"The initial visual explorations began with reliefs, working with a static approach which allowed Saad to focus on how visuals could layer and live together later down the line. After they were sculpted and assembled in 3D animation, Saad began pulling out individual vignettes to explore motion, a key goal "was to keep things both sculptural and kinetic - balancing crafted moments of stillness against bursts of movement"."
"Even real Shaolin performers were choreographed into sequences of martial arts and ceremonial performances, which were then applied to Saad's characters through motion capture. "I adopted a research and iconographic approach, creating a library of assets from the stories and poignant lyrical moments that shaped Wu-Tang. This spanned everything from the Verrazano Bridge to Raymond Lui's Fatal Flying Guillotine, The 36 Chambers to the Killa Bees," says Saad."
"Given this is Wu-Tang's final tour, it was important to build the visuals with DNA that represented where they began and where they are now, playing to multiple generations of fans without relying on pure nostalgia. Each visual anchor was timecoded to a precise moment, which could reflect and articulate the story of that track - in metallic monochromes to golden hues. The iconic Wu-Tang logo itself is a collection of motion captured dancers, a testament to the community at the core of the music."
Visual explorations began with reliefs using a static approach to focus on how visuals could layer and coexist. After sculpting and assembling in 3D animation, individual vignettes were extracted to explore motion, aiming to balance sculptural stillness with bursts of movement. Real Shaolin performers were choreographed into martial arts and ceremonial sequences, then applied to characters through motion capture. A research and iconographic approach produced a library of assets referencing the Verrazano Bridge, Raymond Lui's Fatal Flying Guillotine, The 36 Chambers, and the Killa Bees. Visuals act as visual echolocation, built to represent origins and present without relying on nostalgia, with timecoded anchors, metallic to golden hues, mood-based loops, choreography, and musical formations that balance structure and improvisation.
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