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In February I sketched the danish singer Lydmor (from her Facebook profile picture) as inspiration for Mi. Now, 2 months later, I’m working on a seriously cool project together with Trib, where we’ll do an interactive visual performance as part of Lydmor and Bon Homme’s concert at the SPOT festival in may.
It will look nothing like this, but everything has a beginning :)
Zoom Info
Camera
iPhone 5s
ISO
200
Aperture
f/2.2
Exposure
1/33th
Focal Length
4mm

In February I sketched the danish singer Lydmor (from her Facebook profile picture) as inspiration for Mi. Now, 2 months later, I’m working on a seriously cool project together with Trib, where we’ll do an interactive visual performance as part of Lydmor and Bon Homme’s concert at the SPOT festival in may.

It will look nothing like this, but everything has a beginning :)

I have been silent for some time now, but that’s often how it goes in the beginning, when one has to work for money next to developing. Anyway, I just found an old piece of concept art for The City. Spring cleaning is awesome!

On sunday I’ll be traveling to the west coast to do some writing together with awesome script writer Laura Madsen. Can’t wait!!

A little more than a year ago Nils Frahm’s SCREWS was released. I had just started working on my new fictional project CRANE on the Run and named my main character Mi.

I had a wish to develop a slow paced music video while writing the core story, and when SCREWS was released with the recording “Mi” and an open invite to do reworks, it was as if it was meant to be. Not only did the name match, but the mood and textured feel of the recording was perfect for what I wanted to do.
Nils Frahm released SCREWS on his 30’st birthday, and so I release my rework on mine. Check out the rest of the album and the other reworks on reworked.nilsfrahm.com.

A big THANK YOU to Frederik Overgaard Jeppesen, Laura Büchert Schjødt and Ellen Riis for being my support and fresh eyes!!! And a huge THANKS to Nils Frahm for his inspiring music and this invite to be creative with it!

In may I was sitting outside my room in a japanese Minshuku, listening to Nils Frahm’s Mi over and over again. The first images of the film started to play out in my head, involving a woman (Mi) morphing into a crane. 
I had an idea of adding slowly falling snow or leaves on top of some very subtle scenes, to keep them alive and add a poetic feel and touch to the film. In the end I explored this “effect” through an underwater scenery adding falling feathers.
Zoom Info
In may I was sitting outside my room in a japanese Minshuku, listening to Nils Frahm’s Mi over and over again. The first images of the film started to play out in my head, involving a woman (Mi) morphing into a crane. 
I had an idea of adding slowly falling snow or leaves on top of some very subtle scenes, to keep them alive and add a poetic feel and touch to the film. In the end I explored this “effect” through an underwater scenery adding falling feathers.
Zoom Info
In may I was sitting outside my room in a japanese Minshuku, listening to Nils Frahm’s Mi over and over again. The first images of the film started to play out in my head, involving a woman (Mi) morphing into a crane. 
I had an idea of adding slowly falling snow or leaves on top of some very subtle scenes, to keep them alive and add a poetic feel and touch to the film. In the end I explored this “effect” through an underwater scenery adding falling feathers.
Zoom Info
In may I was sitting outside my room in a japanese Minshuku, listening to Nils Frahm’s Mi over and over again. The first images of the film started to play out in my head, involving a woman (Mi) morphing into a crane. 
I had an idea of adding slowly falling snow or leaves on top of some very subtle scenes, to keep them alive and add a poetic feel and touch to the film. In the end I explored this “effect” through an underwater scenery adding falling feathers.
Zoom Info

In may I was sitting outside my room in a japanese Minshuku, listening to Nils Frahm’s Mi over and over again. The first images of the film started to play out in my head, involving a woman (Mi) morphing into a crane. 

I had an idea of adding slowly falling snow or leaves on top of some very subtle scenes, to keep them alive and add a poetic feel and touch to the film. In the end I explored this “effect” through an underwater scenery adding falling feathers.

Here’s one of the few backgrounds for “Mi”. The seaweed is animated and I’m currently adding The Silent Ones and jellyfish to the shot. I’m working with mixing live action underwater stock footage, kindly provided by Laura Büchert Schødt, with a hand painted kinda graphical look.

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