Josh Nimoy I was there fairly early, maybe coming in right after they collected desired imagery from the web and did basic concept. How did you interpret the programming needed from the original treatment? How early in the production were you involved in the video’s visual style? Josh Nimoy testing some of the work going into 'Boom Boom Pow.' Read more on his site. We are dealing with a greater diversity of creative options by writing software-art, and we are choosing from these options much more rapidly. A big part of this is that when you are writing programs to generate an outcome - even if the outcome looks as though someone could have done it by hand - the art direction process was totally different. Rather than adjusting small details one by one, Nimoy’s toolset includes “slider bars, key controls, and data files. “A programmer is generating things that Maya and Adobe After Effects cannot do,” Nimoy explains, who previously worked on the Nike “One” commercial, where “generative diagrams and graphics swirl around and hover over the people’s heads.” (The spot won a Type Director’s award.) “We find that these things are dealing with large amounts of data, custom particle behavior, physics simulation, footage and image analysis, 3D model processing, randomness and chaos in magnitude, and everything in between.” Motal, a master at Autodesk Flame, elaborates that “the coders creating elements for the compers to integrate into the shot, but there’s a lot of overlap and back and forth.” The video is visually stunning due in part to the complexity of the post. Working at Motion Theory, Nimoy, a regular contractor since 2005, and Motal, in-house at sister company 1.1 VFX, didn’t work together, but were both part of the post-production team for the hit Black Eyed Peas music video, “Boom Boom Pow.” Artist/designer and technologist Josh Nimoy and VFX artist Matt Motal are rock stars.
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