Who is the cordoba behind the art of the animated videos of The Strokes, and Katy Perry

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At The Door and Daisies are songs from two disks are very important in the rock & pop american of 2020. Belong to the new disks of The Strokes (The New Abnormal, already published) and Katy Perry (KP5planned for August), respectively, and are connected by something more than the launch period.

The nexus between the two compositions is not in music production or in a approach expressive particular. It is in the decision of their recent video clips are of a character animated and directed artistically by the designer from cordoba Paul Gostanian, founding member of the study 2veinte, with headquarters in Buenos Aires, and with a portfolio of customers multinational that stands out to Adidas, Nike, Sony, Fox, Disney, to Nickelodeon and to GoNoodle, among other brands heavy.

Gostanian, during an international conference. (Courtesy 2veinte)

“This study is a highly award-winning is internationally recognized for its design projects and animation. His continued work to its clients all over the world have been seen to use several techniques and styles, from animation to pure in-cell 2D to CG full and everything else”, presents the official page of the entrepreneurship Gostanian shared with Agustin Valcarenghi.

“The style of 2veinte exemplifies the vanguard of the new generation, with bold colors and with a penchant for the surreal,” wrote journalist Andy Polaine, of the specialized magazine Computer Arts UKas to account for the impact of Gostanian and his.

Wild & Woolly from 2veinte on Vimeo.

“The studio is also known for its initiatives non-commercial –full– site -. 2veinte has created more than 10 pilot projects up to now. For example, the short films as The Ricochet Splendid, 100 years of Armenian Genocide and Wild & Woolly have been selected and exhibited in more than 50 film festivals and animation in all the world.”

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Of course, the clips of At The Door and Daisies tend to clog up this last point for the official covering letter.

Well now, how was the first approach of 2veinte entertainment american musical?

“We came to the palo commercial and more independent until we contacted Mike Burakoff, who wrote and directed the clip At The Doorof The Strokes, which came out a few months ago. He came to us by a mutual friend (Benjy Brooke, the producer), because, as it came to the bat more live actionneeded specialists of the world of animation,” says Gostanian in contact with YOU.

“We got the e-mail and we immediately accepted,” adds the designer, who lived in Córdoba until the 19, age at which reached to study for a year at the Faculty of Architecture of the UNC.

The career of Design, in both, was performed in the Autonomous City of Buenos Aires, where he was also going to study in study for 12 years. And so it was up to that he founded himself with Valcarenghi.

Gostanian together with her partner Agustin Valcarenghi. (Courtesy 2veinte)

“Once we agreed to do the video, we had a meeting in Los Angeles with Albert Hammond Jr. (one of the guitarists of The Strokes), in which we throw ideas and we saw storyboards. There was a round cornered, converged previous views with new ones that we were able to contribute… And that succeeded in making the script more robust,” continues Gostanian on a work developed in normal conditions. That is to say, in the immediate past to this present pandemic.

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Daisiesof the popstar Perry, was launched a long time later, with the coronavirus affecting the lungs and the agendas of all the world. In a historical time in which the home office it is still master and lord.

–What worked with autonomy, in this case?

–Yes, because the job came to us with the storyboard almost done, unlike what happened with The Strokes. But the Katy Perry was a production limited of three weeks… we had Never worked in that time. Specifically, we design the scenes and we encourage the whole video, which lasts two minutes and 50 seconds. We work with independence… especially because they were played at the time and had no more trust in our ability. Had No turning back. The clip had to go out on a date, so that everything we had said “okay”. The freedom was absolute within the briefthe storyboard that had to be respected.

–What can you say about the development of a work as well in quarantine?

–It was a new experience because we are very accustomed to working within our study. Around 35 people were involved… Only in Argentina, this clip, demanded the work of 35 people, which was coordinated by two producers from the outside. We were not used to the home officeso all in all was quite a challenge. It was the first time I led a project of this magnitude and from my house. The days passed, all of us sat down better and managed to oil the process. Finally we were able to do. Live with this way of working. It is not what I want, but it is what it is.

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