Hi! I’m Viktor Golikov, a motion designer with a communication design background. I treat motion as part of a system, not as an effect on top.I love building things in 3D, and I’m drawn to ideas where the form carries the meaningI study design at HSE and co-lead at arii, a small creative technology studio.Tools: Blender, After Effects, Cavalry, Premiere Pro, Indesign, Cinema 4D, Touchdesigner, Houdini, Substance Painter.Open to a motion designer position or project work!
Titane: alternative opening titles
a title sequence about a body being taken over by machine fluid
The idea Alternative opening titles for Julia Ducournau’s «Titane». The film explores the hybridity of body, identity and machine, blurring the line between human and mechanical through extreme imagery, violence and bodily transformation. The titles are built around one event from film: the takeover of the heroine’s body by a petroleum liquid after she becomes pregnant by a car.
Visual approach The sequence is built from 3D scans of organs and bones. Each one is rendered with a glass shader, so the anatomy looks fragile. Oil flows through these forms and deforms them, and as it spreads the glass fills, darkens and changes its surface. The transformation is the whole narrative of film and i decided to show it titles.
*russian cultural script
Collaborative project, a festival animation that breaks the unwritten rules of Russian speech into minimal visual units
Co-authors:
Anna Sarkhanova
Ksenia Chepanova
The idea A collaborative animated film for an Intervals festival, based on the idea of cultural scripts: shared, rarely questioned beliefs about what is good and bad to say, which are reflected in language.The film works with the Russian script described by the linguist Anna Wierzbicka in «Semantic Universals and Basic Concepts». Her text is written in a universal semantic language, where complex cultural meanings are decomposed into simple words that exist in every language. The film uses her wording as its backbone.
Visual approach The visual language follows the same principle. Complex meanings are broken down into minimal visual units: a look, the shape of the mouth, a gesture, the distance between bodies. These work as «atoms» that combine into larger constructions. Unlike the abstract universality of the linguistic model, the system keeps a trace of subjective experience: the base forms are reassembled through the artists’ own bodily memory and emotional associations.The animation lives in the tension between normative speech culture and the personal experience of saying something.
My role I was responsible for the 3D, animation and renderingMusic: TURNOFFYOURDRUMMACHINE — GODZILLA
Why You Can’t Trust Your Memories
Collaborative project, an explainer about how memory works, and how therapy and hypnosis edit the past
Co-authors:
Polina Starygina
Ksenia Chepanova
The idea An explainer about the flexibility of memory, false memories, and the way psychotherapy and hypnosis can rewrite the past. It explains how the brain handles memories and introduces the techniques used to correct them. The main part has three sections: how a memory is changed, what a new memory should look like, and how to work with important memories. Memory is a topic that invites bright, hyperbolized images, which add to the text and open it from a new side.
Visual approach The video is split into two parts: the first is 2D illustration, the second is 3D. The shift shows what the brain does with memory, it takes a flat picture and builds a new, volumetric story out of it. In the 2D part an airbrush gives a weightless, shifting feeling, because memories blur. The edges of the shapes are deliberately sharp, because a memory usually can be given a clear outline.
