I went to Alaska for New Year with my friend Dan; we spent a week travelling North from Anchorage by rail, 4x4 & light aircraft. I took along my A7SII for the trip. Towards the end of 2016 I desired a trip disconnected from technology & work, somewhere 'into the wild' that I could disconnect somewhat from life in London. After our Tens (http://tens.co) campaign shoot in Mexico in December, I headed North to Vancouver and spent Christmas snowboarding. Alaska looked like the most logical stop after that for a week or so in the wilderness. The more (little) I researched and booked, I realised I should probably take a camera with me, but didn't want to be inconvenienced by all the gear I usually travel with (https://www.instagram.com/p/BOm8XjQDs02). The verse is from a book I found in our cabin (https://www.instagram.com/p/BO31pi9hiJp) that really resonated with the journey. Marshall was an environmental activist who wrote extensively about Alaska in the early 20th Century. Photos from the trip: http://instagram.com/getdeluxe --- The Problem of the Wilderness - Bob Marshall, 1930 It is well to reflect that the wilderness furnishes perhaps the best opportunity for pure esthetic enjoyment. This requires that beauty be observed as a unity, and that for the brief duration of any pure esthetic experience the cognition of the observed object must completely fill the spectator’s cosmos. There can be no extraneous thoughts—no question about the creator of the phenomenon, its structure, what it resembles or what vanity in the beholder it gratifies. “The purely esthetic observer has for the moment forgotten his own soul”, he has only one sensation left and that is exquisiteness. In the wilderness, with its entire freedom from the manifestations of human will, that perfect objectivity which is essential for pure esthetic rapture can probably be achieved more readily than among any other forms of beauty. --- http://getdeluxe.co @getdeluxe
1月12日
In 2016 I travelled to South Africa to visit The Black Mambas - the worlds first all female anti-poaching unit operating in the Balule Game Reserve in South Africa. Coming from disadvantaged communities and breaking strong patriarchal tradition, these courageous women focus on eliminating illegal wildlife trade through conservation, education and the protection of wildlife, helping to ensure the long term survival of threatened and endangered species in the area. Each day they patrol up to 20km, unarmed, looking for poachers, wire-snares, and break-ins along the fence line. Their lives are at constant risk from poachers and the dangerous wildlife they protect. It is their belief that the war on poaching will not be won with guns and bullets, but through education within their local communities. The Black Mambas Anti-Poaching Unit www.blackmambas.org The Black Mambas are Nkateko Letti Mzimba, Cute Grace Mhlongo, Felicia Mogakane, Belinda Mzimba, Qolile Mathebula, Kedibone Malatji, Nomsa Mokgadi Malungane, Lindiwe Labina Pilusa, Remember Dikeledi, Nesti Suzen Mohale, Patience Maphanga, Thato Moroni, Amy Clark, Lukie Mahlake, Winie Nyathi, Collen Mathebula, Proud Mkansi, Dedeya Nkwinika, Happy Nkwinika, Boetie Nkosi, Maseke Tribe, Joshua Nyoni, Christopher Khwakhwa & Given Ndlovu. Directed & Edited by Dan Sadgrove Producers: Dan Sadgrove and Nadine Brown DOP: Jason Hearn Sound Mixer: Mike Nyembe Music: Hanan Townshend Sound Design: Morgan Johnson Color: Houmam Thanks to Gabriele Neukom, Johan Grobler, William Hodgson, Lisa Trueman, Craig Spenser, Peter Sherlock, Skip Margetts, Craig Siney, Maseke Primary School, Hoedspruit Endangered Species Center, The Moholoholo Wildlife Rehabilitation Centre, Rhino Revolution, Kinyonga Reptile Center, Farm Films Productions, Barking Owl Sound and MPC London. The Black Mamba APU relies heavily on donations. Donations can be made to the Black Mamba APU thru Rhino Mercy at: www.rhinomercy.org. In Memory of Siphiwe Sithole – died 2nd November 2016 Ulale ngokuthula dadewethu. Rest in peace, my sister.
1月11日
--A shy wolf tries to befriend a group of hip, party-loving bunnies but finds her body is in revolt.-- www.theitching.com 2016 Sundance Film Festival: selected for the Debra Hill Film Grant by Women in Film LA 2016 Sarasota Film Festival: Best Animated Short Film 2016 Nashville Film Festival: Grand Jury Prize 2016 Athens International Film and Video Festival: Animation, First Prize 2016 St. Louis International Film Festival: Best Animated Short 2016 New Hampshire Film Festival: Best Animated Film 2016 Monster Film Festival: Best Short Animation A Collaboration by Dianne Bellino + Adam Davies Written, Directed + Edited by Dianne Bellino Animated by Adam Davies Produced by Dianne Bellino + Adam Davies Cinematography + Lighting: Dianne Bellino Production Design, Set Construction + Art Direction: Dianne Bellino + Adam Davies Costume Design + Construction: Antonia Ford-Roberts + Dianne Bellino Music: Dean Parker Sound Design + Mix: Eii Cohn Title Design: Nancy Kwon Assistant Camera: Adam Davies Animal Design + Construction: Dianne Bellino Prop Design + Construction: Adam Davies Animal Resculpting: Dianne Bellino + Adam Davies Costume Assistance + Sewing: McLean Sheperd, Kimi Kaplowitz, Jen Prokopowicz Armatures: Adam Davies Assistant Editor: Adam Davies Post Production Effects: Adam Davies Additional Visual Effects: Alec Iselin Colorist: Chris Ramey Sound Editor: Daniel D'Errico Production Consultants: Reuben Kleiner, Zach Williams Post Production Consultants: Richie Sherman, Kalika Kharkar Sharma, Jeremy Brooke 15 mins. Color Copyright Dianne Bellino + Adam Davies 2016 www.diannebellino.com www.adamdaviesadamdavies.com Official Selection 2016: Sundance Film Festival, AFI Fest, Sarasota Film Festival, Maryland Film Festival, Nashville Film Festival, International Film Festival Boston, Fantasia, Fantastic Fest, Hamptons Film Festival, Guanajuato International Film Festival, New Orleans Film Festival, Sidewalk Film Festival, Norrkoping Film Festival Flimmer, Animatou International Animation Festival, BendFilm Festival, Philadelphia Film Festival, Denver Film Festival, Tacoma Film Festival, Dallas VideoFest, Monster Fest
1月4日
DIVERSION-saigonggan 사이공간 _ more details & workflow http://hyunmini.com/?p=377 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
1月3日
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