ALT J – Deadcrush by Young Replicant


2017 Infectious Music

Featuring Leah Marojevic, Alana Everett, Natalia Iwaniec

Director – Alex Takacs
Choreographer – Darcy Wallace
DP – Martijn Van Broekhuizen
Production Company – Pulse Films
Executive Producer – Rik Green
Producer – Sonya Sier
Assistant Producer – Rebecca Mason
PM – Amanda Tuckwell
Production Coordinator – Elena Argiros
1st AD – George Nelson
2nd AD – Ben Keswick

Production Designer – Nathan Parker
Wardrobe – Natalie Wilkins
Hair & Makeup – Lisa Zipper
SFX – Bob Smoke

1st AC – Jeremy Fusco
2nd AC – Jerry Pradon
Grip – Neil Blakesley
Steadicam – Matt Alsopp
DIT – Chris Belcher

Editor – Thomas Grove Carter @ Trim Editing
Colorist – Oisín O’Driscoll @ The Mill
Post Producer – Imogen Pai
Post Production – The Mill
VFX Supervisor – Brad Wood, Matthew Kavanagh
2D Lead Artist – Fergal Hendrick
2D Artist – George Cressey, Jose Caballero & John Thornton
3D Artist – Marta Carbonell

Travel in Asia by OOPS!sidedown


A few months ago we went on our first trip to South East Asia. This video is a collection of vivid moments we’ve captured on our way just to never forget all the places we have fallen in love with.

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INSTAGRAM ► http://ift.tt/2iMkvyE

Filmed with Panasonic GH4

lenses: Panasonic Lumix Vario 12-35, f/2.8, Metabones Speed Booster + Nikkor 35mm f/1.8, Nikkor 50mm f/1.8

music: Ryan Taubert – Limitless
voice: Alan Watts – Time & the more it changes

Plastic Girls by Nils Clauss


With slow graceful movements and digitally generated messages, Plastic Girls make a conspicuous contribution to the sexualisation of public space in front of their owners premises.

PLASTIC GIRLS is the last film of a Korea related trilogy following BIKINI WORDS and LAST LETTERS:

http://ift.tt/1IZ0hNz
http://ift.tt/2lZeJ0A

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thisiscontented.com
nilsclauss.com

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a CONTENTED Production in association with MINORITY

Producer: SANGJU LEE
Assistant Producer: DOYEON KIM, SEOKJU KANG, SOOHONG MOON

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Appearing Mannequins: JENY, MOMO, NAMI, MINA, RORA, SAEMI, SUMIN, SUNNY
Additional Cast: DOYEON KIM, JIWOONG CHOO, JONGIN NAH

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Director, Cinematographer: NILS CLAUSS
Voice-Over Script: NILS CLAUSS, UDO LEE
Gimbal Operator: SUNGIL LEE, NILS CLAUSS

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Editor & Colorist: NILS CLAUSS
Music: “The Crack-Up” by UDO LEE
Sound Mixer: UDO LEE
Graphic Design: INAH SHIN

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Special Thanks to: AARON CHOE, BARBAR HAIRSHOP, BAYA KHODJA, BLUE BAR, BONGEE CHICKEN, DAEHO COFFESHOP, DEBORAH PAIK, HYUN CHO, JOO HOON LEE, KUIOCK PARK, MYUNG-SE LEE, NEIL ARDIFF, NGO-DRESS, NONGHYUP GAEPO GRAIN STORE, NEIL DOWLING, SEON BEOM LEE, SEOK JOO KIM, SKY TV, SUGIL LEE, YANGJI BATHHOUSE, YOUNGSOOK KIM

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Dedicated to everyone who fights for gender equality in South Korea and disagrees with the sexualization of public space.

Pursuit (4K) by Mike Olbinski


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Blu-Ray discs available here: http://ift.tt/1NmxOlE
Music by Peter Nanasi, find his work here: http://ift.tt/2h0Lpq0
Follow me: http://twitter.com/mikeolbinski / http://ift.tt/1gNIw6O / http://ift.tt/14015Z3
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On June 12th, I broke down into tears. Minutes earlier, I had been outside my truck, leaning against it, head buried in my arms, frustration and failure washing over me. I wanted to quit. I got back in the car and as I drove, the pain got the better of me and the tears came.

This past spring was a tough one. Supercell structure and beautiful tornadoes had been very hard to come by. In fact, the tornado in the opening of this film was the only good one I saw this entire year. I had been on the road longer than ever before. Driven more miles. I was away from my family for 12 straight days at one point, and when I got home, I had to tell them I was going back out 24 hours later for June 12th. It was just too good to pass up. It promised to be a day that I could get everything I had been hoping for this spring and I had no choice. My wife understood, even though I knew she wished I stayed home. And I wished it too.

I knew right where I wanted to be that day. But this year I struggled with confidence in trusting my instincts. Maybe it was because the lack of good storms this spring made me question my skills, or maybe it was something else inside of me. Whatever the case, I let myself get twisted and unsure, and found myself 80 miles away from where I had wanted to be when the tornadoes started to drop and the best structure of the year materialized in the sky. The photos from Twitter and Facebook started to roll in and I knew I had missed everything.

It may not be easy to understand why, but when you work as hard as I did this spring, a moment like that can break you. I felt like I let my wife down. But mostly I let myself down. I forgot who I was and that’s not me. Or it shouldn’t have been me. I failed myself. And it seemed like the easy choice to just give up and head for home.

But I didn’t. I’m not sure why, but the pain slowly began to subside. I realized it was only 4pm and the storms were still ongoing. Maybe if I could get in front of them the day could be saved. Ninety minutes later, I got out ahead and saw some of the best structure I’d seen all spring and a lightning show that was so incredible it’s one of the very last clips of this film.

And that’s why this film is called „Pursuit.“ Because you can’t give up. Keep chasing, keep pursuing. Whatever it is. That’s the only way to get what you want.

I learned something about myself on June 12th which carried over to the final few days of chasing this spring. I trusted myself again and those days were incredibly rewarding. This was who I’d been all along but had forgotten. I can’t wait for next year.

The work on this film began on March 28th and ended June 29th. There were 27 total days of actual chasing and many more for traveling. I drove across 10 states and put over 28,000 new miles on the ol‘ 4Runner. I snapped over 90,000 time-lapse frames. I saw the most incredible mammatus displays, the best nighttime lightning and structure I’ve ever seen, a tornado birth caught on time-lapse and a display of undulatus asperatus that blew my mind. Wall clouds, massive cores, supercell structures, shelf clouds…it ended up being an amazing season and I’m so incredibly proud of the footage in this film. It wasn’t the best year in storm chasing history…but I got to chase storms and share it with you guys. All worth it.

I wanted to do something new this year, so I worked with composer Peter Nanasi to develop a custom track for Pursuit. I’m super excited about it and loved the process of exchanging ideas and building the song as the editing of the film progressed. I am so thankful to Peter for what he came up with, I’m in love with this track!

The time away from my family turned out to be over a month all told. I’m always and continually blessed by a wife who supports what I do and backs me completely. But not only do I have her to thank this spring, but also her parents who hung around for a good chunk of May and early June, to help out wherever needed, watch the kids, run errands and generally be there for Jina. I don’t have enough words to convey how appreciative I am for them being around while I was gone.

I think that’s about it. I could write a lot more, but I’d rather you watch the film and hopefully have a taste of what I saw this spring. There is nothing quite like strong inflow winds, the smell of rain and the crack of thunder. I miss being out there already.

I hope you enjoy and I’ll do my best to answer any questions in the comments below!

Technical Details:

I used two Canon 5DSR’s along with a Canon 11-24mm, 35mm, 50mm, 135mm and Sigma Art 50mm. Manfrotto tripods. The final product was edited in Lightroom with LR Timelapse, After Effects and Premiere Pro.

Dolby ‚Prime‘ Full Version by Hornet


This is actually the fourth and final part in a series of films commissioned by Dolby Labs for their amazing gallery space in San Francisco. Gabe Askew has long collaborated with the musician duo Hays + Ryan Holladay who were responsible for putting the series together. They leveraged the new Dolby Atmos technology to create a beautiful and embracing soundscape while Gabe tried to wrap his head around the massive 9920×720 resolution display. The theme of the series was memory. Drawing from the writings of Ray Kurzweil, Gabe created a visual metaphor for the physical act of how the brain receives a stimulus, breaks it down into elements, stores it via pattern receptors in the cerebral cortex, and then recalls it. The specific memory represented in the film is the birth of his daughter, Lily.

Director: Gabe Askew
Production Co: Hornet
Client: Dolby Labs
Music: Hays + Ryan Holladay

Super Magic Hats – Sleepless by Tessa Chong


‚Sleepless‘ by Super Magic Hats, from the new album ‚Wish‘.

Hypnagogia is the transitional state between wakefulness and sleep… You start falling, then you’re slowly running, you start dreaming of lunch, dancing, and shape-shifting into a guy with a million eyes.

Directed and animated by Lee Arkapaw and Tessa Chong

THE PRIVATES by Amalgamated Picture Co.


An unknown rock band struggles with a radioactive energy in their music that blows up amps, liquefies tape decks, and starts electrical fires. On the eve of their first (and possibly last) show, they must decide whether to risk life, limb, and legacy for a 1AM slot on a Tuesday. It could change everything…or nothing at all.

„The Privates“ is this week’s Vimeo Staff Pick Premiere! Read more about it here: http://ift.tt/2uCfS0E

2017 Sun Valley Film Festival
2017 IFFBoston
2017 Brooklyn Film Festival
2017 Palm Springs International ShortFest
Hammer to Nail Short Film Contest – Spring ’17 – WINNER

Writer / Director: Dylan Allen
Producer: Eddy Vallante
Starring: Lilli Stein, Rachel Trachtenburg, Alex Herrald, Omar Maskati
Director of Photography: Evan Jake Cohen
Music: The Privates
Original Score: Dave Paulson
Editor: Robert Grigsby Wilson

Producer: Javier Gonzalez
Executive Producer: Matthew Perkins
Associate Producer: Mari Shiel
Production Design: Pinky Guest
Casting: Rebecca Dealy
Casting Assistants: Christy Escobar, Kristie Walsh
Costume Design: Megan Stark Evans
Hair/Makeup/SFX Makeup: Lexan Rosser
Visual Effects: Perry Kroll
1st Assistant Director: Eric “Frenchy” LaFranchi
Unit Production Manager: Maddi Clarke
2nd Assistant Director: Tas Mahr
Property Master: Nicolas Luna
Set Dresser: Alan Jensen
Miniatures: Peter Feigenbaum
Production Sound Mix: Adrian Martinez
Audio Post Producer: Kira MacKnight / One Thousand Birds
Sound Design/Mix: Calvin Pia / One Thousand Birds
Music Director: Maxwell McDonald
ADR Engineer: John Parthum / Mixtape Club
Gaffer: Chad Dougherty
Key Grip: Glenn Porter
Best Boy Electric: Justin Newhouse
Best Boy Grip: Jacob Beil
Grip: Camilla Foschi
1st Assistant Camera: Matt Garland
2nd Assistant Camera: Brandon Regina
Set Photographer: James Chororos
Script Supervisor: Rachel Cole
Production Coordinator: Quinn Dooley
Locations: Jordan Thomas Alexander, Alex Richard
Production Assistants: Kuper Bank, Eli Kleinsmith, Sean Woodruff, Mikaela Barish
Poster Design: Sam’s Myth
Digital Colorist: Andrew Francis
Color Assist: Charles Leighton
Digital Intermediate Services: Sixteen19

“We Are Really Rocking Now, Haven’t We?”: written & performed by The Privates
“You Never Take Me Dancing”: written & performed by The Privates

VFX Breakdown – http://ift.tt/2uXK3SD

Amalgamated Picture Company, 2017. All rights reserved.