..says sman, the mini-Rig fellow students build in my maya for beginners class

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A great super8 short by lucas dittebrand. Nice music as well!

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The best I’ve seen around.

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Last weekend Hasan Güdücü and I participated the short film festival in Konstanz [1].
Hasan’s graduation short film “Himmel und Hölle” on which I worked was screened there.

I’d like to congratulate all participators and the creators of the winning films as well as the hosts for their kind care.

Thank you for all the valuable feedback, exchange and inspiration of the filmmakers, judging panel and visitors.

Hopefully we see each other next year.

[1] konstanzer kurz.film.spiele

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The team over at Actor Machine [1] developed a very interesting approach to deal with animation.
They basically created a system to control biped animation like emotional emphasized movement to drive characters in realtime. It seems to be like a motion capture system but with the motion being not captured but procedurally generated. The target market for this technology seems to be realtime media like games.
This project is led by Ken Perlin creator of the Perlin Noise function.

[1] Actor Machine(actormachine.com)

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Raf Schoenmaekers creator of the krokodove plugin suite [1] for eyeon fusion [2] announced that Version 5.0 of krokodove is licensed as “lego-ware".

As of today Krokodove is again available to everyone free of charge. Free to use, free to put on as many machines you like. But just as in the early days of Krokodove, if you feel the need to express your appreciation for the toolset, and want to show it, you can send in Lego. Yes indeed, as of today Krokodove is officially LEGO-ware. (Beside the dozens of tools added to Krokodove, the last 10 years also brought me 2 lovely daughters).

[1] krokodove plugins (krokodove.com)
[2] eyeone, creators of Fusion (eyeonline.com)

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bfHDRView [1] is a macro for eyeon Fusion [2] which helps to visualize high dynamic range imagery. It shows floating point values that exists above 1.0 or below 0.0 in map mode or High/Low Mode.

MAP MODE is generally what Shake does in floating point view:
it shows the values below 0 black, the values between 0 and 1 grey and, values above 1 white

The HIGH/LOW MODE normalizes values above 1.0 (in High mode) or below 0 (in Low mode) to 0-1 so you can see what is going on and how much detail is hidden without having to find a correct LUT value.

[1] output (bfloch.com)
[2] eyeon fusion

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David Wolpert and me collaborated for an entry to a contest for the next fluter magazine [1].
fluter is a magazine published by the The Federal Agency for Civic Education in Germany. The topic of the next issue and therefore video clip was USA. We created a fake old propaganda education movie titled »On the track to world power«. Beware of sarcastic humor and exaggeration.

Concept and Idea: David and Blazej
Illustrations: David
Animation and Compositing: Blazej
Software used: Adobe Illustrator, Adobe Photoshop, Autodesk Maya, eyeon Fusion, Avid Xpress Pro

[1] fluter (fluter.de)

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bfMOV2DPX is released as beta at my output section [1].

This python script automates the process of converting multiple quicktime files in a folder (captured with the Multibridge) to DPX files using the Blackmagickdesign [2] tool called framelink. So far it only works with OSX.

It has a nice little gui and several useful features like progress dialog, email on completion and saving of default values.

Screenshot 01

Screenshot 02

Screenshot 03

It is licensed as open source under LGPL [3].
See the included readme.txt for more instructions.

[1] output(bfloch.com)
[2] Blackmagicdesign (blackmagic-design.com)
[3] LGP license (gnu.org)

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Randy Pausch rests in peace. The inventor alice [1] died on 25th July. But he left something for his family and for the world.
Now that every media reported about it you should also watch his very inspiring last lecture.
I highly recommend the lecture on time management:

[1] alice educational software (alice.org)

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I really like this short film by Ryan Jeffry.

Fallen as Quicktime (roamation.com)
Ryan Jeffry’s site (wrongturn.org)

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Jazz Animation by Michael Levy, Music by John Coltrane [1].

[1] Giant Steps (michalevy.com)

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The shooting is over. I had real fun shooting in Paris. The people in public were kind and open minded. I have to confess, that I was under pressure because of the time constraints. The weather on the weekend was said to be bad. So we had to finish the shooting with both actors on Friday. But due to their experience everything turned out well. The pictures are stunning. This is a big effort of the great acting. I hope that I can do justice to this with the completed short film. Marko will start the music composing as soon as the rough edit is decided.

THANK YOU
I would love to thank everyone who helped to make this shooting happen.
Here in Paris thanks to
Arianna Véronesi and
Sébastien Bourlard
for contributing their talent and valuable time.

Of course huge thanks to my partner Marko Ostojic. Thanks for the producing effort, trust, exchange, fun, problem sharing and sources of inspiration.

Thanks to the staff and support
Maja and Srdjan,
Bojana and Ivan.
At Aachen big thanks to
Pawel, my father, Kuba and
Lutz Tegeler
who helped me constructing the camera rig and supported me with equipment.

Of course big thanks to my professors
Michael Brucherseifer
for his guidance and supervision and the trust in this project.
Thanks professor Matthias Knézy-Bohm for his invaluable hints and teachings.

Thanks to the owners of the bar Le Muller and the city of Paris for being our scene.

Thanks to coffee and cigarettes.

I hope I didn’t forget anybody. Please tell me if I did.
I am sorry that this thanks come before the project is finished but I feel that the people really deserve this.

Here some photos done by Maja:

“Cut. It’s a wrap!”

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We have decided on the actors. Arianna and Sébastien will take the lead roles. We established the details with Arianna yesterday and I’m glad that she looks forward to participate in the project. I am confident that she matches the role and it really pleases me that she shows the same enthusiasm as we do. The shooting will start on Thursday.

This evening we will meet Séb. From what I saw on pictures he will be the right choice for our character. I am sure he will feel the role because of his great experience in acting.

We really love Arianna and Séb to evolve the characters they play. Marko and I have a certain understanding of what we are looking for but we don’t want to limit the actors performance. It is them who will make the character feel, think and behave. We want the actors strongly to be in the process of developing the story from the characters point of view. This whole short film will be a team effort. And we want every person to participate in their way. I am glad Arianna seems to be happy with that. Although it possibly means more work for the actors the artistic freedom will greatly influence the result in my opinion.

Marko will compose the music. I am so excited about this. Not only will the whole short film be original work but also, with Markos deep understanding of the story, we can really work out a symbiosis between the picture and music. This is an often underestimated aspect of motion picture.

We’ve done some test shooting yesterday and the rig seems to be stable. The Parisian sun smiled at us. The picture we made look promising. It’s time to fill the picture with life.

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[1] Creators page (blublu.org)

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Preparation is progressing.

The production dates are decided, 21st till 25th May. Marko and I work on the story. We exchanged ideas and are getting closer to the picture. Since I don’t want to become the slave of my own planning I will try to sketch the story details to a level which allows the documentary-like progression on set. I want to evolve with the acting.

On technical side I did some tests with the promising SGPro/HV20 [1][2] rig. I will use a X4-Tech Zelo T8 [3] for monitoring. The quality is quite good for such a device. 8″ panel, resolution of 800x480. The support is responsive. There is lots of use full stuff included. And there is an extern LiIon battery module available which worked here for 4 hours on the device. The shoulder rig will be hand made. I got most of the parts here or on their way.

[1] SGPro (shoot35.com)
[2] Canon HV20 (canon.de)
[3] Zelo T8 (x4-tech.de)

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After the BBB premiere and the little conversation with Jon Phillips about Creative Commons I decided to change the topic of my presentation at the design marketing seminar [1] to Creative Commons.
The main intention of this presentation was to show why a licensing model like CC is relevant for marketing and even commercial business. Of course the idea of common property was an important part too.

What is Creative Commons?
It is a flexible licensing model which extends or to say more accurate restricts the copyright under certain custom conditions. This way the author can control the spreading and use of his works. The main idea is to be able to give the commonality access to your works while still preserving certain rights. Creative Commons (some rights reserved) is therefore to be seen a license between copyright (all rights reserved) and public domain (no rights reserved).

Why is Creative Commons?
Because it is necessary to have a flexible license model in the digital world. Accept the fact that every unauthorized copy and usage of a photo on the web is a violation in copyright of the author. But authors had no easy way to allow usage without giving away all rights. Now they have!

How is Creative Commons?
You have different factors like attribution, commercial usage, editing of your work and how the edited version has to be licensed. You define what rights the commonalty receives. This give certain combination like e.g. you can use and change the work as long as you name the original author, don’t use it commercially and publish the edit under same restrictions (BY-NC-SA). It is really easy to setup a license. Just browse to the Creative Commons site [2] and click on “License your work". One click later you get the license and instructions how to include it.

Why should I use Creative Commons?
Because CC is a motivation to use, share and therefore spread your work.
Because you can decide about the license and faith of your work.
Because you can allow editing and progress of your work.
Because you extend a big pool of material which you of course can have access to as well.
Because you still can make separate commercial contracts in combination with noncommercial license tag (see CC+ [3]).
Because you assist the commonality and you can wear cool Creative Commons T-shirts while doing so.

Big Bucks, no Bunny?
Not necessary. You don’t have to give away for nothing. So from the marketing point of view you can use Creative Commons as a marketing instrument. You can e.g. license a trailer or certain qualities of your video with Creative Commons so they will be spread while still demanding money for the high quality / complete version. Or you give away your work and make money from service and support (Red Hat anyone?). Or you just give it away for noncommercial usage and still make big buck from contracts with commercial institutions like TV Stations etc. Or give it away and hope for donations. Don’t underestimate the past called open source scene. There are lots of possibilities. I repeat. NOW THERE ARE POSSIBILITIES. Your creative mind makes the rules. Think about it and don’t forget to inform yourself at [2].

You can have a look at my presentation, too. It is, as a matter of course, licensed under creative commons. You can grab it at my new output section. It is written in German though.

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So there we go. Two experimental expired films, too little light for a tele, two hours of stunning drug-like music, a great time with Silva and countless beers later you can see some photos.

It’s clear as daylight that I don’t have to write much about the performance, there is only one way to experience it. Check the tourdates [1]!

[1] Portishead news (portishead.co.uk)

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NAB [1] is running. From time to time I get to see some fascinating news on the web.
RED blows them all [2]! They announced three new systems after the revolutionary (at least marketing-wise, if not technological) RED ONE 4k digital camera.

RED EPIC will be a 5k camera for about 40k USD. Already got a RED ONE? Swap it for a EPIC and pay only the difference.

RED RAY will be a player that plays up to 4k from RED DISC, RED EXPRESS and Compact Flash memory for under 1k usd!

And now for all the independent filmmakers.

PLEASE SIT DOWN FIRST!

RED SCARLET will be a 3K digital camera with scalable frame rates. For under 3k bucks! If it will do what they say then Sony, Canon etc. will have a hard time to keep the so-called “semiprofessional” market.

Release date given is early 2009.
Check the video report here [3].

[1] NAB 2008 in Las Vegas (nabshow.com)
[2] RED Digital Cinema (red.com)
[3] Report on RED at NAB (studiodaily.com)

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Fresh and hot music by alphawezen [1].
They produce under the local “Contemporary Dance Music” label modul8 [2].

[1] alphawezen (alphawezen.de)
[2] modul8 label in Aachen (modul8.de)

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On Thursday I visited beloved Amsterdam with Mirco for premiere of Big Buck Bunny [1].

Big Buck Bunny is the second short animation project of the blender institute formed by Ton Roosendaal. Check the trailer below.
Really interesting about the project is, that (almost) everything is done with open source software, blender [2], and the finished short as well as the assets will be published under creative commons licensing.

The short is well done, has a nice Pixar kind of look. The story is amusing, the characters sweet and detailed. I liked the animation much better than in the processor. Overall the effort has paid for the crew.

Although this project is exemplary for the open source / creative commons scene Ton still would love to have other open source projects become more active. For example he said, that they had to make the final 5.1 surround mix without open source software. Also I asked if such projects could be possible with live action films but the only editing solution called Cinelerra [3] doesn’t seem so stable and production proof as I would need it.

Although I love open source software I am often tied to commercial applications due to stability and requirements. Blender sure does not count in that matter anymore, but for editing or standalone compositing, DTP and others we still depend on commercial applications.

But that is not the end of the story. We met Jon Phillips from creative commons [4] and he really got me interested in their licensing model. It can be used really analogous to the thoughts of Don Tapscott about changing markets. You don’t actually give away your copyright (which is not possible anyway). Creative commons is a smart licensing structure which “works on top of copyright", said Jon.
All you do is make clear rights that the commonalty have to use or share your work. Because of the often confusing situation on the web this makes your life easier.
You can use it as part of your marketing strategy while still preserving rights you need for licensing when contacting the traditional markets in production, like DVD distibution, TV-Licensing, Festival screenings etc. You name the rules.
Definitely something I will look into.

[1] Big Buck Bunny (bigbuckbunny.org)
[2] Blender 3D Software (blender.org)
[3] Cinelerra Video Editing (heroinewarrior.com)
[4] Creative Commons (creativecommons.org)

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Mixed students from our facility + 48 hours + all kind of materials + creativity + beer
Find out more about the project on the weblog [1].

I did some photos on old stock with my new old Canon A1 (which rocks, of course).


Making of a jungle

Party in the jungle

[1] GROWING 48 HOURS weblog (design.fh-aachen.de)

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A superfictional documentary clip which shows how the band “the babylon underground” writes songs.
This was done for becks-on-stage [1] contest.

Idea
the babylon underground

Directing, editing, post
blazej floch

Camera
chris bucanac

[1] Becks band contest (becks-on-stage.de)

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Here a music clip from Chris Friedrich [1].
I had a great time with Chris on the post. It’s been a while but I you haven’t seen it before, check it out. Chris is a very passionate musician and a very cool guy. So don’t forget to take a listen of his album on kassettendeck [2].

Camera: Simon Best
Story/Editing: Chris Friedrich
Postproduction: Blazej Floch (that’s me)

[1] Chris Friedrich’s website
[2] kassettendeck - netlabel

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Finally I have a date for this little compositing workshop at our facility.
It’s called “digital compositing with eyeon Fusion” and covers in 7 hours technique, theory and real examples for compositing.

Mo, 31.03.08 from 16.00-20.00
Tu, 10.04.08 from 17.00-20.00

Free for all our students. Check details at our course managing system.
Please register with an email.

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It is a bit late but there is an excellent Berlinale keynote by Don Tapscott called “Rethinking Film and Film industry for the 21st Century” [1].
You will find the presentation as pdf here [2].
Mainly he talks about changing markets and how motion picture will/could change. Actually he gives examples that we are just in a big change called web 2.0. I hate the term. It has the “multimedia"-taste to it but he really uses it correctly.

Think about the kids
One thing that really opened my eyes is that we may not draw conclusions from our consumer behavior to the market cause the market is changing. Kids and teens are used to short clips on youtube, watching movies on mobiles or the Internet so there will be no problem for them to consume this way. This calls for a new way of thinking about motion picture and entertainment markets and that is what this keynote is all about.

Where’s the money?
This results in a need for new strategic sources of income. Copyrights and property for digital information is old fashioned. Look what happened with mp3 and what it could be. It’s better to claim no property at all but to look for alternative sources like service, advertising, donations or subscription fees. For example just think how accurate user statistics are in the world wide web compared to estimated values in tv advertising.
That is in a way the big thing behind what a production company noticed in the conversation “Show Me the (Advertising) Money!” [3] on the 41st International Quorum of Motion Picture Producers Conference. No need for big agencies. Direct contact with the customer! No unnecessary long ways.

YOU BENEFIT!
This enables great possibilities for independent creatives because you don’t depend on the distribution structures of big companies. The web is free. You can get your customer base with a great product and word-of-mouth advertising. That is what happens with the music industry right now. The artists directly benefit from it instead of paying the big labels and record companies.

[1] Rethinking Film and Film industry for the 21st Century (medienboard.de)
[2] Berlinale Keynotes (medienboard.de)
[3] Show Me the (Advertising) Money! (studiodaily.com)

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Following post is in German because it is about German law

BANG!
Wie kann das nur sein. Der Bundesfinanzhof hat entschieden, dass ein freier Grafiker der in der Werbung arbeitet keiner künstlerische Arbeit nachgehe bzw. der Arbeit Gestaltungshöhe fehle [1]

So sei es ein Gewerbe
Ok. Grad wurde mit einem Beschluss der ganze Beruf des Grafikdesigners zu einem Handwerk erklärt. Einfach so. Und das beste ist, dass sich das Gericht zumaßt so etwas bewerten zu können ohne die Gestaltungshöhe von einem Gutachter, wie vom Kläger gefordert, bewerten zu lassen. Ist klar, dass das Gericht seine Rundmails mit MS-Word Cliparts in Comic Sans verfasst und somit nicht den Unterschied zu einer gestalteten Anzeige sieht.

Teste deine Gestaltungshöhe
Ich werde es wohl nicht schaffen das Gericht zu überzeugen, aber dafür werde ich in 2 Minuten jeden Volldeppen auf der Erde beweisen wie man die künstlerische Gestaltungshöhe in einem Grafikdesign Job nachweißt:
Man nehme einen computerkundigen Menschen, wichtig: nicht Gestalter, und bringe diesem an einem Tag alle wichtigen Funktion einer Gestaltungsapplikation wie Indesign bei. Man gebe diesem Menschen einen aus der Realität entnommenes Briefing für die Gestaltung einer Seite, mit “vorgegebenen Materialien und Formen” und lasse diese Person an der Anzeige werkeln. Was rauskommt ist eine potthässliche Anzeige. Was fehlt? Die vom Gericht so streng geforderte Gestaltungshöhe. Wenn sie nicht erkennen warum auch Anzeigen Werke sind, dann heißt das, dass wir als Gestalter keine Grundlage für den Schutz durch das Urheberrecht genießen dürfen! Eigentlich sind damit alle Agenturen sehr angreifbar.
Geht in die Welt und klaut Anzeigen!

Was sagt denn die AGD dazu?

Disclaimer
Die vorangehende Text ist mit Ironie und schwarzem Humor versetzt. Bitte entzieht mir nicht die Gestaltungslizenz. Und JA ich habe bewusst drei hässliche Smilies benutzt! Diesem Post fehlt Gestaltungshöhe.

[1] BFH-Beschluss vom 1.6.2006 (IV B 200/04) BStBl. 2006 II S. 709

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Here are concepts that help me throughout my work. These are based on the work about documentary film by Thomas Schadt, a known German documentary film maker [1]. Unfortunately I haven’t found an English translation of this book. The following thoughts take his definition and extents it to my own experiences and ideas.

Thesis
If we define reality as the super objectivity, the world as it is happening, then we quickly realize, that there is no final reality for us. Our perception works with conventions that we learned and experiences that we made. The perception of reality has always a layer of own interpretation between what there is/we perceive and how it results in what we think it is.

Easy enough?
Here an example. If the reality is that I’m standing waiting for the bus at a bus station then this is not the final reality from my point of view. It is connected to how I ended up there, what I do there, why I wait, what is my mood etc. For example for someone who is standing there and never saw a bus before there is a much different perception of the standing at the bus station. Also two people who wait for the bus have a different perception of the situation. And lets now pretend we see the picture of a guy at the station waiting for the bus. What we all may think of is: a guy waiting for the bus. But each and everyone will have it’s own interpretation, association and so on for this situation. Maybe I don’t like buses cause they are often delayed. Maybe I met my wife at a bus station. Maybe I love riding the bus and can’t wait. Maybe I lost my keys and can’t think of anything else. The situation or picture of something doesn’t imply the reality but the truth which can be different for every single person. Although the first thing most of the people might say is: “A guy waiting for the bus!” that may not be completely what they feel or think. Often, the less information or the more abstract the object the more we relate to our own interpretation. Think of a real situation you stand in, a video clip about the situation, a photograph, a painting, a abstract painting, a narrative text etc. And then just imagine in how many ways you can influence a picture, by color mood, technique, sharpness, perspective without really touching the content.

Your role
You, as a creative, work with these factors: Your truth as an abstraction of reality. It is a good time to catchup with documentary films and their main problem. Documentary oughts to be real. But it can not. It’s only the truth of the movie maker from the cameras truth of perspective. And there a hundreds of other factors. A motion picture always has a certain layer of abstraction to it as well as the decision how authentic the movie has to be.

Cinematic examples
When I saw Sweeney Todd by Tim Burton [2] lately in a cinematic theater there were people laughing while Sweeney hit his first victim with a kettle and then slit the throat of the victim with a razor. Blood splattered all over the place. Of course there was a special kind of graphic abstraction to the pictures and the victim but how would you think the people would react if they knew it was real in the news or were standing next to the victim? Of course Tim Burton is an great director and that is why he must have chosen a very unrealistic graphic style in this movie, so that the people keep sympathy with the protagonist while he kills people. Think of Pan’s Labyrinth by Guillermo del Toro [3]. Captain Vidal, the villain kills a farmer with a bottle. I didn’t hear any laughs. Guillermo del Toro held this scene for very long. I thought, god please give us a cut! And that impression, as first bad incident of the villain kept to the end of the movie. One similar reality: a guy kills someone by brutaly hitting his face with an object. Two different truths.

Truth as a tool
Directors always have the audience in mind if or how much abstraction they expect. But it is not possible for them to show reality. A good documentary often needs a dramaturgy which doesn’t have to be staged. But it can be. Often a medium like a video needs a certain level exaggeration to have the same effect as a live performance/situation. The reason is that the audience feels save in their seats, with the screen as a defending layer of abstraction. Thomas Schadt relates to a situation where a colleague filmed a scene which was beautiful timed, looked great, almost perfect as if it was staged. It was so perfect that the filmmaker left it out because the audience would think it is staged. And this would challenge the whole level of authenticity in the rest of the movie.
Here is another layer and tool for shaping the truth: editing. With direct connecting, leaving out, adding, mixing, blending different pictures a filmmaker has a great power to influence a situation. Not to think of what is possible with visual effects/image manipulation [4]. This all sounds very negative but think of it like this: Every movie has a truth which has to fit the story, its audience and their expectations. A film maker like Michael Moore is known for constructing a truth which critics abuse to be lies and manipulation of facts. His movies’ intention may be to see our society in the mirror. And that may be why he constructed his truth which may not be reality. What does this teach us? There is no reality, but only subjective truths. And don’t believe that press is reality. It is (in good cases) the best try to construct a truth which is as close as possible to reality. But only close [4]. Often struggles, conflicts and even wars happens because people can’t judge the difference. That’s why it is important not to believe truth but always to leave room for doubt. But also to doubt in your own truth. Get practical: Just think of yourself. How many times you turned out to be wrong? But before you realized this, you could swear that you are right, that your opinion is real though it turned out to be, for whatever reason, a truth your mind constructed due to misinformation, misinterpretation, oblivion etc.. So better not to take your truth for reality at any cost. Isn’t this what is called tolerance?

And the conclusion?
As a director you have to be mindful of the difference between reality and truth. You are a designer of a truth which an audience is confronted with. You have to be clear, how close or far away you want to go to reality and you have to make clear that the audience realizes this distance. A film is a powerful emotional expression and you have a responsibility not to exploit the trust of the audience.

Disclaimer
I am not a scientist, a smart guy or what so ever. This is just a very subjective idea (truth ) which I want to share. It doesn’t have to be your truth or reality. But it may come in handy for you.

[1] Gefühl des Augenblicks (amazon.de)
[2] Sweeney Todd (imdb.com)
[3] Pan’s Labyrinth (imdb.com)
[4] Image manipulation at reuters (aish.com)

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The project I’m yakin’ about like a excited child is … Paris!

…

Well that’s all for now. I don’t know what it will be. I have some pictures, ideas but I didn’t think too much about it on purpose. I want to catch the character of the scene, the city, while I’m there and think there about the picture. Also I look forward doing this with my production partner Marko.

So my tickets are in front of me. March 13th till 16th, and after this 6 days of location scounting, subject finding, photographing, plot inventing, brainstorming, creating and creative writing I hopefully will be able to tell more about this project.

But what I CAN do here is to prepare the equipment. And get it. While thinking about my - btw first serious project, where I will be seriously directing - I decided that I want to go for a film look. And I don’t mean just the technical aspect, but from the feeling the footage should have to underline it’s artistic and technical level.

I would love to shoot in 16mm, being a film lover lately in photography. As executive producer (which means I dump the bucks for this project) for now, and since I would need a experienced camera operator for film I quickly searched for different solutions. Video is the only possible way to go for me on a mini crew. So a 35mm Adapter is the only solution. That’s basically a adapter you can mount on your video camera to attach film or photo lenses to it. Since the image plane is 35mm and the lenses due to their specs produce a short depth of field you get something which comes close to a film look. Close since there are many more things to consider. Like speed, color and there are certain new limitations. Biggest might be that you can only focus manually. Like shooting on film cameras.

There are many things to be tested. For now I was looking for the best affordable solution and came up with a set of Canon FD photo lenses, SGPro [..], a matte box imported from india, ohrwurm II as environment audio input device, X4 Tech Zelo M8 as monitoring solution (maybe instead a Grunding Davio7) and some gadgets here and there I will have to build.

I will have some intensive testing when I’m back from Paris, possibly the kit is complete by then. But that’s not what I’m concerned about.
I do care more about the suspense… will have to create green shit!
(will be explained in further posts )

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The babylon underground participates at a rock band contest sponsored by the beer brewery becks.

The bands get 3 tasks. One involves a video clip on how they write a new song. Together with Chris Bucanac on the camera I directed and finished this video based on the band’s comical and ingenious idea: a little recording studio in a little box.

You can view the clip and daily vote for the band at the becks on stage website [..]!

For lazy fellows I will post the video here next week.

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Welcome to my blog.

I finally finished the design I started way back last year. Hopefully you will get some personal information, photos, tutorials and thoughts in this script to my life.

Feel free to comment and write suggestions. It’s worth to register, especially as a friend: check the about page.

See ya around!
Cheers
blazej

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