Autor: Karl Ranseier

Pioneering NYC artist, Gwyneth Leech, enters a midtown art studio only to find that her skyline view will soon be blocked by the construction of yet another high-rise hotel.

But as the perspective out her window permanently shifts, so does the artist’s point of view.

The Monolith is directed by Angelo J. Guglielmo, Jr. (The Woman Who Wasn’t There), produced and shot by Andy Bowley, EP’d by Andrea L. Smith. Rosie Walunas adeptly employed the Adobe Creative Suite to bring over 200 pieces of Leech’s beautiful artwork to life using Animation, Motion Graphics and Compositing.

Leech has exhibited her work across the United States and the UK in museums, commercial galleries, public art spaces, and alternative venues. For additional information on the artist, please visit: http://gwynethleech.com

DIRECTOR: ANGELO J. GUGLIELMO, JR.
PRODUCERS: ANDY BOWLEY, ROSIE WALUNAS
EXECUTIVE PRODUCERS: ANGELO J. GUGLIELMO, JR., ANDREA SMITH
DIRECTOR OF PHOTOGRAPHY: ANDY BOWLEY
EDITOR: ROSIE WALUNAS
COMPOSER: ABRAHAM CLEMENTS
SOUND MIXER: DAVID WILSON
STILL PHOTOGRAPHY: BEN KESSLER
ADDITIONAL PHOTOGRAPHY: GWYNETH LEECH, SARA KERENS, MARIANNE BARCELLONA
COLORISTS: BEN BROOKSBY, SAM WILES

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This is the music video for the song „Made of Love“ of OY’s [oy-music.com/video] new album Space Diaspora.

AFRO PUNK (US) writes:
Ghanaian-Swiss singer Joy Frempong and producer & musician Lleluja-Ha are back from outer space, and they’ve brought a new sound with them that might make the future a little more colorful—if we listen. Making up the duo OY, the video to their latest single is as catchy and eye-popping as the message is powerful. In the experimental clip directed by Moritz Reichartz, Frempong chants off different nationalities as head-like shapes of various colors gyrate against each other while floating on a clear sea, leading to a climax where the heads congregate in front of a giant wall, making so much love that the partition is destroyed.

CREDITS:
Music: OY [oy-music.com]
Derection, Design, Animation and Images: Moritz Reichartz

More infos at: momade.de

Max Cooper:
I had a lot of high speed train journeys recently and I love watching the wires seemingly dance around outside the window. I wondered if we could be getting fooled by a similar process during our usual experience of time, and thought it would be an interesting project for a music video set to the music created during the same journeys.

The wires outside the window are static but they appear to move because of our motion past them. Perhaps our usual experience of movement could be explained by a similar process, where time is a physical dimension into which everything grows, with the present as the surface of this inflating structure. It ties in to a lot of physics ideas which are very common, and I thought it could make for an interesting music video, if I could find someone who might be able to pull it off!

Luckily for me, one of my favourite visual artists, Kevin McGloughlin had already been experimenting with linked techniques and ideas, and he’s gone to town on it with a multitude of techniques and editing precision to create something pretty special. And yes, there’s certainly a nod to the original time-stretch slitscan effects of Kubrick’s 2001.

I wanted to show the transition from our normal experience of time to a stretched out past as a physical structure when viewed from an alternative perspective outside of the dimensions we’re usually constrained to.

One other interesting thing about this model of time is that it helps with some mind-pickling metaphysical conundrums around the sense in which the past exists. In this model it literally exists out there behind us as a physical 4D structure. If we could travel outside of our growing surface somehow and went back to the past it wouldn’t be much fun though, we’d just find solid lifeless stretched out versions of ourselves.

For the music I wanted to bring these ideas of frozen moments of the past into play, and no better excuse to get stuck in with the Prophet 6 on some lush classic analogue synth sounds for the main chord sequence, and plenty of nob noodling for a dance of modulating sounds around the main sequence. I wanted to keep it fairly sparse to let the chord patch be central, and just focus on trying to make every element, including the percussion, warp a little, so you can either listen to the track from a distance and hear the harmonic ideas, or delve in to find all sorts more hiding in there. Kevin did an amazing (and painstaking) job of warping the video to sync with the audio detailing.

If you’d like to receive exclusive music, mixes, video and news you can sign up to the site at http://ift.tt/2zmlBJl

Kevin McGloughlin:

Max Cooper and I discussed ideas about space-time before embarking on the Resynthesis project.
We were on the same page for the most part, though, working with Max is always insightful and he enlightened me with some really fascinating ideas about space – time.

I was delighted to once again collaborate, especially with reference to ‚time‘, which is such a relatable and unavoidable part of everyone and everything.

The track is really beautiful, I saw the visuals in the music quite clearly from the offset.
I could hear the ‚time stretching‘ in the melodies and synths and I was greatly inspired by it.

My aspiration in this piece was to create a journey for the viewer, a passage through space and time, in an effort to represent time as a dimensional structure.

I aimed to convey existence as a solid component of time, an effort to glimpse the idea that our past still exists out there in a stretched, distorted dwelling..

I wanted to capture a human / mortal essence of time, displaying brief impressions of human interactions and activity, traveling in time.

All the fundamental assets were captured employing photography and realtime footage.

I stretched time in both 3d and 2d space using a wide variety of time displacement techniques, ranging from ‚in camera‘ work to quite laborious post production work.

Fun Fact..Some of the clips contain exactly one googol videos playing simultaneously.
(using a method I devised some time ago, ie.the second last very short clip)

Most of footage/photography was shot in Dublin Ireland, with additional shots from Co. Sligo.

Working with Max always makes for an interesting time.

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Celebrating the centenary—and new Phiadon monograph—of Ward Bennett a design renaissance man.

Client: Herman Miller

Produced by: Dress Code
 (dresscodeny.com)
Executive Creative Director: Dan Covert

Director: Wes Ebelhar
Executive Producer: Brad Edelstein

Head of Production: Tara Rose Stromberg


Design: Elena Chudoba, Peter Harp, Simone Noronha, Wes Ebelhar
Animation: Wes Ebelhar
, Rasmus Löwenbrååt, Wei-Shen Wang

Music & Sound: YouTooCanWoo

VO: Ward Bennett from an archival interview courtesy of Dr Barbaralee Diamonstein-Spielvogel

Check out the full story:
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On the outskirts of Mexico City, over 50 years ago, a family began making and selling piñatas to the local community. Nowadays, the whole town is involved. The Piñata King takes a look inside the life of this town, and the head of the family who started it all.

This film is part of a wider photography project titled ‚Sweet Dreams‘ exploring love, life and death in Mexico. Find out more here: http://ift.tt/29uq2XG

A film by Tripod City
Music by ‚A Mover La Colita Cumbias‘

TEXT 500MILES TO 71777 TO DONATE AND SUPPORT OUR MISSION

The purpose of this innovative short film is to start a new, universally-understood conversation around the necessity of struggle, challenge and perseverance as they relate to creating meaning in one’s life – without one, you cannot have the other. The 500 Miles film communicates the importance of this concept by telling the story of the un-purposed wild mustang and the un-purposed veteran, following both as they learn to face and navigate challenges, with the ultimate goal of discovering what their greater purpose in life is. For these mustangs, the arduous 500 mile journey through New Mexico and Arizona was their purpose-defining challenge, but we all have our own version of a „500 mile journey“. It’s the moments in life when we choose to buck up instead of give up. When we choose to take the unbeaten path instead of the easy road. It’s the moments that force us to take a hard look at ourselves, and the decisions we have been making, and decide if we have been letting life happen to us, or for us.

So, the question is: What’s your 500?

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Characters:
Grant Golliher
Ramon Becerra
Brendon Clark
Russ Lewis
Landon Ames
Austin Mandlebaum
Mike Reilly
Micah Fink

Director: Josh Fletcher
Cinematographer: Michael Eldredge
Producer: Cale Montrone
Associate Producer: Chris Douglas
Field Producer: Tony Hagedorn
Art Director: Souk Mounsena

“We travel along the coastline for several days. All we need fits in our waterproof and floatable backpacks. We set out to explore nature and what we carry with us is reduced to a minimum. We dive deep into the ocean and swim along wild cliffs, discovering untouched beaches where we spend our nights under the clear sky.” – Bernhard Wache, Founder of Seatrekking.

It has been almost twelve years since Bernhard and a group of friends started developing a new sport they ended up naming SEATREKKING. It began with the simple idea of spending as much time as possible near and in the ocean.

Over the years Seatrekking became more than a sport. It became a philosophy.
If you would like to learn more about Seatrekking, please check out:
www.aetem.de

BTS
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CREDITS

Director & Cinematographer
Cedric Schanze / http://ift.tt/1qc7PMF / Instagram @cedricschanze

Idea & Co-Director
Martina Schlüter

Executive Producer
Martina Schlüter
Bernhard Wache

Editor & Sounddesign
Noir Films / www.noir-films.com
BLACKTRI: AUDIO / www.blacktriaudio.de

Music
A.Taylor

Text
Linda Moers

Voice
Gabriel Walsh

Athletes /Seatrekkers
Bernhard Wache
Bjoern Brand
Max Goldschmidt
Lucas Haftner
Jonas Oesterle

Many thanks to
Dive Center Beli ( Cres, Croatia)
Aquanautic Dive Center Tenerife

Supported by
AETEM – Trekking the Ocean
www.aetem.de

Are we loosing our personal autonomy, as our every move is registered and analyzed by algorithmic technology? A tech prodigy and his best friend are confronted with such questions, as their new app becomes a global success. Delphi is a smart scifi-film that takes our growing technological dependence under careful scrutiny by telling a high paced and highly realistic tale of an app capable of predicting our wants and needs.

CAST

Sigurd: Simon Bennebjerg
Nikolaj: Adam Ild Rohweder
The Norwegian: Henrik Holmen
Martin Krasnik: Martin Krasnik

CREW

Director Søren Peter Langkjær Bojsen
1. AD Henrik Danielsen
2. AD Casper Wind

Producer Birgitte Rask
Production Manager Melanie Dastmalchi
Coordinator Laura Hancock
Production assistant Laura Valentiner

DOP Jonatan Mose
Focus puller Gustav Meiling
Focus puller Kasper Bundvad
DIT / video assistant Robin Holtz
BTS / 2. unit photography Rasmus Rørbæk

Boom operator Denis Lundgreen Eliassen
Sound Design Frej Volander Himmelstrup
Sound Design Anders Norddal Jendresen

Best boy Viktor C Jensen
Best boy Kristoffer Bruun
Best boy Lukas Aabel

Production Designer Mille Fischer Christensen
Props assistant Henriette Wybrandt
Stylist Emilie Galsgaard Dinesen

Editor Carla Luffe
Colour grader Hannibal Lang
VFX Thomas Irving
VFX Frederik Meincke Larsen
Logo / logo animation Martin Fink

Scriptwriter Anna Louise Petersen Amargrós
Scriptwriter Søren Peter Langkjær Bojsen

Composer Gustav Rasmussen

OPENING MONTAGE VIDEO CREDITS

Yantra (1957)
Video art by James Whitney

Are we in control of our own decisions?
TED-talk with Dan Ariely

Prime Spirals
Numberphile Video with James Grime

Reciting pi to 1337 decimal places
by Sarah Cubing

Epic conway’s game of life
by emanuele ascani

Nyan cat
by Chris Torres

VIDEO END CREDITS
blooming flowers datamosh
by sowta