Rushes were asked to work on the opening title sequence for ‘Dead Man Running’, a new feature with Curtis ‘50 Cent’ Jackson. In a two pronged approach, the task was split into two parts: shot footage and graphical overlays. The live action shoot required physical effects in the form of fake blood splatters, created using a recipe consisting mainly of ink and hair gel. In true method actor style, we had to become gangsters ourselves scanning and printing a wedge of fake notes to use in a counting machine, to be spliced into the sequence. The sequence involved laying elements and textures lifted from the various denominations of bank note onto the live action sequence to provide a subtle but effective graphical element to lift the footage and bed in the animated title cards. Once the graphical elements were laid over, knocked back, colour graded, tracked on and generally manipulated in After Effects the end look was a simple, highly stylised opening sequence for the film with the large scans really picking out the nuances of the note’s textures and the animation hitting the highs and lows of the music.

• published: 24 Aug 2010
• views: 0

Presentation of Performance “Le Spectacle of des Wissens. Article de Luxe, das Exkrement von Karl Marx und Mediatizition to Death! ” - Preface 1. “Le Spectacle of des Wissens. Article de Luxe, das Exkrement von Karl Marx und Mediatizition to Death!” is a series consist of 3 or 4 prefaces (performances) and a core work(performance). The performance created in Berlin 2014 “Le Spectacle of des Wissens. Article de Luxe, das Exkrement von Karl Marx und Mediatizition to Death! - Preface 1” is a grammar system for a preliminary search, research, discussion and practice about several issues addressed in the core work which is still in conceiving. At the same time, Preface 1 is also a complete and independent work. In Preface 1, the three main subjects — “consumption", “violence”, “lost” organically connected with each other and integrated together. A collective of deliberately selected images and audios - as the basic materials in this work - are embedded in to the the sensation of audience. Therefore, some spectacles with one or more subjects will be constructed through this way. The audience will sense the spectacles and observe the spectacles with their experiences by a certain duration of contemplation in a certain space. Background and motivation: This work was initiated by my study interest about European contemporary theater directors such as Romeo Castellucci / Socìetas Raffaello Sanzio, Jan Fabre, Matthew Barney, Ivo van Hove, Jérôme Bel, Christoph Marthaler, Frank Castorf, VA Wölfl / Neuer Tanz, Nicolas Stemann and other contemporary German theater works in the past 5 years. Their aesthetic vocabularies have big influence on me in terms of my concept and working method of theater. As a Chinese contemporary theater artist who carries a very different experience from European capitalism society, the European directors’ theater works deeply influence my spectating experience, thus my sense experience is also reformed through their perspective in their works. For me, the aesthetic of each of them is a new knowledge. When tremendous of these knowledges overwhelm me in a short time, they form a spectacle — a spectacle need to be analyzed and criticized, as when they look like a spectacle, I feel I am consuming these knowledges — the knowledge of contemporary European theater directors’ aesthetic methodology (Though, they use the symbols of images and audio, through diverse of media to transmit their aesthetic methodology). This feeling assure me of the necessity of criticizing the spectacle of knowledge. I plan to firstly card the knowledges with a live performance — card several aesthetic paradigms which influence me the most (but not the whole European contemporary theater history); furthermore to compress them into an abstract spectacle, then try to use the media through which we receive the knowledge to reflect the essence of the media (mediatize), meantime, to use diverse of the media to criticize the spectacle of the knowledge which is produced. Out of my interest and knowledge of the archeology and art history, I try to put the critic of the spectacle of the knowledge into a the dimension of art history to observe. The methodology of observation is from the analysis method of the images in iconography.

• published: 03 Aug 2016
• views: 16153