Globe and Monster present a series of relatively short films about surfing and everything that goes along with it…CULT OF FREEDOM!
THE AUSTRALIA PART features the surfing of Dion Agius, Noa Deane, Nate Tyler, Taj Burrow, Brendon Gibbens, Creed McTaggart, Eric Geiselman, and Jay Davies running up and down the east and west coasts of… You guessed it, Australia.
STAY TUNED…MORE SOON!
Filmed in June 2016.
Official Selection @ St. Louis International Film Festival
Directed by Andrew Litten
Executive Producer: David Kwon Kim
Producer: Brandon Smith
Content Producer: Gavin Guidry
Cinematographer: Kristian Zuniga
First AC: Daniel Guadalupe
Sound Operator: Richard Adams
Production Assistant: Noah Baumann
Original Music: Vonavi (vonavimusic.com)
Editor: Andrew Litten
Sound Design: Richard Adams
Color: Derek Hansen @ The Mill
Color Executive Producer: Thatcher Peterson
Color Producers: Diane Valera & Robert Cohen
Thanks to Carol Klein, Paint for Peace, Ace Allen, Jon Alexander, Gentlemen of Vision, Mission St. Louis, Josh Wilson, Jason Watson, Dwayne Ingram, Marcellus Buckley, Melissa Fitzgerald, Ray Baumann, Gabe Lozano, Lockerdome, The Mission Thrift Store, Rachel Witt, South Grand District, St. Louis Children’s Hospital @ BJC Healthcare, Kat Touschner, STL Film Festival, Miranda Tiano, Voyager, David Gutlay, Jon Chester, Mike Brown Sr and the wonderful residents of St. Louis and Ferguson who made this possible.
Full Birds Brigade Movie will be online on November 10th.
„Zügel the Hügel“. Moving Hills. Stopmotion animation meets skiing and snowboarding.
Concept/Idea: Sämi Ortlieb
Camera: Sämi Ortlieb, Marius Zweifel
Postproduction: Sämi Ortlieb
Music: Jere Landolt
Riders:
Silvan Zweifel, Sämi Ortlieb, David Ortlieb,
Yanick Leuzinger, Andri Brugger, Domi Rhyner
Autumn moods from some of the most beautifull parts of the Austrian & Italien Alps shot with the Inspire 2 & X5s.
What if it there was a place where we could revisit the memories of a relationship? In this archive of remembrances we are guided through the story of Amélia and Duarte, two people that felt out of love and are trying to cope with the feelings that come after a relationship has ended. Their lost was so deep that they tried to divide, wrap, cut, torn and ultimately erase all recollections of each other…
Traditional time-lapses are constrained by the idea that there is a single universal clock. In the spirit of Einstein’s relativity theory, layer-lapses assign distinct clocks to any number of objects or regions in a scene. Each of these clocks may start at any point in time, and tick at any rate. The result is a visual time dilation effect known as layer-lapse.
After releasing „Boston Layer-Lapse“ a few years ago, I was able to quit my engineering job to focus on time-lapse and film making. New York City was the obvious subject for my next film, the immense skyline was ideal. However I was facing an unknown creative challenge: when I created Boston Layer-Lapse I manually animated layers because I only had about 30 layers in a scene, in New York I was making layer-lapses with 100-300 layers so I needed some method to help me automate my workflow. Luckily I have an engineering background I can lean on, so in early 2016 I started learning scripting in after effects, and began writing code to create different layer-lapse ‚looks‘. To create a layer-lapse effect, I am assigning a unique equation to hundreds of buildings simultaneously. For each frame, every building is calculating and deciding which time of day to reveal. One example of a script that yields a ‘look’ are the waves of day or night that move through some of the shots in this film. To achieve the ‘look’ I can set parameters like the speed at which the wave moves across the screen, how rapidly each layer will switch from day to night or vice versa, and I’ll often use a random sinusoidal function to create a subtle oscillation inside the wave itself. Now I’ve probably lost half my audience but for those of you still reading, the final step is linking an action or a script to a piece of the music. One way I’ve found this can be done is creating a set of audio triggers for a song, so that every note or beat triggers a change. By linking a certain script to each of these triggers one can create computer generated layer-lapses that are animated in response to music. Admittedly, this film is still a combination of mathematical and manual animation but my goal is to create a layer-lapse film where all the animations are simply decisions made by each layer after analyzing the music and the script it was assigned. By making layer-lapses run on mathematics, there are also some really cool avenues to create interactive physical or virtual art installations where a person could actually touch and manipulate a layer-lapse scene in real time. The further down the rabbit hole of layer-lapses I go, the more opportunities for experimentation I am discovering. I love the process of creative exploration and hopefully my audience gets something from it too, thanks for watching!
To learn more about the project please visit: http://ift.tt/2zXd8QO
https://alinia.media/
@AliniaMedia
1 Film, 22 Trips to New York, 352 Hours of filming, $1,430 paid in Parking Fees, 9988 Miles Driven, and 232,000 Pictures Taken
Special thanks to the team at Kessler Crane, every motion controlled shot was filmed on their Second Shooter and CineDrive systems, visit them at: kesslercrane.com
Cameras Used: Sony A7rii, Canon 5ds, Canon 5diii, Canon 5dii, Canon 6D, Canon 7D
Lenses Used: Canon 200-400mm, Canon 100-400mm ii, Canon 70-200mm 2.8 ii, Canon 16-35mm 2.8 ii, Canon 24mm f1.4 ii, Canon 24-70mm 2.8 ii, Zeiss T* 50mm 1.4, Canon 135mm f2, Sony G 16-35mm 2.8, Canon 24-105mm, Rokinon 20mm 1.8
A new film by Finisterre and Huck following four surfers as they flee the daily grind of New York City.
Directed by Mikey DeTemple.
Son-J and Terracollage have teamed up on a project creating a conversation between the two mediums visual and auditory. The visuals are composed with iron powder, high reflective pigments and magnets. A choreography of iron spikes, accompanied by glitter and gold. Practical effects only.
We bring you MATEREALITY.
Check out Son-J’s unique cinematic trap sound on SoundCloud:
http://ift.tt/2fFHWbb
More info on my blog:
http://ift.tt/2mmhifc
www.terracollage.com
http://ift.tt/1GSl8zI
Short Movie about Incredible journey through Son Doong — largest cave on Earth.
CAMERAPTOR (More info — http://ift.tt/2AFXHcO )
At over 5km long, with sections reaching up to 200m tall and 150m wide, Hang Son Doong is large enough to house an entire New York City block, complete with 40 story skyscrapers. With a total measured volume of 38.5 million cubic metres, this comfortably surpasses Deer Cave in Malaysia, which was considered to be the previous record holder. Stalagmites up to 80m high have also been surveyed, the tallest ever encountered.
Less people have seen the inside of Hang Son Doong than have stood on the summit of Mount Everest.
MUSIC:
River by ZACHARY DAVID
Hovard Shoe – Song of the Lonely Mountain
DIRECTOR — Georgy Tarasov
PRODUCER — VOOGIE.pro
COLORIST — Regie
VFX ARTIST — Sergey Mykhailov
VOICEOVER — Ernest Rudyak
SOUND EDITOR — Nikita Bochkov
MOTION DESIGNER — Alexey Fedorov
EXECUTIVE PRODUCTION MANAGER — Ilya Buzanov
STARRING:
Andrew Ilitchev
Artem Yunusov
Ernest Rudyak
Dmitry Dyldin
In 2013, Robyn Allen received a 20-year sentence for trafficking in illegal drugs. She says she sold methamphetamine to support her family after a back injury left her without work. But the reasons Allen started using the drug run much deeper.
In spite of taking measures to reduce its long-standing record as the No. 1 incarcerator of women in the country, Oklahoma keeps locking up women at more than twice the national average. Oklahoma incarcerates 151 out of every 100,000 women, often given harsh sentences for nonviolent drug crimes. This has taken its toll on several generations of women in the state.