When it was released in 2013, Gravity was that rare case of a movie that was (generally) well received by public, critics and film scholars alike. Critics even wielded lofty terms such as "avant-garde" and famous film scholars described it as an "experimental film". High and nearly unanimous praise indeed. But Gravity is also a movie of contradictions. It features state-of-the-art special effects that push the boundaries of film technology. Yet this high tech extravaganza also evokes early cinematic technology and experience. It is a film that focuses on bodily experience, taking us on a breathless ride with the (heavily breathing) Sandra Bullock. Yet in other ways this film denounces the human body and its autonomy. Several years have passed since Gravity blasted off in cinemas, so maybe this is a good time to take another look at the movie and at what makes it remarkable. What is its importance in film (and even art) history? Did it herald a new way of filmmaking or did it harken back to earlier episodes of this art form? Those are the questions this video essay tries to address, along the way connecting Cuarón's movie to abstract expressionist painting and computer chess. Please visit www.filmscalpel.com for detailed credits. This video was made solely for educational purposes and makes "fair use" of copyrighted material. Fair use is codified at Section 107 of the Copyright Act: Under the fair use doctrine, it is not an infringement to use the copyrighted works of another in some circumstances, such as for commentary, criticism, news reporting, or educational use.
1月3日
Song by Tony Anderson: “The Way Home" (Licensed through The Music Bed: https://www.musicbed.com/) Follow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinski For quite a few years now I've been wanting to do something different with my time-lapse films. I love color. Storms are full of color. The blues, the greens, the warm oranges and reds at sunset. The colors are sometimes what make a simple storm into something extra special. But black and white speaks to my soul. I love it. There is something when you remove the color that lets you truly see the textures, movement and emotion of a storm. And then you hear a song. I had asked my buddy Jay Worsley (https://vimeo.com/jayworsley) if he had heard anything lately that might rock for a black and white storm film, and he linked me to Tony Anderson's "The Way Home." The moment I heard it, I knew that was the song. My recent films have a frantic pace to them and people occasionally tell me they'd love to see the footage in a much slower speed. I already knew that going with the monochrome style sorta demanded something more solemn and poetic...and the song was perfect for that. I also went with a much wider aspect ratio than I've ever done before. I feel like it actually feels like it brings you in closer to the action, almost like you were standing right there with me. I held myself back for a long time in doing this project because I wasn't very knowledgable about using tools like Premiere Pro to color grade footage, and all I thought was that I'd have to re-render all my clips as black and white before doing the film. And that's a lot of work. But the past few years have brought me tons of experience in Premiere Pro, plus help from my buddy Jay, and I figured out how to do it all there and without a ton of effort. The film is made up of some of my favorite clips from the past few years. A mix of the monsoon and supercell plains chasing. I'm so inspired by the songs I choose for these videos. Kerry Muzzey, Tony Anderson. Their songs are so powerful and moving and the stories they tell themselves are amazing. I went with clips that felt right with each beat of the song and while I usually try to tell a story with these films, I mostly decided to let the music be that here. Thanks to Tony Anderson for such an incredible piece of music, and to Jay for pointing it out to me. And also to my friend and fellow time-lapser, Brian Miner (see him on Vimeo: https://vimeo.com/bdmphoto), who did some B&W work this past fall and reminded me of what I've wanted to do for so long now. I hope you enjoy this! The creative juices were flowing and I also have some serious withdrawals from chasing storms. I HAD to work on something to hold me over until spring gets here. Only around four months to go before I hit the road to chase supercells and tornadoes in April, May and June! I have a couple of tornado chasing tours going this spring, if you are interested in checking those out, here you go: http://www.mikeolbinski.com/plains-chase/ ------- Captured with a Canon 5DSR, 5D3, 11-24mm, 16-35, 35mm, 50mm and 135mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
1月3日
Featured on National Geographic. A lone freediver escapes to another world underwater where his impossible dreams become reality. "The Superman" is a labour of love project for directors Jack Pirie and Alex Hylands-White, made in collaboration with Freediver Francisco Del Rosario and Bamford Watch Department. The short film follows Del Rosario, who lives on the remote island of El Hierro in the Canary Islands. Directed by Jack Pirie & Alex Hylands-White www.wearehalcyon.co.uk Featuring Francisco Del Rosario (director of "The Ocean Brothers" www.facebook.com/The-Ocean-Brothers-576801409049143 https://www.youtube.com/channel/UCx7LlPUGOkW1WcdvitNrixg) Produced by Nick Ogden www.highsixmedia.com Francisco once dived competitively, striving to see how deep he could go underwater. But he soon realized that isn't why he started diving. Now he does it for the clarity of mind, the inexplicable sensations, and to visit another world beneath the waves. We filmed for five days in the Canary Islands, on a shoestring budget and a team of three - not without incident. First a dislocated shoulder that happened while diving, then our main camera broke when the underwater casing flooded the camera... Given the remote location another one had to be delivered by plane the next morning - the only replacement within 500 miles, Thanks for watching - Jack & Alex. Made in collaboration with Bamford Watch Department www.bamfordwatchdepartment.com DOP - Will Billany Underwater Photography - Francisco Del Rosario & Karsten Mohr @ Freediving El Hierro http://www.freediving-el-hierro.com https://www.facebook.com/number1freedivingelhierro/ Edited by Gabriel Britz @ Stitch LA Sound Design & Mix - Jeff Malen @ Lime Studios Colourist - Derek Hansen @ The Mill Translation - Leyre Bastyr Original Music composed by Alan Myson Thanks to: Sitch LA The Mill LA Lime Studios Camera Rental Canarias George Bamford Prod Co. halcyon & High Six
2016年12月14日
This film was shot between June and September 2016, after the Kumamoto earthquake. Japan has a long history of Buddhism and religious Mythology, where many have derived from other Asian cultures. One popular belief is that there is a God in everything. Until the 20th century, Kyushu was seen as Japan's gate to the world and a centre for trade. It has historically been the first stop for foreign traders and travelers in Japan and a place from which the outside influences would spread to the rest of the country. Time has moved on, but the landscapes and legends remain to this day. The Kumamoto earthquake has caused serious damage to the region. Many people have suffered physical and mental injuries and tourism has fallen drastically. The aim of this film is to disseminate the new appeal of the Kyushu region from a different perspective and to lift those affected by the earthquake. With this, we invite you to come on a journey with us to discover the real Kyushu where Gods, myths, and legends were created. #lettersfromthegods ------------------------------------------------------------------------------------------------------------------------------------ Director / Cameraman / Editor : Christoph Gelep Production Assistants : Ryuta Taniwaki, Haruka Akasaka, Yoshiyuki Sakuragi, Masami Miyai Production Coordinators : Masanori Inoue, Masaki Miyai, Rika Sato, Jinny Dhanasobhon Colorist : Masato Indo Drone Operators: Michito Tanaka, Kazuyoshi Yokoyama Music: Eve by Emancipator Sound Designer: Yasuhiro Nakashima Producer : Hidetaka Ino Production : augment5 Inc. For more info: #lettersfromthegods Project for METI (Ministry of Economy, Trade and Industry in Japan) http://www.meti.go.jp/english/index.html http://www.meti.go.jp/information/publicoffer/kobo/k160601002.html
2016年11月28日