Gavin Foo
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The story of man, told through the detritus of mankind. A series of 8 interconnected films set to music by artists from This piece brings the 8 films together to tell the whole story and was supported by All objects sourced from car boot sales and flea markets. See the full series here Full Credits - Directors: Noah Harris & Andy Biddle Production Company: Blinkink Executive Producer: Bart Yates Producer: Hugo Donkin Production Assistant: Alli Albion Director of Photography: Toby Howell Lead Animator: Andy Biddle Rigger: Craig Atkinson Additional Animator & Model Maker: Luke George Gaffer: Aldo Camilleri Gaffer/Motion Control: Max Halstead Spark: William Kay Art Director: Noah Harris & Robin Crowley Set Builder & Model Maker: Will Vincent Art Dept. Assistant: Jack Needell Art Dept. Runner: Adam Williams Art Dept. Runner: Ruby Smith Art Dept. Runner: Ella Keogan-Harris Runner: Emilie Forey Runner: Alice Lindley Editor: Max Windows @ Stitch Post Production: Nineteen Twenty VFX Supervisor: Ludo Fealy VFX Artists: Adam McHale, Rob Lilley, Graeme Eglin, Adrian Monroy Diaz, Chris King, Joe Lawrenson, Simone Ghilardotti, Rob Ward, Elliot Dear. Data Management: Kurt Bailey Grade: Duncan Russell @ Freefolk Sound: Tony Rappaccioli @ Wave Studios Featured music Snow Palms ‘Rite’ Thomas William Hill ‘Tyranny Of The Frame’ Angele David Guillou ‘V For Visconti’ John Matthias & Jay Auborn ‘Every Word A Mask’ Soft Error ‘Bad Habits’ Jim Copperthwaite ‘The History Of Cubes’ Ben Chatwin ‘Helix’ Matt Dunkley ‘Cycle 7’ With thanks to... Harry Barber, Sam Davis, Rebecca Boswell, Charles Gillett, Scott Griffin, Angela Hart.
10 天内我们共拍摄了 65000 张照片,容量达 2.6 TB 之多。虽然用的是目前配置最好的 iMac,但是最后只有 3 分钟的成片我们却用了 36 个小时来渲染。 This is the third episode of our independent „A Taste of ...“ time lapse series. In September 2016 we visited this awesome city to try out some new time lapse stuff. It took us 10 days, a lot of burgers and one helicopter ride to produce this video. 10 days is very little time to discover this city of endless opportunities, so we hardly slept anything and shot day and night for this time lapse film. The city that never sleeps indeed! The Taxishot: Over the 10 days we took photos of yellow cabs whenever we had time to from as many different angles as possible. So we gathered 2000 (!) photos in total we had to sort afterwards and compile to a hyperlapse around a cab in post production. It took us 5 whole days in post production to get this one shot. Technical Details: In 10 days we shot 65.000 Photos taking up 2,6 TB of our hard drives. The final 3 minute video took 36h to render on the best equipped iMac available. Other “A Taste of ...” Episodes: A Taste of Vienna (2016) A Taste of Austria (2015) Video by: Peter Jablonowski // Thomas Pöcksteiner // Lorenz Pritz Sounddesign by Alex Clement Equipment used: + Sony a7rII + Sony a6300 + 2x Canon 6D + Canon 11-24mm F4 + Canon 24-105mm F4 + Tamron 150-600mm + Tamron 24-70mm F2,8 + Zeiss 24-70mm F4 + Emotimo Spectrum + Pocketslider + Edelkrone SliderPlus + Came TV Single + several tripods from Sachtler, Manfrotto and Togopod _________________________________ Visit our website: Like us on Facebook: Follow us on Twitter: Follow us on Instagram: For licensing & inquires please contact us via email: info(at) All shots are available in 5K or more!
DIVERSION-saigonggan 사이공간 _ more details & workflow Constantly feeling rushed. Habitually saying ‘too busy’ or ‘quickly’. Always apprehensive that things might not be done in time. The desire to act quickly is basically a matter of speed. Elevation of speed requires reduction of time. The most economical way for this formula is a straight line. Connecting two points; starting and ending point, without a gap. People, consumed by the aim to reach the ending point, proceed rectilinearly. The space in between is merely a path leading to the ending point, and nothing more. This interspace has been omitted due to the rectilinear motion between the two points. Could people be liberated from the obsession of unidirectional movement and speed, if a new perspective is formed by visually converting the direction of spaces with intense unidirectional propensity? Walls, doors and passageways that can involve the audience are installed in the interaction version. An image is projected onto the wall. It starts from the z-axis, consistent with the direction of the person advancing through the door. The image is composed of one-point perspective spaces and situations with intense unidirectional propensity. When the person proceeds in the intended direction, the sensor perceives the movement and the projected image revolves to the x-axis perspective. The image has a flat layout, lacking space perception. With the movement of people as the variable, the image portrays different spaces revolving on their axises. In the animation version, symbolizes the interspace. Generally, fish are recognized from its profiles. It is more natural to visualize fish moving in the intersectional direction of people’s line of sight. While we constantly move rectilinearly, the space from the side; the interspace, could inhabit naturally travelling sideways. 늘 쫓기는 마음이다. ‘바쁘다’,’빨리빨리`를 입에 달고 산다. 제시간에 다 해내지 못할까 봐 불안하다. 빨리하고 싶은 마음은 결국 속도에 관한 문제다. 물리적인 속도를 높이기 위해선 소요시간을 줄여야 한다. 이 공식에서 가장 경제적인 동선은 직선이다. 출발점과 도착점, 두 점 사이를 막힘없이 이어야 한다. 사람들은 움직이는 동안 도착점에 이르러야 한다는 생각만으로 직선 운동을 하고 있다. 사이의 공간들은 도착점으로 가는 길, 그 이상 이하도 아니다. 이 사이공간은 출발점과 도착점 사이의 직선운동에 의해 생략되어 버린 지점이다. 사람들의 일방향성이 강하게 나타나는 물리적 공간들이 향하고 있는 방향에 시각적 변형을 일으켜 새로운 지점을 만들 수 있다면 사람들의 일방향적인 움직임과 속도에 대한 강박에서 벗어날 수 있지 않을까? 인터렉션 버전에선 사람들이 실제로 이동할 수 있는 벽, 문, 통로를 설치한다. 벽면에 프로젝터를 이용하여 영상을 투사한다. 처음에는 문을 이용하는 사람의 이동방향과 같은 z축의 영상이 나온다. 이때 영상에선 일방향성이 강하게 느껴지는 일소실점 공간과 상황을 보여준다. 사람이 의도한 방향으로 진행하면 이를 센서로 감지하여 벽면에 투사되고 있던 영상 속 공간은 x축으로 회전한다. 이때 영상은 공간감이 거의 느껴지지 않는 평면적인 레이아웃으로 구성한다. 사람의 이동이 변수가 되어 축이 회전하는 다양한 공간들이 연출된다. 애니메이션 버전에서 볼 수 있는 물고기 인간들은 사이공간을 상징한다. 일반적으로 사람들은 물고기를 옆면의 모습으로 파악한다. 물고기는 사람의 시선 방향과 교차하여 움직이는 것이 더 자연스러운 셈이다. 우리가 빠르게 직선운동을 하는 동안, 옆면의 공간- 사이공간에서는 옆으로 움직이는 것이 더 당연한 물고기 인간들이 살고 있을지도 모른다. _ (c)HYUNMINI.COM HIVCD GRADUATION PROJECT
A former couple meet one more time to take one last magic trip to the unknown. Shot on 16 mm and Ultra Prime Starring Alba Ribas Alex Maruny Writen and Directed Dani Fortuny Director Of Photography Alberto Bañares Executive Producers Victor Mata Ana Laura Solis Producer Xavi Vara Head of Content Pandora Merli Freixa Art Director Cristina Ramos 1st AD Dani Velazquez Prod. Coordinator Cristina Martin Production Assistant Martina Faro Production Clara Pi Miquel Michavila 1st Assistant Camera Xènia Pintó 2nd Assistant Camera Javier Requena Camera Transport Vicenç Tinoco Gaffer Fara Suárez Spark Victoria Gagigas Helena Gonzalez Sound Recording Roc Montoriol Manuel Gabriel Herrera Art Assistant Marina Perez Alba Aldan Marina Morató Stylist Verónica Febrero Hair & Make-Up Núria Ribera Still Photo Irene Moray Casting Director Blanca Javaloy Editor Carlos Font Clos Soundesign Fran Paredes Marc Solà Fran Montoriol Sound Mix Marc Solà Music Dani Trujillo Color Grading Marc Morató (metropolitana) VFX (LastCrit) Viky Polls Aleix Fàbregas Richi Pérez Sergio Gallegos VFX Supervisor Edu F. Arruga Dream Identity & Web Desing FOLCH Poster Desing Cecilia Martinez Special Thanks Nur Casadevall Victor Mata Ana Laura Solis Montserrat Urniza Adria Paituvi Ramon Arteman Alba Rihe Edu Sola FGC Metropolitana Lastcrit Llibreria Taifa Il Giardinetto Ajuntament d'Igualada Nasty Garage Siria Supermercats Keisy Ricard Hidalgo Zeferino Zig Zag Rental Powered by Pandora and Story
Prolongez l'expérience en créant votre film : Une ville, deux artistes, trois mots, des millions de possibilités. 3 Mots pour Paris en quelques chiffres, ça donne ça: - 90 000 mots référencés - 4500 plans tournés dans tout Paris - 15 plans par film - 2 ans de travail - 90 jours de tournage, avec en prime… - des nuits entières à regarder une caméra se déplacer toute seule sur des rails (merci les nightlapse) - 6 belles cuites - 1 visite au Parc Asterix, 1 Disneyland - 1h30 d’hélico - ? : c’est le nombre de films maximum que l’on peut générer sur le site (on n’a pas trouvé la formule mathématique). Suivez l'évolution du projet : _____________________________________________________________________________ Extend the experience by creating your movie: One city, two artists, three words, millions of possibilities. 3 Words for Paris in numbers, it looks like this: - 90 000 referenced words - 4500 shots in all Paris - 15 shots per film - 2 years of work - 90-day shoot - All night to watch a camera move alone on rails (thank you nightlapses) - 6 times getting drunk - 1 visit to Parc Asterix, 1 to Disneyland - 1h30 flyng on helicopter - ? : the maximum number of movies that can be generated on site (we did not find the mathematical formula). Follow the progress of the project: _____________________________________________________________________________ Réalisation : Cokau (Achille Coquerel and Thomas Kauffmann) Prises de vues, production et post-production : Cokau Lab Création site : HKI HelloHikimori Production associée : Gang Digital Moyens techniques plans aériens : Papasierra Musique : Between the buttons auto remix by French 79 (Alter K) Mixage : Santiago Walsh (Stritlab) Remerciements : Thomas Bobet, Pauline Andrieu, Julie Fimat, Assemblée Nationale, bibliothèque Mazarine, cathédrale Notre-Dame de Paris, Cocobeach, Concrete, établissement public des musées d'Orsay et de l'Orangerie, French Kitchen, Helifirst, la Gaîté Lyrique, le Louxor, le Lido de Paris, la ligue de football professionnel, la mairie de Paris, Molitor, le Musée Grévin, Paris Saint Germain, Guy Savoy, Weather Festival Follow Cokau :
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