To maximize the amount of content available, work was done in an special ultra-large format and split into multiple layers.Īs the animation continued, the epic scope of the visuals began to take shape. The accelerated schedule – and massive amount of traditional, hand-drawn cel animation – added even more pressure. “I have never attempted something so experimental,” said Shawna Mills. Many of the artists on the team, because they came from such a diverse set of backgrounds, had no previous experience in working with other traditions. Once the conceptual work was complete, we began building out and animating each section of the show. A large part of the project was spent in this conceptual stage, sometimes looping back several times in order to finally reach a satisfying result. In this stage, lead illustrators oversaw each song in the set list to maintain a coherent visual concept. These long talks crystallized an approach that used Worlds as a guiding principle – taking the opportunity to see the tour visuals as an extension of the reality introduced in the album. Throughout the project, Porter Robinson remained a key part of the process, spending many hours calling in from around the world to be a part of the evolving conversation. Beau Brokop describes it as “Letting your subconscious do the work.” This allowed us to talk through, discover, and refine a unique concept for the project. In the end, we found a way forward through the most traditional of approaches – putting aside the mountain of references and turning to long, late night brainstorming sessions. And lo, I ended up doing concepts for all three of her songs, haha.“ I never mentioned this to the team members, because I didn’t want to limit what I could contribute to the show. Some artists had their own struggles: “I actually have an intense fear of androids,” said Brakken, “so I was a bit nervous to work on the songs featuring the girl from ‘Sad Machine’.
The challenge of avoiding a hot mess was something that everyone recognized. The risk: being overwhelmed and ending up unable to create a coherent creative response.
Bringing these diverse backgrounds together – and responding to an exceptionally wide range of influences – presented a real challenge. Many also worked as both designers and animators. Our team included traditional illustrators, concept artists, cg specialists, and pixel artists. We built on Porter’s foundation by adding layers of inspiration pulled from Indie games like Journey, Below, and Torchbearer and classic games like Another World and Space Harrier. As Porter composed the Worlds album, he amassed a huge collection of links, screenshots, and story ideas pulled from the worlds of anime and online MMORPGs.
#WHO DID PORTER ROBINSON WORLDS LIVE VISUALS SERIES#
A huge cast of animated characters explore love, longing, and adventure in a series of fantastic alternate realities – which unfold on a massive set of on-stage LED screens. We created a wild visual universe for Porter Robinson’s Worlds tour – combining anime with pixel art and glitched out Tumblr-inspired cg into epic landscapes and storylines.
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