Autor: Karl Ranseier

photographed by matt and paul

format: 16mm
stocks: 7229, 7219, 7219 (+2), 7207 (+2)

Chris Heck fought his way up over the most dangerous, lifethreatening tricks, with numerous sore finger injuryies, and nerval breakdowns to where he is today.
Since winning the German championship in 2003, he worked everyday on his inventive tricks while phoning with his wife wife Anna, on his wooden kitchen table.
Through this hard training his fingers became harder than any industry steal you can buy.
His Pro Model, with a a red Skwirral, (which is his favorite animal, right after turtles and foxes) crowns his legendary 21 years of Finger Skateboarding.

Ladies and gentlemen.

Fingers of Steel
A film by Sebastian Linda
Filming, Editing, Sounddesign, Grading, Blood nerve staying calm
FB: on.fb.me/1xVxHAX
 – sebastian-linda.de
Chris Heck
http://ift.tt/2jFXEWh

Sound mix by
Bony Stoev
www.bony-stoev.de/

Special Thank to Nils Heck for filming Making of Shots!

In 1562, Flemish artist Pieter Bruegel the Elder completed a painting called „The Triumph Of Death“. In this panoramic landscape the sky is blotted out by black smoke; ships and dead fish litter the ocean shore; and an army of skeletons experiment with myriad death techniques. The living are badly outnumbered and the variety of fated tortures seems endless. There is little room for whimsy in this tableaux.

Over 200 years earlier, a nasty plague, commonly known as „The Black Death“, left a cruel and massive mark on European civilization, wiping out half of Europe’s total population. This was a quiet pervasion of death – an invisible pathogen carried by herds of tired rats. This plague triggered a series of social and economic upheavals with profound effects on the history of medieval Europe, guiding its survivors into the sort of self-inflicted darkness pictured by the Elder Bruegel.

Looking back at this historical trajectory, Peter Burr, Mark Fingerhut, and Forma have created a spiraling interdimensional narrative aptly titled DESCENT – a meditation on one of humanity’s blackest hours. Taking the form of a desktop application, descent.exe gives the user a brief glimpse of a world descending into darkness – an unrelenting plague indifferent to the struggles of the user. There is a silver lining, however, tucked into the software’s final sweep. An equanimous watcher, reduced to a single eye, looks on as the plague of rats that has infested your desktop destroys itself.

This video is a recording of descent.exe running alongside Fingerhut’s deepdesktop.exe.

Download descent.exe here: (pc only)
http://ift.tt/2mttHJo

Can privacy really still exist in a world where we are continuously connected to the internet?

I directed these animated sequences for co-director Callum Cooper’s D&AD Yellow Pencil winning documentary series „The Power of Privacy“ for The Guardian. The series explores the potential as well as the limits of privacy today. The animations establish the historical context and key themes for each episode of the series.

For Ted-Ed

http://ift.tt/2mfPS9M

In 1995, scientists pointed the Hubble Telescope at an area of the sky near the Big Dipper. The location was apparently empty, and the whole endeavour was risky – what, if anything, was going to show up? But what came back was nothing short of spectacular: an image of over 1,500 galaxies glimmering in a tiny sliver of the universe. Alex Hofeldt helps us understand the scale of this image.

CREDITS
Educator Alex Hofeldt
Director Yukai Du
Production Company Bliink.tv
Producer Tim Coates
Script Editor Mia Nacamulli
Animator Yukai Du, Tom Matuszewski
Composer Tim Arndt (Near The Parenthesis)

Behind the Scenes: http://ift.tt/2lLCSbj
Teaser: http://ift.tt/2kZPYxi
Directing Non-Actors: http://ift.tt/2lLRnMv
Directing for VFX: http://ift.tt/2l0325Z
License the footage from Filmsupply: flmsp.ly/thcgftg

Written & Directed by: Ricky Staub
Executive Producer: Dan Walser
Produced by: Jon Applebaum & David Raynor
Director of Photography: Minka Farthing Kohl
Production Designer: Tim Stevens
Associate Producers: Staci Haggenbaugh, Andrew Joffe, Marisa Taylor, Andrew Williams
Original Score: Kevin Matley – www.KevinMatley.com
Editor: Ricky Staub
Visual Effects Supervisor: Jeremy Fernsler
On-Line Conform: Steve Perrong
Sound Design: 1-Louder (Dublin) – www.1-Louder.com
Designers: Jonathan Ware
Buster Cottam
Color: Company3
Colorist: Jaime O’Bradovich
Producer: Tom Gehring
Zeke Casting: House Casting NY / Mary Callahan

CAST
Zeke: William Lee
Zeke’s Mom: Iesha Edwards
Zeke’s Father: Michael “OG Law” Tabon
Zeke’s Friends: Eric Drummond, Hakim Fairia, Hasheem Lester
Miss Margaret: Ms. Margaret Wells
Coach: Edwin Gonzalez
Man Giving Testimony: Blake Newton
Pastor: Mel Wells
Mom at Arrest: Faith Jackson
Man in Bedroom: Steven Lee
Crew Leader: James “Heat” Sloane Jr.
Crew: Rafiq Archie, Justin David, Michael Jackson, Khalil Opher, Rojelio Ramos
Man in Wheelchair: Barry Sweeney
Zeke’s Sister: Jayan Bishop
Cops: Kirke Gardner, Sean McCabe, Kelly Lynn
Assistant Coaches: Andre Wright, Steve Barnett, Al Pratt

CREW
Rigging Supervisor: Tricia McMiniment
Script Consultant: Nako Adodoadji
1st Assistant Camera: Gino Varisano, Andy Hensler, Luke Rihl
2nd Assistant Camera: Ryan Baldwin, Darby Irrgang
Steadicam Operator: Martin Whittier
DIT: Steve Perrong
Still Photographer: Scott Toepfer
Camera Production Assistant: Rich Bates
Sound Mixer: Sean Hoffman
Gaffer: Andrew Joffe
Best Boy Electric: Zac Kind
Rigging Gaffer: Shane Moore
Rigging Electrics Will Dejessa, Paul Hinson, Austin Locicero
Swing: Zach Van Heel
Key Grip: Kevin Gallagher
Grip: Mike Fares
Key Rigging Grip: Jozef Jozefowski
Rigging Grips: Pedro Cunillera, Bill Kirner
Swing: Conor O’Mara
Location Manager: Staci Haggenbaugh
Location Support: Andre Wright, George Winn
Stylist: Michele Wilderman
Production Accountant: Rachel Courtney
Producers Assistant: Anna Pruett
Set Decorator: Kate Gaffigan
Set Dressers: Katie McGregor, Michael Mizrahi, Bill Willets
Greens: Jenn Sanchez
Greens Assistant: Chris Raab
Art Support: Nic Justice, Pen, Alessandra Nicole, Marquis Sims, Lynnae Stine, Jamie Stratton, Tara Wilkinson
Key Production Assistant: Zach Rose
Set Production Assistants: Kristopher Chain-Harris, Justin Remer Hoffman, Ryan Unger
Set Support: Anastasia Anderson, Matt Canon, Llewellyn Dryfoos, Sasha Klugar, Quynh Le, Karl Leisch, Morgan Perry, Katie Salamon, Levi Sherman, Patrick Smith, Tiyana Smith, Austin Smock, Heather Treston, Noorman Wicaksono, Eurica Yu
On-Set VFX Assist: Chris Cerrone, Ian Hartman, Tighe Rzankowskia
William Lee Acting Coach: Nako Adodoadji
Voice Over Written by: Ricky Staub & Micah Bournes
Catering & Craft Service: Taste the Difference
Chef: Terri Davis
Cooks: Cheryl Fleet-Hopkins, Sue Fields, Martha Taveras
Head Security: James A. Sloane Sr.
Security Supervisors: Denise Sloane, James A. Sloane, Jr.
Security Guards: Jeffrey Barnes, Mark Bassknight, Arjene Carter, Eric Jones, Eric Smith
Digital Effects Artist: Jeremy Fernsler, Chris Cerrone, Ian Hartman, Tighe Rzankowski
Audio Mix: 1-Louder / LAB-3
Foley: 1-Louder
Vocals: Chelsey Matley
Cello: Eli Weinberger
Violin: Brian Eichelberger
Behind the Scenes: Vita Brevis Films
Director: Skylar Nielson
1st Camera: Lance Clayton
2nd Camera: Josh Fletcher
Splinter Unit BTS: Frank Apollonio

SONG CREDITS
“I’m Aktive”
Lyrics by Heater Goongang
Beats by Sonofike (drizygitbizy”
Performed by Heater Goongang

“Scary Sight”
Lyrics by Heater Goongang
Beats by Sonofike (drizygitbizy”
Performed by Heater Goongang

Filmsupply Originals presents — The Cage.

More than a story of redemption, The Cage is a story of survival. When Philly’s streets look to bring one young man down and entangle him with violence, anger, and death, it’s purely up to him to find a way to break free. While the only escape may seem to come from the basketball court, make no mistake — this is no game.

Go behind the scenes with Neighborhood Film Co. on directing nonactors, directing for VFX and more: flmsp.ly/thcgflm

License the footage: flmsp.ly/thcgftg

License the score: mscbd.fm/thcgsnd

Created by Neighborhood Film Co.

Written & Directed by: Ricky Staub
Executive Producer: Dan Walser
Director of Photography: Minka Farthing-Kohl
Sound Design: 1-Louder (Dublin)
Color: Jaime O’Bradovichn at Company3
Editor: Ricky Staub
VFX: Jeremy Fernsler

Max Cooper

Symmetry is one of the most fundamental principles of nature, and also forms the basis of music. So this music video is an important early chapter in the Emergence audio-visual project, which starts with visualisations of the basic building blocks of nature, setting the stage for the physical universe to come into being, and later planets, life, civilisation, and technology (the whole story and project is explained at: http://ift.tt/2gEHavh).

Symmetry is the idea that one aspect of a system can change while another remains constant. The idea of natural laws themselves, rely on the forms of symmetry that mean the same forces will apply to you as they do to me, independently of our position in space or time. And scientists searches for natures symmetries lie at the heart of much of our best models of reality (see Noether’s Theorem or more recent uses of symmetries in things like the ‚amplituhedron‘!).

The principle is also responsible for music, in that our enjoyment of tonality, melody, harmony and rhythm comes from our subconscious appreciation of different types of patterns (i.e. symmetries) in sound waves.

The idea of Symmetry was explored in the video by Kevin McGloughlin, using simple symmetrical forms (primarily the circle), and symmetrical operations applied to them – rotations, translations and reflections. The animation demonstrates the beauty of this simple concept when applied in an iterative journey towards ever increasing complexity, both visually and musically.

The audio track originally came from preparations for a live piano and electronics show with Tom Hodge. I had some chords and glitches we were playing with in combination with a simple piano motif. We decided to try some live Fender Rhodes with it during practice and it all came to life.

Luckily we recorded the whole session so I had a load of stock content to play with when it came to turning the project into the album intro. My reasoning was that the intro should be about symmetry because of it’s basic role in nature, and the development and form of the track, going so glitchy from a simple melodic motif starting point, should work with applications of ever more complex symmetrical manipulation – emergence from symmetry, just as Kevin delivered.

Amazingly, Kevin didn’t use automated sync points from the stems of the audio project – or to put it another way, Kevin painstakingly set up all of those edits by hand, hats off to him for his perseverance on that!

Thanks for having a read, watch and a listen! – max
———————————————————————————————————————-
When I first heard Symmetry I was blown away by its impact and it really struck a chord with me… On hearing the concept for the track, this feeling was empowered tenfold. After much discussion with Max, we arrived at a conclusive concept for the visual.

I represented conservation laws by the use of a simple circle repetition. This circle form took on many new characteristics and evolved in complexity throughout the course of it’s journey, though every new form is an evolution / adaptation of the initial circle. I used a variety of techniques in an attempt to convey the idea of this ever evolving complexity within symmetry.

Starting with minimal moire patterns, moving into 3d depth and finally ending up with massive distortions and adaptations using a technique I developed ‚Digi-Cut‘, displaying various moments in time offset by tiny fractions. This was an effort to demonstrate pre-universe ideas and the introduction of organic matter in relation to symmetry.

It was an absolute honour to work on this project with Max, in particular on ‚Symmetry‘, which is my personal favourite piece on Emergence.

Kevin McGloughlin

Follow Max Cooper
http://ift.tt/NbYKkZ
http://ift.tt/1es9esi
https://twitter.com/maxcoopermax
http://ift.tt/1ebKwyF

There is an ongoing story in the history of cinema about films that are derided and rejected upon release but then completely re-assessed years later. Titles like Citizen Kane, Blade Runner, Vertigo, It’s a Wonderful Life, and more all share this in common. Let’s talk about this concept of re-evaluation and what it means, if anything at all, for the future.

For educational purposes only.

Sources-
Michael Cimino wins the Best Director Oscar for ‚The Deer Hunter‘- http://bit.ly/2lSX0Wr
Michael Powell- A Pretty British Affair (1981)- http://bit.ly/2kCA5gi
Erich von Stroheim- The Man You Loved to Hate (1979)- http://bit.ly/2kulXdI

Further Reading-
Thelma Schoonmaker on Peeping Tom- http://bit.ly/2lWWXYO
The Unloved (Scout Tafoya’s excellent series on unappreciated films)- http://ift.tt/187xW6y

You can follow me through:
Twitter- http://twitter.com/andymsaladino
YouTube- http://youtube.com/c/theroyaloceanfilmsociety
Official Website- theroyaloceanfilmsociety.com/

Music by Chillhop: http://youtube.com/chillhopdotcom
Idealism- Snowfall: http://ift.tt/2gkFklI
Listen on Spotify: http://bit.ly/ChillhopSpotify

Solitude by Jahzzar is licensed under a Creative Commons Attribution license (http://ift.tt/1jttIpt…)
Artist: http://bit.ly/1jl2aG6