The video was about capturing an insight into Sinead’s world, just a normal girl hanging out in her bedroom from day to night. I wanted a mood that felt personal and intimate. This was then highlighted by the animation. I wanted this to feel innocent, primitive and bold and I felt the nature of doing this animation for real as camera less animation (a technique pioneered by the incredible Norman McLaren) would capture an insight and honesty that matches the emotion of the track. All animation done by hand directly onto 35mm film. BTS pics below. Process We began by shooting on 35mm film. We almost had an entirely female crew too. Which was great. Why does this not happen more please!? The film was then scanned and made digital so we could edit it. The day to night timelapse was fun to capture too. I wanted a 7 second timelapse which meant I needed 175 frames. With the help of the awesome DP Katie Swain who designed the lighting to replicate that feeling of daylight changing to nighttime. While nearly all the crew plus the commissioner James Hackett were allocated control over different lights to gradually dim down and up over the 3 minutes we took to execute this effect. We shot 1 frame per sec and ended with 180 frames. Once edited I then worked with an animator to create a digital animatic to give us an indication of what some of the animation might look like on the footage. Thanks Daniel Murtha! We then graded the film and then had the film reprinted back on to 35mm negs which we sent to our animator. Enter the very talented and highly skilled, Em Cooper. I’m not sure anything could have prepared us for the delicate execution of painting directly on to film! Experienced as she is she had still never painted directly on to film. Em then had to design her own contraption to allow her to go back and forth on the reel. She also ended up using coloured pens instead of paint as she could be more precise on the film and the colours were better. For the initial previews Em took photos on her SLR through a magnify glass which she then collated in an editing programme to make a small preview quicktime. It was quite exhilarating seeing the first preview and watching the concept become tangible. If you look carefully we switch between 25fps and 12.5fps animation and live action at 25fps. As it would have been even more time consuming doing 25fps animation on all clips. But I think this really adds to the charm. We had 3 rolls of negs for our animator. She only used one and what you see is the one master reel with painted frames. This reel of film is a work of art in it’s own right. When the final animated clip was complete the final scan was a crucial step to seeing if it would all work. Finally once re-scanned I was surprised by how well the colours came out. We then had minimal tweaking in the final grade for delivery. A huge thank you to everyone who believed and made this very unusual project happen. Sinead Harnett Credits Director – Zaiba Jabbar Production Company – Partizan Executive Producer – Claire Stubbs Producer – Douglas Cox Director of Photography – Katie Swain Editor – Sam Neal Art Director – Ruth Crawford Animation – Em Cooper Production Manager – Simona Boulding 1st Assistant Director – Cordelia Hardy Runner – Katie Denman Runner – Aaron Blanks Driver – Dimitri Topalov 1st Assistant Camera – Hilda Sealey Clapper Loader – Nick Thursby Gaffer – Steve Cortie Electrician – Michael Parsons Art Assistant – Victor Jakubski Stylist – Nell Kalonji Assistant Stylist – Rosie Makeup – Charlotte Reid Hair – Oliver Wood Choreographer – Ida May Commisioner – James Hackett Assistant Editor – Aurelien Boisson Animatic – Dan Murtha Colourist – Marty McCullen Special thanks – Amy Armstrong, Ella Lynch, Jon Mealing, Suzi Sims, David Webb, Andrew Alexander & Julian Culme-Seymore

When in Vietnam. Set off on a 1650Km north to south journey: capturing the best wonders of Vietnam: Hanoi ancient quarter, the breathtaking Halong Bay, the claustrophobic caves in Trang An, the glamorous fabric merchants in Hoi An, the secret temples inside the marble mountain in Da Nang, the historical old capital Hue, the wet and tropical mekong delta and the white sandy beaches at Phu Quoc. Trip date 29 Mar 2015 / 15 Apr 2015 Watch also “Thailand into the Dream”: http://bit.ly/1KLWOOE Directed and edited by: Oliver Astrologo Music: Passerby – Max LL – Licensed on MusicBed – Final Mix-Down by Massimo Diggio Thanks to: Simone, Valeria, Chiara, Nils, Federico and everyone who helped me create this video. Flickr album http://bit.ly/1KLWQWR Shoot using: Sony A7ii @ 1080 60p PP7 (Exposed in S-Log2) Video Stabilization: Nebula 4000 Lens used: Zeiss 35mm 2.8 Zeiss 55mm 1.8

www.terracollage.com http://on.fb.me/1GYL78K The second episode of my essay series is all about macro cinematography – a whole new world of motion pictures in huge reproduction scales. The idea of this piece was to stage the genesis of a tiny universe, which only exists for a very short time on a glass plate and then dissolves into a messy stream of oil, ink and water. The universe itself needed to appear as a well defined, glowing and shining phenomenon which reminds the viewer of a look through a telescope. The atmosphere full of stars, planets, clouds and fog emerges from huge colorful streams, forming balls and bubbles. Their surfaces reflect the background pattern, giving the objects quite a three-dimensional look and feel. The space expands more and more into the depth, until upcoming star bursts make the whole system collapse. The illusion decomposes to a dark splash of substances and disappears as fast as it came up. The areas you can see in this short film are only a few square centimeters in size, often less than a coin. The streams and interactions of fluids are not visible to the naked eye and have to be caught with a 1:1 macro lens and some very bright led lights. It took me about 70 hours of shooting, trying and failing until I was able to capture pictures with an organic, non-generated character, establishing a truly reliable cosmos. The footage has only been edited, speedramped and color corrected, no composing or CGI. I hope you enjoy it. This video is entirely shot in 4K and then downscaled or cropped. There are a lot of sub-frequencies in the mixdown, so this is best viewed with your headphones on! Gear: Panasonic GH4 Canon FD 100 mm Macro Canon FD 50 mm Macro Canon FD 35 mm Canon FD 50 mm Metabones Speedbooster Edelkrone Slider Plus Pro Edelkrone Action Module Manfrotto 535MPRO Manfrotto 504HD Manfrotto 701HDV 2 LED Light Panels If you would like to read more about the topic of experimental cinematography, just visit my new blog or follow me on facebook. I am going to upload a lot of information, pictures and videos on a regular base. Terracollage.com presents and discusses the evolution of experimental film with fresh content on a regular base and detailed insights into organic FX and its methods. It is dedicated to all people creating new visual forms in uncommon and creative ways without any CGI. www.terracollage.com http://on.fb.me/1GXm57d

Official video for The Helio Sequence out on Sub Pop Records. http://bit.ly/1dKX5GN http://bit.ly/1DQUT5x Emanuele Kabu 2015 London