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Arlo Enemark

Ariel Nishli — Fri, 14 Sep 2012 20:54:01 -0500

Pro Juice Profiles: Guerrilla Artists on the Cutting Edge of All Things Digital | Show Host Arlo Enemark aka Smile on Impact

Tastemakers and fans of delectable digital eye and ear candies have spoken. They want to know who designed the choicest treats on their Pinterest boards, the animators behind the most viral of videos, and what VJs concocted the laser art spectacle at last weekend’s rave, let alone who produced the unworldly beats spun by the DJ.

To answer the call, we’re running a series profiling five of today’s hottest indie digital artists. Each was selected to reveal craft secrets to the world on KoldCast TV’s Pro Juice, a show that brings the best tips, tricks and showcase clips to legions of creative types from the world of digital media.

Hosts Arlo Enemark and Nick Calpakdjian bring their fast-talking, shoot-from-the-hip style to talented artists who peel back the curtain to show you how the magic is made. Pro Juice has an indiegogo fundraising campaign in the works to bring you Season 2, a truly innovative multi-platform production for which they’ve lined up an impressive cadre of talented new digital artists.

FOURTH of 5 in the Series: ARLO ENEMARK AKA SMILE ON IMPACT

Spend a few minutes speaking with an entrepreneur about their tech startup, and the image of an old Vaudeville act springs to mind. These mavens wear a variety of hats while simultaneously spinning a stack of plates. Arlo Enemark, aside from hosting ITV series Pro Juice, boasts the title of digi-DJ, and unofficially, guerrilla artist cheerleader. He’s exemplary of today’s multitasking hustler, but don’t make the mistake of pigeonholing him. Arlo’s style is undeniably unique. For starters, he sports a Fu Manchu moustache.

As the face of Pro Juice, Arlo the entertainer, educator, and investigator probes the minds and methods of today’s leading digital artists to bring audiences a blend of esoteric information and a damn good time. As digital music producer “Smile on Impact”, he flexes his own artistic muscles by taking eardrums to faraway places they’ve never before treaded. His inspirational, whimsy tracks span cultures and centuries in a matter of minutes. You’ll see what we mean.

What are the most formidable challenges facing independent digital artists today?

Saturation! Because the arts are so much more accessible these days, there is much more being produced. If you want to stand out, it’s much harder due to the sheer mass of product out there. I’m a firm believer in “The cream rises to the top” so if you want to stick out, get better! Do something no one else has done yet but have sound fundamentals so the quality of your work is indisputable.

What are the benefits and drawbacks to working as a “guerrilla artist” rather than as a company man for a major label, design company, or advertising firm?

The major benefit of course has to be creative control. You can explore things that may not be viable in a commercial environment, something that all artists want to do. The trade-off is that you need to learn everything, do your own PR, extra processes that may normally be outsourced, and networking.

Commercial organizations already have existing networks. As a guerrilla artist you have to do it all yourself, find out who your audience is and work out whom the middlemen are between you and them. Who are the people that will get your work exposed and how do you contact them? You have to show them you have something to offer, something exciting, something better than what they normally see and hear.

How did you get started as an artist and what kept you going?

I come from an artistic family. My dad paints and sculpts and worked as a set designer for films and theatre. My mum ran a business that specialized in art and craft supplies. Both my parents had a deep appreciation for music, art and culture, and that rubbed off.

I always drew and made noise, but at fifteen I started tracking music in an old DOS-prompt program called “Fast tracker 2.” It was pretty basic, but you could sequence full songs and arrangements in there, even though the program itself was only a few hundred kilobytes. I then got into bands and started my own projects. When I moved to Melbourne at twenty, I was exposed to a much higher standard of music and art. This is a hard town to stand out in but the sheer quality of work produced here sure lifts your standards.

My current project, “Smile On Impact,” is growing all the time and I’m happier and happier with the quality of the work I’m making. That’s part of living in a creative town. As for what has kept me going? I don’t have a choice. It’s not something I can think about, like “Do I want to do this, or not?” It’s more compulsive then that. It would be like asking someone, “Why do you continue to eat, when it’s such a hassle and expense?” When you love what you do, it’s hard to envision your life without it. I think that most artists probably feel the same way.

How important is a show like Pro Juice in helping to promote independent digital artists’ work, as well as provide new opportunities to emerging artists?

As far as promoting the work of current artists, I think we are no help at all. In fact, we are probably part of the problem. It’s much harder to promote your work now because there are so many artists out there. That being said, we truly believe that the more people have access to the tools and methods for making great work, the higher the standard becomes.

We don’t believe in keeping our best tricks a secret. We break down those barriers with the hope that the best art is yet to come. It doesn’t even matter who makes it. The standard has lifted permanently and if you want to stand out of the pack, get good. Get really good.

How has the digital artistry landscape evolved over the last several years? In what direction do you see it going?

There has been a massive expansion in what is possible over the last few years. I think with music, recordings are of much lower value than they used to be. But, there are fewer middlemen too. Nonetheless, I think musicians will lose recordings as a major revenue stream and start relying much more on gigs and festivals.

In regards to film and television, conventional advertising is struggling to keep up with the Internet. We’ll be looking at more product placement and integrated advertising as a means of paying for programs and films. The dramatic reduction in production costs will mean more and more product being made. Some of the best pieces of art in the history of mankind will be released in the next few years with this change in place! It’s an exciting time to be alive.

What are some of the most innovative projects you’ve worked on and have seen?

Wow… there is some amazing stuff going on right now. The forefront teeters on the border between art and science. For example, there is a camera now that can image at a trillion frames per second. It can take photos of light bouncing off a door and essentially look around the corner. It can see light splashing around in slow motion and even measure the density of an object. Who knows what will happen when artists run wild with this technology!

Tell us a personal story, point of view, or anything else you’d like to share with the world.

Pro Juice has been on break this year as Nick has been working hard in East Timor on the first feature film to come from that nation. However, we’ll be re-focusing in 2013 to get the second season up and running. Both of us have other jobs and Pro Juice is made on a shoestring budget. That is the whole point, though.

Everything we talk about in Pro Juice relates back to the idea that amazing things have become possible in the last few years and budget is no longer a barrier. If we at Pro Juice can’t make our show for little or no money, then our entire message is false. The integrity of the show is almost reliant on the fact that it’s an underground production. If you’d like to help us get our shoestring budget together for season two, please visit indiegogo and become a sponsor.

Ariel Nishli is the Editor-in-Chief of The Sixth Wall. He’s got a big apple in his heart but moved to Los Angeles to pursue a career in the entertainment industry. After graduating from Vanderbilt University in 2007, he worked in the motion picture literary department at ICM, then moved on to feature film development at Parkes MacDonald Productions. Ariel’s wardrobe has steadily devolved from designer suits to worn out slippers, as he now focuses on screenwriting and journalism when he’s not obsessing over this magazine.

DARKITECHTURE

Ariel Nishli — Fri, 14 Sep 2012 20:15:20 -0500

Pro Juice Profiles: Guerrilla Artists on the Cutting Edge of All Things Digital | Pekka Stokke AKA Darkitechture

Tastemakers and fans of delectable eye and ear candies have spoken. They want to know who designed the choicest treats on their Pinterest boards, the animators behind the most viral of videos, and what VJs concocted the laser art spectacle at last weekend’s rave, let alone who produced the unworldly beats spun by the DJ.

They want to know whom these artists are, the ones who remind them that our world is a beautiful place, and that in the digital world anything merely imaginable is just as real as a stretched canvas and smeared palette.

To answer the call, we’re running a series profiling five of today’s hottest indie digital artists. At one point, each was selected to reveal some of their craft secrets to the world on KoldCast TV’s Pro Juice, a show that brings the best tips, tricks and showcase clips to legions of creative types from the world of digital media.

Hosts Arlo Enemark and Nick Calpakdjian bring their fast-talking, shoot-from-the-hip style to talented artists who peel back the curtain to show you how the magic is made. Pro Juice has an indiegogo campaign in the works to bring you Season 2, a truly innovative multi-platform production for which they’ve lined up an impressive cadre of talented new digital artists.

SECOND IN THE SERIES: PEKKA STOKKE AKA DARKITECHTURE

Just what exactly is a VJ? If you’re thinking of that dreadlocked fellow on MTV introducing the next music video, you’re way, way off. VJ’s, like DJ’s, are artists; visual artists that provide the mind-bending graphics displays at various events. Their work ranges from that killer interactive floor display at your local shopping center to the mind-bending light show at the last Coldplay concert you attended.

As for Darkitechture’s spin on the growing art form, let’s just say it’s not uncommon for him to pack a few hundred feet of mosquito netting, a giant weather balloon, or thousands of tea lights when travelling for a gig. In Episode 3 of Pro Juice, he explains how his stage display for a rock concert created an entirely new experiential dimension to the show. Combining digital video savvy with traditional art, Stokke is earning credibility at the front lines of high art for hire, where the two forms are increasingly being blurred into one.

What are the most formidable challenges facing independent digital artists today?

Maybe the biggest challenge in terms of surviving as a digital artist is the sheer amount of stuff out there. Anyone with a smartphone can make an HD movie and edit it while sitting on the bus to school. Anyone can hook up a tablet to a projector and do a snappy VJ set, or download a drone synth app to create something artsy.

Today, two hundred million people can create stuff that looks, sounds and feels like the real thing. Instagram effects used to be the domain of dedicated retro camera collectors browsing for old unused film rolls at flea markets and garage sales. Now you can upload your epic smartphone film, hit the “Bleach Bypass” button in your browser and, in minutes, create an awesome film grading process previously developed for the likes of A-list directors over several months time. It was famously used by Steven Spielberg on Saving Private Ryan and cost millions to implement.

So getting your stuff out there is easy! Getting it noticed is what’s hard. And cutting through the readymade, pre-programmed eye and ear candy is even worse. This, coming from someone who routinely defaults to whiz-bang buttons and gets away with it.

What are the benefits and drawbacks to working as a “guerrilla artist” rather than as a company man for a major label, design company or advertising firm?

The main benefit is definitely the flexibility. Being able to choose gigs, choose who you want to work with and not work with. The ability to specialize and be weird without some preppy mid-level management careerist airbag telling you off for being who you want to be as an artist!

Of course, there are awesome companies out there full of great people who offer a fantastic creative environment, good pay, health insurance, interesting work and even holidays! Everyone wants to work for them sometimes, right?

How did you get started as an artist? What kept you going?

I actually started out as a musician. I was in love with the whole live performance setting: the concerts, the theatrical elements, the lighting, and the stage thing. So I studied film/TV/media for a while and got a good job. I spent it learning video software and cameras, living in a crappy apartment eating macaroni, and buying enough equipment to start my own business. Video gear used to be forbiddingly expensive, both in terms of buying and renting, so I made sure I got paid enough to buy gear. Then that led to other gigs, which led to more gigs, and so on. Eventually I wanted to use my visual skills in a live stage setting as a visuals guy or a Video Jockey.

I kept going because it was the only way I could see myself going.

How has the digital artistry landscape evolved over the last several years? In what direction do you see it going?

I think digital arts are still in their infancy. We are starting to see artists bridge the gap between the physical world and the digital world with the makerbot, for example, and the use of software abstraction altering our perception. The whole concept of “digital art” is ending and fusing into just “art”. Algorithms creating architecture; code creating sculpture.

What are some of the most innovative projects you’ve worked on and have seen?

Anything 1024 Architecture in Paris churns out is awesome. Absolutely, every single, G-damn thing.

How important is a show like Pro Juice in helping to promote independent digital artists’ work, as well as provide new opportunities for emerging artists?

Pro Juice is the perfect mix of showcases and tutorials, as well as simply being inspiring. And it shows young folks that media and art production is a good alternative to drugs when it comes to having fun!

I am not the DJ.

Ariel Nishli is the Editor-in-Chief of The Sixth Wall. He’s got a big apple in his heart but moved to Los Angeles to pursue a career in the entertainment industry. After graduating from Vanderbilt University in 2007, he worked in the motion picture literary department at ICM, then moved on to feature film development at Parkes MacDonald Productions. Ariel’s wardrobe has steadily devolved from designer suits to worn out slippers, as he now focuses on screenwriting and journalism when he’s not obsessing over this magazine.

Spoonbill

Ariel Nishli — Fri, 14 Sep 2012 20:42:51 -0500

Pro Juice Profiles: Guerrilla Artists on the Cutting Edge of All Things Digital | Jim Moynihan aka Spoonbill

Hosts Arlo Enemark and Nick Calpakdjian bring their fast-talking, shoot-from-the-hip style to talented artists who peel back the curtain to show you how the magic is made. Pro Juice has an indiegogo campaign in the works to bring you Season 2, a truly innovative multi-platform production for which they’ve lined up an impressive cadre of talented new digital artists.

THIRD of 5 in the SERIES: JIM MOYNIHAN AKA SPOONBILL

In Episode 5 of Pro Juice, we meet electronic music producer Jim Moynihan, the man behind the bird. He talks technically about the 100+ tracks required to create an all-encompassing beat, gets into his organization method (color coded, by frequency), and how he scours live session recordings for bits of gold that eventually become thru lines for a complex multi-genre song. It’s all quite complicated, but as any artist knows, simple is complicated.

And Spoonbill’s finished product is just that. Simple. Sleek. Elegant. His music is an amalgamation of various styles and genres that blend together into something entirely unique. Airborne’s track “Catfish” sounds like a Klezmer band, the Lost in Space robot, and Buddy Rich were locked in a room together and told to create magic, or else. Check it out and a few more of his tracks below. We caught up with Spoonbill at his nest to find out what just makes him tick.

What are the most formidable challenges facing independent digital artists today?

I would say the biggest challenge is just getting noticed amongst an ever-expanding sea of digital art. The sheer volume of work being created these days means it can be harder to be recognized for quality and original production.

What are the benefits and drawbacks to working as a “guerrilla artist” rather than as a company man for a major label, design company, or advertising firm?

I suppose the main benefit to working in “guerrilla” fashion is the fact that you do not need to abide by what is popular, trendy or by what sells. This leaves you free to craft unique and self-fulfilling works… like a true artist. I suppose the drawbacks are that you need to work harder to be recognized for your achievements without a large marketing team behind you.

How did you get started as an artist and what kept you going?

I come from a family of fine artists, so while I was growing up I was always exposed to the arts. Seeing my parents working in a self directed capacity on personal projects was inspiring. I began playing percussion and drums as a kid, and then I shifted my focus to samplers and electronic music production after finishing High School. I started working as a furniture and consumer product designer but continued to work on my own music production purely for personal enjoyment for many years until finally, I decided to start to release my tunes.

I think the fact that I enjoyed the process and was making music for myself rather than for hire towards a third party’s objective helped me continue to develop my ideas and finesse my skills. After my music started to gain more exposure, I naturally shifted my focus from design to music and sound production.

How has the digital artistry landscape evolved over the last several years? In what direction do you see it going?

Well, I think digital art is slowly becoming more accepted by the mainstream as a worthwhile medium. In saying that though, there is also a greater appreciation of handcrafts, perhaps as a throwback reaction to the burgeoning medium. This appreciation also applies to digital art too though, in terms of the techniques utilized. Blanket plug-in digital effects to handcrafted work are popular, compared with self-produced effects.

What are some of the most innovative projects you’ve worked on?

I work with a Melbourne-based interactive games lab called Current Circus and we are currently developing a music game that utilizes depth camera interactivity, similar to the Xbox Kinect. The idea is that you can sequence and perform music via gestural movements in space, creating the sound like a conductor.

How important is a show like Pro Juice in helping to promote independent digital artists’ work as well as provide new opportunities to emerging artists?

Pro Juice is a unique program showcasing an insider’s view of how artists work, which is an excellent resource for budding artists as well as good exposure for the artists on the show. As mentioned, it importantly showcases independent art, which is rare in today’s marketplace.

Tell us a personal story, point of view, or anything else you’d like to share with the world!

Making electronic music is my work, my passion and pretty much my life! I thoroughly enjoy the craft and the process as well as being able to share my creations with people around the world that share a similar aesthetic. The art form involves periods of solitary work, collaborating and recording with other artists and musicians, as well as performing live for audiences. It’s a very diverse craft that is stimulating, challenging and downright awesome.

JoFoLand

Ariel Nishli — Fri, 14 Sep 2012 21:03:53 -0500

Pro Juice Profiles: Guerrilla Artists on the Cutting Edge of All Things Digital | Joanne Fong aka JoFoLand

FIFTH of 5 in the Series: JOANNE FONG AKA JOFOLAND

Jo Fong is surprisingly soft-spoken for the force behind such soul-stirring imagery and animation. Surreal, contemplative and cleansing, her work is a reminder that style and substance go hand-in-hand. It’s sad at times and even ventures into the violent and surreal, yet retains the sensibility of an anime comic book. Regardless of whether the subject matter is genocide in Indonesia or a sad, young robot that’s just very far from home, a trip to JoFoLand is never short on humanity.

Interviewed by Arlo Enemark with her partner Juan Serrano in Episode 2 of Pro Juice, Jo explains her illustration and animation process in a reserved, soft-spoken, articulate demeanor, teaching any budding artist that developing your inner world is a far greater undertaking than making a splash. From JoFo’s work alone, it was clear to us that her inner world is far more tumultuous than the cool exterior she presents, so we took a deeper look inside.

What are the most formidable challenges facing independent digital artists today?

In my experience, the most challenging part of being an independent artist is gaining exposure and being able to network sufficiently in order to sustain a steady flow of work. All the bills need to get paid! With so many other artists on display throughout the Internet, it’s easy for your work to get lost. You must always be thinking of innovative ways to be seen.

What are the benefits and drawbacks to working as a “guerrilla artist” rather than as a “company man” for a major label, design company, or advertising firm?

Obviously, the flexible working hours are a bonus but it also requires discipline and planning, which I am still getting used to. I usually do a bit of work on the weekends as well because when you work from home, it’s always difficult to leave work “in the office.” It’s always on your mind.

I also like the creative freedom you get from working independently, which is sometimes missing when you are working as part of a large team on someone else’s project. The biggest downsides for me are the business aspects: all the paperwork, contracts, financial concerns, and communication issues that come with working for yourself.

How did you get started as an artist and what kept you going?

After studying visual communications and working as a graphic designer for a year or two, I realized that I wasn’t passionate about design the way that my colleagues and fellow designers were. I took a year off, doing very little besides working in a bookshop and partying, and then decided to pursue a Masters of Animation at RMIT. Since graduating, I’ve worked as an animator on documentaries, TV shows, video games and some corporate gigs.

Getting that first job is always the hardest, but the industry is quite small in Australia, so as long as you have the skills and dedication to pull off that first project, other jobs will follow. My main motivation now is the joy and satisfaction I get from seeing my work up and running whether on a big or small screen. After months or sometimes years of production, to finally see the finished product is always an exciting moment.

How important is a show like Pro Juice in helping to promote independent digital artists’ work, as well as provide new opportunities to emerging artists?

I think Pro Juice creates a great opportunity to showcase the work of unknown artists’ because as I’ve said, exposure is key in sustaining yourself as an independent artist. It would be great to see shows like Pro Juice gain a wider audience to show the public the quality and diversity of what is being created here in Australia. We need to expand the creative industries here instead of outsourcing production work overseas.

How has the digital artistry landscape evolved over the last several years? In what direction do you see it going?

We’ve now arrived at a time when technology is no longer a barrier to artistic creation. Whatever you can conceive can be created. Also, with the evolution of so many social media tools, it is also much easier to find collaborators with the specific skills you need on your project.

In terms of business, with the crowdfunding resources now available online, the industry is becoming more democratic. My dream would be that crowdfunding keeps evolving and an environment is created such that people will pay for what they want to see created, rather than be force fed the same old sh*t. The artists themselves will be better off financially and able to focus on what they are good at and love, rather than delegating time to jobs just to pay the rent.

What are some of the most innovative projects you’ve worked on and have seen?

One of the first projects that my partner [Juan Serrano] and I worked on was a documentary called Strange Birds in Paradise. It was great to see animation used to lend depth and personality to personal stories that were, at times, violent and very dark.

More recently, I love that the musician Gotye has used his success to promote independent Australian animators with a series of video clips for his latest album Making Mirrors.

Tell us a personal story, point of view, or anything else you’d like to share with the world!

I’d always been interested in art and animation, but when I left high school I didn’t have the confidence in my abilities to follow a “freelance lifestyle”, so I studied graphic design instead. However, after realizing that design wasn’t for me, and slowly working towards a career in animation, I learned that “freelance” wasn’t such a scary word! Having lived and survived some years as an independent artist, I can’t imagine my life being any other way.

Against The Grain by Dropbear

Nick — Wed, 21 Mar 2012 08:17:47 -0500

The new music video for ‘Against The Grain’ from emerging Melbourne indie-folk artist Hudson sees him collaborate with film maker/animator/VJ Dropbear (aka Jonathan Chong), producing a vibrant and colourful clip based around a mainstay from our humble artistic efforts throughout childhood – coloured pencils. And at Pro Juice we dig Dropbear and his work big time!

Check it out with the link below.

Jonathan is a previous interviewee on Pro Juice when we chatted to him in Series One about hs work with Spoonbill on the clip Feather Leather. You can catch that interview with him here.

Colony Collapse

Nick — Wed, 21 Mar 2012 08:17:53 -0500

Here's a great new track and music video from a friend of ours... we think you will most certainly dig it!

Colony Collapse is filmed at sites of ecological friction, the fault lines of conflict between humanity and (the rest of) nature. It is a video made to confront and indict the ongoing catastrophes that are the very fabric of our globalized economic order. For examples we used....

Lapindo (Sidoarjo) Mud Disaster is an eruption of scalding mud and flammable vapors triggered by a gas drilling gone awry. It has buried more than a dozen villages and blocked a major highway, and is expected to keep expanding for the next 25 years. Lapindo is located close to the home town of the the director (Tooliq) and singer (Nova).

Below a freshly shattered dam on the shoulder of Merapi mountain. This required a meeting with an important Islamic mountain shaman, who wanted to know we weren't up to anything frivolous or disrespectful. After the vetting he sent his crew to guide and protect us, some men went upriver a few kilometers to warn us by mobile phone if a new flood was coming down.

Bantar Gebang is a landscape of trash. Garbage stretches farther than the eye can see. Mountains, rivers, and even villages where the trash-pickers live. Not something easy to summarize in words.

A supermarket nested in a mega-mall within a skyscraper. Air conditioning, shopping carts, muzak, just like any posh supermarket. But right outside is a the permanent traffic jam of Jakarta, a sprawling mega-city of at least 10 million.

Music: Filastine (with Nova)
Director/DOP/Editor: Astu Prasidya (aka Tooliq)
Production and Concept: Grey Filastine & Nova
Funded: by a crowd

For some extra reading you can check out this article from the Jakarta Globe.

Dropbear Digital

Koldcast.TV — Fri, 07 Sep 2012 18:42:24 -0500

Pro Juice Profiles: Guerrilla Artists on the Cutting Edge of All Things Digital | Jonathan Chong AKA Dropbear Digital

They want to know who these artists are, the ones who remind them that our world is a beautiful place, and that in the digital world anything merely imaginable is just as real as a stretched canvas and smeared palette.

FIRST IN THE SERIES: JONATHAN CHONG AKA DROPBEAR DIGITAL

Dropbear Digital produces motion graphics, animations, award-winning videos, documentaries, and visual communications. Dropbear has worked on everything from cute commercial spots for Purina dog food to hip-hop artist Lotek’s mind-bending music videos. In Episode 1 of Pro Juice, the brain behind the brand, Jonathan Chong, chats about the process for creating Spoonbill’s music video “Feather Leather.” He’s the finest example of how being nimble while staying true to your vision is a critical balancing act to master if you’re going to survive the jungle that is indie digital arts.

What are the most formidable challenges facing independent digital artists today?

With easy and affordable access to such a wide range of digital tools and mediums, it’s a great time to be an independent digital artist. However, this also brings about some challenges. With so many people now producing content, it’s important to keep your work fresh and original so you stand out from the masses; so you constantly have to be striving to be on top of your game.

It’s always been about ideas so the challenge is to come up with the best and most innovative concepts you can. Secondly, time constraints and financial woes are also challenges we face as artists. As an independent you don’t have anyone looking over your shoulder and keeping you in check, so you really have to be disciplined, keep motivated and also do all the boring administrative stuff. Basically it’s a big balancing act.

What are the benefits and drawbacks to working as a “guerrilla artist” rather than as a company man for a major label, design company, or advertising firm?

It’s really great being an independent artist, as you can work flexible hours, you have creative freedom and the time to work on diverse and interesting projects. It definitely beats working for the “man.” However, there a few drawbacks such as financial uncertainty… If you don’t have a regular client, you don’t always know when the next paycheck will come.

Sometimes you can also feel a bit isolated. If you’re not sharing a studio it can get a bit lonely sometimes. Depends on how you prefer to work, but I like to have other creatives working in the same space as me. I like to bounce ideas off people and get inspired by what others are doing. It’s also nice to just have that social contact.

How did you get started as an artist? What kept you going?

I was born and bred an artist. My grandmother was a commercial artist in the 1940s so I think I got my creative streak from her. From very early on in life I’ve always enjoyed drawing and making things. This has lead to me exploring a wide range of creative fields, such as graphic design, printmaking, film, animation, photography, installation based work and painting.

Creativity for me is an intrinsic part of my life and I enjoy collaborating with different creative people on a variety of projects, as I believe it’s a great way to share ideas and skills. If I’m not creating new works, I’m not happy, so I suppose that’s what keeps me going… and my drive for perfection. As they say, you’re only as good as your last project!

How has the digital artistry landscape evolved over the last several years? In what direction do you see it going?

I’ve seen a big shift towards creating digital content for the Internet. The majority of the work I do is for the net. This has allowed people to connect and share ideas, concepts and work like never before. There are so many ways to communicate with people now. It’s so easy to work with clients on the other side of the globe! This was unheard of several years ago. With the boom of social networking, everything is so instant and rapid, so the biggest change I’ve seen is the speed at which everything happens.

Obviously, the other thing is the advance in the technology used to create digital art. However, I think this has also inspired artists to incorporate traditional techniques and methods into their work.

What are some of the most innovative projects you’ve worked on?

One of my most recent projects was a stop-motion animated music video called “Against the Grain” that was made for an indie folk artist called Hudson. The entire clip was made with over 1,000 colored pencils and it took over 200 hours to complete. It was a lot of work! Within the first two days of uploading, it had reached 500K views and from there it kept snowballing! I didn’t think it would do so well, but after it had been featured on some influential blogs it went viral.

I was totally overwhelmed with the response and it goes to show the power and speed of the Internet. I think it was also due to the fact that it was a hand-made piece and the choice of pencils really struck an emotional response in people… You know as kids we have nearly all used colored pencils and it’s probably one of the first things that we use to express our creativity. The clip has really opened a lot of doors for me and I’ve been offered some great opportunities to work on some interesting projects.

How important is a show like Pro Juice in helping to promote independent digital artists’ work, as well as provide new opportunities for emerging artists?

Pro Juice really is a great resource for all indie digital artists. First and foremost, they are generating useful and meaningful content that gives advice, skills and techniques to aspiring and also established artists. As an independent artist, it’s great to have access to as much advice and knowledge as possible and Pro Juice is an accessible resource to do just that. In the digital realm it can be hard to get your work noticed so Pro Juice is also an important platform to promote digital artists because they have a reputation for quality production levels and professionalism.

Tell us a personal story, point of view, or anything else you’d like the world to know.

I think that innovative, original ideas and concepts should always be the starting point for any of the work you do as an artist. These are the things that excite me and keep me passionate about my work. Create, share, connect, repeat.

Nick Calpakdjian on Mediawave.tv

Simon Britton — Tue, 14 Aug 2012 21:44:25 -0500

Nick Calpakdjian and Arlo Enemark are co-producers of Projuice, a video production resource site for content creators. After a successful version 1.0 of the site and a TV series on the ABC, they are looking to launch a new version, backed by a crowdfunding campaign.

Nick is currently working in Dilli, East Timor, on a feature film.

In this interview we talk about the strategy behind the new Projuice, how filmmakers can multi-task to make a living, the changing face of agency funding, why they chose IndieGogo and the emerging media scene in Timor.

http://soundcloud.com/media_wave/nick-calpakdjia-projuice

Thanks to Simon Britton at Mediawave.tv for the interview and the great work he does with his website.

Pro Juice Series One - Episode 6

Nick and Arlo — Tue, 31 May 2011 23:18:03 -0500

In this our last episode of the series Arlo shows you how to create white noise in your DAW, utilise side chain compression and creates a reverse echo effect.

Nick creates a 3D cityscape with 2D images and a camera fly-through, utilising the wind noise that Arlo just created for him.

If you’ve been following our first series of Pro Juice, you might remember our interview with motion designer, Jonathan Chong where he ran us through the music video ‘Feather Leather.’ In this episode we’re going to catch up with the man behind the bird to chat about how he pieces his music together.

"The Thing In The Distance" is the most recent installment of The Stressful Adventures of Boxhead and Roundhead. Ex-pat Animator, Eliot Cowan usually spends a lot of time thinking about how his animations are going to look, then simply sits down and makes it. He doesn't board them, write them or plan in any way and the results speak for themselves.

Dropbear

Nick — Fri, 19 Aug 2011 22:42:53 -0500

Big congrats to Jonathan Chong for taking out a swag of awards at the 2011 Australian Independent Music Video Awards.

Check out the full list of winners here: http://www.aimva.net/2011awards.html

Jonathans music video for Spoonbill has been featured in Pro Juice series 1 (Episode 2) and there is also an interview with Jonathan in that ep as well as an interview with the creator of the sounds for the video - Spoonbill in Episode 6.

We've also got hold of Jonathan's latest reel and it's a cracker!!