In City of Floating Sounds, an immersive project blending music and movement, visual storytelling takes centre stage. Tasked with translating this sensory journey into a single, striking image, Vahakn Vorperian, Founder and Creative Director at The Retouchers Ltd, transformed an AI scamp into a richly detailed composition that bridges the boundaries between technology and human artistry.

With a tight deadline and a clear vision, Vahakn and his team elevated the concept through expert craftsmanship, building an image that balances the sharpness of urban reality with the dreamlike essence of sound and emotion. The result is a seamless fusion of design, narrative, and innovation — a testament to creativity under pressure.

What was the brief?

The brief was to visually interpret the “City Of Floating Sounds” experience. The concept of the show was that, before you even entered the venue, the audiences would take a preplanned walk through very modern, glass and steel city environments whilst listening to curated music. My role was to take the initial AI scamp and essentially reimagine and rebuild it using stock photography. As with most of the projects that we deal with, we’re not replicating the scamp, we focus on elevating the imagery through craft and skill.  In this image, it was about having hard edges and reflections in the foreground leading to the softer, more magical and ethereal elements in the background.

How did the initial pitch/brainstorming phase go?

When I was presented with the concept, I really didn’t have much time to make a plan of action. The deadline for the image was about a week so I had quickly to breakdown what I was looking at in the initial AI scamp and work out what stock I had to build the image with.

What was the production process like?

We try to streamline the process so that our clients see the smoother side of the production process. Internally, I had to break down time to find the right kinds of elements, work out how best to group them and the compartmentalise time to get the image created.

What was the biggest challenge during production? How did you overcome it?

The biggest challenge for this one was the time I had to create the image in. Once I had the logistics done, I had less than a week to create everything. A project like this should really have 2 weeks to make sure that all the fine details are thought about. With out that buffer, I had to be cleaver about the assets I pulled together and the amount of time I had to allocate for each section of the build.

What kit/tools/software were used to create the project?

For this, my only tool was Photoshop and I wasn’t allowed to use any AI in the final work - so no gen-fill!

What is one funny or notable thing that happened during production?

When I was building the file, I had it in the back of my head that I would also build it in a way that I could use it for motion. This was something that wasn’t briefed in and I thought the client and the composer would get a kick out of - a nice surprise for them and something extra that combined motion and music.

What’s the main message of this project and why does it matter?

I think the main message from this project is that creativity is multilayered. From the designer working with the composer through to the art directer working with me. We all had a creative hand in pushing the idea forward.

How long did it take from inception to delivery?

From the moment it came through the door, I had about 5 or 6 days to complete the project.

Can you describe the creative spark or inspiration behind the initial concept? Was there a specific moment or insight that ignited the idea?

I can’t say for the beginning part of the project, but I did think creating a parallax  - something that mimicked the idea for moving through the city - would work for this project

Were there any alternative concepts or ideas considered during the ideation phase? If so, what led to the selection of the final concept?

There was only time to explore different options within the set concept. So, we played around with the idea of having floating spheres in the sky as well as using different types of trees throughout.

Can you discuss any collaborative or interdisciplinary aspects of the ideation process, such as working with other departments or external partners?

Normally, we work in a very collaborative way. I try to get as many artists of different disciplines on the project as I can so that we can cover as many creative points as possible. But, because of the tight deadline, I had to take on the majority of the crafting. I did, however, have many discussions with the client along the way to make sure that we were aligned.

Can you discuss any unique or unconventional production techniques or approaches used to bring the idea to life?

I don’t usually add more work to a brief. So, creating the parallax along side the master key visual was a punt that paid off.

Credit list for the work?

Retouch Artist // Vahakn Vorperian at The Retouchers Ltd
Senior Account Manager // Andy V. Smith  at The Retouchers Ltd
Creative Lead // Antony Hart at Factory International