Nicholas MarriottAbout  //V

Lyrical Lemonade Premiere: smokedope2016 - 2016LYFE (Official Music Video) For Lyrical Lemonade’s latest music video, I created a series of 3D scan–based Gaussian Splat visuals in TouchDesigner. Collaborating with 3D artists, we transformed entire scenes into splats that were manipulated to organically grow, dissolve, and morph between moments. The result is a mind-bending visual language that feels alive—something only achievable with a tool as versatile as TouchDesigner.

Nine Inch Nails — As Alive As You Need Me To Be Commissioned by 1080p Studios to design visuals for Nine Inch Nails’ official music video As Alive As You Need Me To Be. My work was developed entirely in TouchDesigner using custom shaders, lidar / 3D Footage, real-time particle systems, and layered video processing.

The system combined GPU-driven particle fields, custom GLSL shaders, depth-augmented footage, and layered video feedback to translate the track’s intensity into evolving visual structures. Live iteration on set allowed me to adjust turbulence, distortion, and palette in real time against different edits of the song, ensuring the motion language aligned precisely with the band’s vision.

Thread & Congee Club’s First Birthday

Miscellania, 2/401 Swanston St, Melbourne VIC 3004
02/07/25This is was real-time audio reactive visual and my seconnd dive into glsl in touchdesigner. This time, I tried to craft something organic and yet stay true to the beautiful abstraction and palette of Justin Deng’s work. 

I experimented with a 2D physalis growth system in GLSL and TouchDesigner. React diffusion shaders generate those vein like lattices, and curl-noise advection drives natural branching. Local density clamps act like crowding, while decay erodes it in low “nutrient” regions. Resulting in the visual you see.

Forgotten, Once Remembered

Pitch Music & Arts, Babie Club
07/03/25Forgotten, Once Remembered - is an interactive audio visual piece by Nick Marriott and Grace Kim (Nabii) intrepreted and brought to life by Carmen Y 易嘉敏, presented at Pitch Music and Arts Festival and Babie Club.

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Live Visual Coding

Six12 with Steve Pan, Odd Chaos, Pop Pop with Cy_.Live coding is the use of code in real-time as both a creative tool and a performance medium. It enables visuals that shift and evolve spontaneously with music, touch, or environment—blurring the line between programming and performance. I craft all my visuals live so they can respond dynamically, while the audience sees the code unfold alongside the visuals and sound. The renders and clips below are from recent performances that featured live coding.

For The Cause

Boonwurrung Country.
28.3.25 - 30.3.25\    adFor the Cause (FTC) is an initimate festival held on Boonwurrung Country. I had the pleasure of curating visuals for the main-stage during the entirity of this event. I developed a GLSL fractal visual that endlessly evolves, along with some other glsl visuals

Atmos

Norla Dome, Melbourne
25/10/24\    adFor Atmos,  we utilised multiple projects that I mapped to the curved surface to create an immersive experience. All visuals captured and performed live in real-time. 

*Original project file for hearwig’s visual is a modified piece of work made by myself & Steph Judd.

Pitch Music & Arts - Far from God, Close to Heaven

Grampian Plains, Victoria
10/03/25\    adFor my second performance at Pitch Music & Arts Festival, I collaborated with Far from God, Close to Heaven for a three-hour improvised audio-visual set. I performed live visuals on stage, seamlessly transitioning from abstract starry galaxies to intricate microcosms. The visuals reacted in real time to the improvised music, intertwining with my own spontaneous visual storytelling.

Pitch Music & Arts

Grampian Plains, Victoria
10/03/25\    adFor my first performance at Pitch Music & Arts Festival; I constructed an interactive painting that would form as audience members moved around. Additionally, I collaborated with Nabii to construct and audio-reactive sound piece that would modulate with the movements. This was all performed in real-time.

©2022—’25

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