Hasta La Motion!

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This series is an adaptation of “The History of Trunks” TV Special. In this timeline, Goku & the other Z Warriors are dead. This is the story of Gohan & Trunks in their battle to survive against the Androids.
Dragon Ball Z: Light of Hope is a non-profit, live-action Dragon Ball Z web series. It’s made by fans, & is not affiliated with or endorsed by the official license holders.

Dragon Ball Z: Light of Hope
Created by Donnie McMillin & Rita McMillin

Based on Story and Characters by Akira Toriyama

A Robot Underdog Film
in association with Z Team Films and Loco-Motion Pictures

Robot Underdog
Website: https://www.robotunderdog.com
Facebook: https://www.facebook.com/RobotUnderDog
YouTube: http://www.youtube.com/RobotUnderdog2
Twitter: https://twitter.com/RobotUnderDog
Instagram: http://www.instagram.com/robotunderdog

Directed and Produced by Donnie McMillin & Rita McMillin
Written by Rita McMillin, Derek Padula
Action Director – Lohan Buson
Fight Choreography – Lohan Buson, Fabien Garcia http://www.zteamfilms.com
Editors – Donnie McMillin, Rita McMillin, Lohan Buson (Fight editor)
Visual Effects Artists – Lohan Buson (fight), Donnie McMillin, Gregory Hall, Rita McMillin
Music by Abraham Castaneda, John Silas, Eddie Towner, IM JD

Starring
Kenny Leu as Future Gohan http://bit.ly/29KVBv4
Tyler Tackett as Android 17 http://on.fb.me/1Lyzend
Amy Johnston as Android 18 http://www.amy-johnston.com/
Jack Wald as Trunks http://imdb.to/1ab8P3q
Ruthann Thompson as Bulma http://bit.ly/1zcdPJV
Katelyn Brooke as Dawn – http://bit.ly/2a5x8Uh
Lily Caputo as Mai
Voice Cast – Tim Neff as the Voice of Future Trunks
RefugeeS – Ruben Mercado, Jesse Adrade, Erik Lopez

Producers: Rita McMillin, Donnie McMillin, Lohan Buson, JJ Vasquez, Gregory Hall,
Unit Production Manager/1st. A.D. – J.J. Vazquez

Fight Cinematographer/Colorist- Fabien Garcia
Fight Sound Design – Lohan Buson
Costumes – Rita McMillin
Props (Vegeta Armor) – Boba Joe Carrera
Art Director/Makeup FX – Ruben Mercado, Adam Milicevic
Opening Credits Artwork – Nexus Yggdrasil
Poster & Storyboards – Taylor Sterling: http://taylorsterling.com/
Composer – Abraham Castaneda
Co-Composers – John Silas, Edward Towner
Vocals – Maria Di Cara
Flutes – Lauren Wieland
Brass – Brandon Ferrar
Music Coordinator & Mastering Engineer – IMJD
Mix Engineer – Edward Towner
Additional Music by Taras Tkachenko, APM, Mechanic Vibes
Recorded/Mixed – Seahorse Sound Studios, Architech Studios, EDRC Studios
Camera Operators – Michael Flotron, Rita McMillin, Jose Rossy, Donnie McMillin
Drone Operators – Chris Yung, Michael Flotron
1st Assistant Camera – Jose Rossy, Anuar Fuentes
Gaffer – Mario Hurtado
Mixer/Boom Op – Will Miller
Acting Coach – Darren Bailey
Key Grip – Trigg Ferrano
2nd Assistant Director – Joshua De La Cruz
BTS Camera- Keagan Overstreet, Jose Rossy, Adam Arnali
PA/Grip: Kaleah Calloway, Keagan Overstreet, Anuar Fuentes, Leonard Cole, Justin Aberin, Patrick D. Kelly
Associate Producer/Previz Stunt Coordinator: Taylor Ingram Wildman
Stunt Team (Previs): Taylor Ingram Wildman, Jet Tranter, Chris Yung, Lohan Buson, Maxime Demba
Robot Underdog Social Media – Shaun Hawksworth, Clint Silva

CC
English Transcription – Eduard Alvarez Diaz
Bosnian – Jango Alicko
Dutch – Sandro Bark, Dennis Lookman
French – Pierre Roucoules
German – Jonas Herb
Hindu – Thakur Abhishek Singh Chauhan
Hungarian – Mészáros István
Italian – Vito Lanci http://on.fb.me/19t1Ulc
Japanese – Melanie Arayama
Lithuanian – Petro Jankovskij
Mandarin – Chihzon Tsai
Polish – Wojtek Mikoś – http://dbnao.net/
Portuguese (Brazil) – Alex Rodrigues Honorato, Felipe Rodrigues
Portuguese (Portugal) – Humberto Bebiano
Spanish Eduard Alvarez Diaz
Spanish (Castilian) – Antonio Sanchez-Migallon Jimenez /twitter.com/MrKaytos
Thai – Neung Pattarawat

Associate Producers Chris Yung
IndieGoGo Associate Producers: David Mouly, Shaun Hawksworth, Anthony Stewart, Thani althani, Jason Richter, Huy Ngo, Babatunwa Aderinokun, Zach Renz, Andrew Fitzpatrick, Marc Goldner

Affiliates
Qaaman aka Detective Q
Geekdom 101
Casa Do Kame – http://on.fb.me/1BikebZ
Dragon Ball Dream – http://on.fb.me/1zplQfn
Dragon Blog Z – http://www.dragonblogz.com
Geek Outpost – http://www.geekoutpost.com
SdotStormzHD – http://bit.ly/1KJD6GU
Rhymestyle – http://bit.ly/1fiedN4
Thundershot69 – http://bit.ly/1whct4f
Anime Games Online – http://bit.ly/1DFEvr5

Stock Footage by Adobe, Pond5, and Shutterstock

Le 26 Août au Cinéma !

Découvrez avant tout le monde et en exclusivité toutes les vidéos FOX, abonnez-vous : http://bit.ly/20thCenturyFoxFrance

HITMAN: AGENT 47 est l’histoire d’un assassin génétiquement modifié dès sa conception pour être la parfaite machine à tuer. Il n’est connu que par les deux derniers chiffres du code-barre tatoué au dos de son cou. Il est le point culminant de décennies de recherche – et de quarante-six clones Agents antérieurs – qui le dotent d’une force, d’une rapidité, d’une énergie et d’une intelligence sans précédent. Sa dernière cible est une multinationale dont l’objectif est d’obtenir le secret du passé d’Agent 47 pour créer une armée de tueurs dont les pouvoirs surpasseront même les siens. Faisant équipe avec une jeune femme qui détient peut-être un secret permettant d’affronter leurs puissants ennemis clandestins, 47 fait face à des révélations étonnantes concernant ses origines et se prépare à se battre avec son adversaire le plus redoutable.

https://www.facebook.com/HitmanAgent47Fr
https://twitter.com/20thCFox_FR

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

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: https://alinia.media/nyclayer-lapse 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

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…