Directed by Kevin Eis
www.kevineis.com
Director of Photography – Mike Dominic
www.mikedominic.com
Produced by Eric Goldrich
Starring Thomas Yoon, Mallory Butcher, Jana Krumholtz, Brooks Morrison, and Melissa Choi
Choreography by Kelley Larkin
Filmed on location in Crown Cleaners on Sunset in Los Angeles.
Film by Arice arice.co
Stylist: Marì Paduano// maripaduano.com/
Music: Lerloons
A shipwrecked fisherman is led to a dark secret within this short thriller.
This film was supported by the Frameworks scheme.
A big thank you to IFB, RTE & BAI for their continual support of the Frameworks scheme and their overall support for Animation in Ireland. We’d also like to thank Enterprise Ireland and their CSF fund that allowed us to build the tools & technology that we needed to create this film. Finally, a massive thank you to all the crew who worked on this film and helped us get it over the line.
Winner Best Animated Sequence – Galway Film Fleadh
Winner Best Cinematography – Spark Animation Festival
Winner Best Irish Short Film – Audi Dublin International Film Festival
Official selection – Dingle International Film Festival
Nomination & International Premiere at SXSW
Winner of Best Animation – Irish Film & Television Academy awards
Official selection for Animafest Zagreb
Winner of Best Animation – Fastnet Film Festival
Official selection for Palm Springs
Official selection for Odense International Film Festival
Official selection for Badalona Film Festival
Official selection for Milano Film Festival
Directed by Alex Sherwood, Ben Harper and Sean Mullen.
Produced by Daniel Spencer.
Post Production and Sound Service by Mutiny Post, Dublin.
Voice Actors: Cormac O’Sullivan, Remy Purtill.
Production Executive: Emma Scott
Executive Producer for RTE: Pauline McNamara
Head of Film and International Arts for the Arts Council: Fionnuala Sweeney
Shorts Co-ordinator for the Irish Film Board: Jill McGregor
This film was funded by Bord Scannán na hÉireann/the Irish Film Board, Raidio Teilifís Éireann/RTÉ, the Arts Council/An Chomhairle Ealaíon and the Broadcasting Authority of Ireland/BAI
An unreleased music video for Ludovico Einaudi’s track „ABC“ from his 2015 album „Elements“. Produced in October 2015 over 6 weeks, the video references the work of Gustav Vigeland (1869-1943), the Norwegian sculptor after whom Oslo’s Vigelundsparken is named. Vigeland produced over 200 sculptures for the park in bronze, granite and cast iron. See his work here: http://ift.tt/29L3DHz
See the Making Of here: http://ift.tt/29H2xZr
Thanks to Decca Classics for letting me share this with Vimeo!
ROSE IS THE APPLE OF MY EYE
The magic of skateboarding isn’t going further or faster or even higher. Those are physical feats that the mind automatically gravitates towards, when learning a new skill. Fluidity is skateboarding’s power and allure—the ability to physically interact with your environment in completely new ways and adapt to anything. Every time you step on a skateboard, no matter what your age, race, sex, or even physical capabilities are, you have a unique opportunity to do something that’s never been done before.
If you embrace that side of skateboarding, New York City is one of the most expansive palettes to create on, despite Manhattan being less than 23 square miles. For Aaron Herrington, it wasn’t his home state of Oregon or California—skateboarding’s de facto capital—where he became a professional skateboarder, but it was in the Five Boroughs of New York, where he found himself, while nursing a serious injury. That unspoken power, hidden on every block how NYC became the apple of his eye.
At only 26-years-old, Herrington’s body of work has already proved that you don’t have to be from the East Coast to be an East Coast Skateboarder, just as you don’t have to be born in NYC, to be a New Yorker. And most importantly, in a city that’s constantly changing, there are infinite opportunities to do something new, every time you leave your doorstep.
If you’d seen his Static IV part or his skating in Pontus Alv’s most recent skate film, I like it here inside my mind, please don’t wake me this time., you’ll immediately understand Herrington’s skateboarding. It taps into the spontaneous freedom that’s made Video Days such a beloved moment in skateboarding, as much as it’s a continuation of the street discipline, captured by Dan Wolfe in Eastern Exposure 3: Underachievers. It’s anywhere, anytime, anyhow, and once you embrace that ever-evolving mindset, you can adapt that credo wherever skateboarding takes you. For Herrington, 2015 took him across the world, for the Converse CONS “One Star World Tour,” but it’s the way he taps into New York City’s energy that best displays his power, finesse, and boundless energy. If you’re steeped in East Coast skateboarding, you want to see Ricky Oyola crush the streets of Philadelphia, Bobby Worrest expanding on the history of marble and granite Pulaski in DC, Freddy Gall ripping crusty spots in New Jersey, and Herrington is an extension of that family tree, most firmly rooted in New York.
For some skaters, it takes a while to form who they are. Years are spent building up a foundation, before their personality truly shines through. Limbs need to fully extend, muscles need to rip and reform stronger, and an eye for spots needs to be gained. In many ways, Herrington’s skateboarding is freakishly mature, without attempting to be so. There’s a natural flow to his skating, that, like his personality is never forced. There’s no pretension, just the pure love of riding a skateboard and sharing that commonality with anyone down for the cause. And yes, part of that cause is donuts, because, again, shit just isn’t that serious and it shouldn’t be.
Herrington, along with an entire generation of skateboarders, is part of a shift in the documentation of skating, where every one with a board and a camera can shape what’s seen on their social media accounts. For decades, even the most photographed pros were only depicted in what? 20… 25 photographs a year? That’s a sliver of coverage compared to the real time, always on documentation of today. Part of the soul of “Rose Is the Apple of My Eye,” is stepping back into the essence and preciousness of a filmer and skater, working to create a body of work together—one of purpose and intent, standing as art, not content in the digital world.
This is Aaron Herrington framed through photographer Pep Kim’s eye. Like Herrington, Kim’s not from New York, but something about East Coast skateboarding—the mindset, the lifestyle, the weather, and the purity—infected him six years ago, since leaving his home in Korea. It’s more than photographing a trick, it’s the relationship between the skater, the obstacle, and the one documenting it, which becomes a symbiotic trinity—all parts equal, creating the whole. This is how I want to see skateboarding and this is how i want to see New York, cracks, scars, flaws, and all, because those imperfections equal a perfection that’s best captured and appreciated, rather than explained.
by Anthony Pappalardo
Directed by Pedro Martín-Calero
Blu-Ray discs available here: http://ift.tt/1FWFCIf
Song by Kerry Muzzy: „Found“ (Available on iTunes (http://bit.ly/MO_TM3) and Amazon (http://bit.ly/Found_KM) – please support him!)
Follow me: mikeolbinski.com / http://twitter.com/mikeolbinski / http://ift.tt/1gNIw6O / http://ift.tt/14015Z3
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Blood. Sweat. Tears. Joy. That’s what this spring was for me. The miles, the grind, the failing, the epic days missed, the lack of sleep, the jubilation, the friendships strengthened, and the time away from my family. And when the chasing was all done…wondering, was worth it all?
Heck yeah it was.
I had three goals this spring: Get a tornado on time-lapse, capture the best footage I possibly could, and chase as much as my schedule would allow. That ended up totalling 18 chase days. 20,000 miles driven. Almost 60,000 time-lapse frames shot. Nine total states. Hours and hours and hours of editing. All between April 15th and June 15th.
And the tornado? Not only did I get one, but I got six more. On April 15th, the very first day out, I saw two tornadoes in the Texas Panhandle. May 9th was Wynnewood and Sulphur in Oklahoma (both in this film), as well as Trinidad on June 13th in Colorado. And while most tornadoes will be obvious in the film, you’ll have to use a keen eye to spot the first two, which appear at 2:08 and 2:13. The Wynnewood tornado, which you will see at the very end of the film, was one of the most surreal moments of my life. I was so focused on keeping up with the storm that day, that I barely realized that I had captured what I’d been working so hard to get. I texted my wife a few photos and simply said „Baby I did it“. It wasn’t until she responded „Babe, it’s beautiful. I’m so happy for you“ that I completely lost it – live stream going on in the truck, people watching, and tears streaming down my face.
But that’s how much this spring meant to me, and how hard I was going. Most of the time exhausted. My typical routine would be to leave Phoenix sometime in late afternoon, drive all night, sleep an hour or two in the truck and then chase the next few days. And then drive home all night again. I did whatever I could to to minimize the time away from my family. Heck, I once even shot a wedding all day, left the venue, and drove all night to chase. I didn’t want to miss anything this spring.
What’s awesome to me is that some of my best stuff came from marginal days, where it took some effort and crazy luck to get sick storm structures. Those were the surprises – amazing clips worthy of the final product despite the chase day starting out subpar. Combined together with everything else, I think it’s some of my best footage to date!
Technical note…this film marks the first time I used my Canon 5DSR and 11-24 for time-lapse, which I bought right before the spring started (Thank you Martin Heck for the help!). I’m not 100% sure of course, but I believe the tornadoes in the film may be some of the first ever captured in 8K resolution. The 50 megapixels that camera offers was huge for being able to zoom into certain shots and still maintain fantastic quality and sharpness. Couldn’t be happier with that beast. I also used my trusty 5D3 for the tighter shots, with the 35mm, 50mm or 135mm.
I have to mention Kerry Muzzey here…he has surpassed being kind to me. This is the 3rd or 4th time he’s donated a song to one of my projects and I’m forever grateful. His music is powerful, haunting at times, and always, always perfect for the story I want to tell. This year I knew right away that „Found“ was the song I would use. Please visit the links above to support his work!
There are a lot of names to thank which are listed at the end of the film. I owe them all so much for helping me this spring. Nowcasting, making me turn around when I was headed to Montana, teaching me about forecasting, helping me choose the right new camera, editing input, and just being good friends. I am very blessed to have some amazing people around me!
Most of all to my wife, Jina. She knows…every year I’m gone longer. I’m sure next year could be worse. But through it all, even when it’s really tough, she’s always right behind me. Making things work when I’m away. There are never enough words to cover how amazing she is. But she knows and I know – this film wouldn’t happen without her.
I think that’s about it! Thanks to everyone for the kind words of support all year. I truly hope you enjoy this one! On to Monsoon 3!
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Technical Details:
Captured with A CANON 5DSR, CANON 5D3, Canon 11-24mm f/4, 16-35mm, 35mm, 50mm, 135mm
Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
Most clips available in 8K resolution, as well as 4K.
For Rene Fustercluck, life was bad, the Apocalypse was awful and then Gordon arrived. ‚After the End‘ explores the possibility that the only thing worse than being the last man on earth, is being the second to last man on earth.
Sam Southward is represented globally by Nexus Productions, for more info please contact:
judy@nexusproductions.com
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