OpenTAB, your curated weekly guide, keeping a close eye on breaking news and emerging visual trends in the creative arts.
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Risk, Love, Liberation
Dave Meyers directs the visual for H.E.R. and Usher’s ‘Risk It All’ appearing on the ‘The Color Purple’ soundtrack. The video was produced by Nathan Scherrer’s freenjoy, lensed by Scott Cunningham, with a mesmeric display of choreography by Tessandra Chavez.
Meyers’ concept builds upon ideas that appear in Jonathan Glazer’s iconic 2006 commercial for Motorola Red.
The single will also be included on Usher’s upcoming album, ‘Coming Home’.
Matchstick Man
Tomohiro Okazaki presents a feature-length matchstick study and masterclass in stop-motion design. The Tokyo-based designer achieves simple tricks that transcend in complexity as the film continues to grow and evolve through its own ideas and executions.
Okazaki has documented his exploration over on Instagram.
Free Radicals Film
Cinematographer Gregory Oke has created a beautifully rough-and-ready animated film for Will Epstein’s ‘Golden’. The film was made by hand-scratching film negatives and making inventive use of video collage. Oke previously worked with Charlotte Wells on her debut film, ‘Aftersun.
Speaking on process, Gregory said that he used 1000ft of blank, transparent 35mm film from Kodak and then cut it into 2 metre sections. He then spray-painted the strips different colours. Once dry, using a leather-working awl and a razor blade to scratch frame by frame, mostly abstract, moving patterns and shapes.
Through a Different Lens
The Accidentally Wes Anderson online community presents ‘The Exhibition’ in London — a journey through more than 200 of the most beautiful, idiosyncratic, and interesting places that are all seemingly plucked from the whimsical world of Wes Anderson.
The exhibition contains 7 themed rooms serving to provide you with visual inspiration by looking at the world through a delightfully different lens.
Winter 2024
‘Winter’ is Jamie Scott’s third seasonal time-lapse film and the second collaboration with composer Jim Perkins. The film is a culmination of 5 years of shooting across New York State and Montreal, Canada. All elements were captured in camera with some shots requiring a significant amount of compositing.
Because of the nature of snow falling and ice freezing, ‘Winter’ is Jamie’s most frenetic and fast-paced film, and he claims that it is the most difficult piece he has ever produced. At times Jamie was shooting with up to 6 cameras and 4 sliders, and lost 2 drones in the process.
