Sketchbook
- Trebuchet
- Seismograph
- STEIM Experiments
- Isadora Color Organ
- Isadora Live Camera Control
- Jitter Color Organ (music by Celeste Hutchins)
- PD Kaleidoscope
- Whirlitzer
- Coagulate
- The Volga Will Be Our Mississippi
- Azharah
- 350 Feet
- Glasfilm
- The Lawyer and the Dead Man
- Sloth
- The Judge
- Battletank
- The Pilot
- Six Premonitions
- Fickle
- The Mouth and the Vitamin
- Art of News
- The Thief
- Jam
- One, Two, Three
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Another data transcoding experiment with composer Daniel Hindmarch.
format: realtime animation
software: Jitter, PD
Toronto, 2008.
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Here’s a data transcoding idea created with Christina McPhee.
format: realtime animation
software: Jitter
Amsterdam, 2007.
These are realtime recordings, with me triggering events by tapping keys in time to the beat. They’re tests for some upcoming projects using OSC (Open Sound Control), a nifty protocol for getting many different kinds of realtime sound and video programs to talk to each other.
format: DV video
software: Isadora, Max/MSP/Jitter, PD
Amsterdam/The Hague, 2007.
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Here’s a collaboration with composer Meg Schedel, recorded at San Francisco’s Musée Mécanique, a collection of early-20th-century mechanical musical instruments.
format: DV video
software: AfterEffects
San Francisco, 2006.
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This was created during the same Kitchen workshop that spawned The Little Bird of Disaster; the soundtrack was made with a 1960s analog computer and a brand-new upright piano.
format: DV video
software: AfterEffects, Final Cut
The Hague, 2006.
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This is a demo for a new video installation I’m working on. It’s like an old puzzle in a kid’s magazine–can you find all the eagles?
format: realtime animation
software: Isadora, Live
The Hague, 2007.
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This lovely sand animation was created from Hebrew calligraphy by Gil Omry, as part of Lauren Hartman’s play Out of Me and Into You.
format: DV video
software: Director, AfterEffects, Final Cut
Los Angeles, 2003.
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This little cartoon took ten years to finish. I drew it all out in pen and ink the winter of 1995, and didn’t get around to shooting it for exactly a decade. Here you go!
format: DV video
software: Photoshop
Pittsburgh, 1995.
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Yeah, everybody who’s been to film school has got a scratch film, but I’m partial to this one.
format: 16mm film
software: n/a
Amsterdam, 1998.
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Here’s a taste of a new technique, animating cutouts in front of lights in Maya…going to be the basis for a whole new short not too long from now. The characters in this test are the Dead Man and the Lawyer, from Jen Tsuei’s play Fantasias for the Immoderate.
format: DV video
software: Maya
San Francisco, 2006.
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What’s a goat doing on the phone? He’s illustrating one of the seven deadly sins, of course.
format: 16mm film
software: n/a
Los Angeles, 2003.
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This video was my first try at rotoscoping, created as a projection for a dance performance. The character here is a corrupt judge receiving his karmic punishment–which I imagine here as getting flushed down into some kind of supernatural plumbing.
format: DV video
software: Commotion, AfterEffects, Final Cut
Pittsburgh, 2001.
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This is a bit of found footage from an old video game, slowed way down. Turn up the sound and take a look….there’s something going on here that I can’t quite explain.
format: DV video
software: AfterEffects
Los Angeles, 2003.
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This is one of two attempts I made to turn the text of a curious 1960s children’s book into a cartoon. Stay tuned…
format: DV video
software: Director, AfterEffects
Los Angeles, 2002.
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Here are six very short films made in the six months leading up to the Second Iraq War.
format: DV video
software: AfterEffects, Final Cut, Audition
Los Angeles, 2003.
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A curious little fragment. I rarely work with real film; the results always surprise me.
format: 16mm film
software: n/a
Los Angeles, 2002.
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This is one of a series of realtime animations we created for Jen Tsuei’s play Fantasias for the Immoderate. Two actors in microphones used the volume of their voices to control the video “puppets” in a program called Isadora.
format: DV video
software: Isadora
Los Angeles, 2004.
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I love this little opener I created for the Pittsburgh public-access show Art of News. The jack-in-the-box was puppeteered with wire rods that I painted out in Commotion, which worked out so well I’ve been looking for an excuse to do it again ever since.
format: DV video
software: Commotion, Premiere, Audition, Acid
Pittsburgh, 2001.
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The middle episode of an epic Super 8 trilogy; the other two parts are lost.
format: Super 8mm film
software: Premiere
Pittsburgh, 1997.
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This was my first, never-finished stab at 3D animation; I’ve got something a bit more modern coming up soon. In the meantime, while visually this thing wouldn’t pass muster as a turn-of-the-century game cutscene, I do like how the music turned out.
format: DV video
software: Maya
Pittsburgh, 1999.
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This was an early compositing test, multiplying myself with hand-painted mattes. For me, the magical feeling was probably pretty close to what the first photo pioneers must’ve felt…
format: DV video
software: Premiere, Photoshop
Pittsburgh, 1998.
