[Idioma Español] - Festival Agile Trends España from Agile Trends on Vimeo.
English Language: vimeo.com/event/283210
Idioma Español: vimeo.com/event/283200
Programación: agiletrends.online/#agenda
Aqua Utopia|海の底で記憶を紡ぐ
NASA
Sade Olutola

pixel skylines
TMBGareOK. The Official They Might Be Giants tumblr
YOU ARE THE REASON

❣ Chile in a Photography ❣

PR's Tumblrdome
The Stonewall Inn
🩵 avery cochrane 🩵
let's talk about Bridgerton tea, my ask is open
Monterey Bay Aquarium
RMH

roma★
No title available
hello vonnie
Phantogram Three

bliss lane
I'd rather be in outer space 🛸

Game Changer & Make Some Noise
seen from Pakistan

seen from Germany
seen from Türkiye
seen from United States
seen from Argentina
seen from Netherlands
seen from United States
seen from Pakistan
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seen from Pakistan

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@blogeandolared
[Idioma Español] - Festival Agile Trends España from Agile Trends on Vimeo.
English Language: vimeo.com/event/283210
Idioma Español: vimeo.com/event/283200
Programación: agiletrends.online/#agenda
NOTES ON AN AMERICAN FILM DIRECTOR AT WORK: MARTIN SCORSESE (Jonas Mekas, 2005) from Anthology Film Archives on Vimeo.
"I originally met Martin Scorsese when he was still a film student at the New York University. He used to come to my film screenings. But our real friendship began when he made his first feature film, WHO'S THAT KNOCKING AT MY DOOR. My brother Adolfas, Shirley Clarke and myself, we joined Marty in a two-hour radio program to plug the opening of his film. We had great time doing it. I still have the tape of it.
I was asked to make a five to ten minute film about Marty to introduce his retrospective. As it happened, Marty was shooting THE DEPARTED at that time. I asked him if I could follow him for a week or two, and he said yes. So that’s how this film happened. Sebastian, my son, joined me with a second camera. I did a brief version, and proceeded with a longer one. Since I was very busy at that time with other projects, I asked Benn Northover, a good friend, to help me with editing it—I had some 15 hours of footage—and we all had a great time working on it because we all love Marty! It’s a chamber kind of movie, a personal tribute to a friend." –Jonas Mekas
Treasures in the Trash from HELLER films on Vimeo.
For 34 years, New York Sanitation worker, Nelson Molina collected items in the trash on his route in East Harlem. Over 45,000 items, all catalogued and organized on the second floor of the M11 garage. Nelson retired from the job in 2015, but comes to the garage routinely to check in on his "museum."
The collection is not open to the public since it is in an active garage, but our hope is to get a proper space with the help of this film. Please visit nycstrongest.org/future-museum to donate!
"Treasures in the Trash" A film by Nicolas Heller Starring Nelson Molina
Directed by Nicolas Heller Cinematography by Joe Bressler Produced by Charlie Eisenbach Edited by Lucas Lobe Music Supervision by Falside Sound Mix by Bobb Barito Color by Joe Bressler Titles by Greg Matesich Illustrations by Cleofus
Special thanks to Foundation for New York’s Strongest DSNY Chief Mellis Julie Raskin Maggie Lee Michael Marrero Ricardo Dash Anthony Winstead Nelson Molina Jr. Zorick Johnson ONLY NY & Cigarettes
EPOCH from Kevin McGloughlin on Vimeo.
EPOCH Film and Sound design by Kevin McGloughlin Selected images : Google Earth Audio Samples : Nasa
instagram.com/kevinmcgloughlin_gram/
Director Statement. Epoch is a visual representation of our connection to earth and it's vulnerable glory. Our time here is esoteric, limited and intangible.
The fragility which exists in all aspects of life is one thing that is certain. We are brittle, and so is Mother Earth.
"Dear Basketball" - Film - Subtitulado from TITOSPORT, Servicios deportivos on Vimeo.
Tras ganar cinco anillos de la NBA, la leyenda del básquet Kobe Bryant aspira ahora a levantar un Oscar. Kobe Bryant ha sido nominado este martes con su corto animado "Dear Basketball", en el que el exjugador de los Lakers lleva a la pantalla el poema de despedida que publicó el 29 de Noviembre de 2015 en el sitio The Players' Tribune antes de retirarse.
ATREVIA, especialistas en Marketing, Promoción de Destinos y Marca y Lugar from ATREVIA on Vimeo.
STAR WARS: The Most Beautiful Shots from Ignacio Montalvo on Vimeo.
A compilation of The Most Beautiful Shots of all STAR WARS movies
Edited by Ignacio Montalvo (@ignaciomt_)
Music: Yoda's Theme - London Symphony Orchestra/John Williams.
RECREATING HISTORY from Vugar Efendi on Vimeo.
Moments in history, whether bigger or more intimate, are often recreated in film. This produces something that is transcending, powerful and nevertheless, haunting.
Music: Mica Levi - Vanity
For educational purposes only.
The Beatles - Live At Shea Stadium 1965 (Show Completo) from The Beatles Brasil on Vimeo.
Fonte: obaudoedu.blogspot.com.br/2011/08/beatles-at-shea-stadium-o-maior-show-da.html
Até aquele 15 de agosto de 1965, estádios ou estruturas semelhantes jamais haviam sediado um show musical, e pelas mais diversas razões. Os problemas com a sonorização soam básicos e óbvios. Mas havia outros tantos, o principal talvez era que o grupo, orquestra ou artista haveria de ser muito famoso para justificar a aparente megalomania de uma performance em espaço tão grande quanto incomum. Os Beatles seriam esse grupo? Em 1965 é provável que não existisse ninguém mais famoso na face da terra. Longe do torrão natal os Fabs toparam o maior dos desafios até então, aceitando uma produção tocada em parceria pela NEMS Enterprises, de Brian Epstein, e a Sullivan Productions, do apresentador Ed Sullivan. O evento claro, contou com todos os requintes de mídia disponíveis à época. A disposição de todos era fazer um evento grandioso, profissionalmente filmado, e que seria transformado posteriormente em especial de TV nos Estados Unidos e na Inglaterra.
A intenção para o show no Shea Stadium era que os Beatles descessem com um helicóptero bem no meio do estádio e que dali fossem correndo para o palco. Mas essa ideia foi abortada por não terem conseguido autorização, pois seria uma manobra perigosa demais de se realizar. O que aconteceu foi que eles pousaram com o helicóptero há uma certa distância do estádio e, após isso, foram levados até o mesmo em um furgão blindado da empresa Wells Fargo (os distintivos que eles usavam nas roupas, durante o concerto, eram dessa empresa).
Quando o apresentador Ed Sullivan subiu ao palco e usou os microfones para proferir essa frase histórica “Now, ladies and gentlemen… honored by their country, condecorated by their queen and loved here in America, here they are: The Beatles!”, a platéia teve certeza que os Fabs de fato iriam se apresentar ali. Antes, a produção americana obrigou a platéia a agüentar por quase uma hora, um festival impressionante de artistas sem grande expressividade alguma como o grupo Sounds Incorporated, Cannibal & Headhunters, Brenda Holloway e King Curtis Band. Após a apresentação de Sullivan, já trajados com os “terninhos militares”, com os distintivos da Wells Fargo, os Beatles subiram as escadas que davam acesso ao gramado do estádio e correram até o palco, ouvindo 55.600 fãs gritando descontroladamente.
Imagens tiradas no show mostram muitos adolescentes e mulheres chorando, gritando, e até mesmo desmaios. O barulho da multidão era tal que os seguranças podiam ser vistos tapar os ouvidos quando os Beatles entraram em campo. Apesar da presença de forte esquema de segurança alguns fãs conseguiram entrar em campo várias vezes durante o show e foram perseguidos e contidos. O filme também mostra John Lennon irônico apontando um incidente desses enquanto ele tentava conversar com o público entre as músicas. O nível de ruído ensurdecedor da multidão juntamente com a distância entre a banda e o público significava que ninguém no estádio podia ouvir muita coisa. A Vox tinha especialmente projetado amplificadores de 100 watts para este show e ele ainda não estava alto o suficiente, de modo que os Beatles usaram o sistema de amplificação da casa.
Haviam alguns famosos asistindo a esse lendário concerto dos Beatles. Mick Jagger, Keith Richards e Andrew Loog Oldhan, empresário dos Rolling Stones, assistiam tudo de um lugar situado atrás da saída do estádio, de frente para a primeira base. Segundo consta, Mick Jagger ficou surpreso com a reação do público com os Fab Four. Quem também estava no concerto, era a futura-atriz Meryl Streep, que tinha 16 anos na época, e estaava com um “button” escrito “I Love You, Paul”.
Os Beatles voltaram ao estádio no dia 23 de agosto do ano seguinte, porém, dessa vez, tocando para um público menor, de 44.000 pessoas. Seis dias depois (29/08/1966), eles realizariam seu último concerto de turnê, no Candlestick Park, em São Francisco. Em 2009, Paul voltou ao Shea Stadium – que agora se chama Citi Field e está um pouco ao lado de onde era localizado o estádio antigo, demolido em 2008.
Spielberg in 30 Shots from Jacob T. Swinney on Vimeo.
Before I knew what a director was, I knew who Steven Spielberg was. I believe that this is partially due to the fact that Spielberg has crafted some of the most iconic shots in all of cinema. Many filmmakers have that one signature shot that will forever solidify them in film history-- Spielberg has dozens. This video showcases the work of Steven Spielberg in 30 memorable shots, one from each of his full-length films. From something as magical as a silhouetted bicycle streaking across the moon, to something as simple as tiny ripples in a cup of water, this is Steven Spielberg.
Films used (in order of appearance): Duel (1971) DoP: Jack A. Marta The Sugarland Express (1974) DoP: Vilmos Zsigmond Jaws (1975) DoP: Bill Butler Close Encounters of the Third Kind (1977) DoP: Vilmos Zsigmond 1941 (1979) DoP: William A. Fraker Raiders of the Lost Ark (1981) DoP: Douglas Slocombe E.T. the Extra-Terrestrial (1982) DoP: Allen Daviau Indiana Jones and the Temple of Doom (1984) DoP: Douglas Slocombe The Color Purple (1985) DoP: Allen Daviau Empire of the Sun (1987) DoP: Allen Daviau Always (1989) DoP: Mikael Salomon Indiana Jones and the Last Crusade (1989) DoP: Douglas Slocombe Hook (1991) DoP: Dean Cundey Jurassic Park (1993) DoP: Dean Cundey Schindler's List (1993) DoP: Janusz Kamiński The Lost World: Jurassic Park (1997) DoP: Janusz Kamiński Amistad (1997) DoP: Janusz Kamiński Saving Private Ryan (1998) DoP: Janusz Kamiński A.I. Artificial Intelligence (2001) DoP: Janusz Kamiński Minority Report (2002) DoP: Janusz Kamiński Catch Me If You Can (2002) DoP: Janusz Kamiński The Terminal (2004) DoP: Janusz Kamiński War of the Worlds (2005) DoP: Janusz Kamiński Munich (2005) DoP: Janusz Kamiński Indiana Jones and the Kingdom of the Crystal Skull (2008) DoP: Janusz Kamiński The Adventures of Tin-Tin (2011) DoP: Janusz Kamiński War Horse (2011) DoP: Janusz Kamiński Lincoln (2012) DoP: Janusz Kamiński Bridge of Spies (2015) DoP: Janusz Kamiński The BFG (2016) DoP: Janusz Kamiński
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Reel Audiovisual ATREVIA from ATREVIA on Vimeo.
Christmas ATREVIA 2015 from ATREVIA on Vimeo.
Desde ATREVIA os deseamos una Feliz Navidad y un prospero 2016
Hay oficinas decoradas tan, tan blancas que generan cierta sensación de angustia #white #blanco
The Art of the Car Chase from Filmnørdens Hjørne on Vimeo.
The car chase montage (or supercut, if you will) is not exactly an original concept, but looking for an editing challenge, this one came up.
Editing a car chase is no doubt hard and difficult work. Editing 50 of them together does make it easier depending on how strict your standards of continuity are. I tried to have "sections" of continuity - little scenes, that tell their own little stories, but don't necessarily fit together as such.
The most time consuming part of the process is no doubt finding and preparing the clips. It is also the most boring part. The fun part is editing them together in new and interesting ways. This is also the most frustrating part, because the possibilities are almost endless and if you're not careful, the project will simply get stuck in the mud, so to speak.
The video ended up sort of making it self. Of course I had an idea as to the structure of it, with the build-up, the chasing and the explosive finale, but everything else just popped up by itself, when trawling through all the different scenes and clips.
The most rewarding result of this edit, was seeing how much difference it makes to edit on the beat of a piece of music as opposed to not. I don't do it all the way through - there are other rythms to follow than the purely musical ones - but it certainly makes a difference.
Hope you enjoy ;)
Los genuinos #fantastic4 (en Colegio del Pilar)
Star Wars: The New Republic Anthology from Eric Demeusy on Vimeo.
After being trapped for 30 years in the Great Pit of Carkoon, infamous bounty hunter Boba Fett makes a death defying escape and finds himself fighting alongside the Rebellion to establish a New Republic.
Director: Eric Demeusy Producer: Demeusy Pictures Writers: Eric Demeusy, Jason Mitcheltree Director of Photography: Jason Mitcheltree Assistant Camera: Melissa Kohler Jib Operator: Jose Diaz-Oldenburg Visual Effects: Eric Demeusy Compositor: Evan Langley Special Thanks: Skyward VFX
¡¡¡Felicidades Gonzalo!!! 5 añazos