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How to Start an Avalanche

Vimeo 0:41

Let me say, it wasn't quite as stupid as it looks. However I should have been on belay or used a knotted rope to cut the cornice. I had al...

Movie shows concrete bunker cut in half by RAAAF and Atelier de Lyon

Vimeo 5:28

See more movies at www.dezeen.com/movies.nnThis movie shows how a redundant World War Two bunker in The Netherlands was turned into a sculpt...

See more movies at www.dezeen.com/movies.nnThis movie shows how a redundant World War Two bunker in The Netherlands was turned into a sculptural visitor attraction by slicing it down the middle to reveal its insides.nnThe bunker was built in 1940 to shelter up to 13 soldiers during bombing raids and the intervention by Dutch studios and Atelier de Lyon reveals the small, dark spaces inside, which are normally hidden from view.nnThe movie shows a diamond wire saw being used to cut a straight section through the centre of the monolithic concrete structure, and a crane lifting it away to create a narrow slit.nnIt took 40 days to slice through the solid concrete bunker, which is one of 700 constructed along the New Dutch Waterline, a series of water based defences used between 1815 and 1940 to protect the cities of Muiden, Utrecht, Vreeswijk and Gorinchem.nn"Our aim with the project was to question the policies on monuments by doing this intervention," Rietveld told Dezeen, adding that subsequently to completing the project, the bunker was elevated from a municipal monument to a national monument and is now part of the New Dutch Waterline's bid for UNESCO World Heritage status.nnThe designers also constructed a set of stairs to connect the nearby road to a path that leads through the centre of the bunker onto a wooden boardwalk raised above the flooded area.nn"The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war," said Rietveld in a statement about the project.nnVisible from the busy A2 motorway, the bunker is part of a 20-year masterplan begun in 2000 to transform the Dutch Waterline into a national park. It was completed in 2010 but was officially opened last year and recently won the Architectural Review Award 2013 for Emerging Architecture.nnHere's a project description from RAAAF:nnBunker 599nnIn a radical way this intervention sheds new light on the Dutch policy on cultural heritage. At the same, it time makes people look at their surroundings in a new way. The project lays bare two secrets of the New Dutch Waterline (NDW), a military line of defence in use from 1815 until 1940 protecting the cities of Muiden, Utrecht, Vreeswijk and Gorinchem by means of intentional flooding.nnA seemingly indestructible bunker with monumental status is sliced open. The design thereby opens up the minuscule interior of one of NDW’s 700 bunkers, the insides of which are normally cut off from view completely. In addition, a long wooden boardwalk cuts through the extremely heavy construction. It leads visitors to a flooded area and to the footpaths of the adjacent natural reserve. The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war.nnThe sliced up bunker forms a publicly accessible attraction for visitors of the NDW. It is moreover visible from the A2 highway and can thus also be seen by tens of thousands of passers-by each day. The project is part of the overall strategy of RAAAF | Atelier de Lyon to make this unique part of Dutch history accessible and tangible for a wide variety of visitors. Paradoxically, after the intervention Bunker 599 became a Dutch national monument. Less

Garth Walker: What does 'being African' look like?

Vimeo 5:29

What started out as a way of killing time while Garth Walker waited to hook his first clients at his then newly opened agency Orange Juice h...

What started out as a way of killing time while Garth Walker waited to hook his first clients at his then newly opened agency Orange Juice has turned into a 20-year long exploration of South African visual culture. nnHis experimental graphic design magazine, ijusi, is now in its 29th issue – and it is still a passion project for Walker, who believes the magazine gives graphic designers the opportunity for personal expression, free from client briefs or commercial imperatives. nnThe magazine is underpinned by a "if you don't like it, tough" attitude that tackles issues, many of them taboo, in a subversive way. With themes that range from porn, religion and death to fear, photography and even Madiba, the cult rag has garnered a global following. nn"I was trying to provide some guidelines, a roadmap, some inspiration to develop a new [visual] language that was based on the South African experience as a graphic designer. [I was trying] to say this was not a new visual language – it is heading towards a new language and we want you to join us in determining what that new language is and how we get there," he explains at a recent walkabout of his exhibition ijusi - Toward a New Visual Language at Michaelis Gallery in Cape Town. nnHis wish, he says in our video interview with him, is to find a commercial way to make the magazine more of a mouthpiece for graphic designers to address pressing issues such as violence against women, HIV and unemployment.nnnView more inspiring videos like this one at http://www.designindaba.com/video nnDesignindaba.com hosts hundreds of videos of speaker presentations and interviews and world design news. Updated daily, its content features the most cutting-edge design thinking and the work and ideas of the world's industry leaders in all the creative fields.nnDesign Indaba is a multi-tiered platform committed to a better world through creativity. Established in 1995 with its flagship conference, it has evolved into a multidisciplinary experience that now consists of the globally acclaimed annual Design Indaba Conference, Simulcast, Expo and FilmFest, as well as a host of parties, performances, training workshops, design projects, community initiatives and publications.nnwww.designindaba.com Less

Bounce: How the Ball Taught the World to Play

Vimeo 1:15

Bounce: Taking us far, wide and deep into our ancient past to ask 'Why do we play ball?'nnWhat is it about the shape of a ball that fascinat...

Bounce: Taking us far, wide and deep into our ancient past to ask 'Why do we play ball?'nnWhat is it about the shape of a ball that fascinates humans and animals alike? Accessible and fascinating, the doc explores the origins of our captivation with the ball and ball games. Travelling across time and around the world we discover that universally the ball has stamped its mark on our lives and fuelled our passion to compete. A compelling doc searching for the reasons we play.nnA make-shift ball bounces along a dusty dirt track of a Congolese village, chased by a crowd of young children. It’s a game rooted in a deep global history, “the most extraordinary personal and public theatre of the emotions and the human soul”. In Kirkwall, Scotland, grown men fiercely wrestle a ball through the streets in a violent game that is rooted in the beginnings of what we know today as football. Primal and exalted, the ball game is “a microcosm of our lives… it’s the place where we can act out the drama of human existence”.nn“Spin, uncertainty, variation, bounce.” These are the qualities of the ball that have entertained not only humans, but other social creatures. A strange spherical stone collection from early hominids indicates we've been playing with balls forever. And man's closest living relatives, the Bonobo monkeys, love to play their own ball games. The sequence beautifully illustrates a further axis across species and the ages of ball fixation. It’s everywhere we look – fruit, seeds, stones, the sun, planets, “the things that we depended on for our existence” points out one anthropologist. therefore he indicates, it's no surprise that the ball has become a focal point for human play and culture, linking deeply to our psychological development.nnThe ball is at the centre of the biggest human evolutionary breakthroughs: sociality, intelligence, empathy, and morality. The unpredictability of the bouncing ball forces humans to create rules and boundaries, to negotiate and understand both the laws of physics and their connection to other people. From games of marbles in the school playground, to the mesmerising tricks of a juggler and the raucous cheers of the World Cup, stunning cinematography and expert interviews, capture the collective human experience of the ball. A far-reaching and intelligent exploration of the significance of the sphere. This is a doc that truly knocks it out of the park.nnBounce LLC – Ref. 6538nEvery week Journeyman offers a brand new documentary, fresh out of the cutting room. They're award winning documentaries, some destined for the festival circuit and some for broadcast. The one thing you can know is that here you get to see them when they're fresh, often before they appear anywhere else.nFor downloads and more information visit:njourneyman.tv/69039/documentaries/bounce-how-the-ball-taught-the-world-to-play-hd-4k.htmlnLike us on Facebook:nfacebook.com/journeymanpicturesnFollow us on Twitter: ntwitter.com/JourneymanVODntwitter.com/JourneymanNewsnFollow us on Instagram:ninstagram.com/journeymanpictures Less

"Office buildings tend to be very boring" - Richard Rogers

Vimeo 3:21

See more architecture and design movies at http://www.dezeen.com/moviesnnIn our next movie focussing on the work of Richard Rogers, the Brit...

See more architecture and design movies at http://www.dezeen.com/moviesnnIn our next movie focussing on the work of Richard Rogers, the British architect talks exclusively to Dezeen about the challenges of designing an interesting office building and explains how the new Leadenhall building in London, dubbed "the Cheesegrater", got its distinctive angular shape.nnThe Leadenhall building is a new 225-metre skyscraper by Rogers Stirk Harbour + Partners in the City of London, which topped out in June and is due to be completed in 2014.nnPositioned opposite Richard Rogers' famous Lloyds building, the 50-storey office building features a glazed body that is tapered on one side - hence it's popular nickname.nnOffice buildings, Rogers admits, "tend to be very boring". The key to creating the Leadenhall building's distinctive form, he says, was creatively working with the constraints of the site.nn"One of the arts of architecture is to use constraints, turn them upside down and see whether they can help you to design the building," he explains.nn"The main constraint on Leadenhall was the view to St Paul's. London is unique in being partly controlled by views; you have to leave certain views open to St Paul's and we were on one of those views. So we made use of this and we cut it back at an angle and that gave us that prominent section and profile, [which can be seen] from all over London."nnThe Leadenhall building's criss-crossing steel frame is displayed prominently through the external glazing and Rogers claims that this has an important role to play in breaking the building up and giving it scale. nn"The building itself expresses its system of construction because because it’s one of the things in which we get scale," he says. "Scale is critical. Height and length have limited use. You can make a building immensely large and overbearing, which is basically a single storey, or you can make a building which is very light and it's got fifty storeys. How you break it down is critical."nnRogers claims that many of the ideas that informed his earlier buildings, such as placing the mechanical services on the outside of the building, are also present in the Leadenhall building. But the nature of changing technology means that they are implemented in different ways.nn"The elements which we’ve got to know well we're using here," he says, pointing out the banks of elevators located on the back of the building. "We are using a lot of flexibility obviously. So we're using that but in a way that, more or less forty years after Pompidou, is very much machine-made."nnHe adds: "We thought Lloyd’s was the absolute ultimate in the art of technology. When I look at it now, it’s handmade practically. We had [a few] pieces [built] off-site. Leadenhall is all built off-site."nnRogers says he enjoys the contrasts between the two buildings, that were built nearly 20 years apart, but in such close proximity.nn"It’s very exciting to see the dialogue between these two, and actually, I think it’s really exciting to see the dialogue between Lloyds of London, Leadenhall and the dome of St Paul's in the background, of a totally different period," he says.nn"To me that’s what architecture is all about. It’s not about fitting in, it’s setting up these dialogues. The enjoyment of St Paul's was that it was seen against a very low and rather poor medieval background. That was a flourish. It's exactly the same with any form of architecture. It’s a dialogue, it’s a beauty that comes from contrast." Less

Alex Atala on creativity and innovation in cuisine.

Vimeo 2:15

View the full version of this inspiring talk at http://inda.ba/15Fga2Lnn"The best way to be global is to be local," renowned Brazilian chef ...

View the full version of this inspiring talk at http://inda.ba/15Fga2Lnn"The best way to be global is to be local," renowned Brazilian chef Alex Atala declared at Design Indaba Conference 2013. nnFor Atala a chef's creativity does not lie in creating something new, but rather creating something that surprises people. He also spoke about primitive, versus modern, interpretations of food and flavours. It's about integrating what is already known into something totally new. "Old ideas can be much more clever, intelligent and modern than new ideas," he believes.nnOur preconceptions are what prohibits us from experiencing new things in a unique manner, Atala proposes. Looking to creativity and innovation, and what it means to chefs, Atala believes that the two are indistinguishable: “Innovation is creativity and utility!"nnChallenging the cultural interpretations of food is one of Atala's key interests. He believes that an entire culture can be summed up in three flavours: “If I said soya sauce, ginger and seaweed your mind goes to Japan. If I said tomato, basil and mozzarella, your mind goes to Italy,” says Atala. In a similar way Atala wants to sum up the taste of the Amazon for both locals and visitors in his native Brazil. nnAtala also spoke about recycling flavour and the taste of insects, and how the cultural stigma attached to them prevents us from eating then. nnConsidering the scarcity of food Atala believes that people need to start eating entire ingredients: "We need to learn how to eat an entire ingredient, it is more than just reducing waste, it’s about being respectful to the environment.”nnAtala also showed a video that revealed how he creates his tasting menu at his famous restaurant D.O.M in Sao Paulo. nnDesignindaba.com hosts hundreds of videos of speaker presentations and interviews and world design news. Updated daily, its content features the most cutting-edge design thinking and the work and ideas of the world's industry leaders in all the creative fields.nnDesign Indaba is a multi-tiered platform committed to a better world through creativity. Established in 1995 with its flagship conference, it has evolved into a multidisciplinary experience that now consists of the globally acclaimed annual Design Indaba Conference, Simulcast, Expo and FilmFest, as well as a host of parties, performances, training workshops, design projects, community initiatives and publications.nnhttp://www.designindaba.com/video Less

Mike Overson L124 is feedback to L123 that justified the song Eli’s Coming as a sign of the wrath on my critics.

Vimeo 15:01

Rated PG-13. Class L124 is about the evil feedback to class L123 that justified the song "Eli's Coming" as a sign of the wrath of God on my...

Rated PG-13. Class L124 is about the evil feedback to class L123 that justified the song "Eli's Coming" as a sign of the wrath of God on my never ending vicious critics. L123 is 2.3 hours of some of the best divine sign information that God has helped this disabled mess on welfare, (and prophet of God), to make so far, (of the 41 classes I have posted at Vimeo & more at Blip.tv & Viddler). Since the feedback was apparently objecting to the 2.3 hours of magic in class L123 I made this class L124 only 15 minutes long. I wrote that on 4-6-13 and on 4-7 I was getting hints of how much I was carried to make this class L124 and today on 4-08 I was able to swallow my pride and admit it. I'm glad I did because I was trying to find out what was so special about this class and now I know it was because it was made by heaven and not by me, (the Holy Spirit is limited by my vocabulary when She works through me like in Mark 13:11 in class L122 @ 7 minutes here @ Vimeo). The first time heaven got me to admit how much I was helped was after my "AOLs" on MTV, or in other words it was "America On Line" with God through me watching MTV especially on 11-13-95. (A good summary of it is in the first 7 minutes of class L99 here at Vimeo, the whole 11-13-95 AOL is at classes 151 to 157 at MikeOversonEndTimes.info or .org). There was a Blistex commercial on MTV that was a blue print for me to concede how much help I had to do that AOL when she said "Total care with a touch of color" or in other words it can be as much as 99% done from heaven and 1% by me. Here's how it applies to all of us in The Footprints Prayer One night I had a dream... I dreamed I was walking along the beach with the Lord, and  across the sky flashed scenes from my life.  For each scene I noticed two sets of footprints in the sand;  One belonged to me, and the other to the Lord.  When the last scene of my life flashed before us,  I looked back at the footprints in the sand.  I noticed that many times along the path of my life,  there was only one set of footprints. I also noticed that it happened at the very lowest  and saddest times in my life . This really bothered me, and I questioned the Lord about it.  "Lord, you said that once I decided to follow you,  You would walk with me all the way;  But I have noticed that during the  most troublesome times in my life,  There is only one set of footprints.  I don't understand why in times when I  needed you the most, you should leave me. The Lord replied, "My precious, precious  child. I love you, and I would never,  never leave you during your times of  trial and suffering.  When you saw only one set of footprints,  It was then that I carried you. My refrigerator just came on at 942p.m. on 4-08 which means "too good to be true" (#942) which is a big sign that The Footprints Prayer goes perfect with the last two songs about prayer in this class L124 at 12 minutes. The 4-08 was also a sign because the area code at that scene is 408 which also helps confirm that I did my job well, even if the San Jose sharks shoot it down again, (see me shoot back at them in class L123 @ 1:24 hours here at Vimeo). My refrigerator just shut off at 1044/1045am on 4-12-13 which was God confirming what I’m going to type next is very true. I just watched class L123 for the first time (on 4-11-13) since I made this class L124. It became blatantly obvious that if heaven was over 90% responsible for the 15 minutes of magic in L124 HOW MUCH MORE DOES THAT APPLY TO THE 2.3 HOURS OF MAGIC IN CLASS L123. THE END, (pretty sure but not positive 8-21-13). The too good to be true line in the Bible of "Peace on Earth" became very possible and soon in my classes 185, L110, L123 and L124 at Vimeo. Except this song prophesied a delay “So glad we've almost made it So sad they had to fade it EVERYBODY WANTS TO RULE THE WORLD”. L123 & L124 was my best summary of the patriotic classes and that Peace on Earth is possible. I explained that L123 & L124 were 90% made by heaven and when they were mocked as bad as my other classes then heaven cut off the classes they were offering through me. For no thanks, no pay, no respect and not much views on my videos I'm not surprised that heaven has finally cut off the magic. The first 8 minutes of class L5b was a warning of how these classes would be mocked away, (see ya suckers and thanks for Brer rabbit's break at THE END of class L96, 1a1 & L5b @ You Tube). Diana Ross's song "Touch Me in the Morning", (especially with the You're So Vain picture), best sums up the end of these classes. Less

Masters of Sex Opening Title Sequence 2014 Emmy Nominee

Vimeo 0:47

Answered by Leanne DarennnTell us a little about the initial call:nAt first, we met with Michelle Ashford and Sarah Timberman; Creator and E...

Answered by Leanne DarennnTell us a little about the initial call:nAt first, we met with Michelle Ashford and Sarah Timberman; Creator and Executive Producers of Masters of Sex. There were a lot of giggles when throwing out ideas! I honestly can’t say I remember many specifics of the meeting - but I do remember leaving the meeting thinking “It’s on. We can push this one all the way.” We had a clear premise and objective - and almost as importantly - free reign on how to execute this concept.nnnWhat was the one thing you were tasked to convey in this title sequence:nWithout a doubt, they also wanted something beautiful and sensual for the show’s title sequence. But they also wanted the titles to be more than just eye candy. One key word I remember writing down and repeating to myself throughout the process was “wit.”nnnExplain the final concept of the title:nAt face value, this title sequence is a barrage of sexual innuendos intended to trigger sensory overload for viewers. I’d also like to say it’s a series of strategically choreographed slices of everyday life, that are designed to make you feel awkward and astounded.nnnHow did it evolve with you as you worked on it?nThis project had a lot of time for evolution. There were some changes to the show delivery schedule which allowed us to sit with it for almost a year. Initially, we started with just clips of our everyday innuendos. Further along during production, we added some of the more raw and clinical imagery into the sequence; we found that we could strike a perfect balance of the two that kept the sequence unique and fun, while still appropriately reflecting the storyline of the show. It wasn’t until the end of the process that we created the 50’s style illustrations; they did a fair job of depicting the four stages of Master and Johnson’s Human Sexual Response Cycle.nnnTell us a little about your process, how do you typically work?nI go a little crazy with research. At least for me, I’d say that research amounts for 50-75% of the time spent on any given project — well before anything is actually created. If I already have a concept in my head, I will spend time getting everything I need to support and make that concept stronger. In the case of Masters of Sex, I didn’t have an initial concept. So I spent my time exploring the themes of the show, looking for a sliver of an idea that I could sink my teeth into.nnnWhat typically inspires you during conceptual development?nHonestly, one of the most powerful tools for concept development I use is simply an internet search engine. I find the internet to be a vast expanse of ideas, waiting to be collected, manipulated, developed and refined. Usually we don’t really have a lot of time to develop a concept. The internet is a gold mine as far as inspiring new ideas and improving ideas you’re already holding on to. If I’m researching and I come across something I’ve never seen our knew about before - I get really excited. nnnWhat is the most interesting part of the process for you?nPitching is really fun. It’s the point when your concept is the most pure. But I’d have to say that the most interesting and challenging part of the process is all the stuff that comes after you’ve won the pitch and you’ve got to figure out how your idea is really going to work. nnnWere there ideas that you loved that got killed?nYes. We have so many amazing bits that didn’t make it to the end. For every shot that there is in the sequence - there are 10 that were left on the cutting room floor. nnnWhat are your thoughts specifically on Titles for TV?nUnfortunately, not all title sequences are created equal and not all of them have the creative opportunities like Masters of Sex. I’ve worked on many title sequences which became 5-10 second montages of footage from the show and followed by a title card. It’s not creative. It’s not interesting. It’s safe and easy and the usual excuse for these poor title sequences are usually marketing concerns. All I have to say to that is - When has a creative, thought provoking, beautiful title sequence ever ruined the chances of a show’s success? nnI think TV titles are a huge part of a show. We remember them. We talk about them. We hum their tunes. They set a mood for a show and for the most part good title sequences and good shows come in pairs.nnnHow is it different from the rest of the work you do?nWhether creating a commercial or a title sequence - the general approach and process have a lot of similarities. The subject matter for a title sequence tends to be a bit more interesting and come with a few less constrictions.nnnHow do you feel when you see your own work?nIf possible, I avoid watching my own work once the project is out of my hands. When I do - all I think about is how it could be better. Less

Time Lapse #1 - From the Terrace

Vimeo 0:15

This was my very first attempt at time lapse photography. Digital Photography School was a great resource to understand how it works - so i ...

Van Halen Pick Up Truck Project x Humphrey Industries

Vimeo 5:02

The following is a step by step how-to for creating your Van Halen themed or other hard edged paint job on your truck, car, mobile home, kit...

The following is a step by step how-to for creating your Van Halen themed or other hard edged paint job on your truck, car, mobile home, kitchen appliance, or whatever you choose with Plutonium™ Paint. nnVehicle choice:nConsider finding a vehicle that isn’t rusted out and has paint that is in reasonably decent shape. This will be easier in some parts of he country than others.nnVehicle Prep:nAfter selecting a vehicle, start with giving it a bath. Mine was so dirty that I literally took lacquer thinner to areas of it before I even took it to the car wash. What didn’t get washed or wiped off eventually got wet sanded off. nIt is tough to see in the video but I did do some minor bodywork before I started to paint. The farm truck mirrors had to go!!! I filled the holes from the mirrors with a mig welder and then applied a tiny amount of Bondo just to smooth things out. I left all the dents in the rest of the truck. I wasn’t trying to totally erase the trucks history, just add to it. I went to a company called API and they mixed me a spray can of the original paint color for my truck, and I used that to touch up dings, dents, rust spots, and the doors after I had wire brushed and primed all the trouble areas. This allowed me to have a uniform base coat to start painting on…a clean canvas if you will. It already looked 100 times better than it did when I bought it, but I had only just begun to alter the image of this old beater. After I washed it and made the minor repairs, I wet sanded the whole truck with 300 grit sandpaper, so that the following layers of paint would stick. I used dawn dish soap in the bucket of water to further clean the truck and reduce friction during the sanding process. I then rinsed the whole truck and wiped it down with clean dry rags and let it air dry. The last step in the cleaning process was to wipe down the whole truck down with rubbing alcohol. The cleaner it is, the less likely you will have issues moving forward. nnLayout:nThe tough part was figuring out an easy way to lay out all the lines with out losing your mind math wise. I thought I might use ¾” tape for the thinnest stripes but they looked too thin in proportion to the truck, so I bumped it up to 2” for the thinnest stripes. I decided on buying a piece of 1/8” hard board (Masonite or even cardboard could also work) at the local box store and cutting different sized strips until I had three that felt right. I finally decided on 2”, 4” and 6” width strips. The strips eliminated any need for measuring, I just laid them down, eyeballed, and traced. I had to work in reverse on the first layer, laying black down on top of white, it got a little tricky thinking in reverse., but it got easier from there. The red was much easier. Same approach as the black, but what I masked this time this stayed either white or black. 3M makes a nice vinyl tape that is dark blue on color, it leaves you a perfect edge with out any bleeding. I did not use that tape. I used 2” scotch brand tape for most everything. It did bleed here and there, but I burnished it to death so that was kept to a minimum. I went to API for the tape as well. There are lots of ways to do this on a budget, I have had good luck with regular scotch tape and even clear contact paper for some projects. I would highly recommend that you experiment before masking off your whole car.nnPainting:nFor the black stripes I used the stock spray caps that came with the paint using sweeping motions and taking my time building up the color. Plutonium™ dries extremely fast so it's easy to build up the paint quickly if you happen to be impatient like me. I then used a red scotch brite pad and rubbed the whole truck down again to scuff up the paint so that the next layer would be sure to stick. This isn’t really necessary if you aren’t going to have it clear coat it like I did. I just didn’t want any surprises when that time came. For the red, I needed a lot more paint in bigger areas, so I switched to the fattest cap that Plutonium™ offers (gold cap) and that made things much easier. After I put the red on, all I really had to do was peel off the tape, but I chose to wet sand back into the layers to give it a mildly worn look. nnThis whole project actually took about 4 days from start to finish. nTake your time, experiment before you start and good luck!n-Ryan Humphreyn-Videographer/Editor: Robert Hallas Less

Philizz VIDEO YEARMIX 2014

Vimeo 57:06

After so many years, I don't think an extensive description is needed anymore. This is the final lookback into the past year. More tracks th...

After so many years, I don't think an extensive description is needed anymore. This is the final lookback into the past year. More tracks than ever before, enjoy the best of 2014!nnTitle: Yearmix 2014nType: VideomixnOpdrachtgever: PhilizznCreated: november - december 2014nnFeatured music: TracklistnThanks to: Markus Kunkel (Art), Morad El Ouakili (Voice Over), Jonel, Dennis, Gustaf, Elliott (Testpanel)nnTracklist:nnOne Direction - Steal My GirlnTaylor Swift - Shake It OffnLittle Mix - Little MenIggy Azalea ft. Rita Ora - Black WidownThe Script - SuperheroesnSam Smith - Stay With MenAloe Blacc - The MannSia - ChandeliernDavid Guetta ft. Sam Martin - DangerousnMaroon 5 - AnimalsnKaty Perry - This Is How We DonEnrique Iglesias ft. Descemer Bueno - BailandonCharli XCX - Boom ClapnColdplay - MagicnIggy Azalea ft. Charli XCX - FancynTaylor Swift - Blank SpacenSam Smith - I’m Not The Only OnenJake Miller - First Flight HomenMapei - Don’t WaitnAriana Grande ft. The Weeknd - Love Me HardernJennifer Lopez - First LovenLorde - TeamnGwen Stefani - Baby Don’t LienKygo & Kyla La Grange - Cut Your TeethnFifth Harmony - SledgehammernAriana Grande ft. Iggy Azalea - ProblemnMarlon Roudette - When The Beat Drops Outn5 Seconds Of Summer - AmnesianShawn Mendes - Something BignMark Ronson ft. Bruno Mars - Uptown FunknPharrell Williams - Marilyn MonroenMichael Jackson ft. Justin Timberlake - Love Never Felt So GoodnElyar Fox - Do It All Over AgainnTiësto ft. Matthew Koma - WastednNick Jonas - JealousnKiesza - No EnemiesznKiesza - Giant In My Heart nMilky Chance - Stolen DancenDuke Dumont - Won’t Look BacknClean Bandit ft. Jess Glynne - Rather BenTube & Berger, Juliet Sikora - Come On Now (Set It Off)nThe Magician ft. Years & Years - SunlightnRoute 94 ft. Jess Glynne - My LovenKiesza - HideawaynGorgon City ft. MNEK - Ready For Your LovenPitbull ft. John Ryan - FireballnLilly Wood & The Prick ft. Robin Schulz - Prayer in CnTove Lo - Habits (Stay High) (Hippie Sabotage Mix)nDuke Dumont ft. Jax Jones - I Got U nBecky G - ShowernOneRepublic - I LivednAvicii - Addicted to YounBucie ft. Heavy K - Easy to LovenCarlprit ft. Jaicko - Only Gets BetternKaty Perry - BirthdaynFaul & Wad Ad vs. Pnau - ChangesnAnders Nilsen - Salsa TequilanColdplay - A Sky Full Of StarsnGalantis - Runaway (U & I)nKaty Perry - Dark HorsenDavid Guetta & Showtek ft. Vassy - BadnDavid Guetta ft. Skylar Grey - Shot Me DownnNew World Sound & Thomas Newson - FlutenDuck Sauce - NRGnFrank & Jelte - Press.Play.JumpnEchosmith - Cool KidsnCarlprit ft. Jaicko - Remember To ForgetnNico & Vinz - Am I Wrong nMr Probz - Waves nJessie J ft. Ariana Grande & Nicki Minaj - Bang Bang nCalvin Harris ft. John Newman - BlamenAriana Grande ft. Zedd - Break Free nB.o.B ft. Priscilla - John DoenNicki Minaj - AnacondanThe Chainsmokers - #SELFIEnAronChupa - I'm an AlbatraoznFirebeatz & KSHMR ft. Luciana - No HeroesnFatboy Slim & Riva Starr ft. Beardyman - Eat Sleep Rave RepeatnCalvin Harris - SummernSam Smith - Money On My MindnDavid Guetta ft. Sam Martin - Lovers On The SunnPitbull ft. Jennifer Lopez & Cláudia Leitte - We Are One (Ole Ola)nAustin Mahone ft. Pitbull - Mmm YeahnShakira ft. Rihanna - Can’t Remember to Forget YounMeghan Trainor - All About That BassnShakira - Dare (La La La)nHardwell feat. Matthew Koma - Dare YounRita Ora - I Will Never Let You DownnTimmy Trumpet & Savage - FreaksnArmin van Buuren - HystereonMeghan Trainor - Lips Are Movin’nYellow Claw ft. Rochelle - ShotgunnSigma - Nobody To Lovenn© Philizz, 2014.nwww.Philizz.comnnThanks to:nwww.morad.nlnwww.highfly.fr Less

New City: The City in the Sea

Vimeo 4:00

New City, 2014nLiam YoungnMultiple channel video installationnNew City is a series of animated skylines of the near future. In intricate det...

New City, 2014nLiam YoungnMultiple channel video installationnNew City is a series of animated skylines of the near future. In intricate detail they depict a speculative urbanism, an exaggerated version of the present, in which we can project new cultural trends, environmental, political and economic forces. Photographs taken on expeditions around the world documenting these emerging phenomena and weak signals have been meticulously stitched together and extrapolated to form each city skyline. In this way ‘New City’ slips between the real and the imagined, between the documentary and the visionary, where speculative fictions become a way of exploring a world that the everyday struggles to grasp. To accompany the animations the authors Jeff Noon, Pat Cadigan and Tim Maughan have been invited to inhabit each skyline, to breathe life into its characters and cultures and give form to its streets and spaces through a suggestive narrative fragment. Original New City soundscapes have been developed by Coldcut.nnThe City in the SeanBy Pat CadigannnThose silly yellow ducks came back from West GP, showing up right after one dog bell. Kids were so eager to see the Westies' answering messages, they started jumping into the water, bobbing around with their floaties and tangling their tethers. Kids old enough to know better did, too. If I hadn't had dog watch on the still, I mighta jumped in myself even though fourteen makes me a pre-adult.nnI was just so bored. Four days outa the last seven, I've drawn still duty–not my dream job. I want tek stream. My mentor Shesea claims the fresh water distillery is the perfect place for an aspiring tekkie. But Klick's mentor told her it's vital for her and Klick wants meteorology. I guess all the mentors have to say that to fill the rota; somebody's got to make sure the plastic keeps crying. I can't wait for monsoon season and we fill up on rainwater. The sea can get pretty choppy and last year we had some scary-big waves. But the advantage of living in a plastic city is, you wibble and wobble but you never sink.nnMy mother rode out the KaiHuKa, short for Kai Hula Kahiko–"ocean hula." The storm was so bad and lasted so long, they cut the Patch into modules with no more than a dozen people each. Mam was little then but she says she remembers every moment of being strapped into big puffy inflatables with her brother, and how he got seasick and yakked all the time, not just from chop but because he knew everyone's pee got saved for filtration. The water tasted just like still; it was knowing where it came from. Uncle Jahid tells it vice versa. Me, I think it was both of them.nnAfterwards, the pilots homed in on the Big Buoy signal to reunite and restore the Patch. Not everybody made it; some drowned and washed up on one island or another, and one just vanished altogether. Some people didn't want to stay and cut themselves loose again. A few wanted to abolish the Patch altogether and tried to blow it up. I don't know what they were thinking–stuff would just accumulate in the same place and without anyone to make use of it, it would just be a lot of crap for marine life to get tangled up in or choke on.nnThe official story is, they got deported, airlifted out by some island's coast guard. But there are whispers that a pilot took them into the North Pacific Gyre and cut them loose with nothing but a good luck charm and five days' worth of food and water–no smart-map, no radio, not even a beacon.nnI wouldn't really want to see another KaiHuKa but I kinda like the idea of cutting the Patch into pieces and rearranging them. Looking at the sat-receiver array and the solar collectors, I know I could position all of them better. I made a model out of beads and plastic remnants and showed it to my mentor. Shesea said I showed promise but I had a lot more still shifts to go before I got my hands on actual hardware.nnAnd they say we're a more flexible society than landlubbers. Sometimes I wonder.nnNew CItynLiam YoungnTomorrows Thoughts TodaynnProject TeamnAlexey MarfinnZhan WangnnSoundscapes by Coldcut with additional sound design by Aneek ThaparnnAuthorsnJeff NoonnPat CadigannTim MaughannnCurated by Karen Verschooren and produced for Z33, Future Fictions Exhibition Less

SUPERMANDREAS

Vimeo 3:08

Next month a new disaster movie starring The Rock called "San Andreas” is slated to premiere in theaters. From the trailer it looks bad, f...

The Discarded Image: Episode 01 - Jaws (Spielberg, 1975)

Vimeo 14:39

Welcome to The Discarded Image. A new online video series that analyses and deconstructs well known pieces of cinema. In this episode we loo...

Yesterday's Tomorrow - A Portland Journey

Vimeo 5:15

Produced 2015 by Uncage the Soul Productions http://www.uncagethesoul.comnPowered by The Oregonian and OregonLive http://www.oregonlive.comn...

Produced 2015 by Uncage the Soul Productions http://www.uncagethesoul.comnPowered by The Oregonian and OregonLive http://www.oregonlive.comnIn association with TEDx Portland http://www.tedxpdx.com and 503 http://www.our503.comnAerials Provided by Aerial Technology International http://www.aerialtechnology.comnnOriginal Music Composition by Peter Bosack http://www.peterbosackmusic.comnVisual Effects Artist Chloie Medeiros http://chloiemedeiros.wix.com/chloiemedeirosnnIn “Yesterday’s Tomorrow,” we brought our cameras to the same position and angles of our favorite Portland historic images. We wondered, what’s changed? What’s remained the same? This ‘new’ Portland that is captivating national attention- how new is it really?nnWe’ve seen books and blogs using the “Then and Now” treatment to show side by side the historic and present via photos. But in our curiosity and research, we could not find many or any examples of this comparison being done with motion video. Thinking about it more, we got excited to use timelapse and slow motion to bend and warp present time while exploring past time. The idea was sparked. The project started. Research into what old photos existed began.nnSifting and searching through thousands of archived images was incredibly fun and daunting. Just the act of looking through stacks and folders of old photos became a meandering tutor of Portland history. Afternoons in the Oregon Historical Society library downtown became a weekly field trip we looked forward to. Wearing white gloves, we are allowed to explore and look through their incredible archives. We’ve come to love the process of being given a folder of loose images, walking it to the table to open, and then discovering new pieces of our city’s history photo by photo. It was common to realize we’d be holding our breath in anticipation while going through the folder. Our partner in this project, The Oregonian, sent a hard drive of 1500 hi-res images the photo editor had painstakingly culled and pulled from their historic library of images. Finally, a few trips to the Portland City Archives rounded out our research bringing new photos we had not seen in either of the other collections. In all, we literally saw and sorted through over over 5000 black and white photos in the process, and… there are thousands and thousands more we didn’t have the time to see. We would love to spend an afternoon every week for an entire year just looking through these archives.nnWe thought finding the photos would be the hard part- wow, we were wrong. This project has had many challenges, but probably the biggest has been each of us on our team being willing to let go of our individual favorite images that didn’t make the final cut. Choosing the 50 or so final shots out of 5000 options has led to quite a few heated debates and conversations in our office the last few months. Each of us has found connection and attachment to a specific few of these frozen slivers of time. I wonder what the photographer or subject of the photograph would think if they knew that particular moment they were living while the image was being shot would be argued and debated about in a SE video office over a hundred years later.nnWe knew this piece needed a soul, some heart, but not via the traditional history timeline narrative. But what is the story, the words? For inspiration, guidance and insight- we interviewed multiple 90+ Portlanders and spent an evening with each asking all the questions we could about their lives and opinions on a big list of life issues. Our favorite of these amazing people is Katherine Livingston. Her eyes are bright, her wits are sharp, she was born in Portland, her grandfather was involved in commissioning the Skidmore Fountain, she recently held the world record for fastest 2000 meters on a stationary rowing machine for the 95-100 yr old bracket, and this weekend she turns 100 years old. The length of that last sentence should be an indicator of how impactful she was to us. We were honored to sit down and listen to her share her story and insights of living for 100 years. These sentiments became the words that guide the piece. Less

I Dream Of Wires 2014 documentary Trailer - Official

Vimeo 3:19

Waveshaper Media presentsna film by Robert Fantinatto and Jason AmmnI DREAM OF WIRES (2014)nnI Dream Of Wires is an independent documentary ...

Waveshaper Media presentsna film by Robert Fantinatto and Jason AmmnI DREAM OF WIRES (2014)nnI Dream Of Wires is an independent documentary about the history, demise and resurgence of the modular synthesizer, featuring interviews with modular musicians, inventors and enthusiasts, including Trent Reznor (Nine Inch Nails), Gary Numan, Vince Clarke (Erasure), Morton Subotnick, Chris Carter (Throbbing Gristle), Daniel Miller, Carl Craig, Flood, Cevin Key (Skinny Puppy), James Holden, Factory Floor, Legowelt, Clark, John Foxx and Bernie Krause, as well as manufacturers and modular industry leaders Doepfer, Modcan, and Make Noise. nnAlthough April 26 will be the world premiere of I Dream Of Wires' 90 minute theatrical cut (at Moogfest), a 4-hour Special Edition cut of the film, I Dream Of Wires: Hardcore Edition, was released on DVD and BluRay in late-2013, and has already become an underground, grassroots sensation amongst electronic musicians and fans, with high profile reviews and coverage from the likes of NPR, Arte/Tracks, Pitchfork, The Wire, and FACTmag. Despite it's imposing 4-hour length and ultra-niche target market, the Hardcore Edition ("for the hardcore modular synth and electronic music fanatics") has proven an independent hit. Now, stripped of the Hardcore Edition's techy excesses, I Dream Of Wires' theatrical cut is set to bring the fascinating story of the modular synthesizer, a story driven by passionate and innovative people, to the masses. nnI Dream of Wires begins with an historical primer, exploring the early development of modular synthesizers from pioneering companies Moog Music Inc. and Buchla and Associates, right through to the near-extinction of these instruments, brought on by the introduction of portable, digital synthesizers in the ’80s. From there, the rebirth of the modular synthesizer is retraced, leading into the phenomenal resurgence of the modular synthesizer. Along the way is some in-depth exploration of the passions, obsessions and dreams of people who have dedicated part of their lives to this esoteric electronic music machine. What started out as a “vintage-revival scene” in the ’90s has grown into an underground phenomena with a growing market of modular obsessives craving ever more wild and innovative sounds and interfaces. Today, the modular synthesizer is no longer an esoteric curiosity or even a mere music instrument — it is an essential tool for radical new sounds and a bona fide subculture.nnAdditional credits:nDirector: Robert FantinattonProducer: Jason AmmnSoundtrack: Solvent (OST via Suction Records)nTrailer: Kevan Byrnenn"I Dream Of Wires shows how, in the same way that the instruments themselves are rewiring both performers' and listeners' expectations about electronic music, the community that has evolved around modular synths is changing the relationships between users, sellers, and makers…"n- The Wire magazine (UK)nn"As far as documentaries go, this is a slick, polished production. The film looks great, and as one would hope and suspect, the audio is wonderful, with the score by Solvent setting the perfect mood throughout...."n- Film Threat (USA)nn"…lingering close-up shots of analog synths aside (and there are a lot of these), perhaps what's most joyous about I Dream of Wires is that it profiles a subculture that has almost nothing to do with the music industry."n- The List Film (UK)nn"I would highly recommend Robert Fantinatto's documentary film not only to anyone interested in modular analog synthesizers, but to anybody interested in sound and the electronic reproduction of audio in general. This film is so well made it should appeal to anyone curious about people who are obsessed with minutiae, weird sounds, and music that 97 percent of the planet would find annoying."n- Tape Op magazine (USA)nn"With its excellent narration and top-notch interviews with pioneers and popularizers like Morton Subotnick, Gary Numan, and Trent Reznor, I Dream of Wires gives us a glimpse into the mind of electronically-minded musicians and their often revolutionary perspectives on music, technology, and human ingenuity.... If you’re curious about the wide world of synths but intimidated by the steep learning curve, check out this movie...."n- DigBoston weekly (USA)nn"A recommended watch for those with any degree of interest in synths and synth music. 10/10 Excellence"n- Music Tech magazine (UK)nn"…if synthesizers are your thing this documentary provides a huge amount of insight and should appeal in particular to musicians or engineers."n- HMV (UK)nn"…this is as thorough a study of the unique appeal of modular synths as you’ll find."n- Attack Magazine (UK) nnI Dream Of Wiresnhttp://idreamofwires.orgnhttp://twitter.com/IDOWdocumentarynhttp://facebook.com/idreamofwiresdocumentarynhttp://sciencewithsynthesizers.com Less

Post-Human

Vimeo 5:51

Post-Human is a scifi proof-of-concept short based on the bestselling series of novels by me, David Simpson. Amazingly, filmed over just thr...

Post-Human is a scifi proof-of-concept short based on the bestselling series of novels by me, David Simpson. Amazingly, filmed over just three hours by a crew of three, the short depicts the opening of Post-Human, drawing back the curtain on the Post-Human world and letting viewers see the world and characters they’ve only been able to imagine previously. You’ll get a taste of a world where everyone is immortal, have onboard mental “mind’s eye” computers, nanotechnology can make your every dream a reality, and thanks to the magnetic targeted fusion implants every post-human has, everyone can fly (and yep, there’s flying in this short!) But there’s a dark side to this brave new world, including the fact that every post-human is monitored from the inside out, and the one artificial superintelligence running the show might be about to make its first big mistake. ;) nnnThe entire crew was only three people, including me, and I was behind the camera at all times. The talent is Madison Smith (Legends of Tomorrow, Supernatural) as James Keats, and Bridget Graham (Pixels, Manhattan Undying, Hemlock Grove) as his wife, Katherine. As a result of the expense of the spectacular location, the entire short had to be filmed in three hours, so we had to be lean and fast. What a rush! (Pun intended). nnThe concept was to try to replicate what a full-length feature would look and feel like by adapting the opening of Post-Human, right up to what would be the opening credits. Of course, as I was producing the movie myself, we only had a micro-budget, but after researching the indie films here on Vimeo over the last year, I became convinced that we could create a reasonable facsimile of what a big-budget production would look like and hopefully introduce this world to many more people who aren’t necessarily aficionados of scifi exclusively on the Kindle. While the series has been downloaded over a million times since 2012, I’ve always intended for it to be adapted for film, and I’m excited to have, in some small measure, finally succeeded.nnMany thanks to Ivan Torrent, an unbelievably talented composer who allows his work to be used for free for non-commercial films. We set the pacing of the opening to his incredible work, and we hope we can expose him to thousands of new listeners through our movie. nnAlso, a huge thank you to Michael Eng, who is literally the only visual effects artist to have worked on this film. He did everything CG that you see (and some that you don’t see) and is the reason the effects have such a unified, compelling look. nnThank you to Sanha Cho, my former student and now a film student at NYU for helping us with the cameras during our rushed set ups. nnAnd my biggest thank you has to go to my wife, Jenny, who worked just as hard as I did on this project and deserves a ton of credit. I can’t believe how lucky I am to have a wife that supports my dreams like this. Jenny, you are the BEST! I love you!nnAnd for you, the Vimeo community, a huge thank you! If I hadn’t seen such incredible films on here, done with micro budgets and affordable but powerful cameras, this would have been impossible. A special mention is deserved by Ian Watt, who made beautiful films with a Black Magic Pocket Cinema, a Glidecam HD4000, a Metabones Speedbooster, some nice filters and a Rokinon 16mm f/2.0 lens. We ended up opting for the Sigma 18-35 mm, but we basically had the same set up. Add a couple of tripods and a slider, and you’ve got what you need to make a great short film! We also used a Zoom audio recorder and a Rhode mic, and we edited the film in Final Cut and the sound in Adobe Audition. The colour correction was done in DaVinci Resolve. And yes, we did it all! Everything in post was done by Jenny, myself, and Michael. We even bought a second-hand Makerbot and 3D printed the original design for James' helmet! It was a heck of a lot of work, but it was a labor of love and we’re very proud of it. I hope you’ll enjoy it too, and if you feel like being extra awesome, please share what we did or leave a positive comment to help us get a feature film off the ground. :) nnAnd a huge thank you to the growing Post-Human tribe of readers, who’ve made attempting something like this possible by supporting the series online so enthusiastically and making my dream of becoming a professional novelist a reality! nnCREDITSnWritten & Directed by David Simpsonnposthumanmedia@gmail.comnnTh3 Awak3n1ng, Blue Factor and Angelus Ex Inferno by Ivan Torrentnhttps://goo.gl/WXphk1nnMadison Smithnhttp://www.imdb.com/name/nm5073287/nnBridget Grahamnhttp://www.imdb.com/name/nm5016485/ nnMichael Eng Visual Effectsnhttps://www.youtube.com/channel/UCdNwqEFLCUJKEVTI_NbQPgQnhttps://www.linkedin.com/pub/michael-eng/96/83a/882nnPost-Human VFX Breakdown: https://www.youtube.com/watch?v=ANFZRfNPrPA Less

Spatial Computing

Vimeo 4:00

Shashi Shekhar discusses "Spatial Computing" (http://cacm.acm.org/magazines/2016/1/195727), a Contributed Article in the January 2016 CACM.n...

Shashi Shekhar discusses "Spatial Computing" (http://cacm.acm.org/magazines/2016/1/195727), a Contributed Article in the January 2016 CACM.nnnn---nSCRIPTnn00:00 So here's the theory. A point is unique. A line is the shortest distance between points. A plane is a perfect surface, and simple coordinates describe a sphere. It's easy to compute spatial relations in this imaginary world.n00:19 But the reality of our Earth disagrees. The globe bulges at the middle; the land plane has mountains and valleys; roads wiggle and waver. For this world of the real, a new sort of computing is needed.n00:35 Join us as Shashi Shekhar discusses how computers have come to understand the peculiar dimensionality of our real world, in Spatial Computing.n00:48 [Intro graphics/music]n00:56 Minneapolis sits alone, over 500 kilometers from the nearest major city. But make your way here and you'll find the University of Minnesota's Spatial Computing Research Group, led by Shashi Shekhar. The group confronts quandaries posed by our often messy physical world.n01:17 DR. SHEKHAR: So latitude and longitude is a coordinate system centered at the center of the Earth -- it's a spherical coordinate system. ... But we all know that Earth actually is not a perfect sphere. ... So U.S. GPS measures ellipsoid and uses one. Europeans measure with their own satellites and they tend to be more accurate -- they have a different ellipsoid. ... So for example, if you think about the major landmark in Greenwich, England, the English ellipsoid and the GPS can be 100 meters off at that point.n01:51 But where the physical world provides challenges, it also offers opportunities that spatial computing can exploit. For example, the technique of autocorrelation.n02:03 DR. SHEKHAR: In other words, nearby things are not independent of each other. ... So if you try to imagine: What would physical world look like if each point had elevation which were independent of all other points, including its neighbors? [Laughs] Spikes, yeah? It's the Bryce Canyon in Utah!n02:22 Features of the physical world dictate which algorithms are fastest and best. These results are sometimes at odds with classical assumptions.n02:32 DR. SHEKHAR: So for example in the road map storage, road map database. Back then, everyone was using geometric techniques. ... But when we started ranking those methods to store road maps, it turns out the ranking measure was based on graph theoretical properties, the number of edges cut. And we saw, "Oh! That's a huge blind spot in our literature."n02:53 That literature has progressed, with advances in spatial computing affecting *all* physical spaces, not just geographic ones.n03:02 DR. SHEKHAR: One could also say that your medicine should de delivered to only specific locations in your body. ... So you can imagine that, in the future, these medicines will be delivered by some carrier molecule or devices which will be able to know their location in human body in terms of organs.n03:21 But even if restricted to geographic applications, advances in spatial computing could make a big difference.n03:29 DR. SHEKHAR: So we live on the surface of the Earth. Lots of our lives is affected by that. That's what spatial computing is about.n03:38 Find out more in the contributed article, "Spatial Computing", in the January 2016 issue of Communications of the ACM.n03:52 [Outro and credits] Less

ABOVE BOULDER - 4K Drone Film

Vimeo 4:00

Fly over a Rocky Mountain college town known for its expansive views, hyper-active residents, socks in Chacos, and bikes more expensive than...

Monsoon III (4K)

Vimeo 7:40

Blu-Ray discs available here: mikeolbinski.com/shop/nSong by Kerry Muzzey: "Revenge"/ "Revenge: Epilogue" (on iTunes: http://bit.ly/KM_TM3 A...

Blu-Ray discs available here: mikeolbinski.com/shop/nSong by Kerry Muzzey: "Revenge"/ "Revenge: Epilogue" (on iTunes: http://bit.ly/KM_TM3 Amazon: http://bit.ly/KM_REVENGE)nFollow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinskinn-----------------nnIf 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.nnBut 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.nnFor 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.nnThe 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.nnComing 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. nnSo 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. nnAs 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!nnI 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.nnSpecial 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!nnMy 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.nnAnd 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. nnMakes a daddy proud.nnI 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!nnPlease 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.nn-----nnCaptured with a Canon 5DSR, two 5D3's, 11-24mm, 16-35, 35mm, 50mm and 135mm. nProcessed using Lightroom, LR Timelapse, After Effects and Premiere Pro Less

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