SHOTIME is Barry Chapman’s motion study on the science of performance, an homage to the dual-threat power of Japanese mega-star Shohei Ohtani. Designed as an homage to the dual-threat power of Japanese mega-star Shohei Ohtani, SHOTIME is a deconstruction of the physics behind an elite baseball swing. The goal was to move away from the traditional stadium broadcast aesthetic and instead treat the diamond as a high-fidelity digital stage. By stripping the environment back to a technical void, the film focuses entirely on the “hyper-dilated” window where physical instinct and data-driven precision collide.
To lean into the “epic” nature of the performance, the film was composed in a native 2.39:1 anamorphic aspect ratio. This wide, cinematic framing allowed for more negative space, giving the procedural elements room to breathe while emphasising the horizontal power and momentum of the swing. I used this project as a challenge to develop my own Cavalry skills, utilising its procedural speed and kinetic dynamics to handle the complex vector trails and data-viz elements, while Cinema 4D and Redshift were used for the lighting, hero character integration, and infographic explorations. The final look was achieved in After Effects, where CRT textures and glitch motifs were layered to create a “Technical Noir” finish that blends digital precision with analogue grit.
The film’s sonic architecture was developed in close collaboration with Dublin-based studio Folding Waves. Their tactile, percussive score replaces traditional foley, serving as the literal heartbeat of the film and reinforcing the cinematic tension of the movement.
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SHOTIME is Barry Chapman’s motion study on the science of performance, an homage to the dual-threat power of Japanese mega-star Shohei Ohtani.
Designed as an homage to the dual-threat power of Japanese mega-star Shohei Ohtani, SHOTIME is a deconstruction of the physics behind an elite baseball swing. The goal was to move away from the traditional stadium broadcast aesthetic and instead treat the diamond as a high-fidelity digital stage. By stripping the environment back to a technical void, the film focuses entirely on the “hyper-dilated” window where physical instinct and data-driven precision collide.
To lean into the “epic” nature of the performance, the film was composed in a native 2.39:1 anamorphic aspect ratio. This wide, cinematic framing allowed for more negative space, giving the procedural elements room to breathe while emphasising the horizontal power and momentum of the swing.
I used this project as a challenge to develop my own Cavalry skills, utilising its procedural speed and kinetic dynamics to handle the complex vector trails and data-viz elements, while Cinema 4D and Redshift were used for the lighting, hero character integration, and infographic explorations. The final look was achieved in After Effects, where CRT textures and glitch motifs were layered to create a “Technical Noir” finish that blends digital precision with analogue grit.
The film’s sonic architecture was developed in close collaboration with Dublin-based studio Folding Waves. Their tactile, percussive score replaces traditional foley, serving as the literal heartbeat of the film and reinforcing the cinematic tension of the movement.
Credits:
Design / Direction: Barry Chapman
Music / Sound Design: Folding Waves
Instagram: @barrychapmanmotion
Website: barrychapmanmotion.com
Folding Waves: @folding.waves / foldingwaves.com