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We just finished the 3rd edition of The Light Design Timecode contest, in cooperation with SGM. Some professional videos were submitted as well so, from our point of view, it was quite tough to choose a favourite.
We received a video that caught our attention and got a good feedback from our readers. It’s about originality and hard work, but also about an entirely new design concept.
This is the clip we are talking about:
The autor is Amir Cohen. He is from Israel and he is 29 years old. We were a little bit curious as to how he did it, so we had a chat with him.
Amir comes from a family that works in the entertainment industry and owns a sound&light company in Israel. He has been part of this industry ever since he was a young boy. He was attracted to lights from the very beginning, and he can now see his dream come true – working as a lighting and production designer. In addition to his work in design, he is now the company manager and is responsible for all of its six departments: sound, light, video, laboratory, sales, and sound and light school.
This is what he told us about his work for the timecode project:
The software I worked with is Cast-Wysiwyg. I found this software perfectly suited for the project because of the large variety of tools it offers for working with 3D objects, videos and camera angles. Moreover, the working space is amazing, the support of such a massive amount of 3D objects is incredible, the ability to manipulate all those objects at the same time at any camera angle I need for a specific scene makes the workflow faster, and the final visualization rendering is amazing! All fixtures, video output and camera paths are Wysiwyg-based, no external software was used to generate anything. To control all these elements, I used my HOG 4 console connected to Wysiwyg via Artnet, running an internal timecode clock to sync everything. I began working on this project 2 weeks before the submission date. I first built the worriors shapes and vehicles, then the world around them; once all objects were in place, I started programming fixture and camera positions on the console. The hardest part was to capture all this massive amount of textures and objects on the external screen capture software – I remember overclocking both the CPU and the GPU out of their comfort zone. That right there was a very stressful moment. The fixtures used on this project: a lot of SGM G1-Beam, a lot of SGM P-2, and only one G-Spot.
I checked out the SGM products, G-Spot and G1-Beam, and they looked like something else, not like ordinary moving lights. They were more like warriors, warriors from outer space, with their bold design and shape, so I immediately knew that those fixtures didn’t belong on a truss. They needed a fight on a field, this video was going to be Epic! Using a SGM fixture for the warrior’s head, the next thing I needed was a body. By manipulating three-dimensional objects and surfaces mainly from the Hello world, I created a warrior’s body that matched the head perfectly.