DRUMKIT 2
DRUMKIT 2
DRUMKIT 2
For Traplysse’s second drumkit pack, the brief was simple: “Make it ambient. Cloudy.”
So I took it literally. This video teaser is a floating, slow-motion visual space designed to reflect the calm, atmospheric energy of the sounds in the kit. It’s not about impact. It’s about mood. Everything glides, breathes, and leaves room for the music to exist.
CONCEPT
CONCEPT
The concept was to create a visual landscape that felt like a dream loop—weightless, fluid, and slightly surreal. The drumkit floats in space, surrounded by soft fog and reflective surfaces. There’s no up or down, no gravity—just presence. It’s a digital altar for sounds that don’t shout, but resonate. Minimal motion, maximum atmosphere.
The concept was to create a visual landscape that felt like a dream loop—weightless, fluid, and slightly surreal. The drumkit floats in space, surrounded by soft fog and reflective surfaces. There’s no up or down, no gravity—just presence. It’s a digital altar for sounds that don’t shout, but resonate. Minimal motion, maximum atmosphere.
CONCEPT
The concept was to create a visual landscape that felt like a dream loop—weightless, fluid, and slightly surreal. The drumkit floats in space, surrounded by soft fog and reflective surfaces. There’s no up or down, no gravity—just presence. It’s a digital altar for sounds that don’t shout, but resonate. Minimal motion, maximum atmosphere.
RESEARCH
RESEARCH
I started by digging into the mood of the tracks—ambient trap, ethereal textures, reverb-heavy melodies.
Visually, I referenced perfume ads, vaporwave stills, and abstract fashion films that use slow cuts and fluid dynamics. I wanted the teaser to feel premium but unpolished. Smooth, but not sterile.The cloud idea came straight from Traplysse’s own words, and I built the whole direction around that.
I started by digging into the mood of the tracks—ambient trap, ethereal textures, reverb-heavy melodies.
Visually, I referenced perfume ads, vaporwave stills, and abstract fashion films that use slow cuts and fluid dynamics. I wanted the teaser to feel premium but unpolished. Smooth, but not sterile.The cloud idea came straight from Traplysse’s own words, and I built the whole direction around that.
RESEARCH
I started by digging into the mood of the tracks—ambient trap, ethereal textures, reverb-heavy melodies.
Visually, I referenced perfume ads, vaporwave stills, and abstract fashion films that use slow cuts and fluid dynamics. I wanted the teaser to feel premium but unpolished. Smooth, but not sterile.The cloud idea came straight from Traplysse’s own words, and I built the whole direction around that.
Design
Design
The layout is clean and centered. The drumkit itself feels like an object on display, surrounded by haze and liquid reflections. Typography is set in soft, glowing fonts that don’t try to dominate the screen. Everything had to feel balanced and open, like a meditative space.
Color-wise, I went with muted pastels and soft whites—something gentle but elevated.
The layout is clean and centered. The drumkit itself feels like an object on display, surrounded by haze and liquid reflections. Typography is set in soft, glowing fonts that don’t try to dominate the screen. Everything had to feel balanced and open, like a meditative space.
Color-wise, I went with muted pastels and soft whites—something gentle but elevated.
Design
The layout is clean and centered. The drumkit itself feels like an object on display, surrounded by haze and liquid reflections. Typography is set in soft, glowing fonts that don’t try to dominate the screen. Everything had to feel balanced and open, like a meditative space.
Color-wise, I went with muted pastels and soft whites—something gentle but elevated.
Development
Development
I animated the teaser in Blender, using volumetric fog and real-time lighting to get the softness I wanted. The slow pacing was a conscious choice—to match the tempo and let the visuals breathe. No hard cuts, no glitches. Just slow dissolves and minimal movement. It’s a teaser that whispers instead of shouting. Built to match the music, not overpower it.
I animated the teaser in Blender, using volumetric fog and real-time lighting to get the softness I wanted. The slow pacing was a conscious choice—to match the tempo and let the visuals breathe. No hard cuts, no glitches. Just slow dissolves and minimal movement. It’s a teaser that whispers instead of shouting. Built to match the music, not overpower it.
Development
I animated the teaser in Blender, using volumetric fog and real-time lighting to get the softness I wanted. The slow pacing was a conscious choice—to match the tempo and let the visuals breathe. No hard cuts, no glitches. Just slow dissolves and minimal movement. It’s a teaser that whispers instead of shouting. Built to match the music, not overpower it.