Tag: Videos & Films

Directed by ZACK SPIGER Produced by ROB LIVINGS Executive Producer NICOLAS TIRY Featuring BENJAMIN GOAKES and CLAIRE MACLEAN Production Design by ASHLEIGH MACLEAN Cinematography by ZACK SPIGER Make Up by FREENA HAMILTON Camera Assistant HOSSEIN KHODABANDEHLOO Grip JAKE SHANNON Gaffer GEORGE DAVIS Editorial by SACHA SZWARC Color grade by VINCENT AMOR Visual effects by CORALIE DUARTE @ REEPOST Shot on KODAK motion picture film Film Processing by WERNER WINKLEMANN @ NEG LAB Film Scanning by GRAYTON HAVERN @ COMPLETE POST Special thanks to COLIN & ANITA SOMERVILLE, KELLY LONGLEY, GODFREY EVERETT, CRAIG PADFIELD, DAVID & MERIDEE STRATTON, MICHAEL McDERMOTT, CHICHO GELATO, RAC DRIVING CENTER, THE ROUND HOUSE, CAVERSHAM WILDLIFE PARK

This story highlights Jylyn, a person positively impacted by Ujima, an organization dedicated to helping families recover from alcoholism, drug addiction and behavioral health problems. Ujima is partially funded by Tipping Point. Tipping Point commissioned us to create this film for their 2015 benefit where they raised over fourteen million dollars to help fund other organizations like Ujima. Today, Jylyn and Varn own a home in Richmond. Both of their sons are happy and healthy. Jylyn works as a Social Services Program Assistant for a county agency, supporting other women just like her. Ujima Family Recovery Services is one of 47 poverty-fighting organizations funded by Tipping Point Community. Director – Michael Marantz Director of Photography – Tim Sessler Producer – Noah Meisner Production Manager – Drew English Produced by – Already Alive Music by – Michael Marantz Edit – Michael Marantz / Drew English Audio – Drew English Titles – Greg Beck Special Thanks Jylyn and her family Tipping Point Community Jen Pitts Stefanie Demong

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

The Power of an All-Woman Mariachi Band Mariachi is “passed on from generation to generation,” says Mireya Ramos, a musician who lives in New York City. “It’s very traditional and very macho.” Ramos tells filmmaker Jenny Schweitzer that she had “negative experiences” with other bands—that is to say, with the men who performed in them—and decided to form Flor de Toloache, a seven-piece, all-women mariachi group. “For people who are used to seeing men play, we’re making a statement. We’re breaking that concept,” says Ramos. -Chris Heller (Senior Associate Editor, The Atlantic Video) This is the first episode of RHYTHM IN MOTION, a series of short films about New York’s subway musicians. http://bit.ly/1OXFjR6 http://on.fb.me/1Pm7PHc Flor de Toloache just released their new album: http://apple.co/1Pm7PHd … ABOUT THE SERIES Directed, produced, shot, and edited by Jenny Schweitzer The films were created in collaboration with the MTA’s arts division, MTA Arts & Design, and in association with Killer Content (Still Alice, Alec Baldwin’s Here’s the Thing podcast) and Cinelan (FOCUS FORWARD Short Films, Big Ideas and WE THE ECONOMY 20 Short Films You Can’t Afford To Miss). … New York City subway buskers are a well-documented bunch. It is not unusual to witness a sea of iphones capturing those random performances as we scurry to our trains. Since arriving in NYC in the late-90’s, I, too, have marveled at them, mesmerized by this inimitable cast of characters. All the time, I have wondered what drove these performers underground. For me, these musicians serve as an essential thread woven into the great culture that forms our vibrant city. It was difficult to develop the first pieces. Having been approached by filmmakers on so many occasions, the musicians initially were skeptical of me. My objective in making these films was to give these gifted people the opportunity to reveal a hidden aspect of who they are and to voice their artistic message. While the musicians’ talent and performances serve as the framework for each film, for me, the allure lies beneath the music. The films peek into their arresting and deeply personal stories. In 1987 the Metropolitan Transit Authority created Music Under New York to offer musicians access to coveted, high traffic spots in the subway system and to assure the commuters a high level of artistic accomplishment. An annual, highly selective public audition in Grand Central Station invites newcomers to the roster. More than 350 individual performers participate in more than 7,500 performances throughout the transit system annually. Rhythm in Motion profiles ten members from the Music Under New York roster. For me, collaborating with Music Under New York was a critical step in moving forward with the project. It was deeply important that this vital organization value what my films could reveal about their network of musicians and this slice of NYC culture. -Jenny Schweitzer

I was honored with a quite sweet award from the European skateboard community, the ‘best film-maker of 2014’. Along with a trophy, Red Bull pretty much told me I can choose any place on earth and film a short piece. I scrambled through a world atlas and thought that Madagascar would be the ideal place to celebrate this award as well as explore the streets of this exotic island along the Indian Ocean with some good friends. Produced by Red Bull Directed, Filmed & Edited by Patrik Wallner Featuring Barney Page, Denny Pham, Nestor Judkins, Wilko Grüning, Brian Dolle, Gosha Konyshev Photography by Lev Maslov Text and French interpretation by Kirill Korobkov Here is Kirill Korobkov giving a short intro to our trip: Madagascar sounds a bit like something from the pages of a fantasy novel. Everyone knows that this place exists, but it’s so remote that it is almost like a myth. The big island resides on Africa’s west side and is a rare destination for outsiders, isolated by both sea and distance. In terms of the skateboarding? Madagascar just might be the perfect mix of originality, adventure, vacation and the unpredictable unknown. Watch through Red Bull Youtube platform: Part 1 – http://bit.ly/1KddFJm Part 2 – http://bit.ly/1JO8q5V

What would the world be like without the Venice Biennale? A chorus of art-world insiders and Venice locals respond with insights and stories, helping us navigate the cultural influence of this somewhat enigmatic, 120-year-old tradition. Produced in collaboration with UBS, and directed by Oscar Boyson, this film pulls back the curtain on the event’s reach, extending beyond art and into politics and history at large. A Short History introduces “Behind the Biennale,” a series of short films released throughout the summer, uncovering the stories of artists, curators, visitors, and Venetians. Written and Directed by Oscar Boyson Edited by Thomas Niles Producer: Mary Beth Minthorn Cinematographer: Kevin Phillips Associate Producer: Matthew Echelman Sound: Colin Alexander Music: Antonio Vivaldi

Keith was made in 7 days with no money, no ideas, and no camera. It was made as part of Luke’s Massive Storytelling Podcast Thing … go to www.lukekondor.com for more details. WINNER OF THE LUKE KONDOR AWARD FOR BEING A FILM MADE BY LUKE KONDOR. PRESS: “The fact that Luke has managed to create such a compelling piece of cinema from his bedroom in his pants is astonishing,” Luke Kondor. “Luke Kondor is a Tour De Force, but I’m not really sure what that means,” Luke Kondor. “This is a film … ” Luke Kondor. “I think Kubrick should be shaking in his boots right now. What? Kubrick’s dead?” Luke Kondor.