Agency Dirk & Philip asked us to help with an invitation movie for the FUTURE SELF exhibition at MADE. Since they wanted to feature a moth, it was time for us to bring our beloved protagonist back from the dead.
more at: polynoid.tv/made-future-self
Agency: Dirk & Philip
Production company: Polynoid / Lovestone Films
Directon / Art Direction / Animation: Polynoid
CG Artists: Heiko Schneck, Jan Bitzer, Tom Weber, Fabian Pross, Csaba Letay, Ilija Brunck
Music: World Gang
How did we get here?
When I started to seriously get into electronic music as a producer in 2002, vinyl sales were just starting to decline due to digital sales and illegal downloads. Having never been a vinyl head, I was more than happy and willing to support the idea of breaking the dubplate cycle. At that time it really meant having a physical copy of a fresh, unreleased tune, which, typically, the producer himself had given to you. The dubplate vinyl therefore had the function of a doorkey. Know the right people, and youâ€™re in. Be a newbie, well, better forget about it. As a result, the whole scene was centered around London, with people trading dubplates a lot.
As it had happened in history before, technology helped foster D&B democracy. The net not only shrinked the complete planet into a close-by neighbourhood, its digital foundation also allowed for substituting the vinyl hardcopy with mp3. This revolution was then pushed forward by the new ones in the scene, fresh producers who mostly knew each other through the various online forums. Maybe Iâ€™m single-minded, but to me it seemed as if the Neurofunk subscene, being techy by heart and sound, was the one to really embrace this approach for a global movement of new people with new skills.
Being young and ambitious, all we wanted was to see the light, challenging our own producer heroes of old. And it worked.
But over time, the complete electronic scene started to adapt to the game, commercial platforms appeared, and we entered D&B v2.0. Now, the bigger names were in, again, and with their good brands, they stayed on top, often because of their impressive powers in front of the crowd. Most newcomers were producers initially, not DJs, and therefore had to adapt to the performance side of it. But the DJ spot is what has been the aim of the game, always and ever. In the end, there is a beautifully inhomogenous mix of old DJ veterans and newcomer producers. Due to the fact that electronic music is something still kind of new, at least when compared to regular music, most actors are still at an age where they are far from retiring. It is no wonder, that now, in 2011, we have kind of an excessive supply of DJs, fighting for the money brought in by roughly the same amount of party people
See also Audiojungle.net –Â easily buy or sell royalty free stock music.
Are you a professional? The sort of professional that other professionals love to work with? Itâ€™s time for some self-evaluation.
So grab a cuppa, and sit down for a chat with Aetuts+ editor Adam Everett Miller. He gets very up close and personal with you in this Aetuts+ video, which will strike a chord with all creatives, not just those into video.
“In todayâ€™s post Iâ€™m going to do something a little different by just having a nice little sit down chat. Iâ€™ve never done with in the 3 years Iâ€™ve been running this site, but I thought this might be a nice chance for me to share a few red flags Iâ€™ve noticed that tell me that whether or not I would want to work with you more than once.”
So, are you a professional?
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How to calibrate your edit suite or home studio to 79db, a standard reference level for audio work for film and television
By Brent Heber