Another project with Gmunk, I did an AutoTrader spot at Black Swan that featured a generative neuron network. I got to write a voxel volume exporter for closed geometry (using even-odd ray casting), and more importantly, I started exporting my art to OBJ and FBX so that it could be rendered in a 3d app. It was amazing to see my work with glass refraction. I also got to implement mouse-selection for the nucleii, and discovered a novel way to generate a circle with even segments along a straight axis using no trig functions (more on that later). Black Swan was an amazing new company to work at because it was a dream-team made from all the beloved members of our previous projects. I hope they do really really well. Proper respect to Matt Winkel, Nick Losq, Jake Sargeant, Chris Clyne, and Jacob Glaser.

Verizon FiOS

CHARLEX requested different kinds of wormhole animations for a TV commercial about Verizon FiOS. Video elements would be placed inside the wormhole as it progressed towards the O in FiOS. As I worked remotely, my on-site counterpart was Fabian Tejada who learned to tweak the app and produce renders from it. Fabian was wonderful to work with.

LG Optimus Launch Conference

I worked with yU+Co on this spot featuring a globe of dots connecting up. I was very happy to see how creatively they composited the renders - using my simulation in ways I never expected. The system was easy to write since it resembled older work. It was great to collaborate online with yU+Co for the first time. I appreciate how tech-savvy everyone was, and I think that made the pipeline pleasant. I'm also grateful that everyone understood and was sympathetic to me being at Beit T'Shuvah.

IBM Data Baby

This project required a lot of research demo programs. The job holds the new record for most code artists (8) hired on one MTh job. Our apps began receiving animated curves from maya, we introduced a new speed-optimized OBJ sequence file format, and we continued to accumulate maya export scripts. At the request of director Kaan Atilla, I managed to write a bunch of C++ After Effects plugins with names like [FishBall, Stripes, SchizoPath, MeshSpikes, CurveConnector], but in the end I settled back into OpenFrameworks and wxWidgets because when you compete with an Adobe app for internal resources, the Adobe app wins. I'm also disappointed in Adobe's quality of documentation and examples. I was put in a 'lead code artist' position and I feel like I handled myself better this time. We learned a whole lot! Shout outs to new algo-collaborators Jeremy Rotsztain and Tim Stutts.

Buick - Behind The Beauty

Stillshot from the TV commercial

Stillshot from the TV commercial

For this project, we tried a handful of intelligent particle techniques. One of the approaches was to have me write a renderable simulator in OpenFrameworks that could fuse our specific mix of generative diagrams, numbers, shapes, and line-art into a magical fantasy breeze. The app was able to work with Motion Theory's special rotoscope and compositing pipeline, and this was really the first time I started using wxWidgets there. Because of that, the app featured enough user interface that a non-programmer could be productive with it. Four Adobe-savvy designers were able to run my app and art direct their own shots.

Google Chrome Experiments

Commissioned work that deals with the browser as a medium in promotion of Google Chrome browser. I chose to port Balldroppings to processing.js and I made PopupPong -- pong that uses the brower windows as interactive game elements. BallDroppings was able to happen because of the native Canvas tag included in Chrome, and because the js engine runs so fast. PopupPong actually proved to be a bit difficult because of a bug in the window resizing and placement functions.

Mekanism: Need for Speed Undercover flash

I worked at Mekanism in San Francisco for a couple months mostly programming in Actionscript3 Papervision for a few things. The front page of "Need for Speed Undercover" is a papervision panorama with interactive elements. I'm impressed with papervision but it still has all the eccentricities of flash-based anything. It was easy to get into from having been so into OpenGL all this time. There were plenty of example apps to show the art director.

LG Advanced Learning

My part in this project was inspired by a piece "pinch" which i had been emailing around at the time. I worked with Jake Seargeant, 3D artists, and director Carl Erik Rinsch at Digital Domain to create the light effects for this commercial about little robots who have a party while the owner is away. I was able to write several OpenGL applications in C++ which allowed Jake to tweak parameters and render the frames. Giving Jake this amount of control made my life more convenient and gave us more creative options.

Gatorade - Inside Crosby

For this rich scene of what's going on inside an athlete's head, Mark Kudsi had me writing C++ code to generate slowly growing neurons into a stretched screen 'topiary'. An adhoc rendering cluster was used to quickly render random seeded versions as we evolved the style into the fantasy vision displays.

HP Paulo Coelho

For Paulo, finger trails of personal photos dissipate like horse hair underwater. My C++ JImage object is born - something that allows pixel addressing that can also update its display list cached textured unit rect. I later based a hair style on this aesthetic. It was a pleasure to collaborate on this spot because everything was so warm and natural.

screenshot of mouse toy stretching a woman's back

screenshot of mouse toy stretching a woman's back

Modest Mouse Dashboard

This music video turned out to be a unique family effort, rewarding in the end. A couple of the island shots feature the pop celeb's face rendered by our custom after effects plugin, Pixel F. Meanwhile indoors, Gabriel takes a simple springy spider web I had set up and activates it artistically using pointer bugs and interpolation error. The JChain addiction is born. Special l33t props go out to Gabe as well for his MEL fish fin wave behavior!

Bud Select - Just a Game

For this superbowl spot, I had another amazing collaborative coding experience with Gabe Dunne. The approach was different in high level regards. Our generative renders were being used as concept for other artists to flesh out into several shots and variations. We were also coasting on a sufficient body of pre-written code that pulling up old building blocks and combining them experimentally was at our fingertips. Because of path smoothing politics residing from previous projects, we start the JPath object, featuring smooth(int); This class will change the future. At least one project into the future.

wind graph

wind graph

shuffling cards interface

shuffling cards interface

voice volume indicators

voice volume indicators

Nike 'One'

Motion Theory's workflow of the Nike 'One' commercials did not just benefit from an applet programmed by one of the team members. This time, the core workflow became a team of four visual programmers risking carpel tunnel to generate a diversity of floating engineering graphics using every trick in the book. Although the production process was organic and artistic, the team collaborated well - subclassing a common object oriented super class, using common (custom) rendering frameworks, establishing file format protocols for shared data, and using versioning systems. The result was complex yet delicate and tasteful swarm of diagrams and math floating around the heads of thinkers - interacting with the physical, emotional, and narrative surroundings. A demo applet was also published in Processing.org exhibitions. Processing Artists:

HP Pharrell

had the great honor of doing (more) algorithmic particle artistry with Motion Theory to produce this stunning new HP commercial, for their "The computer is personal again" campaign. Spinning spools of typographic smoke, shaking the pixels off shoes, and of course, a swarm of gratuitous abstract cool stuff -- these composite effects were animated primarily in Processing code with reinforcement C++ coding when needed. Thanks to Gabriel Dunne for doing some of the satellites. Unlike Nike 'One', this was quite a chromatic job. I have since gained a personal relationship with the colors magenta (FF00FF) and lime (00FF00). Special thanks to Mark Kudsi and Mathew Cullen, whose talents were absolutely essential to this wonderful project. This is what baby looks like.