2/18/2024 0 Comments Boom boom pow music videos![]() Usually, my major role is comping shots, but for “Boom Boom Pow,” I spent most of my time onlining and breaking out all the shots, updating the edit via EDL’s from our Final Cut editor, building and mainting the master conform, and running daily review sessions. MM My contribution on this video was a little different than my typical role on most. However, I do know about computer vision as I am the author of JMyron, another CV library for Processing. That’s code that Keith Pasko wrote, not me. ![]() This was all generated from code, and no rotoscope was done. The specific library we used is called OpenCV. Can you describe some of your specific contributions? How much is generated from code versus frame-by-frame animation? Some of the visuals in the video appear tied to colors and edges, while others overlay with live-action movement and CG renderings. Other times, I can just change a number or two and hit recompile. Like what new features will they request? Sometimes a modification is not so easy to add in given the way you originally coded something. Another challenge is having a kind of foresight and wisdom about what the art direction is going to ask for, when they see your basic application. JN The biggest challenge is looking at the initial design ideas and trying to adapt them or take them further using programming. There are a lot of changes that happen all the way up to the last minute.Īnytime you’re pushing the envelope on new design and VFX, there are going to be looks and techniques that you stuble upon that end up being successful. You have to be able to adapt the edit and individual shots to keep pace with the latest vision. MM When you’re developing a high end video like “Boom Boom Pow,” there are lots of great ideas coming from a lot of brilliant people. What challenges arose? Any happy accidents? We try to use the department for the strengths the system offers: onlining the edit, building and maintaining the conform, breakouts, realtime viewing, color, high end comping, finishing, client sessions and layoffs. Matt Motal The Flame needs are usually determined by a consensus from our directors, producers, art directors, and Flame department. That’s usually the case with these projects. ![]() We had a lot of options to choose from in the end. Keith was deforming 3D models based on music input and doing camera-vision processing to track shapes as they moved. We were doing a lot of footage-to-particle systems. I worked on some of the aesthetic research - a lot of which actually did not make it into the final cut. 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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