A woman discovers the light and power she holds inside herself, in Balázs Simon's incredible visual for Heart Attack.
Leifur James 'AAID' by Balázs Simon & Dávid Dell'Edera
A hypnotic series of memories are visualised through clever 3D-scanning techniques in Balázs Simon and Dávid Dell'Edera's video for British electronica artist Leifur James's AAID.
Following from Simon's award-winning video for James's Wurlitzer, this video is a haunting, ethereal trip through fuzzy snapshots of life, all captured through broken 3D scans and glitchy aesthetics.
Our brain is quite selective... that’s where the aesthetic of broken/incomplete 3D scans came in.
"For this video, I decided to team up with Dávid Dell'Edera, long-time collaborator and even longer-time friend. We've been working in each other's films, so it made sense to finally do something together.
"So we spent most of the Christmas holidays and the next couple of months locked up, doing photogammetry, experimentation with virtual lenses, and all sorts of technical stuff we didn't understand at all. This is the result.
"There’s a mixture of alienation and personal loss found in the soundscapes of [Leifur James's] new album. We wanted to invoke those with a story of a broken relationship, built up from a series of fuzzy memories. Our brain is quite selective, there are things we remember very vividly, while other things remain unsure, or even untrue. That’s where the aesthetic of broken/incomplete 3D scans came in.
"It was a really exciting, but also weirdly upsetting process to work on this. The places found in the film are our own living spaces. Every day when we came together to work on the film we were in the real spaces, creating their broken, imaginary memory versions at the same time."
"That’s how we got ourselves constantly somewhere on the edge of reality and imagination which is a really timely problem to have! The 'truth' of the image is long gone, and that was an exciting aspect to explore - building spaces and characters that have an obvious CGI artificiality, but shot with lights, lenses and atmosphere that adds a sense of realism. We were using these to tell a story of two people which is supposed to be real, but shown with a POV style that is a really one-sided, biased look of a relationship. By the end the only thing that we can be sure of is that it’s over.”
|Animation Director||Balázs Simon|
|Animation Director||Dávid Dell'Edera|
|Post production company||Umbrella Budapest|
|Post production company||Airplan|
|Label||Night Time Stories|
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