The underground community hailed Bucharest Keep It Movin' (BKIM) as one of Romania's most promising electronic music projects, known for raw energy and diverse soundscapes. Developed as a series of low-budget solo freelance projects, my goal was to design experiences that made every rave unforgettable.

Raves are more than sound; they’re about shared energy and connection with the crowd. However, I found a significant misalignment: BKIM's existing visual systems operated separately from DJ sound signatures, creating disjointed user experiences. Hence, my objective was to increase crowd immersion through robust motion graphics.

Following a mixed-methods research approach, I discovered key insights:

Multiple visual angles increase perspective of depth and immersion.

High contrast ensures visibility under varied lighting and projection conditions.

Recognizable footage with novel twists is an easy way to heighten emotional response.

I began early exploration with rough sketches, defining the user journey from arrival, through immersion in different zones, to departure. I mapped the most common distraction points—bars, toilets, smoking areas—to ensure visuals remained visible and coherent even when attendees diverted.

To maintain the visual narrative for newcomers, I used looping visuals that transitioned only when DJs switched decks, locking the visual flow to tempo shifts.

I explored several visual techniques: 3D graphics, point clouds, circuit bending, and motion typography. My selection criteria prioritised methods that were fast to implement and adapt, and could guarantee readability on available projection hardware.

My workflow integrated multiple tools into a sequential production system: Stable Diffusion was used to generate props and foundational visual material, with Photoshop handling layer editing and polishing. TouchDesigner supported complex, real-time animation and experimental image manipulation, with After Effects being used for final editing.

To simulate audio reactivity without the associated technical complexity, I produced visuals in three intensity states that varied in speed and visual density. These states were pre-programmed based on typical DJ sequences; visuals appeared synchronized to the energy being played, despite operating as looping content.

This trade-off taught me a solid design principle: in real-time contexts, 'good enough' with guaranteed reliability outperforms ambitious features with execution risks.

Rather than focusing on limitations, I approached constraints as design parameters. Low projection quality drove aesthetic choices; rapid turn-arounds informed modular workflows.

With BKIM's recent disbandment, this project stands as testament to a unique moment, one where I captured the raw energy of Bucharest's electronic music scene for a brief period.