Find out the methods and techniques our Head of Content, Graham, uses when creating video collections and editing styles.
Meet Graham Robinson; Head of ContentI'm Graham Robinson; I have the privilege of taking care of Rotor's library of stock footage and animations, which are available to you for free as part of creating a video with Rotor. I also head up Rotor Studio, which works directly with labels to make lyric videos, visualisers and music videos.
I created our Quaker, 3D Room and Cinematic editing styles and directed a number of our library video collections, including Run with Us, Future Revelation, Dark Edge, Grid, Underwater, Belfast Youth, and Visuals.
The Creative ProcessI wanted to share a bit of the creative process that goes into my productions for Rotor to help you understand the level of care and intention behind all of the video content and editing styles we make to help your music get better recognition. I am an artist who creates with light; I intend to connect with peoples’ emotions and positively provoke freedom. I have created videos for Justin Beiber, Sam Smith, and Dua Lipa with over 200 million views at Rotor. Previously, I performed live video shows to over 100,000 people with DJs such as David Guetta, Armin Van Burren, and Boys Noize. I have invented world-first software platforms for The BBC and produced 30m high building projections for the Cultural Olympiad.
I create with software, algorithms and inspiration to "find video" in a spontaneous moment. I spent years developing this practice performing with DJs in front of live audiences. My show was created by layering live-rendering animations created from the audio frequencies, with pieces of filmed content, motion graphics, and real-time analogue and digital effects. I could manipulate all these elements with my video mixer and digital controllers. This manual setup allowed me to be highly reactive and improvise on many different levels, quickly shifting form, colour, and intensity. While using algorithms and the live audio frequencies provided a stream of endlessly unique inputs to create layers of complex visual compositions.
Before each performance, I prepared video clips, elements and programmed algorithms. However, when the DJ started to play, the crowd began to dance, and I felt the vibe; I began to create that night's unique performance. I would weave a narrative arc of the night's progression, with colour theory, filmmaking techniques and the raw physical impact of the visual display technology.
I loved the immediate feedback between the moment of creation and the audience's response.
Somewhere between the waves of light, the lines of code and my intention, I found a new space.
Somewhere unknown, yet discoverable, something visceral, I could feel—something which became more than the sum of its parts.
It could be synaesthesia and resonance or euphoria and incandescence, but I like to think it's a portal to another existence.
I always felt like the audience came with me; they experienced the same otherness, excitement, and release. My club shows lead on to festival stadiums and then large scale projections onto city buildings. I continued to seek to keep the magic of all these elements coming together in the moment. One of my most significant achievements was directing and producing the animations and projections for The Land of Giants show for the Cultural Olympiad in 2012.
The Huffington Post wrote: 5 Stars. Within minutes it is clear the Land of Giants is something very special indeed… startlingly original, moving and breathtaking… striking British art."
When creating a style or working on a collection, I take all of my learnings from the live space and pick a track that gets me excited and create something new from an immersive, experimental, algorithmic production environment.