Never Underestimate The Predictability Of Stupidy

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Racer Trash Daft Punk Tribute from Ariel Gardner on Vimeo.

Daft Punk tribute I edited for Racer Trash in Feb. 2021

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Justice League - The Ultimate Fan Cut from JL Ultimate Fan Cut on Vimeo.

Witness the Ultimate Fan Cut of JUSTICE LEAGUE! Fueled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists newfound ally Diana Prince to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against this newly awakened enemy. Despite the formation of an unprecedented league of heroes -- Batman, Wonder Woman, Aquaman, Cyborg and the Flash -- it may be too late to save the planet from an assault of catastrophic proportions.

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Vincent Belbari  -  http://youcoucou.tumblr.com  -  https://www.facebook.com/youcoucou  -  https://www.instagram.com/vincentbelbari  -  https://society6.com/youcoucou  -  http://www.inprnt.com/gallery/vincent.belbari  -  https://twitter.com/youcoucou  -  https://es.pinterest.com/youcoucou  -  https://www.linkedin.com/in/vincent-belbari-2b3797103  -  http://www.vincentbelbari.com  -  https://plus.google.com/115786998854093626491

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karni and saul: reel from Karni and Saul on Vimeo.

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Max Cooper - Order from Chaos - Official Video by Maxime Causeret from Max Cooper on Vimeo.

I'm really excited about this video project, after the first live show it was the part that everyone was asking about - It is a beautiful humanised exploration of life and emergence, by Maxime Causeret. I hope you enjoy it as much as I do!

The idea for this part of the story started on a day when there was really heavy rain hitting the roof window at my old flat. I got out my binaural mics and put my head right up by the window with the big raindrops hitting all around. They made nice individual percussive noises, with great spatial positioning, so I decided to use them to seed a piece of music.

This track is the most explicit representation of the idea of emergence in the album, because the rhythm of the track is created by the raindrops in an emergent manner - I took the audio samples, mapped the transients for the raindrop hits, and then forced the mapped points towards the nearest drumming grid positions. This meant that the random raindrops were pushed into a quantised grid, and the result was that a percussive rhythm emerged, one that I hadn't created myself, but was the closest rhythm to that particular section of rain.

I then played the sansula over this rain rhythm, and added lots of pads and saturation layers, finally with some vocal snippets from Kathrin deBoer to complete the track. Maxime Causeret selected this track to work with, under the brief to map the emergent rhythm to an exploration of emergence in living form.

His video shows the raindrops initially, then going into simple cellular forms and then showing the important idea of cooperation between simple cells to form more robust colonies of life. This develops into a visualisation of the idea of endosymbiosis, where simpler smaller organisms can live inside larger cells, each providing a benefit to the other, and eventually forming parts of the same organism as they evolve to be entirely dependent on each other. The video also shows competition between organisms for resources, which spurs on their evolutionary development, as each species tries to keep up with the innovations of the others. He also visualises the emergent ideas of flocking behaviour, where groups of individuals form beautiful dancing-like patterns.

Maxime also shows us a section of animated reaction-diffusion patterns, where simple chemical feedback mechanisms can yield complex flowing bands of colour - these forms of system were originally thought up by Alan Turing, and were part of the early seeds of the field of systems biology, which seeks to simulate life with computers, in order to better understand the systems producing the complexity we see in the living world. They were also the starting point of my main research area many years ago before I got lost in music! (where I began with the question of what patterns could be produced via reaction-diffusion forms of system as opposed to gene-regulatory network controlled patterning).

So it's a rich visual treat from Maxime on many levels, I can see why so many people were asking about it after the first live show. Lots more amazing video content to come over the next few weeks.

Some words from Maxime about his process (translated from French):

Max wrote a brief text on each song to let us know his own feeling and we were free to make our own creation. I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard.

I firstly made a lot of small experiments with dynamic systems around my main idea of living micro organism. It was hard to then put everything together. It was now time to experiment with editing. I also ask for opinions, ideas and tests of few friends, specially Leslie Murard. Then i just have to do the real shots from my experiments.

In terms of tools, I work with Houdini. It's a software which gives you a lot of freedom. You can easily customize tools or build your own tools. It's famous for vfx but you have the same freedom with modelling or animation tools for cheap when you're a freelance.

I always start with few sketches on paper for ideas. I also search for références drawings/photos/painting. In Houdini i try to setup something fast to Cook or at least fast to preview in order to animate the shots in good conditions.

The major challenge was to put everything together. There's nothing very hard but it's never easy to get something who "works" so it needed time to adjust things. This production was made this summer on 4 months but not at full time. I also had few other projects.

You can listen to the full album here: MaxCooper.lnk.to/Emergence Subscribe for more here: MaxCooper.lnk.to/Subscribe

And more stuff at: maxcooper.net facebook.com/maxcoopermax twitter.com/maxcoopermax soundcloud.com/max-cooper

Maxime's pages: teresuac.fr/ vimeo.com/user5429327

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Max Cooper & Tom Hodge - Trust feat. Kathrin deBoer (official video by R.C. Aksun) from Max Cooper on Vimeo.

Lifted from the new album 'Emergence' out now Buy 'Emergence' MaxCooper.lnk.to/Emergence Subscribe to Max Cooper: MaxCooper.lnk.to/Subscribe

Now time for something totally different! With the Emergence project, I set out to work with different video artists for each chapter of the story, so that it could be varied and stay fresh throughout a 90 minute live show, while still following a single narrative.

For this music video, I found an amazing artist called RC Aksun who specialised in comic-style animations full of hidden meaning and political messages - this seemed fitting for the part of the story where humans had arrived and had started to establish complex societal structures.

The video brief was to focus on the emergence of altruism, and Cenk came up with the interesting idea of transposing this from a pre-human evolutionary process, to a future emergence of altruism in robots. This opened the door for some additional scorched world and warring political system narratives, which fit in well with the generally darker themes in the other videos upon the arrival of complex human society. I'm not a pessimist though, things do eventually get better in the overall Emergence story, it just happens when humans and society as we know it have transitioned to a new state.

Cenk really went to town on the animation work and detailing on this, I have to say a massive thank you to him for the time he put in, which is pretty obvious watching the video, which has been hand-crafted from the bottom up. It's very different to all the other videos in Emergence, in that it's a more traditional self-contained story than the others, so I hope it will appeal to those of you who aren't so into the more abstracted parts of the project, and give the whole thing some better context in explaining how all the different videos link together - starting from abstract natural laws and structures, the physical world, stars, planets, black holes, then earth, protolife and evolution, cellular forms, complex life and eventually early humans, then going into societal structures and complex human systems, then the information age, technology, and eventually the future and dissolution of humans as we know them going into the unbounded ending. The whole thing will be released with all the music and video content following the music LP release . I hope there's some stuff in there you enjoy! - Max

Follow Max Cooper maxcooper.net facebook.com/maxcoopermax twitter.com/maxcoopermax soundcloud.com/max-cooper

Follow R.C. Aksun vimeo.com/rcaksun twitter.com/cenkaksun

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Llegó la Navidad, gracias guapa @_odette_ :3

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X-STORY from Vitaliy Shushko on Vimeo.

Vitaliy Shushko — art, story, directing (shushko.blogspot.ru/) [email protected] Elena Volk — 2d/3d-animation, compositing (vimeo.com/xolotzintli) Pavel Mira — compositing, 3d-modeling, 3d-animation (facebook.com/pavel.andrushenko?fref=ts) Denis Pisarev — compositing, 3d-modeling (vimeo.com/user3263313) Timur Gibadulin — 3d-modeling (artstation.com/artist/gogigogigovich) Viktor Gullichsen — music (soundcloud.com/vstorm) Henri Keinala — music DZA — additional music (soundcloud.com/dza) Thomas Karagiannis — additional music (thomaskaragiannis.com) Juhana Vihervaara — sound design Tomas Ihonen — sound design Florian Calmer — additional sound design (hypnago.com)

Special Thanks Vasili Zorin — (zorinvasili.tumblr.com/) Pavel Vasin — (pagatcha.deviantart.com/) Nadya Mira — (vimeo.com/nadyamira) Ilya Shekiladze — (shekiladze.tumblr.com/)

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Encontré en dónde estaba el Sanctum Sanctorum de la Ciudad de México antes de que le dieran en la madre (Reforma)

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Jawa y Marvin por @giovpetite y @_odette_ :3

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Monsoon III (4K) from Mike Olbinski on Vimeo.

Blu-Ray discs available here: mikeolbinski.com/shop/ Song by Kerry Muzzey: "Revenge"/ "Revenge: Epilogue" (on iTunes: bit.ly/KM_TM3 Amazon: bit.ly/KM_REVENGE) Follow me: mikeolbinski.com / twitter.com/mikeolbinski / facebook.com/mikeolbinskiphotography / instagram.com/mikeolbinski

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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.

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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

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Monsoon II (4K) from Mike Olbinski on Vimeo.

Blu-Ray discs available here: mikeolbinski.com/shop/ Song by Kerry Muzzey: "Palladio Rebuilt" (on iTunes: bit.ly/pall_MO) Follow me: mikeolbinski.com / twitter.com/mikeolbinski / facebook.com/mikeolbinskiphotography / instagram.com/mikeolbinski ---------------------------------- I've been chasing the monsoon in Arizona for about 6-7 years now. This summer was different though. Back in late July, I was wondering why it felt like I was out chasing more than ever before. And then I remembered. I had a job last summer. This year I didn't. I went full-time photography in November of 2014 and haven't looked back.

I was free to roam and had virtually no limitations. I even had multiple chases where I never actually wend to bed, but instead chased all night. I took the kids to New Mexico at one point early in the season.

Last year I counted roughly 31 total days that I chased a storm during the monsoon. This summer: 48. Yikes.

17,000 miles driven, which was about 3,000 more than last year. Perhaps the biggest difference this year was shooting nearly 60,000 more time-lapse frames than I did in 2014. 105,000 total. And what sticks out to me even more than any of the other numbers above, is that only 55,000 of those 105,000 frames made it into Monsoon II.

What that means is I was able to stuff this new film with only of the best of the best. We missed out on some of the huge dust storms like I've captured in years past, but overall, I think this represents some of the best weather I've ever photographed in Arizona. There are stunning shelf clouds, gorgeous rain shafts, lots of blowing dust, tons of lightning, and even multiple mini-supercells/mesocyclones. The brief meso over Cottonwood at the 3:38 mark is one of my all-time favorites.

I can't talk much more about the film without addressing the music real quick. The song is called Palladio (Rebuilt) and it's once again by the amazing Kerry Muzzey who donated it to me for Monsoon II. He also let me use another song of his for my previous film, The Chase and I'm beyond grateful for his generosity. I mean, how do you thank someone enough for that? Click here to find the song on iTunes and please support his work! I've said it a million times...the music is at least 50% of these movies I make. Kerry's art helps bring my films to life. Thank you my friend!

When I'm out there capturing footage for these films, I'm constantly thinking about the story I want to tell. For example, I wanted a lot of erupting, towering cumulus at the beginning to launch into the meatier clips. I started laying out the film back in mid-August. Certain clips I already knew would be in certain places in relation to the ups and downs of the song itself. As the season wore on, I gathered more and more clips and began to lay out the entire film. I'd remove clips when I got something better. There was exhausting editing, re-editing, looping music, reluctantly dropping clips that didn't work or were unfixable and watching it over, and over and over, to make sure I was telling the story I wanted to tell.

At one point, about halfway through...I was telling Jina that I have a lot of great stuff, but still haven't shot the final scene yet. I had no idea what it would be, but I knew I didn't have it. And then that very night (or maybe the next day)...I was out west of Tonopah and I knew on the way home that the monsoon had finally delivered my ending.

That is what is so amazing about doing this. You hit the road with zero idea about what you're going to see over the course of a summer. You might imagine scenarios or have ideas, but they get blown out of the water by reality. And that's what I love about it.

My hope is that you can see and feel that love in this film. The beauty of the monsoon in Arizona. This is where I'm from and this is home.

More on the story here: mikeolbinski.com/theblog/2015/10/monsoon-ii/ -------------------- Technical Details:

Captured with Canon 5D3's, a 5D2, Canon 16-35mm, Rokinon 14, 24, 35 and 85mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro

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Popo, Izta y cráter

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Popocatépetl e Iztaccíhuatl

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#Drouet #Tarantino #DePalma from Really Dim on Vimeo.

---This Is Not Part Of "My Life In 1.000.000 Frames"--- #Drouet #Tarantino #DePalma / Candice Drouet Music (EQ) : Christian Cabrera bit.ly/2496par Website : Cinéfilos Films : Femme Fatale (2002) Death Proof (2007)

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Meteor explosion Milky Way Time Lapse. By: Wes Eisenhauer from wes eisenhauer on Vimeo.

Jukin Media Verified (Original) * For licensing / permission to use: Contact - [email protected]

Shot on October 16th, 2014 by Wes Eisenhauer outside of Custer, South Dakota.

weseisenhauerphotography.com

Instagram: @soulcrate

Shot with a Canon 5D Mark ii and 16-35mm lens, Manfrotto tripod and Vello Shutterboss intervalometer.

120 - consecutive 30 second exposures - f/2.8 - ISO 5000