"Working with with illustrator and Art Director Katie Scott, we created an unique 15m x 3.5m animated wallpaper that slowly evolved over a 4 hour period. Created for Pernod Ricards' annual creative meeting on the private island of Embiez in the south of France and installed by Paris based Events agency Auditoire. The installation became a passive digital experience that functioned as a thought provoking backdrop to the schedule of creative speakers. Using 'Foley' artist Michael to create the audio effect and Lewis and myself to create the animation we were able to take Katie's illustration into an animated form, and her unique world became an animated experience."
"From ancient times to the present 'spectacle' (the visual aspects of human performance–architecture, scenery, costumes, makeup, lighting, special effects, and staging) has been used to expressively embody and evoke meaning in rituals, ceremonies, and artistic performances. This course [Eye Appeal: Spectacle on Stage and in Life at The University of North Carolina at Greensboro] will examine the use of spectacle as an expressive mode of communication in human performance from antiquity to the present."
(Bob Hansen, 2004)
"Berkeley's choreography is important less for its movement of the dancers than for its movement of the camera. To overcome the limitations of sound stages, he ripped out walls and drilled through ceilings and dug trenches for his film crews. When a desired effect could not be accomplished with traditional film equipment, he had his budget expanded to include costs for developing custom rigs. His innovations explored ideas that the stationary camera could not. He wanted to take the audience through waterfalls and windows. He wanted lines of dancers to fall away to reveal scenery that in turn would fall away to expose an even larger setting. His dreams were big, but his determination to see them actualized was even bigger.
Even his worst attempts resulted in eminently watchable movies of exhilarating movement, but his best efforts produced startling effects that bordered on surrealistic dream states. In the quintessential Berkeley films Footlight Parade (1933) and 42nd Street (1933), cameras mounted on tracks are sent soaring past a multitude of dancing legs, flailing arms and orchestra instruments. In all, he directed more than twenty musicals, including an underwater sequence with aquatic star Esther Williams."
(Scott Smith, 6 February 2013, Keyframe)
"With a final dollop of blood splatter sploshing across the plasma TV, Series One of BBC's visceral police drama Ripper Street came to a crashing finish on Sunday night!
Screen Scene VFX completed all the visual effects work on Ripper Street's first season, and are proud to share this fantastic breakdown/making of video showing you how they weaved their inimitable brand of wizardry to make Dublin look like Victorian London."
(Screen Scene Post Production Facilities, 26 February 2013)