In this work as well, I carried over from my previous works the principle of rigorously applying sound sync, faithfully reflecting even the smallest traces of the music in the visuals, while using no intentionally symbolic shapes or imagery at all; instead, I composed it as simple motion graphics centered on primitive circles and squares. Compared with my previous independent productions, this work explores the limits of motion—moving even faster while remaining intact. In terms of its look, I aimed for a vivid, tactile appearance that, despite not being a 3DCG work, would still feel materially present, by compositing a 3D-like look inspired by Apple’s Liquid Glass—something absent from my previous works—onto flat 2D graphics. Although the work runs at 24 fps, which is visually disadvantageous for fast motion, I aimed for a crisp visual experience with no sense of afterimage, without relying at all on motion blur or similar techniques. I established certain rules for the luminance and hue differences between adjacent frames, as well as for the amount of change in the shapes themselves, though the latter is a subjective evaluation, and this led to an examination of how impressions differ depending on those threshold values. Personally, I also have the impression that in recent years there have been many examples of relying on camera movement to enhance the overall impact and “amount of information” in a video. In this work, I kept camera movement to a minimum based on the principle of not moving along two or more of the xyz axes simultaneously whenever possible, and instead focused on appealing graphic transitions through morphing of the shapes themselves. Especially with fast motion at 24 fps, I was keenly reminded of how long one second is, and how few frames there are to draw the necessary images for the progression of the piece, and I would like to continue exploring the possibilities at the limits of such constraints.

Tomoya Fukui, “INTO YOU”