Welcome to Hoken Tech

The world of blockchain and NFTs (Non Fungible Tokens) represents an opportunity for artists and non-artists, obtaining a channel of both visibility thanks to the decentralization of the blockchain and revenue as the various NFTs can be bought and sold independently.

Thanks to the experience accumulated over the years by the startup Hoken Tech, another artist, Francesco Scapicchi, has chosen this company to entrust the digitization of his works through NFTs, and for the occasion the Hoken Tech team interviewed the artist about his activity and his project.

Born and raised in Perugia, Umbria, he still lives in his hometown. From an early age he showed a great passion for technology and creativity: he loved to dismantle, reassemble and wire recorders, cameras and other electronic devices in the family living room. As a child he enjoyed experimenting, using the first video cameras, such as the VHSC belonging to his father, and trying his hand at photography. However, at the time, these were just passions and hobbies for him.

Growing up, he then dedicated himself mainly to music: he started playing the drums, was part of several musical groups and, later, became a DJ and producer. In this role he composed original songs, founded his own record label and worked intensely in the audio sector.

Later, his career took an important turn thanks to his participation in a call for a master's degree at the Rai School of Journalism. He managed to rank among the top ten and attended the school, obtaining a master's degree in digital filming and editing. This experience allowed him to expand his skills, combining sound work with video and photography. Since then he has worked as a videomaker, dealing with filming, photography and editing.

With the arrival of the first innovations related to artificial intelligence, he decided to update himself, attending specific courses that allowed him to discover new tools. These tools were then integrated into his professional workflow and also used for creative projects. Among his experiments, he found an original and fun way to "make famous works, such as paintings, speak" using artificial intelligence.

He wrote the texts and dialogues of these works which, through technology, were able to tell anecdotes and stories, both about their creation and about their artist. He perceived this idea as not only innovative and fun, but also culturally interesting, imagining a painting that tells his story in the first person.

From this intuition, he decided to open an account on TikTok, where he began to publish videos of these "talking" paintings. The idea has been successful, combining entertainment and culture, and constituting a new way of artistic and creative fruition. In fact, it has also begun to explore the integration with new media, such as NFTs, a topic that deserves further exploration in the context of its experience and innovation.

He noticed that what is most important for the people who contact and hire him, in addition to reliability, is punctuality. In fact, he observed that people mainly require reliability and respect for delivery times. He noticed that, since he started working in this sector, even if he did not prove to be a technical expert, being a reliable person who delivers the work in a short time certainly makes the customer satisfied.

The second observation is the importance of always showing oneself up to date, proposing new ideas and innovations to customers, sometimes even those recently released. This often happens when he makes corporate videos or wedding videos. During the summer, he sometimes also dedicates himself to wedding video projects, trying to bring freshness and originality.

She is not sure if there is a common thread that can unite two types of work as distinct as making a corporate video, a television interview or a wedding video. However, she reflected on the fact that in weddings she has understood that, beyond the technical aspect — which is undoubtedly important, with well-made shots and scenes — it is often more useful to forgo some perfectly set scenes in favor of greater spontaneity. She has noticed that spouses like to see authentic moments. Even if the final video may not be perfect in every scene, it manages to capture real emotions without forcing them to pose or prepare every shot.

This philosophy also applies to corporate videos, but here things are more structured. It starts with a script and in some cases there are storyboards and typical organization of a set. In this area too, she has noticed that if she can insert extemporaneous or unexpected elements during the editing phase, companies appreciate it. A little bit of informality and a pinch of humor can also be extremely effective in corporate videos.

This change in the way of communicating has led to a lighter approach in marketing, which they consider positive. In addition, there is a generational change that has influenced the vision of creating more active and less rigidly set content.

The professional says that one of the latest works he has created was commissioned by an Umbrian record label, with which he occasionally collaborates for the production of small video clips using materials provided directly by the label itself. In one of the latest projects, the video he created included a theatrical performance featuring some girls from northern Italy, with a mystical theme.

In the creative process, he was sent several video clips, along with numerous photographs. From here the idea of ​​animating the photos was born, thus combining the original clips sent with these animated images. For the animation he used artificial intelligence, an approach that, according to him, was implemented for the first time in a functional way and with truly satisfying results. The video was a great success and was particularly appreciated, both by the label and by the public.

In his story, he is keen to underline how this work represented a turning point for him. He explains that, although he has been following technological tools for video editing and production for years, only recently has technology allowed him to create animations from photographs in a convincing and professional way. This project was therefore one of the first in which he managed to achieve this result, obtaining the desired effect.

In his experience, up until a year or a year and a half ago, there were some tools capable of animating photos, but they were not sufficiently advanced for professional applications. Now, however, this is possible, and he enthusiastically claims that, viewing the final video, it is almost impossible to distinguish between the original video clips and the animated photos, making the final product uniform and emotionally engaging. On this work, he confirms that he has indeed marked a significant step forward in his creative and professional path.

The professional gives as an example one of his latest works, a video clip in which he implemented animated photos, explaining that, in theory, every time you make a video for a client, you should combine the aesthetic aspect with the informative one. When a client requests a video, they often specify that they want to show what they do, but it is up to the video maker to find a way to make the final product not only informative, but also pleasant and engaging.

He emphasizes that this approach should always be kept in mind when making a video. For him, it is important to try to surprise the client, adding creative elements to the final product. He says that, on several occasions, it happened that a client, upon delivery of the video, reacted positively, saying: "Great idea, I hadn't thought of that!". This recognition confirms the centrality of the creative role of the video maker, who cannot limit himself to a purely executive work, but must instead add that "something extra" that not only satisfies the client, but makes the work itself more stimulating and fun.

He points out that the most forward-thinking clients particularly appreciate a proactive approach, where the video maker doesn't just carry out the requested task, but tries to offer added value, putting a personal touch in the project. According to him, this is precisely the "non plus ultra" of creative work, the ability to go beyond the simple task.

He also reflects on the importance of the video maker's experience: clients often don't know exactly how to make a video or which elements to integrate, so they rely completely on his expertise. The latter includes the choice of shots, the management of photography and, an element not to be underestimated, the care of the audio.

He emphasizes that audio is a fundamental component in a video, especially in corporate ones. If the audio is not clear or well-groomed, there is the risk of losing a good part of the communicative effectiveness of the video, especially if there are dialogues or explanations. According to him, the audio must go hand in hand with the visual quality of the project, because only in this way is it possible to obtain a complete and professional final product.

The professional emphasizes how fast delivery of material is highly appreciated today, especially for corporate videos. However, in the case of wedding videos, he adopts a completely different approach. He explains that he has never edited a video directly during a wedding, mainly because he almost always works alone on these occasions. It would be impossible for him to simultaneously manage filming and editing on site.

Furthermore, he does not believe that the spouses have this need, considering that the wedding video is a precious memory that deserves special attention and care. It is a memory of the day, theoretically, the happiest of their lives, which will be seen again together with relatives and friends, and for this reason a quick and hasty editing would not be adequate. Editing a video quickly and with the chaos of a wedding would not guarantee quality: it could be nice but not well made.

In fact, in the case of wedding videos, the professional dedicates much more time to the editing phase than with other types of videos. For him, every detail is fundamental. In the case of corporate videos, however, the work is much more linear and pre-set. He explains that, generally, companies are already prepared: they have prepared the products, machinery, or necessary spaces and defined the message and the required content.

Therefore, before even arriving on site, the video maker already knows what he will film and what the editing structure will be. He is given a guide to follow, which specifies what must be shown, the length of the video (for example, one minute for social media or three minutes for internal use), and everything is planned with greater precision.

In the case of weddings, however, everything is unpredictable. The only thing that is really confirmed is the time of the ceremony; for the rest, times can change and many details are not decided in advance. To deal with these situations, the professional prepares himself as best he can, bringing a wide range of equipment, including lights, lenses, drones and tripods, to be ready for any eventuality.

This difference between wedding videos and corporate videos is noticeable right away, but emerges even more in the editing phase. In the corporate case, the process is structured and linear, while in the wedding it is totally creative and depends on the videomaker's ability to capture authentic moments.

The professional also highlights a question frequently asked by spouses: how long will the wedding video be? He explains that, unlike a corporate video, what matters is not the length, but the quality and content. It makes no sense to make a half-hour video just to justify the cost, because the spouses would not watch it if it did not have significant moments.

On the contrary, a video of ten or twenty minutes, but full of exciting and important content, will be much more appreciated. For him, the wedding video must be an enjoyable product, that the spouses, together with relatives and friends, can watch again with pleasure and emotion.

In short, the professional emphasizes that, both for wedding videos and for corporate ones, the final goal is to create a product capable of entertaining and involving those who watch it. A good video should not make you want to change channels, change windows on your computer, or look away, but should keep the viewer's attention high, capturing them with meaningful and well-made content.

The professional offers fundamental advice for those who want to undertake this profession, emphasizing that it is not a technical aspect but an interpersonal one. According to him, you can be extremely good technically, but what matters most is the ability to be collaborative and available. He says he has met highly qualified people, true "phenomena" in their work, who however were difficult, if not impossible, to manage on a human level. For this reason, he believes that the starting point for success is to present yourself as a calm person, smiling and ready to listen to the client's needs.

He emphasizes that reliability is the most important aspect in this profession: if a client asks to be on site at a certain time, it is essential to be there on time. You don't need to be a great director like Kubrick to satisfy the client: what matters is proving to be reliable, always available to respond, to give explanations and to solve problems. Technique, although important, comes after all this. According to him, if he were to hire an assistant, he would first evaluate the person's passion and motivation, rather than their level of technical expertise or the equipment they possess. In his opinion, those who want to learn can acquire the necessary skills, while changing a person's bad attitude is much more difficult.

Responding to a reflection on the perception that today's young people are not very inclined to work or complain about working conditions, the professional expresses a balanced view. He believes that people who want to do and less motivated people have always existed, without particular generational differences. However, he highlights that those who love their work start with a significant advantage over others, because they put energy and time into doing it well, trying first of all to satisfy themselves. He explains that, when you don't like the work, it is more likely that you limit yourself to the minimum effort, regardless of the sector.

The professional admits that he does not have assistants, mainly for economic reasons. Working as a self-employed worker, he independently manages every aspect of his business, from finding clients to delivering the work. He reiterates that, for those who do his job, it is essential to always keep up to date, look for new channels and adapt to a constantly evolving market. He talks about how he found, for example, a portal a year and a half ago, thanks to which he started new collaborations. This required an initial effort, such as creating a profile and collecting reviews, but in the end it turned out to be a valid channel to expand the network of contacts.

As for the job of videomaker, he emphasizes that, although it does not make you "rich", it can be very rewarding for those who are passionate about it. It allows you to see different worlds, meet new people and situations, and constantly compare yourself with many realities. However, he warns that, in addition to technical expertise, it is necessary to love what this job entails, which requires a continuous search for clients and constant updating. In the end, he maintains that the best recognition for a videomaker is when a client comes back to request new work: it is the sign that one's task has been carried out in an excellent way.

The professional says he decided, less than a year ago, to attend a course held by Marco Montemagno. It was a period of "tiredness" at work, as happens in his sector in less intense months, for example January, which he considers one of the quietest in terms of work. He explains that at that moment, to fill his free time and, at the same time, to improve his skills, he chose to enroll in the course.

He considered it an opportunity to delve into aspects useful to his profession. During the course he began to experiment with different digital tools and, precisely by experimenting, the idea that he would later develop was born.

He describes how it was precisely in that context that he conceived his innovative idea of ​​"talking paintings". The first attempt dates back to March of last year, when he created a video featuring the Mona Lisa. He says he wondered why no one had yet thought of doing something similar.

He began to explore the use of available AI tools, such as ChatGPT, with which he experimented for writing texts: starting from imagining that the Mona Lisa could speak, he asked the AI ​​to create an anecdote about her and Leonardo da Vinci. After some adjustments, he used additional tools to animate the painting and to create a realistic and believable voice. He explains that it took three separate tools: one to write the texts, one to create the voice and another for the graphic animation.

A key moment for inspiration came during Montemagno's course, when one of the videos began with the speaker speaking, but after ten minutes he revealed that what the audience had seen was not him, but an animated avatar. This struck him deeply and pushed him to think of a similar application, but with paintings as protagonists.

He discovered that a specific portal designed to animate human avatars was also able to animate the features of a painting perfectly, since these often reflect human proportions, as in self-portraits. When he first saw a painting talk, he confesses to being excited, because he did not expect such a realistic result.

The idea developed further, and the various paintings not only "talked", but each had its own voice, cadence and accent, adapted to the historical and geographical context of the work and its author.

For example, the Girl with a Pearl Earring told episodes related to Vermeer. In addition to the technical aspect, the professional wanted to create videos that also had a cultural value, imagining that this new modality could make the history of art more engaging, almost a "history of art 4.0".

Another example is linked to the Painter Perugino, of whom he animated a self-portrait. He says that in that case, not having yet found a tool that created a credible voice, he used his own recording, simulating a local accent to give an authentic and personal touch to the product. This first experiment, published on his Instagram profile, was received very positively and encouraged him to continue.

This idea, born to experiment and learn how to use new tools, also evolved thanks to the collaboration with the Apulian start-up Hoken Tech, specialized in the digitization of physical and digital art. Hoken Tech has allowed a new direction to be given to "talking paintings", exploring the possibility of transforming them into NFTs and using them through blockchain.

The professional admits that he is not an expert in the field and that he completely relied on Hoken Tech to understand and implement this technology. He reveals that the interest in NFTs was born from the numerous questions received on TikTok, where many viewers asked him if his products were for sale as NFTs. However, initially, he discovered that many of those requests were from platforms that were simply trying to make money, asking him for a registration fee.

Thanks to the collaboration with Hoken Tech, the NFT project has taken a serious and structured turn, demonstrating how this technology can offer an innovative outlet for artists to promote and monetize their works. In fact, unlike traditional collectible NFTs with standardized characteristics, those created for his "talking paintings" tell a story, have an artistic basis and are designed to be significant. The inclusion on a responsible blockchain, such as that of EOS, adds value to the project, as it is an environmentally sustainable solution.

In conclusion, the professional says he is satisfied with the project, but invites anyone who wants to approach NFTs and blockchain to turn to professionals in the sector. He reiterates the importance of relying on experts, as he himself did with Hoken Tech, underlining that it is a complex and treacherous terrain, even at a regulatory level. In this regard, he concludes with a universal piece of advice: "To each his own job". He focuses on videos and animations, leaving the technical and legal complexities of NFTs to specialists in the sector.

According to the professional, technology, no matter how advanced, always retains a crucial limit: robots and computers cannot do anything that has not first been taught or set by humans. Nothing in their code "comes from nothing", and this places the human being at the center of the creative process.

He explains that, even with advanced tools such as those offered by artificial intelligence, human intervention remains essential to guide, correct and perfect the results. For example, he recalls that in his work with the animation of photos in the "Quadri Gossip" projects, a single attempt was not enough to obtain the desired result: numerous attempts were necessary to reach a satisfactory level of quality.

For him, the change in the figure of the videomaker will be inevitable. The professional will have to integrate artificial intelligence tools into his activity, combining real shots or photographs with those generated artificially. This will require, on the part of videomakers, greater expertise in the use of advanced software and continuous training on new tools.

Technology will make it possible, and in part it already is, to create videos entirely artificially without actually filming. However, he points out that these tools are currently accessible only to a few professionals, as they require not only high technical skills but also significant financial resources. Subscriptions to the necessary tools, for example, are often very expensive.

In this regard, he shares his experience with some tools, such as the Runway portal, which allows you to create videos or edits starting from texts (text-to-video) or images (text-to-image). Although he has tried the basic version of the service, he explains that to obtain professional results it would have been necessary to subscribe to a much more expensive subscription, which at the moment he has not considered convenient for his projects.

This example highlights how technology is making the ability to develop effective prompts and manage innovative tools increasingly important, while traditional filming skills may gradually become less central.

On a personal level, the professional also explains the origin of the name of his studio, Dirty Drop Studio. Initially it was the name of his record label, Dirty Drop Records, founded when he was working in the music industry. Over time, the name has remained and evolved, becoming the brand of his studio when he began working as a videomaker and producer of multimedia content. This transformation symbolically represents his creative journey, from audio to video.

Finally, Francesco Scapicchi explains how the site was conceived to give visibility to his brand, Dirty Drop, but also to tell his story and his journey. He emphasizes the importance of having a solid and organized professional base, such as a structured and competent company behind you, especially in the case of innovative projects such as those involving artificial intelligence tools or NFTs.

For this reason, he highlights the value of working with technical partners who respect the times and needs of the artists, raising the quality level of the projects.

The professional concludes by thanking for the patience received during the long times of the collaboration and underlines the importance of professionalism in a sector increasingly influenced by new technologies and innovative tools.