Category: Work

Posted on by

Flaming Lips interactive LED sculptures

In a collaborative venture with Wayne Coyne of the Flaming Lips, we embarked on an ongoing project to create a series of sound-reactive lighting sculptures. Each sculpture operated as a standalone music box unit, equipped with an embedded microcontroller. This setup enabled the precise triggering of audio and lighting effects based on the frequencies detected in the songs, which were stored on a removable SD card.

Our primary focus was on creating custom-built sculptures where the lighting dynamically interacted with onboard audio through FFT (Fast Fourier Transform) analysis. This integral process involved designing custom sound reactive controllers for the RGB lighting and designing the audio playback system, adding dynamic visual and audible elements to the sculptures. Our work encompassed everything from custom circuit design, software development for sound processing and lighting control, precision CNC routed circuit housing, and the molding and casting of sculptural objects in crystal-clear resin.

Working with my production studio LadyBrain Studios, we worked with various mediums such as circuit design, custom programmed sound processing, CNC routed circuit housing, molded and cast crystal clear resin designs. Thanks to Haley Moore, the co-founder of LadyBrain Studios and to programmers Oguz Yetkin, Adam Love, and Ed Krohne.  

 

Freshly cast flaming lips skull

Later red versions of the Flaming Lips Skulls

Prototype 1 and V2
Flaming Lips skull Prototype V1 and V2
Darcy Neal and Haley Moore of LadyBrain Studios
Darcy Neal and Haley Moore of LadyBrain Studios

 

 

Posted on by

Flaming Lips Oscillator

I was commissioned by Wayne Coyne of the Flaming Lips to build a custom-designed light-reactive sculptural instrument, which was actively used for a solo noise performance during their 2011 tour.  It was used on several occasions for the closing act of the song “Sleeping on the Roof”, being used during their live performance for the closing sequence of the last song from the album “The Soft Bulletin” and works as a great stage prop that has a lot of character to it. The tentacles, which were built upon request by Wayne, were built with a tone and volume control. Each tentacle produces its own sound, all of which are initially tuned to the same frequency, so the noise produced helps create the foundation for a ‘wall of sound’ with the 6 notes being played simultaneously.

custom-built instrument by Darcy Neal made for Wayne Coyne
One of the custom-built instruments by Darcy Neal made for Wayne Coyne

Here are some examples of the kit version of this instrument being used. I was testing it out with a stationary light source, as well as my programmable light sequencer, which is a work in progress.

01 Light Oscillator w Module 1

02 Light Oscillator w Module 2

03 Light Oscillator w Module 3

I went on to create custom PCBs that I used for teaching workshops where students learned about soldering and assembling their own circuits.

 

Posted on by

Animatronic Dinosaur and Insect Fabrication

From 2008 to 2013, I held the position of Senior Artist and Art Director’s Assistant at Billings Productions, also known as The Dinosaur Company & The Giant Bug Company. My journey with them began as a painter, and over the years, I progressed through various roles, including Painting Lead, Sculptor and Mold-Maker, Exhibition Installation and Maintenance Specialist, and Computer/Animatronic Electronics Researcher and Designer. More about the company and its work can be found at [Billings Productions](http://billingsproductions.com).

During my tenure, I gained extensive experience in every aspect of production. I became proficient in a wide array of processes including animatronics, sculpting, mold making, casting, feather and hair application, welding, airbrushing, production design, exhibit installation, and maintenance. My role required versatility and adaptability, allowing me to take on any task necessary to ensure project completion.

In addition to my in-house responsibilities, I frequently traveled across the U.S. for on-site installation and maintenance work. The volume of work was substantial and demanded a high level of discipline to meet the production expectations. Although I have a personal preference for dedicating more time to each project to achieve a refined aesthetic, my experiences at Billings Productions taught me the value and skill of producing large volumes of work swiftly and efficiently. This ability to balance quality with speed has been a consistently beneficial skill in my professional journey.

Production Art projects at Billings Productions

overview of some of the projects I've worked on as a production artist while employed at Billings Productions in Texas.

This is a video demo of my production work, which was submitted for the 2013 Flight School Fellowship in Pittsburgh, PA

In 2011, we achieved a groundbreaking milestone in animatronics by constructing the world’s first fully feathered dinosaur designed for outdoor exhibitions. This project was a collaborative effort with a paleontologist, ensuring that our representation of the creature was as accurate and realistic as possible, based on its known living conditions and survival traits. This endeavor not only showcased our technical expertise but also our commitment to scientific accuracy and educational value in bringing prehistoric life to the modern world.

In addition to creating life-size dinosaurs, we also created larger than life insects for outdoor exhibitions.