A Film by Richard Valk www.valkproducties.nl & Freek Zonderland www.freekfilms.tv Festivals Spain VI FEC. Villamayor de Cine! Prices: Best Foreign Film - Audience Award IKUSKA 2013 Price: Best Script FICHA CORTOS DE LA SOLANA ALCORTO USA Hamptons International Film Festival Richmond International Film Festival Mid-Atlantic Film Fest in Norfolk Mexico Festival Internacional Cinematográfico de Toluca 2013 UK UK Film Festival Short Film Official Selection Nomination for Best Director The Netherlands Dutch Film Festival Cast Bart Klever José Kuijpers Loek Beernink Joost Buitenweg Tijl Beckand Mikael Martin Odette van der Molen Composer Iris Hond Sound Design Michiel Eilbracht About Rode Gordijnen (Red Curtains) 'Rode Gordijnen' is a film about a man who tries to breathe new life into his out of touch relationship with his wife. Both characters seem to have reconciled themselves to their extinguished marriage: they have simply stopped communicating. But along the way their attitude towards each other, and towards their surroundings, changes substantially. One thing however remains the same: they still don’t talk. ABOUT US Rode Gordijnen (Red Curtains) is a short film by two enthusiastic initiators: director and producer Richard Valk and cameraman Feek Zonderland. This project is realised with the support of the experienced film producer Margot Nicolaes. In 1992 Richard started his company Valk producties. Initially as director but later also as a producer. He started out with television programmes as Lolapaloeza, Jules Unlimited, 2 Meter Sessions and various short and longer fiction films and documentaries. He is now director and producer of fiction, nonfiction, animation and music production. In 2010 Freek started his film production company FreekFilms, and he is attracting much attention ever since. He operates in very different fields, and works, among other things, for the VPRO, a Dutch national station. Shooting fiction is his real passion. Richard and Freek worked together on a film already once before. This collaboration worked out so well that they decided to gather together the same enthusiastic crew in order to make the short film Rode Gordijnen (Red Curtains)
Blu-Ray discs available here: mikeolbinski.com/shop/ Song by Kerry Muzzey: "Revenge"/ "Revenge: Epilogue" (on iTunes: http://bit.ly/KM_TM3 Amazon: http://bit.ly/KM_REVENGE) Follow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinski ----------------- If you asked the average person, many would characterize this summer's monsoon as a down season. Not a lot of storms overall and it seemed generally more quiet. And in many ways it actually was a slower season. All told I chased about 36 days for this film, which was less than the 48 in 2015. We had an early start in late June, and then it was dead for almost three weeks. When I looked back and realized I chased 12 less days...yeah, it definitely had less action than normal. But to a storm chaser, none of this really means anything. Sure there were days when nothing was remotely possible to chase, but most of the time the monsoon can be found in the far corners of the state even when Phoenix and Tucson are dry as a bone. For me personally, I loved this season. Maybe because as a filmmaker, having put out a few of these films now, I'm beginning to focus and hone in more on what I really love to time-lapse. My early scenes years ago had a lot of average clouds and distant rain that didn't have a lot of excitement or energy. But as the years go on, and I learn more and more about chasing storms here in Arizona...I've found myself in better spots to capture the stuff I really enjoy. Strong downbursts of rain, building clouds, lightning...and yes, dust storms. The one thing I was hoping for in 2016 that the previous years have lacked: Haboobs. Dust storms. Rolling walls of dirt and sand engulfing the deserts and even Phoenix itself. And my wish came true in that regard. Even a very late season, September 27th haboob that I captured right at sunset with glorious colors. Coming off the heels of filming Vorticity in the spring, with monster supercells and tornadoes, the monsoon is a totally different beast and you'd think it would be less exciting. I don't know. I find them both amazing and inspiring. Weather to me is weather. No matter how mind-blowing it was to witness the Wynnewood tornado this past spring, standing in front of a rolling wall of dust, or a distant lightning storm under the stars...it's all a blast to me and I never get tired of it. So Monsoon III...the credits will say it, but it was around 36 days of filming, I shot over 85,000 frames and am not sure how much made it into the final cut. The song I used was "Revenge" and "Revenge: Epilogue" by Kerry Muzzey, and I took both of them and sliced and diced until I actually had a six-minute version to fit in with all the footage I captured. I love it. As always...THANK YOU to Kerry Muzzey for supporting my work by letting me use his music once again. I don't even have enough words for this man for doing this for me. It means more than anything! Please buy his work! I started editing this film mid-summer once I figured out the song I was using. And as days went by and more clips were rendered, I kept adding them and re-arranging them all the time, trying to get every clip to match the tone and feeling of the music. And then I'd think I was done and more storms would come and I'd have to move things around again, and even drop stuff. I have a lot of fun scenes that are not in this film because I only wanted the very best. Special thanks to Bryan Snider and Dustin Farrell for some tips this summer on editing out dust spots and birds better than I had been doing. Appreciate it fellas! My wife takes the brunt of what I do, especially when I'm gone for days at a time. Filming in Arizona is easier because I'm usually home at some point in the evening and at least around in the mornings. But it's a lot of work and a lot of time being away. She supports me like no other and I can't believe how lucky I am to have someone with that much faith in what I do. And a lot of these clips will forever hold memories for me because my two oldest kiddos were there for them, and at times even all three were nearby. My littlest guy who just turned three, sits on my lap a lot when I edit, listens to the music and loves watching the final product. And he wants to keep watching it...over, and over and over. Makes a daddy proud. I hope you enjoy this latest installment. I'm not sure how it compares to years past, but for better or worse, this was Monsoon 2016 for me! Please let me know if you have any questions about anything! Most of these clips were shot in 8K with some 4K stuff thrown in there as well. ----- Captured with a Canon 5DSR, two 5D3's, 11-24mm, 16-35, 35mm, 50mm and 135mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
Descripción: Videoclip para Captains “Heavy Metal Works”. DOP/Color: Daniel Meré. Producción: Inlight. Actores: Álvaro Quintana, Uma Karina, Isia Eryka. Asistentes de cámara: Tulio Ferreira y Jorge Fonseca. Eléctricos: Eduardo G. Mon, Jose Silva y Edu Vinuesa. Estilismo: Gema Martín y Javier Lozoya. Diseño gráfico: David Negrone. Captains: Fee Reega, David Baldo, Oskar SD, Aaron Dall. Gracias a: Thiago Quadrado, Lucia Outeda, Carlota Espada, Mario García, Aby Loya, Elena González, Pelayo Campa, Daniel Parrilla, Hostal San Félix, Ferrallas Las Arobias y a la Sala Sol. ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Description: Videoclip for Captains "Heavy Metal Works". DOP/Colour: Daniel Meré. Production: Inlight. Starring: Álvaro Quintana, Uma Karina, Isia Eryka. Camera Assistants: Tulio Ferreira y Jorge Fonseca. Electricians: Eduardo G. Mon, Jose Silva y Edu Vinuesa. Stylist: Gema Martín y Javier Lozoya. Graphic Design: David Negrone. Thanks to: Thiago Quadrado, Lucia Outeda, Carlota Espada, Mario García, Aby Loya, Elena González, Pelayo Campa, Daniel Parrilla, Frisco,Hostal San Félix, Ferrallas Las Arobias and Sala Sol. http://www.promonews.tv/videos/2016/07/12/captains-heavy-metal-works-amar-hern%C3%A1ndez https://nakidmagazine.com/2016/07/20/heavy-metal-works-captain-and-amar-hernandez-music-video-artist-to-watch/
This is the music video for the song "Space Diaspora" of OY's [https://www.oy-music.com/video] new album bearing the same name. The musicians Joy & Lleluja - about the clip & song: On our new album we tell the story of mankind’s future on a imaginary planet called Space Diaspora. So Space Diaspora is the second single and the title track of our new album. The song is the beginning of this space opera and tells the story of the departure & transformation of planet Earth in and onto Space Diaspora. We couldn’t have been more lucky than to have Moritz Reichartz illustrate and interpret this story for us. The clip allows further imagination and interpretation.. and so we invite people to participate and build their own story. ‘After all, in spite of all technological inventions, the farthest we can travel is still with our minds.’ The label sais: Life on Space Diaspora is a reflection and a distortion of our own struggling world, conveying sentiments of modern alienation and transnational identity. OY’s thoughtful and humorous, tongue-in-cheek approach looks back at current times from the vantage point of a chaos-driven but blooming society in our own future. A vision which elicits tears as well as smiles, and praises the huge potential of the in-between. The director Moritz Reichartz about the clip: Technically speaking, the video is generated almost without keyframes, which are traditionally an essential tool for computer based animation. I work with these nokeyframe techniques for the last two years (latest publised result is "Hands Off [AI]" www.momade.de/hands-off-a-i) as i found they often produce unforseable, better than imagination results that are filled with a lot more life and provide a wide spectrum of outcome to choose from. Dynamic simulations, noise and time driven animations and textures, hair systems, formula based deformers, force and turbulence guided particle systems and many caches baked in specefic chronological orders brig this story to life. The process for the video was more the one of a labrotory rather that the one of inbetweening classical storyboard images in squares. Probably not more that 40 keyframes, mostly used for the camera work where used in this project. CREDITS: Music: OY [https://www.oy-music.com] Derection, Design, Animation and Images: Moritz Reichartz