When seeing your mother means a trip to prison. By Elizabeth Lo. Read the story here: http://nyti.ms/2tm4DL4

2017 Infectious Music Featuring Leah Marojevic, Alana Everett, Natalia Iwaniec Director – Alex Takacs Choreographer – Darcy Wallace DP – Martijn Van Broekhuizen Production Company – Pulse Films Executive Producer – Rik Green Producer – Sonya Sier Assistant Producer – Rebecca Mason PM – Amanda Tuckwell Production Coordinator – Elena Argiros 1st AD – George Nelson 2nd AD – Ben Keswick Production Designer – Nathan Parker Wardrobe – Natalie Wilkins Hair & Makeup – Lisa Zipper SFX – Bob Smoke 1st AC – Jeremy Fusco 2nd AC – Jerry Pradon Grip – Neil Blakesley Steadicam – Matt Alsopp DIT – Chris Belcher Editor – Thomas Grove Carter @ Trim Editing Colorist – Oisín O’Driscoll @ The Mill Post Producer – Imogen Pai Post Production – The Mill VFX Supervisor – Brad Wood, Matthew Kavanagh 2D Lead Artist – Fergal Hendrick 2D Artist – George Cressey, Jose Caballero & John Thornton 3D Artist – Marta Carbonell

A few months ago we went on our first trip to South East Asia. This video is a collection of vivid moments we’ve captured on our way just to never forget all the places we have fallen in love with. FACEBOOK ►http://bit.ly/2vc03kf INSTAGRAM ► http://bit.ly/2w49hLJ Filmed with Panasonic GH4 lenses: Panasonic Lumix Vario 12-35, f/2.8, Metabones Speed Booster + Nikkor 35mm f/1.8, Nikkor 50mm f/1.8 music: Ryan Taubert – Limitless voice: Alan Watts – Time & the more it changes

Realisation : Nadia Micault Production : Autour de Minuit Music : Sonate pour violoncelle seul Compositeur : Ligeti violoncelliste : Dima Tsypkin Choregraphe : Fernando Carrion Danseuse : Emilia Giudicelli

With slow graceful movements and digitally generated messages, Plastic Girls make a conspicuous contribution to the sexualisation of public space in front of their owners premises. PLASTIC GIRLS is the last film of a Korea related trilogy following BIKINI WORDS and LAST LETTERS: http://bit.ly/2eQBZMX http://bit.ly/2h63enq * thisiscontented.com nilsclauss.com * a CONTENTED Production in association with MINORITY Producer: SANGJU LEE Assistant Producer: DOYEON KIM, SEOKJU KANG, SOOHONG MOON * Appearing Mannequins: JENY, MOMO, NAMI, MINA, RORA, SAEMI, SUMIN, SUNNY Additional Cast: DOYEON KIM, JIWOONG CHOO, JONGIN NAH * Director, Cinematographer: NILS CLAUSS Voice-Over Script: NILS CLAUSS, UDO LEE Gimbal Operator: SUNGIL LEE, NILS CLAUSS * Editor & Colorist: NILS CLAUSS Music: “The Crack-Up” by UDO LEE Sound Mixer: UDO LEE Graphic Design: INAH SHIN * Special Thanks to: AARON CHOE, BARBAR HAIRSHOP, BAYA KHODJA, BLUE BAR, BONGEE CHICKEN, DAEHO COFFESHOP, DEBORAH PAIK, HYUN CHO, JOO HOON LEE, KUIOCK PARK, MYUNG-SE LEE, NEIL ARDIFF, NGO-DRESS, NONGHYUP GAEPO GRAIN STORE, NEIL DOWLING, SEON BEOM LEE, SEOK JOO KIM, SKY TV, SUGIL LEE, YANGJI BATHHOUSE, YOUNGSOOK KIM * Dedicated to everyone who fights for gender equality in South Korea and disagrees with the sexualization of public space.

—– Blu-Ray discs available here: http://bit.ly/2h5XDxk Music by Peter Nanasi, find his work here: http://bit.ly/2eQPfkz Follow me: http://twitter.com/mikeolbinski / http://bit.ly/2h5YTRi / http://bit.ly/2eR40nH ——- On June 12th, I broke down into tears. Minutes earlier, I had been outside my truck, leaning against it, head buried in my arms, frustration and failure washing over me. I wanted to quit. I got back in the car and as I drove, the pain got the better of me and the tears came. This past spring was a tough one. Supercell structure and beautiful tornadoes had been very hard to come by. In fact, the tornado in the opening of this film was the only good one I saw this entire year. I had been on the road longer than ever before. Driven more miles. I was away from my family for 12 straight days at one point, and when I got home, I had to tell them I was going back out 24 hours later for June 12th. It was just too good to pass up. It promised to be a day that I could get everything I had been hoping for this spring and I had no choice. My wife understood, even though I knew she wished I stayed home. And I wished it too. I knew right where I wanted to be that day. But this year I struggled with confidence in trusting my instincts. Maybe it was because the lack of good storms this spring made me question my skills, or maybe it was something else inside of me. Whatever the case, I let myself get twisted and unsure, and found myself 80 miles away from where I had wanted to be when the tornadoes started to drop and the best structure of the year materialized in the sky. The photos from Twitter and Facebook started to roll in and I knew I had missed everything. It may not be easy to understand why, but when you work as hard as I did this spring, a moment like that can break you. I felt like I let my wife down. But mostly I let myself down. I forgot who I was and that’s not me. Or it shouldn’t have been me. I failed myself. And it seemed like the easy choice to just give up and head for home. But I didn’t. I’m not sure why, but the pain slowly began to subside. I realized it was only 4pm and the storms were still ongoing. Maybe if I could get in front of them the day could be saved. Ninety minutes later, I got out ahead and saw some of the best structure I’d seen all spring and a lightning show that was so incredible it’s one of the very last clips of this film. And that’s why this film is called “Pursuit.” Because you can’t give up. Keep chasing, keep pursuing. Whatever it is. That’s the only way to get what you want. I learned something about myself on June 12th which carried over to the final few days of chasing this spring. I trusted myself again and those days were incredibly rewarding. This was who I’d been all along but had forgotten. I can’t wait for next year. The work on this film began on March 28th and ended June 29th. There were 27 total days of actual chasing and many more for traveling. I drove across 10 states and put over 28,000 new miles on the ol’ 4Runner. I snapped over 90,000 time-lapse frames. I saw the most incredible mammatus displays, the best nighttime lightning and structure I’ve ever seen, a tornado birth caught on time-lapse and a display of undulatus asperatus that blew my mind. Wall clouds, massive cores, supercell structures, shelf clouds…it ended up being an amazing season and I’m so incredibly proud of the footage in this film. It wasn’t the best year in storm chasing history…but I got to chase storms and share it with you guys. All worth it. I wanted to do something new this year, so I worked with composer Peter Nanasi to develop a custom track for Pursuit. I’m super excited about it and loved the process of exchanging ideas and building the song as the editing of the film progressed. I am so thankful to Peter for what he came up with, I’m in love with this track! The time away from my family turned out to be over a month all told. I’m always and continually blessed by a wife who supports what I do and backs me completely. But not only do I have her to thank this spring, but also her parents who hung around for a good chunk of May and early June, to help out wherever needed, watch the kids, run errands and generally be there for Jina. I don’t have enough words to convey how appreciative I am for them being around while I was gone. I think that’s about it. I could write a lot more, but I’d rather you watch the film and hopefully have a taste of what I saw this spring. There is nothing quite like strong inflow winds, the smell of rain and the crack of thunder. I miss being out there already. I hope you enjoy and I’ll do my best to answer any questions in the comments below! Technical Details: I used two Canon 5DSR’s along with a Canon 11-24mm, 35mm, 50mm, 135mm and Sigma Art 50mm. Manfrotto tripods. The final product was edited in Lightroom with LR Timelapse, After Effects and Premiere Pro.

This is actually the fourth and final part in a series of films commissioned by Dolby Labs for their amazing gallery space in San Francisco. Gabe Askew has long collaborated with the musician duo Hays + Ryan Holladay who were responsible for putting the series together. They leveraged the new Dolby Atmos technology to create a beautiful and embracing soundscape while Gabe tried to wrap his head around the massive 9920×720 resolution display. The theme of the series was memory. Drawing from the writings of Ray Kurzweil, Gabe created a visual metaphor for the physical act of how the brain receives a stimulus, breaks it down into elements, stores it via pattern receptors in the cerebral cortex, and then recalls it. The specific memory represented in the film is the birth of his daughter, Lily. Director: Gabe Askew Production Co: Hornet Client: Dolby Labs Music: Hays + Ryan Holladay

‘Sleepless’ by Super Magic Hats, from the new album ‘Wish’. Hypnagogia is the transitional state between wakefulness and sleep… You start falling, then you’re slowly running, you start dreaming of lunch, dancing, and shape-shifting into a guy with a million eyes. Directed and animated by Lee Arkapaw and Tessa Chong

An unknown rock band struggles with a radioactive energy in their music that blows up amps, liquefies tape decks, and starts electrical fires. On the eve of their first (and possibly last) show, they must decide whether to risk life, limb, and legacy for a 1AM slot on a Tuesday. It could change everything…or nothing at all. “The Privates” is this week’s Vimeo Staff Pick Premiere! Read more about it here: http://bit.ly/2uxURps 2017 Sun Valley Film Festival 2017 IFFBoston 2017 Brooklyn Film Festival 2017 Palm Springs International ShortFest Hammer to Nail Short Film Contest – Spring ‘17 – WINNER Writer / Director: Dylan Allen Producer: Eddy Vallante Starring: Lilli Stein, Rachel Trachtenburg, Alex Herrald, Omar Maskati Director of Photography: Evan Jake Cohen Music: The Privates Original Score: Dave Paulson Editor: Robert Grigsby Wilson Producer: Javier Gonzalez Executive Producer: Matthew Perkins Associate Producer: Mari Shiel Production Design: Pinky Guest Casting: Rebecca Dealy Casting Assistants: Christy Escobar, Kristie Walsh Costume Design: Megan Stark Evans Hair/Makeup/SFX Makeup: Lexan Rosser Visual Effects: Perry Kroll 1st Assistant Director: Eric “Frenchy” LaFranchi Unit Production Manager: Maddi Clarke 2nd Assistant Director: Tas Mahr Property Master: Nicolas Luna Set Dresser: Alan Jensen Miniatures: Peter Feigenbaum Production Sound Mix: Adrian Martinez Audio Post Producer: Kira MacKnight / One Thousand Birds Sound Design/Mix: Calvin Pia / One Thousand Birds Music Director: Maxwell McDonald ADR Engineer: John Parthum / Mixtape Club Gaffer: Chad Dougherty Key Grip: Glenn Porter Best Boy Electric: Justin Newhouse Best Boy Grip: Jacob Beil Grip: Camilla Foschi 1st Assistant Camera: Matt Garland 2nd Assistant Camera: Brandon Regina Set Photographer: James Chororos Script Supervisor: Rachel Cole Production Coordinator: Quinn Dooley Locations: Jordan Thomas Alexander, Alex Richard Production Assistants: Kuper Bank, Eli Kleinsmith, Sean Woodruff, Mikaela Barish Poster Design: Sam’s Myth Digital Colorist: Andrew Francis Color Assist: Charles Leighton Digital Intermediate Services: Sixteen19 “We Are Really Rocking Now, Haven’t We?”: written & performed by The Privates “You Never Take Me Dancing”: written & performed by The Privates VFX Breakdown – http://bit.ly/2vJaUPR Amalgamated Picture Company, 2017. All rights reserved.