YAYAH @yayah920 - Tumblr Blog

Horst’s sketchbook, about 1940 from Victoria and Albert Museum on Vimeo.

Horst created drawings and preparatory sketches for many of his photographs. This book contains sketches for several of his still life photographs and trompe l’oeil studies.

Courtesy of R.J. Horst

This video has no sound

The exhibition Horst: Photographer of Style opens at the V&A 6 September 2014 - 4 January 2015

Adidas - I'm Here to Create / Candace Parker from Josh Braithwaite on Vimeo.

Adidas Here To Create - Caroline Wozniacki from Someplace Nice on Vimeo.

Director: Tucker Walsh

Adidas “I’m Here To Create” - Ana from Jeremy Johnstone on Vimeo.

Adidas Women S16 campaign spot featuring tennis player Ana Ivanovic.

Created at 72andSunny

Adidas "Here To Create: Hannah" from MP Clubhouse on Vimeo.

VW GTI - '1976 FILM' from Marcus Domleo on Vimeo.

Director Of Photography

Editing as Punctuation in Film from Max Tohline on Vimeo.

In January 2014 Kathryn Schulz published an article in Vulture called "The Five Best Punctuation Marks in Literature." Link: vulture.com/2014/01/best-punctuation-marks-literature-nabokov-eliot-dickens-levi.html

It got me thinking about what the five best "punctuation marks" in film might look like. I wanted to assemble a video essay with a rapidfire list of nominees of great moments of editing-as-punctuation in film. But as I started putting it together, the project grew into a twofold piece: an analysis of and response to Schulz's article as well as an attempt to spur new insights about editing by examining it through the metaphor of punctuation.

So, here it is: 20 minutes long, clips from 100 films (101 if you count that Woody Allen quotes Duck Soup in Hannah and her Sisters), and, I hope, an inspiration to anyone else who loves film on a formal level and believes, as Bazin did, that the language of cinema isn't done being invented yet.

Thanks to Kathryn Schulz for sending me down this wonderful rabbit hole of thought, and to the editors (in order of their cuts): Sally Menke, Buster Keaton, Abel Gance, Yelizaveta Svilova & Dziga Vertov, Michael Snow, Jonathan Amos & Paul Machliss, Harry Gerstad, William Reynolds & Peter Zinner, David E. Blewitt & Robert K. Lambert & David Newhouse, Sergei Eisenstein, Daniel Rezende, Valeriya Belova, Richard Pearson & Christopher Rouse, Lou Lombardo, Marguerite Beaugé & Carl Theodor Dreyer, George Tomasini, D.W. Griffith & James Smith & Rose Smith, Lev Kuleshov, Charles Chaplin & Willard Nico, Ron Fricke & Alton Walpole, Sam O'Steen, Edgar Adams & Edward L. Cahn, Ray Lovejoy, Siro Asteni, Anne V. Coates, Robert Wise, Susan E. Morse, LeRoy Stone, Ken Eluto, Spike Lee, Jerome Thoms, Lyudmila Feyginova, Peter Przygodda, Ferris Webster, Andrew Weisblum, Léonide Azar feat. Anton Walbrook, Alan Heim, Claudia Castello & Michael P. Shawver, Michal Leszczylowski & Andrei Tarkovsky, Ralph Rosenblum, William Hornbeck, Barbara McLean, William Chang & Kit-Wai Kai & Chi-Leung Kwong, Véronique Parnet, Kim Hyeon, Andreas Prochaska, Mary Sweeney, John Smith, Jolanda Benvenuti, Harold F. Kress & Argyle Nelson Jr. & J. Frank O'Neill, Florence Eymon, Nicholas T. Proferes, Marie-Josèphe Yoyotte, Mohsen Makhmalbaf, Yoshiyasu Hamamura, Cécile Decugis, Joe Bini, Robert Leighton, Milton Carruth, Jay Rabinowitz, Owen Marks, Ted Cheesman, George Tomasini (again), Blanche Sewell, Georges Méliès, Reginald Mills, Siv Lundgren, Thelma Schoonmaker (finally!), Kôichi Iwashita, Alex O'Flinn, Kirk Baxter, Peter Kubelka, Paul Sharits, Chris Marker, Jean Ravel, Roderick Jaynes (Ethan and Joel Coen), Sharon Rutter, Miroslav Hájek, Fernand Léger & Dudley Murphy, Melvin Van Peebles, Martin Arnold, Bruce Conner, Walter Murch & Richard Chew, and Yelizaveta Svilova & Dziga Vertov again. Plus unseen contributions from Jacqueline Sadoul, Jim Miller & Paul Rubell, Monique Bonnot, Ralph Foster & Stephen Perkins & Andrew Weisblum, Verna Fields, Jack Murray, Daniel Mandell, Françoise Collin, Solange Leprince, Patricia Canino, Nelly Quettier, Matt Chesse, George McGuire, John Seabourne Sr., Takis Davlopoulos & Giorgos Triandafyllou, and a few VFX teams, too.

For the full list of films featured, click here: 10oclockdot.tumblr.com/post/129417606958

NEW: If you speak Turkish (or just love the language), please enjoy this new TURKISH DUB of Editing as Punctuation in Film, lovingly prepared by Münif Çankaya: vimeo.com/146388456

NEW: Editing as Punctuation in Film was named THRICE as one of the best video essays of 2015 by leading critic/curators in Fandor's poll. Thank you! fandor.com/keyframe/poll-the-best-video-essays-of-2015

D.W. Griffith from John Hager on Vimeo.

A short bio.

The History of Cutting - The Soviet Theory of Montage from FilmmakerIQ.com on Vimeo.

Building on the works of D.W. Griffith and the development of "continuity editing" in early film history, Soviet silent filmmakers would pioneer new innovative ideas about editing that moved film from an extension of theater into a mature and powerful artistic medium.

This lesson is proudly sponsored by:

BlackMagicDesign.com Creating the world's highest quality solutions for the feature film, post production and television broadcast industries.

Catch up on the beginning of film editing history with:

The History of Cutting - The Birth of Cinema and Continuity Editing vimeo.com/84542388

John Lewis 'The Bear & The Hare' - The Making Of from Blink on Vimeo.

Making of film directed by Jake & Josh jakeandjosh.co.uk

The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.

Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.

The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.

Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.

The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.

Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.

CREDITS

Directors: Elliot Dear & Yves Geleyn

Executive Producers: Bart Yates Michael Feder

Producers: Bart Yates James Stevenson Bretton Josephine Gallagher

Line Producer: Kev Harwood

Production Manager: Benjamin Lole

2D Animation: Premise Entertainment LLC

2D Animation Supervisors: Aaron Blaise Dominic Carola

2D Line Producer: Iris Pearson

2D Animators: Erin Humiston Darko Cesar

Head of Clean-up 2D Animation: Janelle Bell-Martin

2D Clean-up Artists: Mi Yul Lee Teresa Quezada-Geer Jacque Pierro Chad Thompson Jason Peltz

2D Compositor/Scene Setup: Mac Masters

2D Artistic Coordinator: Pam Darley

2D Digital Artist: Anthony West Enoc Castaneda

2D Lead Colourist/Coordinator: James Lancett

2D Colourists: Sean Weston Joseph Sparkes Frankie Swan Harriet Gillian

Assistant 2D Colourist: Lila Peuscet

2D Illustrator Technician: Albert Sala

Printers: The Graphical Tree

Laser Cutting: Ewen Dickie

Designer/Typographer: Robert Frank Hunter

Storyboard Artists: Sav Akyuz Steve Tappin James Lancett Robert Frank Hunter

3D Technical Director: Patrick Hearn

3D Previsualisation Artist: Simone Ghilardotti Lucas Cuenca Johannes Sambs

Lead Stop-Frame Animator: Andy Biddle

Stop-Frame Animators: Daniel Ojari Daniel Gill

Production Designer/ Supervising Modeller: John Lee

Art Department Modellers: Colin Armitage Sonya Yu Maggie Haden Collette Pidgeon Yossel Simpson Little Richard Blakey Gary Welch Christy Matta Lucy Begent

Scenic Painters: Fiona Stewart Beth Quinton

Rigging Department: Richard Blakey

Art Department Assistants: Morgan Faverty Anna Ginsburg Jennifer Newman

MOCO/Camera Assistant: Max Halstead

Director of Photography: Toby Howell

Gaffer: Aldo Camilleri

Runner: Robert Gould

Post Production: Blinkink Studios

Post Production/Compositing: Alasdair Brotherston Ian Sargent Carlos Diego Jonathan Gallagher Elliot Dear

Editors: Sam Sneade at Speade Ellie Johnson at Speade

Music Consultants: Leland Music

Sound Design: Sam Robson at Factory Studios

Colourist: Jean-Clement Soret at MPC

‘Making of’ Film: Jake Hopwell & Josh Hine

Studio Manager: Elizabeth Day

Studio Assistant: Toby Goodyear

Catering: Laura Barbi

Advertising Agency: Adam & Eve DDB

Executive Creative Director: Ben Priest

Creative Directors: Aidan McClure Laurent Simon

Agency Producer: Anthony Falco

Assistant Producer: Catherine Cullen

John Lewis 'The Bear & The Hare' - The Making Of from Blink on Vimeo.

Making of film directed by Jake & Josh jakeandjosh.co.uk

The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.

Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.

The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.

Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.

The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.

Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.

CREDITS

Directors: Elliot Dear & Yves Geleyn

Executive Producers: Bart Yates Michael Feder

Producers: Bart Yates James Stevenson Bretton Josephine Gallagher

Line Producer: Kev Harwood

Production Manager: Benjamin Lole

2D Animation: Premise Entertainment LLC

2D Animation Supervisors: Aaron Blaise Dominic Carola

2D Line Producer: Iris Pearson

2D Animators: Erin Humiston Darko Cesar

Head of Clean-up 2D Animation: Janelle Bell-Martin

2D Clean-up Artists: Mi Yul Lee Teresa Quezada-Geer Jacque Pierro Chad Thompson Jason Peltz

2D Compositor/Scene Setup: Mac Masters

2D Artistic Coordinator: Pam Darley

2D Digital Artist: Anthony West Enoc Castaneda

2D Lead Colourist/Coordinator: James Lancett

2D Colourists: Sean Weston Joseph Sparkes Frankie Swan Harriet Gillian

Assistant 2D Colourist: Lila Peuscet

2D Illustrator Technician: Albert Sala

Printers: The Graphical Tree

Laser Cutting: Ewen Dickie

Designer/Typographer: Robert Frank Hunter

Storyboard Artists: Sav Akyuz Steve Tappin James Lancett Robert Frank Hunter

3D Technical Director: Patrick Hearn

3D Previsualisation Artist: Simone Ghilardotti Lucas Cuenca Johannes Sambs

Lead Stop-Frame Animator: Andy Biddle

Stop-Frame Animators: Daniel Ojari Daniel Gill

Production Designer/ Supervising Modeller: John Lee

Art Department Modellers: Colin Armitage Sonya Yu Maggie Haden Collette Pidgeon Yossel Simpson Little Richard Blakey Gary Welch Christy Matta Lucy Begent

Scenic Painters: Fiona Stewart Beth Quinton

Rigging Department: Richard Blakey

Art Department Assistants: Morgan Faverty Anna Ginsburg Jennifer Newman

MOCO/Camera Assistant: Max Halstead

Director of Photography: Toby Howell

Gaffer: Aldo Camilleri

Runner: Robert Gould

Post Production: Blinkink Studios

Post Production/Compositing: Alasdair Brotherston Ian Sargent Carlos Diego Jonathan Gallagher Elliot Dear

Editors: Sam Sneade at Speade Ellie Johnson at Speade

Music Consultants: Leland Music

Sound Design: Sam Robson at Factory Studios

Colourist: Jean-Clement Soret at MPC

‘Making of’ Film: Jake Hopwell & Josh Hine

Studio Manager: Elizabeth Day

Studio Assistant: Toby Goodyear

Catering: Laura Barbi

Advertising Agency: Adam & Eve DDB

Executive Creative Director: Ben Priest

Creative Directors: Aidan McClure Laurent Simon

Agency Producer: Anthony Falco

Assistant Producer: Catherine Cullen

John Lewis 'The Bear & The Hare' - The Making Of from Blink on Vimeo.

Making of film directed by Jake & Josh jakeandjosh.co.uk

The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.

Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.

The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.

Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.

The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.

Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.

CREDITS

Directors: Elliot Dear & Yves Geleyn

Executive Producers: Bart Yates Michael Feder

Producers: Bart Yates James Stevenson Bretton Josephine Gallagher

Line Producer: Kev Harwood

Production Manager: Benjamin Lole

2D Animation: Premise Entertainment LLC

2D Animation Supervisors: Aaron Blaise Dominic Carola

2D Line Producer: Iris Pearson

2D Animators: Erin Humiston Darko Cesar

Head of Clean-up 2D Animation: Janelle Bell-Martin

2D Clean-up Artists: Mi Yul Lee Teresa Quezada-Geer Jacque Pierro Chad Thompson Jason Peltz

2D Compositor/Scene Setup: Mac Masters

2D Artistic Coordinator: Pam Darley

2D Digital Artist: Anthony West Enoc Castaneda

2D Lead Colourist/Coordinator: James Lancett

2D Colourists: Sean Weston Joseph Sparkes Frankie Swan Harriet Gillian

Assistant 2D Colourist: Lila Peuscet

2D Illustrator Technician: Albert Sala

Printers: The Graphical Tree

Laser Cutting: Ewen Dickie

Designer/Typographer: Robert Frank Hunter

Storyboard Artists: Sav Akyuz Steve Tappin James Lancett Robert Frank Hunter

3D Technical Director: Patrick Hearn

3D Previsualisation Artist: Simone Ghilardotti Lucas Cuenca Johannes Sambs

Lead Stop-Frame Animator: Andy Biddle

Stop-Frame Animators: Daniel Ojari Daniel Gill

Production Designer/ Supervising Modeller: John Lee

Art Department Modellers: Colin Armitage Sonya Yu Maggie Haden Collette Pidgeon Yossel Simpson Little Richard Blakey Gary Welch Christy Matta Lucy Begent

Scenic Painters: Fiona Stewart Beth Quinton

Rigging Department: Richard Blakey

Art Department Assistants: Morgan Faverty Anna Ginsburg Jennifer Newman

MOCO/Camera Assistant: Max Halstead

Director of Photography: Toby Howell

Gaffer: Aldo Camilleri

Runner: Robert Gould

Post Production: Blinkink Studios

Post Production/Compositing: Alasdair Brotherston Ian Sargent Carlos Diego Jonathan Gallagher Elliot Dear

Editors: Sam Sneade at Speade Ellie Johnson at Speade

Music Consultants: Leland Music

Sound Design: Sam Robson at Factory Studios