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I focus on revealing the subtle problems of modern society, political and cultural experience, which most of people feel existing values are normal. In my work, I deconstruct and reproduce the public familiarly visual icons to tell satirically metaphorical stories. This way of storytelling is between conceptual and practical. I always balance aesthetics and pleasure.
There are two kinds of content in my work. One is a large scale critical look at human life and philosophy about human existence. Another aspect is an observation of human’s complex emotions and social experiences.
In my first animation short, Looking For (2015), which was about a little robot looking for the meaning of life. In each state of his journey, the story revolves around stages in the evolution of life on earth, from the very beginning of life in the ocean to the present time, in which the technology of the future dominates one’s life. It is a conceptual film with non-traditional storytelling. In the film, I deconstruct and reproduce familiar visual icons to tell a satirical and metaphorical story.
Since I completed the first narrative, for my second film, I decided to focus on addressing the underlying problems of modern society. My intent was to identify some nearly unnoticeable problems, or subtle emotions in our daily life. I noticed there was an indistinct feeling of anxiety that stays with us all day. That is, we have been educated in capitalist societies to believe that everyone needs to be unique in order to succeed. I believe that over-emphasizing the importance of the individual may not be suitable for all. In our society everyone wants others’ attention, but everyone talks and nobody listens. When the Internet and smartphones came out, it became worse. When we chase our desire, which is rapidly magnified, we will all live in a state anxiousness and feel vacant. The more we want, the more emptiness we receive.
I used Adobe Photoshop for cel animation. The main reason was the rich selection from its brush library. Unlike Adobe flash, one can also customize one’s own brush to fit a drawing style.; for example, pencil brushes, crayon brushes, or even watercolor brushes. As a result, I felt that Photoshop was very suitable for my designated style. It was easy to control and manage time with other Adobe suite, and as a result, one is able to work more efficiently.
Even though this short film was mostly produced using hand draw animation, the special effects did not play a huge role in my film. To cope with the frame-by-frame effects, I still needed to apply some special effects, such as particles, depth of field, posterize time, boil line effect, motion graphics, and final color correction to increase the picture quality. The main software used was Adobe After Effects
Hui Kai, Su is a animation director, and motion artist born in Taipei, Taiwan and currently based in Brooklyn, NY. Several years’ experience of print and film in Taiwan led him to pursue a Master’s degree in animation. He graduated from Pratt Institute in Digital Arts with a concentration in Animation and Motion Arts.
Kai is always thinking and observing the world then he reflects on his works. And he is devoted to creating works that integrate the arts, commercial, and technologies, with engaging storytelling. He also specialized in style frames, main titles, UI design, concept arts, broadcast packaging, and concert visuals.
His first animation short “Looking For” has screened in many festivals worldwide, including Adobe Design Achievement Awards, Animated Dreams, and The World Animation Celebration.
2015 Looking for Director, Animator
2017 Look At Me Director, Animator
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