Sykosan
speaker
127 appearances
1 recordings
1 series
first heard Mar 2025
last heard Mar 2025
Sykosan’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsNo recordings in the last 12 months.Older appearances are listed below; set an alert to hear about the next one.
Appearances
But when it's important, we put more time in it. So I could spend a couple of days or a day, a day or two on one simple shot, and I would spend a whole week on that one, on a few seconds for that one shot that's important. Yeah.
Yeah, you have to accept that. It's important to understand that you're working for a client at the end of the day, if that's what you're doing. And you need to listen to them and give them what they're looking for. So this back and forth is always there normally. And it can be quite a lot of back and forth before things really start being produced. There's the design phase, if you want.
In the Katy Perry scenario, it was quite different. In fact, it was a very interesting and unique moment in time. It was right at the beginning of the pandemic that it happened. And so essentially, for the music industry, from one day to the next, they couldn't put people together to do a typical music video where people are dancing. That was not happening anymore.
So a lot of studios turned to animation, and that's the cool thing. They were like, oh, we're going to use animators. They can work from home. They can do some really cool animated music videos, which was great. It just kind of was amazing for the animation world. So a lot of artists decided to do that. And that year, it was not just that. Katy Perry was pregnant.
And she wanted to release a new album and give birth on the same day. All right. That's crazy. And she did. She did. So she planned it all. That was crazy, right? She did manage to make one of the music videos for a new album early in the year. She was heavily pregnant. I don't know if you've seen the video. She made a music video heavily pregnant.
And then for the rest of the videos, she had time for another video where she played into and everything else was going to be animated. So they made one 3D animation in which they put a lot of money in, definitely a bigger team. And okay, they went for a big studio and they splashed out. And then they still had like 10 other videos to make or something.
They were like, how are we going to do this? So they had a budget. They split it out. And they went for this strategy that said, well, we're going to say we want different styles. And we're going to ask Studio to pitch for it. But because of the limited amount of time, it was a matter of she received the pitches. And she was like, OK, I'm going to pick that one, that one, that one, that one.
And you just do it. So I was contacted by this Partizan, which was an animation studio in contact with Katy Perry. And they asked me if I wanted to pitch. And I said, yeah, that'd be interesting. You got one week. I was like, no time.
They gave me five pieces of music. And I said, you can pitch for all of them. I said, OK, I'll pitch for all of them. So I made five pitches in a week. And very short, just one little page, one little drawing, a concept, essentially. And I had a favorite one, and it was a cry about it later. I was like, I'd be nice to get that one. And that's the one I got.
And then they asked me, how many can you make? I was like, just one is enough. There's barely enough time. So I was like, no, no, I can only do one. And the funny thing is that I was working on another music video already for another artist, a British artist. And I kind of had to jump out from that project into the Katy Perry one because I was like, I really want to do this.
And I was going to direct it. I was going to do all the designs. And it was my concept. I came up with the story. And Katy Perry was very easygoing, honestly. It's been the easiest, one of the easiest projects I've had to work on. And I think she was aware of the lack of time because there was no room for back and forth. But she did work. Ask for a few things to be changed. And we did it.
And every time I suggested something new, she was like, yeah, that's fine. And so it was pretty easy. So yeah, that was very exciting. And she managed to release all these music videos And on the day that she gave birth, she released the album. She gave birth. That's a big thing. And she released my video. That was cool. So it was mine that came out on that day. That's really neat.
I'm okay as long as what you're looking for is some realism. I think that's the objective. By recording reality, you get that extra realism. It's a similar thing to Prince of Persia. You get that realism of motion. It's the same thing because you're tracing real footage. So I don't mind that. I think this is one direction that you can take. And the thing is that you have to explore it in a way –
You're all the way to the end. See how realistic you can get. And once you get there, then you pull back. You come back, and you'll be like, oh, yeah, that was interesting. But how about we go back to using animators to do this? Because animators have a different way to stylize motion. Actually, it's not just about stylizing the look of things or the colors. But there's a way to move.
Like, these new characters move in a certain way.
anime characters move in a certain way yeah think about theater theater they have a way of talking and a way of moving around the stage to make themselves visible right and that was translated into cinema when cinema came along after theater they were just acting like a theater but on screen and it was kind of overacted you know and very loud and we don't do this anymore we we there was after that there was a phase of realism where we'd first shoot people as if
uh they were normal people and they would use actors that were not actors so that they would play normally and not overplay things there's this whole thing where we kind of change styles so i think it's okay it's fine let's let's go let's explore realism and motion capture and then we'll come back afterwards it's okay
That's right. We want to go back to style. I think about Batman, you know, the anime series or animated. Yeah. It's certainly not about being realistic. It's those sharp angles, those bold moves, those bold colors in contrast. There's appeal in that. So we don't want to lose that. Nobody wants to lose this. So if you don't have it, then eventually you'll go back to that as well.
Like, yeah, I wanted to go see that look again. There's all these different things that... They come and go with fashion, right? And then fashion comes back as well. Same animation, it comes back. So pixel art, I'm sure, will always come back.
It's a very good question. Actually, it's a, it's a very topical question at this time, because I don't know if you've heard about a Fantasia, I think it's called a Fantasia. I've heard of that. Yeah. It's essentially been discovered about three years ago.
Showing 61–80 of 127 · page 4 of 7
← Previous
Next →