Ciao Marco, grazie per averci concesso quest’intervista
1. How and when did you discover the world of motion graphics?
First of all, thanks for the interview, I really enjoy it.
The approach to motion graphics was a gradual process, there was not a precise moment.
Let’s say that over the years I discovered that I could combine my passions (cinema, music and computer graphics) in a single profession.
2. Motion, Vfx and 3D are your main categories, but your “strong pot?”
Actually I starded as a video editor, but slowly I discovered that the editing did not satisfy me fully, so I decided to integrate it with the graphic component.
I worked hard creating video for events that exploited special projection techniques to get visual illusions.
This also allowed me to realize Vfx and work with small productions for the movie industry.
Years later I moved to 3D because I needed to create content starting from scratch and have full control.
In the last few years I became fully the author of my videos, from design to creativity, so I inevitably switched to motion graphics.
For many people it is not like that: you get to motion graphics because you love animation, or design, but I think that in my case, it was the need to have total control over my work.
When I was a child I used to put my little cars in a row, and move them one step at the time, and so on! Today when I move the keys in the timeline I often remember my childhood game.
3. Last year you made “Space”, a short film that was nominated at the “Berlin Music Video Awards 2018” for “Best Animation Video” category. Tell us about this project, how did it start?
A music band from Turin, the Materianera, had asked me to make a video of graphics for their upcoming album.
Initially I was determined to reject this proposal (although I really like to combine motion graphics with music) because I would have to face all by myself a project that is usually managed by an entire creative studio.
A video clip of over three minutes requires a conspicuous effort in the care of detail, constantly harmonizing image and music. But listening to the song I changed my mind: a wave of creativity has invested me and then I proposed them to make the video on one condition, give me full authority, because for me it’s really important put all of myself into it.
The work process actually turned out to be very spontaneous, in the sense that it came out like a flow of continuity.
To tell the truth I wanted to do more, also adding some traditional animation parts, but that’s okay, I’m happy with the result and the fact that the festival has looked for me.
4. In this project you have used a lot of “elementary geometry” (triangles, circles, squares, etc.). Was it a choice of style or a choice linked to the message you wanted to convey?
It is difficult to keep the form and content separate. Usually I start from an idea and then give it a shape, but sometimes the opposite can happen.
In any case, regardless of what comes first, it is a continuous dialogue that makes these two components evolve. But when the music gives me such powerful visual suggestions, I just have to do it. Listening to the song several times, I gave a lot of importance to the rhythmic component, so I closed my eyes and I imagined, to be tied to this machine, that broadcast information through music rhythm. The style of the video differs from my usual, which over the years has increasingly defined in relation to very colorful and more pop graphics, often with a firm isometric view, as if they were small worlds. But here I had to bring the viewer closer to a more subjective vision, so I did the opposite: camera movements, subjective, tunneling.
The idea of using black and white and minimal geometries goes along with Materianera music.
5. Many creatives believe that a good motion designer should be an excellent graphic designer. Do you agree?
Absolutely! I think design is fundamental, in fact on Vimeo, in addition to the personal profile with my works, I have another channel of video collections called “Design is Everything!”.
I constantly update this collection with works by other users because I know that research, observation and analysis improve my design.
Over time always more members follow the collection. On the channel, in fact, the words: “If your design does not look good, you can be the best animator in town, but the result will be cheap.
Only if your design is sexy, everything will work great, even if your animations are simple!
This channel has some of the best design of motion graphics, 3d, vfx and animation videos on Vimeo to Inspire your work “.
You can be excellent animators or know many techniques, but if what you see is not pleasant or beautiful, it does not work.
On the contrary, if you realize concepts of beautiful graphics, even if the rest is not up to par, you get the attention of the viewer.
If we add animations to graphic design that give meaning to the story, then you hit the goal.
It sounds easy, but in reality the design is made of subtle differences.
For example, I am struggling because I am self-taught in everything and I have not attended any specific design school, but I have seen improvements over time and I think it is possible for everyone if you train your eyes to analyze videos in every aspect.
One thing that I often repeat, especially to the students of the schools where I teach motion graphics, is that the biggest obstacle is not being able to technically create a scene in computer graphics, because the software is easy to learn, but design is a slow process, made of study and continuous observation.
6. We know that you believe a lot in the comparison and sharing with other artists. What are the advantages of working with colleagues?
I love my work not only for what I do, but also for the people who populate the world of motion graphics; there are many good artists and I have never met anyone who has not been available to others.
I think this is due to the passion we have, even though I know that passion does not always open to sharing.
Many times I am amazed at these continuous exchanges of ideas and even materials, my colleagues and I have always found that everything we have given to others has always somehow return back.
I consider myself very lucky to be a part of this sector.
7. If you had to choose a collaborator for an important project, what would you count on?
At first I would look at his works: a quality product presupposes a lot of skills, so if you are good and have good ideas, that can help me too.
I’m not better than others, on the contrary my dream would be to collaborate with people better than me, then I could grow up too.
I would like to collaborate, as a freelancer, with people who are interested in motion graphics with isometric views, or similar to mine.
Thanks Marco of your availability and good luck for your future!