Videos

  • Un papertoy essaye de sauver son père d’un cancer du poumon en voulant imprimer de nouveaux poumons en papiers cependant l’imprimante est à cours de papiers et son père, de temps… A paperboy tries to save his father who suffers from lung cancer by trying to print out a new pair of lungs. Unfortunately, he realizes that the printer is running out of paper, and his father, out of time… I’ve made this short movie during my 4th years at Supinfocom it took me 6 months. Hope u’ll like it and enjoy it 🙂 Software used : 3DS Max, Nuke, Avid, V-ray, Photoshop Portfolio : http://bit.ly/1gVkTcw Music & Sound designer / Amin Karimi : http://bit.ly/1GOxQJY

  • Understanding is the first step to acceptance, and only with acceptance can there be recovery. – Starring ALANA JOHNSTON & HOLLY PRAZOFF Written & Directed by BROOKS MORRISON Cinematography & Editing by MIKE DOMINIC Production Sound JUSTIN STRAZDAS Score by BRIAN SAIA & STEPHANIE SMITH Double Dammit Productions – http://bit.ly/1Ijv0O4

  • A film for Golden Goose Deluxe Brand Fall Winter collection 2015. (http://bit.ly/1LCqVeU) A Flash Factory and Virgin Soil Pictures production Director: Marco Prestini Script: Ryan Weatrowski & Marco Prestini Dop: Edward Tran Producer: Malcolm Duncan Art Director: Ava Villafane Editor: Aaron Bencid Colorist: Marco Prestini Original Music and Sound design: Guido Smider & Michele Caiati (http://bit.ly/1fsuGFV) Gaffer: Andy Cao 1st Ac: Christian Veillet Key Grip: Marz Miller Grip: Derek Mitchell Hair & Make up: Barbara Yniguez Production sound: Justin Fraker Vo copywriter: Niamh Grunfeld Vo artist: Eve Rydberg Starring: Lauryn Holmquist, River Johnson, Sarah Elizabeth Special thanks to Catherine Opie, Julie Burleigh, and Sequoia National Park Visit www.flash-factory.it

  • A short film about crafting objects at sea, in the past with whale’s teeth and the future with caught plastic melted with a machine harnessing the sun. Gyrecraft is an exploration into maritime crafts which exists in every coastal or island culture around the world each with its own unique identity, utilising what the sea provides. Many of these crafts took place onboard boats during long voyages as a way of making vital repairs or passing the time at sea. Studio Swine went on a journey of 1000 nautical miles collecting plastic on the way from Azores to the Canaries through the North Atlantic Gyre with the Solar Extruder; a machine they designed and built which melts and extrudes sea plastic using the Sun. Concept & Design: Alexander Groves & Azusa Murakami Solar Extruder design & development: Andrew Friend Director / Camera: Petr Krejčí Edit: Sally Cooper Colourist: Jon Leese-Pomfret Online: Andy Brown Music: Golden Hum Sound: Rupert Clervaux www.studioswine.com http://bit.ly/1CZogJl http://bit.ly/1CZojEI http://fourwalls.tv/ http://bit.ly/1Ij3Wyy

  • Short film dreamt by Aaron Paradox. Narrated by Alan Watts audio courtesy of alanwatts.org. Musical score by Zack Hemsey. Sound design by Jacob Thomas Czech. Additional 3D Animations by Mike Winkelmann. Dreamer’s voice by Paul “Bear” Vasquez. Visuals and animation by Aaron Paradox. Kensho poster: http://bit.ly/1MMx3hY

  • —————————————– The music in this film was composed by Kerry Muzzey and is a track called The Secret History from the album The Architect. Please consider purchasing this album over on iTunes: http://bit.ly/PAT_MO I am forever in Kerry’s debt for his kindness and generosity in donating this song for my film. I do not have enough words to thank him! If you’d like to purchase a digital download of the film for your iPhone or iPad, please visit http://bit.ly/1VBUC2K. Follow me: http://bit.ly/1Kn0WoJ / https://twitter.com/mikeolbinsk / http://on.fb.me/1VBUErF / http://bit.ly/1Kn0Z3K ————————————— This past spring I spent more time chasing storms on the plains than ever before. The most I had spent prior to this was seven total days and that was last year. What I came away with from that short time made me realize that if I could double that…the stuff I could capture would be amazing. Of course I long to be out there for a month or longer, but when you live in Phoenix and have a wife and three kids…you have to be realistic. I turned 40 years old this year and I told my wife all I wanted was 10 days chasing on the plains. She loves me though and it ended up being 14! Two days in April and then 12 straight days from May 23rd – June 3rd. Those 12 days were absolutely incredible. I’m friends with other chasers via social media, met them on the side of roads while chasing, even grabbed dinner together…but never have I felt more of a part of the chaser community than being out there for almost two weeks. Living the life…seeing the same amazing chasers over and over…it was overwhelming to me. I missed my family, it was hard at times, but it was one of the best experiences of my life. Both chases originated from where I live in Arizona. In April I drove out all night to Colorado, slept maybe an hour, chased all day, got a good night’s sleep, chased the next day in the Texas panhandle and drove home that same night, stopping only for a quick nap in New Mexico. The second chase was the same. Left Phoenix late on the evening of May 22nd, never really slept and the chase was on the next day. All in all I drove well over 12,000 miles over the course of those two weeks, visited 10 total states (New Mexico, Texas, Kansas, Oklahoma, Colorado, Nebraska, South Dakota, Wyoming, Montana and North Dakota) and shot over 45,000 frames of footage for this film. I have many people to thank. Pat O’Brien for being my first private tour attendee this spring. Mike Mezeul II for one very big tip on a spot above Rapid City, SD. To James Langford who not only guided me to that spot over the phone, but “now-casted” for me many, many times. I may have missed out on four crucial clips in this film if it wasn’t for him suggesting I punch the core in South Dakota. Thank you sir. And to my pal Andy Hoeland…who was with me for over a week of my time out there, driving, looking at forecasts, talking to weather experts and always helping us have a great target for that day. He’s become my chase partner for most of these big plains trips and I wouldn’t have it any other way. Also thanks to Cinetics (http://bit.ly/1VBUEHV) for sending me their Axis 360 to play with. I used it one time in this film and wish I had used it more. I love that scene. Finally…above everyone else, of course…is my wife. To let me go for that long, to never complain, to never discourage me…but to only believe in me…how could I be so lucky to deserve a wife like that? We have three kids and that’s tough on a parent to have her husband away that long. It will never cease to amaze me that I would not be here, doing this, if it wasn’t for her support and encouragement. Technical details…everything was shot on Canon 5D3’s, along with an array of Rokinon lenses. I got sick of lens-twisting (mostly of FORGETTING to lens twist) so I mainly used those manual lenses on this trip. Everything was processed using LR Timelapse, Lightroom, After Effects and Premiere Pro. I’m in absolute love with this film. The stuff I saw rivaled anything I’ve ever seen on the plains minus that insane Booker supercell in 2013. We saw four tornadoes (one of them appears in a deleted scene at the very end of the film), countless supercells, gorgeous shelf clouds, stunning mammatus and some awesome lightning shows. The song..well, the song for this film blew my mind. I loved it when I heard it, but then seeing how everything started coming together on the timeline, the pace, the slow build-up, the huge ending…I’ve said it before, but the song is 50% of the film. Thank you again Kerry for everything! All this movie does it fuel me to want to do better next year and this summer in Arizona. Stay tuned for Monsoon II and for The Chase II next spring! I sincerely hope you enjoy and share this film around. Thank you!

  • This video is one of a series of videos in collaboration between m ss ng p eces and MIT Media Lab for the Knotty Objects Summit, the first MIT Media Lab Summit devoted to design. Curated by bunnie huang and Kevin Slavin. The phone lies at the foundation of 21st century human (and non-human) communication, and shapes these exchanges for the hand, for the eye, and in the mind. Director: Matthew Charof Executive Producer and Founder: Ari Kuschnir Executive Producers and Partners : Kate Oppenheim and Brian Latt Head of Production: Dave Saltzman Producer: Jonathan Figueroa Director of Photography: Dan Witrock

  • “What do machines sing of?” is a fully automated machine, which endlessly sings number-one ballads from the 1990s. As the computer program performs these emotionally loaded songs, it attempts to apply the appropriate human sentiments. This behavior of the device seems to reflect a desire, on the part of the machine, to become sophisticated enough to have its very own personality. What do machines sing of? (90s Version) 2015 Size: 170 x 55 x 45 cm Material: metal stand, mic stand, mic, cable, 2 screens, computer, custom-made computer program More information: http://bit.ly/1CXao29

  • A poem by Stacey Lynn Brown, adapted for Motionpoems For Jake Adam York, 1972-2012 Directed by: Matt Smithson, Man vs Magnet A poem by: Stacey Lynn Brown Executive Producers: Todd Boss, Egg Creative, and Amanda Miller Additional Producers: Adina Sales and Andrew Linsk Voice Over: Yaa Asantewa Voice Over Recording: Sound Lounge Music Composition: Joshua Smoak, Eastward Music Audio Finishing: Egg Creative