А murder in the second degree, that doesn’t cut down the guilt…
04:01′ / DCP / 2015 / directed by Asparuh Petrov
„A Petty Morning Crime“ is based on the original poem by Georgi Gospodinov of the same title. The film is part of the visual poetry project „Mark & Verse“ produced by Compote Collective.
Watch the full film here: http://ift.tt/2e6bj9c
October Country is a beautifully rendered portrait of an American family struggling for stability while haunted by the ghosts of war, teen pregnancy, foster care and child abuse.
A comedy about a man breaking up with himself.
Written and Directed by Ben West
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A pair of senior citizens have a relationship that shocks both their families in this potty-mouthed, but endearing, comedy.
Starring and directed by Danny DeVito.
Website: http://ift.tt/1SGsWJF /// Twitter: @curmudgeonsfilm
Ralph…David Margulies
Jackie…Danny DeVito
Robin…Lucy DeVito
Daniela…Sarah Nina Hayon
Brant…Kett Turton
Directed By Danny DeVito
Written and CoProduced By Joshua Conkel
Produced By Jake DeVito, Lucy DeVito, and Danny DeVito
Cinematographer…Łukasz Bielan
Editor….Brett Haley
Production Designer…Jonathan Mosca
Composer…Jon Brion
Costume Designer…Carisa Kelly
Hair and Makeup…Camelia Sealy
Music Supervisor…Lauren Mikus
Camera Operator…Anastas Michos
1st AD… TJ Choi
2nd AD…Joshua Lucas
Gaffer… Russell Burger
Key Grip… Tim Rea
1st AC…DJ Carroll
1st AC…Jake Ladehoff
Steady Cam Operator… Bill Saxelby
DIT / 2nd AC… Gary Bardizbanian
Set Photographer… Karolina Bielan
DIT / 2nd AC / Assistant editor…Joshua Koenig
Legal Council… Joel Behr, Nicholas Reder
Production Sound… David McRorie
Script Supervisor… Zairi Malcolm
Music Editor… Eric Cadieux
Controller… Nikki Grosso
Accountant… Charlotte Wright
Production Assistants George Basiev, Abe Douek, JP Cayetano, Gautam Singhani
Art Production Assistant… Liz Flood
Ending Credits… Hall Ramirez
Gracious Host… Joyce Haber
Location Manager… Lisa Marciano
Background Abraham R. Safdieh Olga Kubie Frieda Esses Renee Klein Joyce Haber Pat Cohen Sally Sultan
Digital Intermediate Services provided by Harbor Picture Company
Sr. Colorist Joe Gawler
Conform Artist Dylan Ball
DI Producer Matt Caruso
Sr. DI Producer Kevin Vale
Sound Post Production Services provided by Harbor Sound
Dialogue Editor Josh Berger
Sound FX Editors Giuseppe Cappello & Ian Gaffney Rosenfeld
ReRecording Mixer Josh Berger
Special Thanks to
To all of the residents of Ahi Ezer
Rhea Perlman, Gracie DeVito, Gus Goldsack, Lois Smith, Sal Giarrantano, Ike Cherra. Alex Resnikoff, Chloe Domont, Stan Rosenfield, Megan Hill, Ensemble Studio Theatre, Tiffany and Jayce Bartok, David Newman, Doug Morris, Lou Adler, Toby Emmerich, JoAnn Kalb, Lynzee Klingman, Quentin NguyenDuy
This film is a love letter to the 1980’s..
Music by Mitch Murder: http://ift.tt/1FWp42B
Directed by Gervais Merryweather: http://ift.tt/1yRcV7O
A special thanks to Marlène Beaube for your support
Blu-Ray discs available here: http://ift.tt/1NmxOlE
Song by Kerry Muzzey: „Revenge“/ „Revenge: Epilogue“ (on iTunes: http://bit.ly/KM_TM3 Amazon: http://bit.ly/KM_REVENGE)
Follow me: http://ift.tt/HQz2lJ / http://www.twitter.com/mikeolbinski / http://ift.tt/2cOYIHr / http://ift.tt/2cP05G6
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If you asked the average person, many would characterize this summer’s monsoon as a down season. Not a lot of storms overall and it seemed generally more quiet. And in many ways it actually was a slower season. All told I chased about 36 days for this film, which was less than the 48 in 2015. We had an early start in late June, and then it was dead for almost three weeks. When I looked back and realized I chased 12 less days…yeah, it definitely had less action than normal.
But to a storm chaser, none of this really means anything. Sure there were days when nothing was remotely possible to chase, but most of the time the monsoon can be found in the far corners of the state even when Phoenix and Tucson are dry as a bone.
For me personally, I loved this season. Maybe because as a filmmaker, having put out a few of these films now, I’m beginning to focus and hone in more on what I really love to time-lapse. My early scenes years ago had a lot of average clouds and distant rain that didn’t have a lot of excitement or energy. But as the years go on, and I learn more and more about chasing storms here in Arizona…I’ve found myself in better spots to capture the stuff I really enjoy. Strong downbursts of rain, building clouds, lightning…and yes, dust storms.
The one thing I was hoping for in 2016 that the previous years have lacked: Haboobs. Dust storms. Rolling walls of dirt and sand engulfing the deserts and even Phoenix itself. And my wish came true in that regard. Even a very late season, September 27th haboob that I captured right at sunset with glorious colors.
Coming off the heels of filming Vorticity in the spring, with monster supercells and tornadoes, the monsoon is a totally different beast and you’d think it would be less exciting. I don’t know. I find them both amazing and inspiring. Weather to me is weather. No matter how mind-blowing it was to witness the Wynnewood tornado this past spring, standing in front of a rolling wall of dust, or a distant lightning storm under the stars…it’s all a blast to me and I never get tired of it.
So Monsoon III…the credits will say it, but it was around 36 days of filming, I shot over 85,000 frames and am not sure how much made it into the final cut. The song I used was „Revenge“ and „Revenge: Epilogue“ by Kerry Muzzey, and I took both of them and sliced and diced until I actually had a six-minute version to fit in with all the footage I captured. I love it.
As always…THANK YOU to Kerry Muzzey for supporting my work by letting me use his music once again. I don’t even have enough words for this man for doing this for me. It means more than anything! Please buy his work!
I started editing this film mid-summer once I figured out the song I was using. And as days went by and more clips were rendered, I kept adding them and re-arranging them all the time, trying to get every clip to match the tone and feeling of the music. And then I’d think I was done and more storms would come and I’d have to move things around again, and even drop stuff. I have a lot of fun scenes that are not in this film because I only wanted the very best.
Special thanks to Bryan Snider and Dustin Farrell for some tips this summer on editing out dust spots and birds better than I had been doing. Appreciate it fellas!
My wife takes the brunt of what I do, especially when I’m gone for days at a time. Filming in Arizona is easier because I’m usually home at some point in the evening and at least around in the mornings. But it’s a lot of work and a lot of time being away. She supports me like no other and I can’t believe how lucky I am to have someone with that much faith in what I do.
And a lot of these clips will forever hold memories for me because my two oldest kiddos were there for them, and at times even all three were nearby. My littlest guy who just turned three, sits on my lap a lot when I edit, listens to the music and loves watching the final product. And he wants to keep watching it…over, and over and over.
Makes a daddy proud.
I hope you enjoy this latest installment. I’m not sure how it compares to years past, but for better or worse, this was Monsoon 2016 for me!
Please let me know if you have any questions about anything! Most of these clips were shot in 8K with some 4K stuff thrown in there as well.
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Captured with a Canon 5DSR, two 5D3’s, 11-24mm, 16-35, 35mm, 50mm and 135mm.
Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
Taken from the album ‚Post Exotic‘ OUT NOW Wordwide.
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Directed by Benoît Musereau,
Cindy Lo & Emilie Pigeard
Assisted by Albane Chaumet
Edited by Arnaud Viémont
Produced by Les productions du Désert
Music video by Bosco Rogers performing Beach! Beach! Beach! © 2016 Bleepmachine
With support of the FCM and the SCPP
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