Elephants.

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Facebook much? Well, here’s an interactive music video that will make you re-think your relationship with the world wide web.

Facehawk, directed by Rajeev Basu for Big Data, reflects on voyeurism in the digital age. Replicating the Facebook environment (but without actually posting on Facebook) the interactive promo serves as a reminder that it’s not just us doing the watching. We are, in turn, watched, monitored, and recorded.

Rajeev was nice enough to answer a couple of questions about Facehawk.

Q: What is the technology behind your music video?

RB: Facehawk makes use of several progressive technologies. We used the Canvas API, three.js, Facebook’s OpenGraph, the SoundCloud API, and SVG. We believe we’re also one of the first to render HTML code like facebook statuses into 2d graphics on the fly, so they can be animated in your browser.
The biggest challenge was finding a way to animate hundreds of photos and statuses in your browser, on the fly. We had to go through dozens of prototypes, but we found a way.

Q: Is Facehawk dependent on the number of things one posts on his profile?

RB: The actual number of pieces that makes up your hawk is generally very similar across all users. The reason is that if we have trouble accessing your photos and statuses, say because you don’t have enough, or you have tight privacy settings on your account – we can dive further through your account into your friend’s accounts and pull out their info. It’s pretty creepy, and intentionally so, but shows just how accessible all this data is.

Q: Can you post the final picture of Facehawk on Facebook?

RB: This is something we thought of doing initially, but there are a lot of privacy and security issues related to it. As the hawk is made up of photos and statuses of both you and your friends there is a permission issue. Then, there is a general browser security block which prevents the code from taking a screenshot the final page, which is actually a good thing. You wouldn’t want the browser to be capable of taking a screenshot of your page when you were putting in your bank details.

Q: How did the collaboration with the band go?

RB: Alan from the band saw some of my previous work (dronesofnewyork and tumbly.at) and threw out the idea that we should collaborate on something. After we got chatting we discovered that we shared a similar way of thinking. We liked creating stuff that messed with people. He sent me the yet to be released single “Dangerous”, to which I created the treatment for facehawk a few days later. Then we got rolling right away.

Q: What do you think about interactive music videos in general?

RB: I think it’s a very exciting time for music videos, and I love seeing all the creativity and innovation. I do however feel like it has become a bit of a trend where labels or artists simply want one for the sake of wanting one. And that’s without thinking of how an interactive video, or game, or web toy, could smartly link to their song or message to create something that will genuinely cut through. One of my favourite pieces of music promo/art wasn’t a video, but this game for Skrillex. It stands out to me as a smart, well crafted piece of content. And rightly so, it got shared by thousands!

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It’s high time we revisited the state of interactive music videos since we last wrote about them back in 2011. Back then we just launched the brand-new Interactive category – now going stronger than ever before – on 2Pause, our rad music portal celebrating the very best in music video culture.

If the last two years have shown us anything, it’s that the future of music videos is still uncertain – what with the current experimental blend of 360 degree experiences, browser takeovers, motion–controlled cameras, and audiences in control of what they see, who they hear, and for how long, in some form. Whether it’s been a natural evolution of technology propelling new music video experiences or innovative music videos that motivate other artists to tinker further with the medium, the results leave us enthralled with what’s coming next in this uncharted territory.

For this Top 5 we´ve scoured our repository of interactive music vids on 2pause to serve you today’s, of-the-moment trends – all of which are a far cry from yesteryear’s MTV sit back-and-watch music vids.

1) Beck  – Sound and Vision

Welcome to your very own concert where you´ve landed the best seats in the house. Just remember that YOU’RE IN CONTROL of the camera!

In the sphere of interactive music videos, Chris Milk needs no introduction. After all, this is the man who got it all started in terms of innovative music videos (think back to Wilderness Downtown, 3 Dreams of Black, and the brilliant Johnny Cash Project). In ‘Hello, Again‘ Milk teams up with Beck on the stage for a totally transcending 360 degree performance that re-imagines David Bowie’s ‘Sound and Vision’. The result: a more intimate and dynamic live concert, all from the comfort of your computer. Explosive, amazing vocals, and a real musical feat!!! (*best with headphones*)

2) Moones – Better Energy (Drunk in Session)

Just how much can your favorite musicians consume before they start slurring words and unraveling on stage? Apparently 60 to 80 beers will do it. The concept is simple in this amusing interactive music video directed by Ben Falk for Moones‘ Better Energy: move the camera angles around the room and give these guys some bloody beer before relishing their performance while sober, buzzed, and plastered!

3) Au Revoir Simone  – The Knight of Wands

An oldie but a goodie, and might we add that it’s super fun to unwind with?! Brooklyn-based indie band Au Revoir Simone is bringing back your inner kid by turning their song ‘The Knight of Wands‘ into an interactive coloring book play zone.  Get creative with the drawing, watch out for the moving cat, save the image when done, and share with friends!

4) Tanlines – Not the Same

Drag-and-drop it like it’s hot! Also going the artistic route, Tanlines follows up on their first interactive music video for ´Brothers´ and this time introduces a browser-based experience for ‘Not the Same’. Produced by The Creators Project with creative agency OKFocus, you are transported to “an alpha channel video experiment” in the form of a Photoshop environment, complete with a toolbar where switching up the different layers adds or deletes band members and facilitates background choices the likes of the White House, Williamsburg Bridge, Stonehenge, and more!

5) Califone – Stitches

Music videos based on social media sites are nothing new – some pull in images from Instagram hastags while others require your Facebook login. The most recent example is the use of Tumblr by Califone for the new single ‘Stitches’. By tapping filmmaker Braden King and programmer Jeff Garneau for the project, what results is a music video that self-generates on the fly using images and animated GIFS from a curated set of Tumblrs. It genuinely never looks the same twice. Stare at it long enough and experience a slow-motion stream of consciousness with images layered on top of one another. Mouse-over images to pull them to the top “layer”. Or click on the individual images, leave a comment, share a story, and re-blog it to the Califone Stitches dedicated Tumblr.

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John Mayer’s new video ‘Submarine Test January 1967’ is one to fall in love with. Virginia Mori’s delicate illustrations remind of romantic victorian times. It’s all good, but the animation is made entirely without post-production. How? Director Virgilio Villoresi used pre-cinema animation techniques, aka optical toys.

Optical toys

Luckily, there’s lots more where that came from. A hand full of wonderful music videos are created with optical toys like ombro cinema, zoetropes, praxinoscopes, phenakistiscopes and flip books.

Transparent animation

Post-production is not really required in these clips because of the transparency of this kind of animation. Animation as we know it hides its process from the viewer. But the operation of optical toys forms a visible and inherent part of the work. What you see is what you get.

Ombro cinema

Browsing through his wonderful portfolio, you can tell that Virgilio Villoresi is a big fan of those pre-cinema techniques. He used ombro cinema for the John Mayer video, by moving a striped transparent sheet back and forth over static images. There’s even a lovely praxinoscope Spotted at 00:07!

Praxinoscope

A what? I could explain in words, but you’d better watch the impressive video ‘We got Time’ by Moray McLaren, where wonderboy video maker David Wilson went nuts with praxinoscopes. There’s even a making of-video of this. How transparent do you like it?

Phenakistiscope

Something very similar to that is an optical toy called a phenakistiscope. Theodore Ushev created a very simple and playful video for Kottarashky & the Rain Dogs, with fifty hand painted vinyl records and one gramophone. This video ‘Demoni’ captures the pure joy of animation. Behold the magic of the phenakistiscope:

Yo dawg, I heard you like animations…

Returning to the issue of transparency of pre-cinema animation, we’ve found a special case in the video ‘Mix Tape’ by Big Scary. Creator Alice Dupre took zoetropes as a starting point, but she digitally animated this mechanical animation, offering her an escape from the limitations of the zoetrope. Just watch all the fun combinations of different zoetrope images.

Flip Books

And then of course, there’s the wider known flip book. You made one at some point in your life, right? Henk Loorbach and Andre Maat sure did, for the Kraak en Smaak video ‘Squeeze Me’. A lot! They keep the narrative simple and the colors bright, to focus on the flipping booklets.

Alright, one more for the road: ‘Lost the War’ by Paper Lions, made by JP Poliquin and Nathan Boey. This one focusses more on band performance, but hey: flip books!

Aren’t your hands already itching by now? Go and make your own!

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Wonderful! This fantastic animation integrated in a real cityscape is just ever so gentle on the eye. Watch it and then read below the Q&A we did with creator Alain Maessen from Aap Noot Film.

What are those little balls?
Alain: “Those balls are ‘motion graphics render cores’ that completely take over the guys, once they get into their suits. It enables them to render themselves into whatever, wherever.”

How did you manage to make such a high-tech looking video on such a tight budget?
Alain: “We had amazing creative freedom and Firebeatz’ label was very patient. Because of the free workflow, we could switch easily from step to step. The whole concept was designed so I could totally free-style in post-production. I love to work with minimal concept and to just let the process surprise me.”

You shot the video against the urban backdrop of Rotterdam. Why Rotterdam?
“Because we work there. Having a tight budget, but no restrictions on setting, Rotterdam was the obvious choice.”

What is this thing, and what does it do?
“It’s a digital single-lens reflex camera, that films the matte glass of a view camera. What we actually do, is filming through a large-format bellows camera. The view camera has a nice big matte glass that puts a texture over the image. The whole construction vibrates with the interplay of light and spots and creates a beautiful live instagram-like image.”

Analogue and digital complete each other in the image. How did you balance the two?
“I absolutely love the imperfections of the view camera. I used the texture of the matte glass with all its spots and dust pieces to cover up the 3D renders. In the takes, I was looking for as much messy focus, camera shakes, light spots, etc, as possible. Every imperfection that I could simulate, brought the visual effects closer to the feeling our camera gave us.”

What is she doing here?
“We worked together with a choreographer and invented a dance that we recorded with motion capture. Besides that, we recorded a collection of poses and moves. This video wouldn’t have been possible without motion capture. The animation work would have been too much.”

What do you hope to achieve with this video?
“I hope I’ve shown what you can achieve with limited supplies.”

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Last month was an excellent time for lovers of retro futurism in music videos. No less than three amazing videos aired, that clearly got their divine inspiration from the last three decades of the 20th century.

Intropial
First, we have Walden’s ‘Intropial’ video, animated by Dutch director Nils Muhlenbruch, which is actually inspired on THE retro science fiction video/anime ‘Interstella 5555’. It shows how more and more new video makers from ‘generation Daft Punk’ borrow freely from those fine fuzzy sci-fi aesthetics from the 70’s to 90’s. Read the interview with Nils Muhlenbruch.

So of course these are not just music videos, but part of something bigger, just like Interstella 5555. The same thing goes for Nils’ animation which according to him is more like “a sneak preview into a sci-fi world”.

Aquila
The video ‘Aquila’ by the French band Equateur follows the same rules of epic-ness. According to director Kadavre Exquis who made this cinematic piece of art, it’s not so much a music video, but a sci-fi short film.

Kadavre Exquis tells us about the plot and inspiration.
“The band was in a cryo sleep, interrupted by the fact that their native planet was dying. They were then looking for another planet were they could live. Left in space, they’re sending a space probe to scan planets. The new planet would be called Aquila…”
“This film owns so much different inspirations. The original pitch involved an anime feeling to it, but as there was live-action, it became harder to keep the whole film in this direction. So we got back to basics: Kubrick’s 2001, Star Wars…”
“The more you are digging into it, the more films and references you will find. From 50s classics to Ridley Scott’s Prometheus, I wanted to explore them all. It was intense especially since I had one month to run the production, and learning 3D at the same time…”

Check out also some making-of pictures.

He^rt
The third retro sci-fi inspired video is ‘He^rt’ from Starcadian, who made the music as well as the accompanying eye candy that appears to be one big love letter to retro hardware.

Where does that love come from?
Starcadian: “A combination of the heyday of 80s/90s VHS movies and my beloved Atari 1040 STE, through which I learned MIDI. I remember being completely enthralled by the games’ soundtracks, the imagination of electronic music and the countless possibilities.”
“To me, the makers of certain pirated floppy disks were my first rock stars. Every disk menu would have an amazing 8-bit graphic and this awesome electronic song and I couldn’t wait to get my hands on every single one, just to hear the music. So I took all those things and used them as my voice and, consequently, as the basis for the Starcadian mythology.” https://www.zp-pdl.com https://zp-pdl.com/online-payday-loans-cash-advances.php займ на киви срочнозайм с 18 лет на картувзять займ срочно

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You might already have seen the latest interactive music video ‘Kilo-Do Not Touch’ by artsy design studio Moniker, from Amsterdam. Because that thing is pretty viral by now.

Who’s Moniker again?
Moniker’s known for one of the most brilliant storytelling experiences ever: ‘Pointerpointer’, which excels in simplicity, humor and charming pointlessness.

Pointer Pointer by Moniker

What is it?
Watching and manipulating ‘Do Not Touch’ is being part of a crowd-sourced experience, where your cursor is one in a wave of a thousand other cursors from the viewers before you. And oh yeah, the music video is by an Amsterdam based band called Light, Light, and their song’s called ‘Kilo’, instead of ‘Do Not Touch’…

Do Not Touch interactive crowd-sourced music video by Moniker

Different names for the same video? That’s weird…
Lets ask Roel Wouters from Moniker. RW “In this case, the music plays a supportive role. We wanted a title that gives the project a context and is funny to tweet. That’s important because we depend on the participants. No cursors, no project.

Is ‘Do Not Touch’ a sequel to ‘Pointerpointer’?
RW: “They are two projects in a series about the farewell of the cursor. We’ve had some good times with the cursor, but it’s time to say goodbye. See it as a long relationship in which you gradually grow apart. Saying goodbye is painful but inevitable. Drama!”

After gathering 1,5 million(!) user cursors, which patterns do you observe?
We didn’t really have time yet to make a good analysis, but some beautiful things occurred. The smiley gets better and better; there’s some cursor clumping at ‘Avoid each other’ and in the morning there are more European visitors and in the evening more from the U.S.

Do Not Touch interactive music video by Moniker

The video is actually quite layered. At first, you find yourself in the digital graphical environment of an old computer. Then it zooms out and you have a look into a music studio where random things happen around the band. Add some simple assignments to it, like ‘Stay in the green zone’, plus the feedback from the previous users in the form of hundreds of cursors and you get a bit of a fun experience of far fetched weirdness.

How did that happen?
RW: “We did several user tests and distilled some assignments out of that, from which we think they’d work well, deliver interesting results and add up to a real story. Playing along with your cursor requires a lot of attention, which can move the ‘story’ somewhat to the background.”

Well, what are you waiting for?
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