Feb
04
An anxious gal revisits her nail biting habit on the underground. Music by Johnny Moutzouris Sound design by Suhrud Banhatti My graduation film made at Edinburgh College of Art, 2017.
Feb
04
“A slice of Americana – an afternoon checking out vintage cars” – Wheeler Winston Dixon “The creative process is mysterious; a conversation, a ride in the car, or a melody can trigger something.” – Alejandro González Iñárritu This video was created using footage and soundtracks in the Public Domain, or released as CC0 Public Domain materials, and is made entirely from recycled, repurposed and refashioned images and sounds.
Feb
04
TOUCHING SOUND
Posted in: Animation
[No additional sounds have been used in the making of this video. The stroboscopic audio is nothing but the original soundtrack, dissected and interrupted by clicking manually from frame to frame.] The object of sound – elusive and not translatable into musical notation – is conserved in records and tapes and filmstrips, which allow to dissect and isolate what before was „fleeting and tied to the passage of an irreversible and irrecoverable period of time.“ Picking up on Pierre Schaeffer’s musical theory, this video essay looks at the final scene from Robert Aldrich’s KISS ME DEADLY as an event of concrete sound. What comes out of Pandora’s box is nothing but radioactive sound, traversing all boundaries including the one between diegesis and extradiagesis, leaving its mark even on the surface of the film material and on the character’s hands. Their gestures mirror my own videographic practice: with my fingers on the keyboard, clicking from sound bite to sound bite I am feeling my way through the film, hoping to touch upon these moments, which otherwise would go unnoticed. My video essay is handiwork in the literal sense: the jerking movements of the image and the irregular stutter of the soundtrack is a result of my hands intervening in the course of the film, getting my fingers burnt.
Feb
03
► Editing: facebook.com/Oliver-KMIA-1622032868057530 instagram.com/oliverkmia/ twitter.com/OliverKMIA ♫ Music: Ben Laver benlaver.com soundcloud.com/ben-laver ► Concept: I came up with this idea last year while traveling in Roma. I wanted to take a look at the popular Trevi Fountain but I never managed to get close to it. The place was assaulted by hundreds of tourists, some of them formed a huge line to get a spot in front of the Fountain. Needless to say that I was very pissed by this sight and left for the not less crowded Pantheon. I was shocked by the mass of people walking all around the city, yet I was one of them, not better or worst. Like all these tourists, I burned hundred of gallons of fuel to get there, rushed to visit the city in a few days and stayed in a hotel downtown. Then, I remembered a video I watched a few months earlier from the artist Hiérophante (vimeo.com/151297208). I decided to make this kind of sarcastic video but with the focus on travel and mass tourism. Hiérophante admitted that his video was “cliché” and that he got inspired by other videos. So I’m basically making fun of something I’m part of. The irony is strong. While the era of mass world tourism and global world travel opened up in the 60s and 70s with the development of Jumbo Jets and low cost airlines, there is a new trend that consists of taking pictures everywhere you go to share it on social networks. During my trip, I felt that many people didn’t really enjoy the moment and were hooked to their smartphones. As if the ultimate goal of travel was to brag about it online and run after the likes and followers. In a recent article published by the Guardian, journalist Rhiannon Lucy Cosslett described this phenomena: “These Instagrammers are collectively sucking the joy and spontaneity out of travel photography, and for those unfortunate enough to bump into them abroad, possibly travel itself. We must pity the poor locals, who have to put up with them. […] Social media encourages the memeification of human experience. Instead of diversity we see homogeneity. It’s extremely boring.” https://www.theguardian.com/commentisfree/2018/jan/17/instagrammers-travel-sri-lanka-tourists-peachy-backsides-social-media-obsessed In the extreme situation, this image rush can have negative impact on the environment https://www.dpreview.com/news/3305755990/tourists-are-destroying-new-zealand-s-iconic-lake-wanaka-tree-for-instagram-photos However, I was able to find plenty of nice accounts over my research on Instagram. Some of them were inspiring and lead by talented persons. In the end, social networks are just a tool. For better or worse, (or both). Eventually, I couldn’t secure a picture of the Trevi Fountain for my Instragram account but I still had a very nice time in Italy. ► Production: I used images available on public Instagram accounts. Finding and sorting the material took a lot of time but I produced the video over several months when I had time. The process of aligning each and every images manually in relation to the next was very tedious. In terms of copyright, I believe that this type of use fall under the fair use. This is not a commercial project and every image appears for less than 1/4 of a second. Image credit of the video Thumbnail: Eiffeil Tower: Pixabay Lady with Iphone: Stokpic Lady on the beach: Wendy Hero Selfie: Tookapic Japanese temple: Pixabay Map: Pixabay Taken from https://www.pexels.com/ (Creative Commons Zero CC0 license)
Feb
03
Poor Cherries
Posted in: Animation
directed by jimmy marble written by jimmy marble and forrest perrine produced by vacation theory and mmmiracle, inc sage price, anabella casanova, and jesse marble starring katerina tannenbaum and nika de carlo dp drew bienenman production design sean genrich styilng shirley kurata hmu stephanie nicole smith edited by kenneth casey swoyer titles by ashley meaders color by color collective classical songs by mark yaeger reggae songs by jeffrey brodsky www.jimmymarble.com
Feb
03
You Gotta Believe
Posted in: Animation
Why not believe in Her? Directed animated etc. by Nina Paley Music: “You Gotta Believe” (Norman Whitfield) sung by the Pointer Sisters, circa 1976 Scene for feature-film-in-progress Seder-Masochism Free goddess gifs at http://blog.ninapaley.com/2018/01/01/24-free-goddess-gifs/
Feb
03
An American Werewolf in London (8/10) Movie CLIP – David's Undead Victims (1981) HD
Posted in: Animation
An American Werewolf in London movie clips: http://j.mp/1L5EykM
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CLIP DESCRIPTION:
Undead Jack (Griffin Dunne) introduces David (David Naughton) to some of his undead victims who encourage him to kill himself to end the curse.
FILM DESCRIPTION:
While wandering the English moors on vacation, college yanks David (David Naughton) and Jack (Griffin Dunne) happen upon a quaint pub with a mysterious patronage who warn them not to leave the road when walking after dark. Irreverent of such advice as characters in horror films always are, the two decide to find a short cut….David wakes up in the hospital with a nasty bite wound to his shoulder; the freshly deceased, and rapidly decomposing, Jack arrives soon after to deliver the grim news that, unless he commits suicide, David will become a werewolf when the moon is full. David dismisses the encounter as a hallucination, but all indicators point to lycanthrope; evenings of barking and bloodletting follow closely behind. While the story is thin and much of the tongue-in-cheek humor is overdone, there are plenty of genuine jolts thanks to makeup guru Rick Baker’s eye-popping special effects. The werewolf, resembling a cross between a bear and a wolverine, appears frighteningly real, and, given the fantastic premise, the gore is most convincing (although surprisingly and refreshingly scant). The hospital dream sequences are creative, and the scenes in which the werewolf runs rampant through downtown London are particularly good. In all, An American Werewolf in London is an original, atmospheric film that manages both to scare and amuse. While dismissed by most American critics upon its release, the film managed to secure a place in the annals of American cinema when Baker won an Academy Award for his amazing effects and creature designs.
CREDITS:
TM & © Universal (1981)
Cast: David Naughton, Griffin Dunne, Sydney Bromley, Geoffrey Burridge, Michael Carter, Will Leighton, Frank Singuineau, Brenda Cavendish
Director: John Landis
Producers: George Folsey Jr., Peter Guber, Jon Peters
Screenwriter: John Landis
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Feb
03
Linkedin Profinder
Posted in: Animation
Art Direction: James Heredia Design & Animation: James Heredia & Casey Latiolais Lighting & Texturing: Drew Nelson Sound Design & Mixing: Jeff Moberg Profinder is a service provided by Linkedin that helps local businesses hire top freelance professionals. Together we crafted this visual direction and narrative that would live across a variety of platforms.
Feb
03
rag & bone presents “Why Can’t We Get Along”, a ‘rag & bone Films’ Production starring Kate Mara and Ansel Elgort.
The new short film, which was shot in one day, features an eclectic mix of talent from the worlds of cinematography, music, choreography, dance, and film. Alongside Elgort and Mara, rag & bone tapped eight members of the American Ballet Theater, three HipLet Ballerinas, YouTube sensation Kandi Reign, and three members of Bulletrun Parkour.
Benjamin Millepied co-directed the new rag & bone Films production alongside Aaron Duffy and Bob Partington as well as celebrated cinematographer Darius Khondji to explore the medium of film while shifting perspectives for the viewer.
The track overlay, produced exclusively for rag & bone by Thom Yorke creates a feeling of friction, which is paralleled by the movement of the cast of characters.
Khondji worked closely with camera rig veteran, Tony Hill to deliver a film which seamlessly choreographs not only the dancers and actors featured, but also the cameras used.
Credits
Co-Directors: Benjamin Millepied, Aaron Duffy and Bob Partington
Director of Photography: Darius Khondji
Choreography: Benjamin Millepied
Music: Thom Yorke
Lead Cast
Kate Mara
Ansel Elgort
Supporting Cast
Shane “Sage” Samuels
Donielle “D Bigga Swindles” Cheatham
Kareem “Reaper” Small
Alexandre Hammoudi
April Giangeruso
Betsy McBride
Breanne Granlund
Elina Miettinen
Patrick Frenette
Nia Parker
Camryn Taylor
Kandi Reign
Executive Producer: Marcus Wainwright
Executive Creative Producer: Marissa Kraxberger
Producers: Candice Hernstad, Garrett Fennelly and Taryn Nagle
Editor: Will Towne at Modern Post
Color: Tim Masick at Co3
Music Director: Kris Bones
1st Assistant Director: Brennan Brooks
2nd Assistant Director: Antonio Dunston
Concept: Aaron Duffy
Creative Partner: SpecialGuest (Aaron Duffy, Cedric Gairard, Tazri Afrin, Eddy Choi, Lauren Moroz, and Danielle Duclos)
Rig Master: Tony Hill
Production company: 1stAveMachine
Shot on location at Greenpoint Terminal, Brooklyn NY
Special Thanks to:
Peter Hess at CAA
Katie Krell Slater at WME
Thomas Marquardt at ICM
Christopher D. Macdougall
American Ballet Theater
Thom Yorke
Kris Bones
Cheryl Taylor AT CMDC School
Tony Hill
Nadia Lesy at Bullettrun
Eryka Clayton
Emma Polgar at Hand & AssOciates
Who's in charge here?
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.