Hard work is needed to push any art form a little farther. For an artist recognition might come a long time after the actual work was done. And so it becomes a sort of legend not faithful to all despair and hope that were lived. Artist could look for some self-assurance; did I try hard? Were my aesthetical principles deep? (For instance – what am I doing?). This note is about the fear and joy to develop this project. It’s focused not in the results but rather in the choices we had to do along the way and the personal perspectives of them. A short note on our background might be relevant. The Eosfera studio is lead by Marcela and Daniel Carvalho. Marcela had a formal education in design and a long experience in ceramics and terracotta sculpture before co-founding the motion design studio in 2003. Daniel worked with three-dimensional modeling while developing his PhD thesis and doing research in biology before they started the studio. 3D modeling was a common ground between us although with different perspectives. After modernism art seems to be split into two main trends, the popular and the academic. The last demands that the audience knows some theoretical concepts so scholars and other artist easily understand it. The Popular art look for the widest consensus, a predictable and commercial orientated art form. Outside those two main choices any artist should deal with a scary loneliness – no clear movement can be found, at least in Computer Graphics. Maybe because we had one another we haven’t strictly followed any of those paths. We develop an abstract art form, in this sense close to an academic approach, but we look for intrinsic beauty, the audience should be reach in a straight and spontaneous way, there is no need of external concepts. As a young art form Visual Music finds a naive public and there is no established concepts, so it made sense not to rely on previous experiences. The entire Re_Fluir project was based on water motion, subject used many times before by contemporary motion artists and cinematographers. As landscape in painting the water motion is not a simple subject but a very wide source that can be modified endlessly by the individual artist. In its continuum variation of speed, from slow linear moving to fast random waterfalls, the water can get uncountable shapes and dynamics. Water movement is quite elusive, the lines and reflections are difficult to remember, as they usually last for short instants. So we started this project with a comprehensive photographic study of water motion from lakes, rivers and waterfalls that became a work in itself. As in any nature photography finding the right spot with good light demands one long time in the field and not bother about mosquitoes. Fortunately we live in a small city in Brazil, near many natural reserves. Some of the photos were shot in hiking trips in the northern of Rio de Janeiro state and the south of Minas Gerais state, following around the Estrada Real, an old track used by people bringing gold from Minas Gerais to the docks of Paraty in XVIII century colonial Brazil. This pre-production was of course the most fun and adventurous step. Craftsmanship was once an essential part of artistic ethics. In the XX century spontaneity and intellectual concepts became much more important while craftsmanship became “outdated”. CG tools are complex and non intuitive therefore craftsmanship could be as important as it was for XV century painting. This project demanded lots of custom code, we had to dig thoroughly into technical details that were not utterly boring but brought the feeling of being stuck. The studio infrastructure had also to be extensively enlarged along the way to reliably distribute rendering process and backup. The coding and hardware set up were usually felt as a waste of time but the studio became a safe home. Computer generated animation can be boring, due to the predictability of keyframe interpolation and the linearity of forms. As in organic evolution randomness might be used in the creative process to generate diversity. We used tuned randomness to increase the richness of the animations and forms; it worked like a creative button for the days we were not finding solutions. In the height of the modernism sculpture a movement known as Vitalism took place with names like Barbara Hepworth and Henry Moore. Since her sculpture times Marcela have being delighted with the balance of organic and straight cuts of the Vitalism sculpture. It’s a blend between organic rounded forms and man-made over simplified geometries. Vitalism thoroughly inspired the forms designed for Re_Fluir. The extreme richness of the nature herself still can’t be reached by computer-generated imagery. The question is how to use nature capturing without becoming a cliché. Our approach was to use capture as a flavor, combining (with CG) and modifying until it looked something different. The Re_Fluir project will become an exhibition and a HD DVD. We are now in the funding process to be able to make the final production, editing and exhibition set up. All the pre-production and many parts of the primary sequences are done. We entered into partnership with AEROPLANO and so Elisa Ventura is doing our executive production now. They have lots of experience in management of cultural project and will handle some of the financial aspect of Re_Fluir. Three years were already spent (while doing commercial too) one more is needed, of course depending on the money flow. Many artists of the past and present influenced us. David Em is a master of complex imagery in CG. Scott Draves is a generous pioneer of fractal math as an artistic tool. In motion graphics Belief studio developed the use of well thought multilayering. Claude Monet for showing nature as a “path of beauty, truth and light”. Barbara Hepworth and Constatin Brancuzi for insights into symmetry and balance. Douglas Trumbull for showing so many years ago the power of moving images. Clement Greenberg decoded many fundamental aesthetical principles. Ron Fricke works had shown many remarkable possibilities of captured images. Nando Costa and Lobo for opening doors to motion graphics design made in Brazil. HD thin TV sets are everywhere. Most of the stores and public spaces have one. They keep showing narrative content or news. Store interior design creates pleasant or sophisticated environments. That usual content seems poorly feet into any of those interior styles. It seems reasonable that those TV sets would work better as painting canvas for non-narrative visual rich content. At home they should also work better to bring a calmer and warmer interior design. Since the 70s many uninspired video art works were exhibited in public spaces giving a bad reputation to any non-narrative content. But many powerful and innovative experimental animation and Visual Music have been made. A selection and marketing of such work will allow a more professional production cycle. A short pilot of Re_Fluir was exhibited at 2007 Optronica Festival and 2007 Independent Exposure. Our first Visual Music work Just Motion selected for the 2004 Animamundi Festival.