NRYN TALKS LEON VYNEHALL - TEXT LUKE TIERNEY
NRYN returns to make another visual treat for Leon Vynehall. With birds of paradise very much the inspiration the viewer is taken on a 8minute journey that reinforces electronics love affair with animation. We sat down with NRYN to find out a bit more, like how many different feathers were created to get to this point.
Word Is Cheap: Where and how do you start when creating such unique non-narrative led animations?
Nryn: Following a theme or carving one out is important. For music videos it's natural for me to follow the theme or message of the song or album, and finding images and moods to match. That's what I was hoping to do with 'Blush'.
There are definitely some unusual moments in the video, but definitely not as weird as the real rituals of some of the Birds of Paradise
WIC: Was the task of creating an 8min+ long animation daunting? How long did it take to make?
N: My workflow relies on experimentation, so despite the task of creating a music video perhaps twice as long as 'normal' on a fairly tight deadline, I went headlong in to it. Usually I have a good idea of where a video needs to go - what the images are supposed to do and how to achieve it using software, but what excites me most are the incidental or chance creations that can only come from trying to do something different from what you're used to. During production I had to be quite patient, and was switching between making adjustments to the shot, and planning in detail how to produce the next while rendering the last. There were certainly a few nights burning the midnight oil.
WIC: Did your last Leon Vynehall video 'Butterflies' have an influence on this project? if not what were were your influences? Flamingos??
N: I had really strong positive feedback from Leon Vynehall on the work I did on 'Butterflies', which was nice. So when I was approached for 'Blush' I sort of knew what would go down well. There are lots of similarities in the imagery between the two videos - circles, hypnosis, flight. The influences behind it all were the colours, movements and mating dances of the Birds of Paradise. That's the theme of the whole record, and I wanted this video to represent that. There are definitely some unusual moments in the video, but definitely not as weird as the real rituals of some of the Birds of Paradise.
WIC: How did you pick such a flamboyant colour scheme?
N: One of my objectives I'd given myself was to cement the visual identity of Rojus as a record. I really like the album artwork which uses that sweet pink colour, with overlaid and effected images of Birds of Paradise. So the pink colour is from that, and the rest of the colours are inspired by the birds. I really recommend searching the web for these Birds of Paradise (and videos of their mating dances) if you're not already familiar with them.
WIC: Did you find this animation process feel smoother than the last for 'Butterflies'? How many different types of feathers did you have to create??
N: I'm not sure how many feathers there are, but my final After Effects composition had over 650 layers (each with any number of feathers) in it. So the answer is lots. If anyone fancies counting, they can be my guest. The animation process felt equally smooth as for Butterflies because I used the same workflow for both, and was able to get in to a 'production line' mentality when creating the shots. The main difference was 'Butterflies' was already behind me, so I sort of had a blueprint for success (in Leon Vynehall's eyes) ahead of time.
WIC: Where does your animation go from here?
N: More experimentation. Knowing me, more detail, more layers, more everything. Currently developing a few more projects and creative ideas with COMPULSORY. I'd like to keep pushing new ideas and keep working with great artists whose music I'm inspired by.