Hasta La Motion!

Dazzle camouflage was fantastically weird. It was also surprisingly smart.

WWII saw another kind of strange history unfold: a meme (yes, really). Watch our video on it here: http://bit.ly/2Co9DEu

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Dazzle camouflage was a surprisingly effective defense against torpedoes. In this episode of Vox Almanac, Phil Edwards explains why.

World War I ships faced a unique problem. The u-boat was a new threat at the time, and its torpedoes were deadly. That led artist Norman Wilkinson to come up with dazzle camouflage (sometimes called “razzle dazzle camouflage”). The idea was to confuse u-boats about a ship’s course, rather than try to conceal its presence. In doing so, dazzle camouflage could keep torpedoes from hitting the boat — and that and other strategies proved a boon in World War I.

This camouflage is unusual, but its striking appearance influenced the culture, inspired cubist painters’ riffs, and even entered into the world of fashion. Though dazzle camouflage lost its utility once radar and other detection techniques took over from u-boat periscopes, for a brief period in time it was an effective and unusual way to help ships stay safe.

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Get Out takes a situation that is universally relatable and adds a specific and unfamiliar protagonist. In doing so, the film unlocks new ways of creating tension and establishing trust. This video examines the new storytelling techniques Jordan Peele applied to 2017’s Get Out.

The Q&A with Jeff Goldsmith: http://www.theqandapodcast.com/2017/02/jordan-peele-get-out-q.html
Backstory: https://backstory.net/

Read the Get Out screenplay: http://www.universalpicturesawards.com/site-content/uploads/2017/09/GET-OUT.pdf

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Set the Dot to use my Karma Go MiFi, then hooked it up to the stereo over Bluetooth- works great!

I’ll add a second video the week of 4/10/16 talking about data usage.

You’re 23, your heart’s been broken and there’s a long, hard slog of study stretching out in front of you. What do you do? For Elspeth Beard, a round-the-world trip on the back of her 1974 BMW R60/6 flat-twin motorbike proved the ultimate remedy for a wounded heart and weary head. Read more here: https://theculturetrip.com/europe/united-kingdom/articles/meet-the-first-british-woman-to-go-around-the-world-on-her-motorbike/ ————————————— CREDITS Directed by Souleyman Messalti and Joe Brooks CAMERA Souleyman Messalti Adu Lalouschek ANIMATION Joe Brooks Alex Mellon EDITOR Thomas Canton SOUND DESIGN Ross Henbest Thomas Canton A film by Culture Trip

EN—————— NEBULA is an experiment that aims at finding the link between two trends that develop simultaneously in the history of film – Lumières concept of a movie as a record of reality and Méliés’s idea that uses the film as a tool for creation of imaginative worlds. NEBULA draws from both of these approaches and becomes a combination, collage, in which the recorded figurative picture is intermingled with abstract compositions being the graphic equivalent of music. The project using the volumetric filmmaking technique (RGB+D) is, on the one hand, the recording of an event (a meeting of musicians playing a jazz composition “Sleepwalker” by Maciej Obara) and, on the other, an attempt to obtain the visual experience of music by using the soundtrack of a recorded piece of music at the stage of post-production. The picture created as a result of the recording represents the “Lumières line” that aims at reflecting the reality in the most accurate way. Musical layer that has its sources also in the recording becomes a tool for creation of abstract visual compositions that does not bear traits of reality (Méliés’s line). These two approaches are combined into an audio visual form resembling a video clip. The aim of this project, besides examining the links between record and creation based on non-figurative forms, is also the exploration of the new volumetric filmmaking technique (picture recorded by a Kinect sensor). PL—————— NEBULA to rodzaj eksperymentu, będącego próbą znalezienia punktu wspólnego między dwiema równolegle rozwijającymi się tendencjami w historii filmu – lumièrowską koncepcją filmu jako rejestracji rzeczywistości a mélièsowską filozofią wykorzystującą medium filmowe jako narzędzie do kreowania fantazyjnych światów. NEBULA czerpie z obu tych postaw i staje się swoistym połączeniem, kolażem, w którym zarejestrowany obraz figuratywny przeplata się z kompozycjami abstrakcyjnymi, które są graficznym ekwiwalentem muzyki. Projekt, wykorzystując technikę filmowania wolumetrycznego (RGB+D), jest z jednej strony rejestracją wydarzenia – spotkania muzyków grających jazzową kompozycję “Sleepwalker” autorstwa Macieja Obary, z drugiej zaś – poprzez użycie na etapie postprodukcji ścieżki dźwiękowej zarejestrowanego utworu – próbą uzyskania wizualnego doświadczenia muzyki. Obraz powstały w wyniku rejestracji reprezentuje „linię lumièreowską”, skupiającą się na jak najwierniejszym oddaniu rzeczywistości. Warstwa muzyczna (mająca swe źródła również w rejestracji) staje się natomiast narzędziem do tworzenia abstrakcyjnych kompozycji wizualnych, nienoszących znamion reprezentacji rzeczywistości (“linia mélièsowska”). Obie te wartości połączone zostały w audiowizualną formę przypominającą teledysk. Po za badaniem punktów stycznych rejestracji i kreacji, opartej na formach niefiguratywnych, celem projektu była również eksploracja nowego medium jakim jest technika filmowania wolumetrycznego, czyli obrazu zarejestrowanego na pomocą sensora Kinect.