Lucas Dupuy for Carhartt WIP
‘Memory Root’ - Video
Photo courtesy of Lucas Dupuy.
Prosposal for installation at Island 83.
CONCEPT
The main idea of this video is to reflect the scientific yet serene quality of Lucas Dupuy’s work – which is characterized by appearing effortless despite using a combination of analog and digital techniques to create precise works interested in science, process, hauntology, and modern technology. Like Dupuy’s audio work, the video pacing will be slower and considered. But the visual identity will heckon back to his love of grainy 2000s video games, as well as mix-media formats that inspire his works. The end result being a visually-arresting video that cements his legacy in Carhartt WIP’s new artist-forward creative direction.
The main idea of this video is to reflect the scientific yet serene quality of Lucas Dupuy’s work – which is characterized by appearing effortless despite using a combination of analog and digital techniques to create precise works interested in science, process, hauntology, and modern technology. Like Dupuy’s audio work, the video pacing will be slower and considered. But the visual identity will heckon back to his love of grainy 2000s video games, as well as mix-media formats that inspire his works. The end result being a visually-arresting video that cements his legacy in Carhartt WIP’s new artist-forward creative direction.
TECHNIQUES
Using an overhead classroom projector (see image 1.1), we’ll show Lucas going through his works – a mix of modern and analog filmmaking. As he speaks with writer Isabelle Ling, he will examine details of photos of his pieces and places in the city that inspired his sound this lecture-style approach. The projector’s throw will shine onto walls to make regular textures surreal; at times with Dupuy in the same frame. Framing will blends the line of documentary style and narrative cinema from in the gallery space.
To emulate the auditory effect of traveling through the space, we’ll use Dolby 5.1 sound mixing techniques as the camera sets on a rough dolly and “flies” through like an omniscent, embodied POV. Different sounds will fall off and re-introduce itself as the camera walks through different rooms, to replicate the intended exhibition. All cut between a voice-over style audio from Dupuy’s interview with Ling.
An eery mix of analog and digital – the video contrast unique modes of capture (i.e. overexposing 35mm B&W motion-picture film to create highlight blooms (see image 1.2); obfuscating vintage anamorphic lenses; and shooting on digital tape with the HPX1000 and converting to 35mm film in post-production to amplify texture) to create a serene, grainy, and blurred atmospheres akin to Dupuy’s work.
Using an overhead classroom projector (see image 1.1), we’ll show Lucas going through his works – a mix of modern and analog filmmaking. As he speaks with writer Isabelle Ling, he will examine details of photos of his pieces and places in the city that inspired his sound this lecture-style approach. The projector’s throw will shine onto walls to make regular textures surreal; at times with Dupuy in the same frame. Framing will blends the line of documentary style and narrative cinema from in the gallery space.
To emulate the auditory effect of traveling through the space, we’ll use Dolby 5.1 sound mixing techniques as the camera sets on a rough dolly and “flies” through like an omniscent, embodied POV. Different sounds will fall off and re-introduce itself as the camera walks through different rooms, to replicate the intended exhibition. All cut between a voice-over style audio from Dupuy’s interview with Ling.
An eery mix of analog and digital – the video contrast unique modes of capture (i.e. overexposing 35mm B&W motion-picture film to create highlight blooms (see image 1.2); obfuscating vintage anamorphic lenses; and shooting on digital tape with the HPX1000 and converting to 35mm film in post-production to amplify texture) to create a serene, grainy, and blurred atmospheres akin to Dupuy’s work.
1.1 - Apollo Horizon 2 Projector
1.2 - Half Life 2: Ep. 1 and Deux Ex
Inspiring color and texture, which Lucas references
Inspiring color and texture, which Lucas references
REFERENCES
Interview, Gallery, and Black and White
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Example Interview Framing:
Off center; obfuscated, grainy, in front of the work; lifted exposure; resembles archival footage
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Example of tracking through gallery space
+ sound design, (except:
- More robotic (less curves and sway)
- More shakiness (less smooth)
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Example of Overhead Projector and Throw
City, Textures, and Color
![]()
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Example of digital re-shot and scanned to 35mm
(from our DP’s own work)
![]()
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Example of NYC exteriors:
long lens and geometric
![]()
![]()
And examples of textures
Interview, Gallery, and Black and White
Example Interview Framing:
Off center; obfuscated, grainy, in front of the work; lifted exposure; resembles archival footage
Example of tracking through gallery space
+ sound design, (except:
- More robotic (less curves and sway)
- More shakiness (less smooth)
Example of Overhead Projector and Throw
City, Textures, and Color
Example of digital re-shot and scanned to 35mm
(from our DP’s own work)
Example of NYC exteriors:
long lens and geometric
And examples of textures
TEAM
NIC BOOZANG
DIRECTOR AND EDITOR
A producer/director based in NYC.
As a producer, he’s executed campaigns with brands such as Prada, Stone Island, Hermes, Gucci, Tom Ford Beauty, Salvatore Ferragamo; and worked with artists such as Yorgos Lanthimos, Mert Alas and Marcus Piggott, Ferdinando Verderi, and Drew Vickers, among others. And as a director / editor, he’s made work for Moncler, Prada, Creature World, Nike NYC, and Jenkem Magazine. His work has been featured in The New York Times, FADER, Remezcla, and Pitchfork.
His focus lies on alternative & queer identities.
Directing work:
Editing work:
DIRECTOR AND EDITOR
A producer/director based in NYC.
As a producer, he’s executed campaigns with brands such as Prada, Stone Island, Hermes, Gucci, Tom Ford Beauty, Salvatore Ferragamo; and worked with artists such as Yorgos Lanthimos, Mert Alas and Marcus Piggott, Ferdinando Verderi, and Drew Vickers, among others. And as a director / editor, he’s made work for Moncler, Prada, Creature World, Nike NYC, and Jenkem Magazine. His work has been featured in The New York Times, FADER, Remezcla, and Pitchfork.
His focus lies on alternative & queer identities.
Directing work:
Editing work:
OWEN SMITH-CLARK
CINEMATOGRAPHER
A DP living and working in New York and Los Angeles.
His works and collaborations span narrative, fashion, music video, advertising, and fine art mediums. His work has been exhibited at MoMA, The Foam Museum in Amsterdam, Toronto International Film Festival, The International Center for Photography, Locarno Film Festival, and Nowness.com, among other platforms and venues.
Selected credits:
- The Non‑Actor (2025, short film) – director of photography; starred Maya Hawke and Victoria Pedretti. Selected for TIFF
- Tourmaline (music video for Earl Sweatshirt) – director of photography
- Chinches (2023, short film) by Renell Medrano – director of photography
- Chasing Pink, Found Red (2019, short film) directed by Tyler Mitchell – director of photography
Cinematography work:
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CINEMATOGRAPHER
A DP living and working in New York and Los Angeles.
His works and collaborations span narrative, fashion, music video, advertising, and fine art mediums. His work has been exhibited at MoMA, The Foam Museum in Amsterdam, Toronto International Film Festival, The International Center for Photography, Locarno Film Festival, and Nowness.com, among other platforms and venues.
Selected credits:
- The Non‑Actor (2025, short film) – director of photography; starred Maya Hawke and Victoria Pedretti. Selected for TIFF
- Tourmaline (music video for Earl Sweatshirt) – director of photography
- Chinches (2023, short film) by Renell Medrano – director of photography
- Chasing Pink, Found Red (2019, short film) directed by Tyler Mitchell – director of photography
Cinematography work:
Thank you for your time.