Sfumato Examples videos

Marcos de Niza Pops Concert Example

Vimeo 6:20

This is Mr. Glenn Directing the Marcos de Niza Wind Ensemble at their Pops Concert May 2013. This piece is available for purchase here: http...

Example - One More Day (Stay With Me)

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Hyperlapse from Instagram: Video examples

Vimeo 0:47

Here are video examples of Hyperlapse, a new app from Instagram. It was provided to WIRED for use in a story about the app. Read more here: ...

A.F. Jones / Derek Rogers - Repetend/Mistones (Glistening Examples, 2015)

Vimeo 9:16

from the CD "Repetend, Parallax", a March 2015 production from Glistening Examples.nhttps://glisteningexamples.bandcamp.comnnmusic - A.F. Jo...

Examples of other quiet leaders

Vimeo 1:43

Susan Cain shares an example of another, lesser-known intorverted leader.

Destroying By Example - Erik Ellington

Vimeo 8:37

In the mid nineties, skateboarding exploded, the decompression of a bored generation, propelling each of its best practitioners to the rank ...

CS1 Macro Examples

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All shot and edited on iphone6 using the Lumenati CS1. www.cinematicsmartcase.com

Instagram Video in Landscape - Examples

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We're excited to announce that — in addition to square posts — you can now share photos and videos in both portrait and landscape orient...

Segmented Video Example: FKA Twigs - Pendulum

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Silent experiement using Video Segmentation method - find out more here: http://prostheticknowledge.tumblr.com/post/127743430736/video-segme...

FOX In-Program Examples

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This video demonstrates the Watchwith powered in-program network promotions and engagement currently running on FOX.com. The in-program Watc...

Luminar for Mac: 3 examples

Vimeo 1:58

Take a look at how Luminar edits different types of your photos. To learn more about, visit: https://macphun.com/blog/luminar-photo-editor-f...

Pudovkin's 5 Editing Techniques

Vimeo 11:45

http://evanerichards.com/2013/3042nnA brief look at some of Vsevolod Pudovkin's theories on editing as well as some examples from more recen...

Jason Lescalleet - Trophy Tape - Friday April 18 - Anthology Film Archives - New York

Vimeo 0:48

April 18, 2014nnAnthology partners with our pals at Issue Project Room to present an eclectic/electric evening with Jason Lescalleet, one of...

April 18, 2014nnAnthology partners with our pals at Issue Project Room to present an eclectic/electric evening with Jason Lescalleet, one of America's most dedicated modern sound artists. His work explores a sonic world that hovers between noise, contemporary composition, and minimal electronics. He blends layers of found sound, amplified silences, and artifacts of everyday noise, all transformed through various microphones, tape recorders, and speakers. Based in Maine, Lescalleet has also built a solid reputation for delivering a visceral live experience in his concert performances. Over the past couple of decades, Lescalleet has gradually and painstakingly compiled a compelling discography on notable labels such as Kye, RRR, Erstwhile, Chondritic Sound, NNA, and most recently via his own Glistening Examples imprint. Never one to sit still for long, he has spent the last two years generating a slew of solo and collaborative albums with the likes of Aaron Dilloway, Graham Lambkin, and Kevin Drumm. Chief amongst these releases is the remarkable 2012 double CD on Erstwhile Records, SONGS ABOUT NOTHING. Over the following year Lescalleet commissioned 13 different artists to create videos for the 13 tracks on the first disc in that set, TROPHY TAPE. Tonight's show features this audio-visual album as well as a few extra special videos by New York artists who contributed to this project.nnC. Spencer YehnBABY BIRDS (2009, 1.5 min, video)nnAdel SoutonALLOW ANY RADIO (2012, 3 min, video. Music by Robert Turman.)nnEllen FrancesnVERY BEAUTIFUL WOMAN (2012, 3.5 min, video)nA self portrait of the female spirit, inspired by Native American and occult beliefs revolving around the impact of the moon on women.nnEllen FrancesnWHEN I LEAVE THIS PLACE (2014, 3 min, video)nIn collaboration with author Tao Lin, Frances depicts a psychological breakdown set to audio of Lin's voice, hospital environments, and patterns generated by an MRI machine.nnJason LescalleetnTROPHY TAPE (2014, 37 min, video)nCurated and directed by Lescalleet; featuring videos by Aaron Dilloway, Ellen Frances, Annie Feldmeier Adams, Justin Meyers, Antony Milton, C. Spencer Yeh, Olivia Block, Adel Souto, Neil Young Cloaca, Todd Deal, Jubal Brown, Heidi Alasuvanto, and Robert Beatty.nnhttp://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2014#showing-42459 Less

Tombstoning: A demonstration by Derek Dunfee

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Tombstoning: A demonstration by Derek Dunfee nnWorst wipeout of the year for me.If you don't know what Tombstoning is here's an example. Mav...

MMJ News Story: CARMA

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Chicago is home to the largest police scanner club in the country, but with encryption becoming more and more common, they worry that their ...

ニューシティー

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ニューシティー (New City) nIs an experiment, conducted by Nord Collective’s science division. Think of it as an identity constructo...

"We thought Lloyd's building was the ultimate in technology, but it's practically hand made"

Vimeo 7:32

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

See more architecture and design movies at http://www.dezeen.com/moviesnnIn our next movie focussing on key projects by Richard Rogers, the British architect discusses his radical Lloyd's building in London and explains why he is not completely comfortable with the "high-tech" label that is often applied to his work. nnCompleted in 1986 for insurance company Lloyd's of London, Lloyd's building comprises three main towers, each with an accompanying service tower, which surround a central rectangular atrium housing the main trading floor.nnOften cited as a pioneering example of high-tech architecture, Lloyd's building was considered radical because, like Rogers' preceding Centre Pompidou in Paris, all of its services, including staircases, lifts and water pipes, are on display on the outside of the building.nn"We were able to convince Lloyd’s that we would put the mechanical services on the outside because mechanical services have a short life," Rogers explains.nnAs with the Centre Pompidou, the idea behind this was to make the central spaces as open and flexible as possible. "[We] kept the floors clear because Lloyd’s said they wanted two things," Rogers says. "They wanted a building that would last into the next century - we met that one - and they wanted a building that could meet their changing needs."nnHowever, Rogers says that he does not completely agree with the use of the term "high-tech" to describe the building.nn"I have no great love for high-tech," he says. "One would like to think one uses the appropriate materials, but of course appropriate materials are shaped by the time you live in. So we use the technology of today - and the technology of yesterday where appropriate - to build the buildings of today."nnHe continues: "We thought Lloyd's was the absolute ultimate in the art of technology. When I look at it now, it's practically hand made. People say, ‘well, it’s technology and therefore it’s a high-tech building.' It’s a bit too easy."nnA 200 year-old City of London institution at the time, Lloyd's seemed an unlikely client for such a bold building.nn"It was very traditional," Rogers says. "The only bit of technology when we went to see the [previous] Lloyd’s building inside was a Xerox machine and some people were still writing with feathers and ink."nnHowever, Rogers says that the company was actually very forward-looking. "It was backwards only in the process," he says. "Of course, it was the most famous insurance firm in the world and obviously contained a very cutting-edge element within that."nnHe continues: "We were again extremely fortunate, in the same way as we were with the Pompidou. The real critical thing in architecture is having a good client. A good client is not somebody who just says 'yes', it’s a client that is engaged in the evolution of the building, who responds."nnWhile Rogers worked closely with Lloyd's on the functional aspects of the building, he says he had more freedom over the aesthetics. "We were dealing with people who knew about change, knew about risk, but hadn’t a clue about art," he explains. "The ducts, the pieces on the outside, allowed us to play a game with light and shadow."nnDespite enjoying a productive relationship with Lloyd's initially, there were still challenges to overcome to get the building built.nn"A year before the end of building, there was an investigation by the Bank of England into Lloyd’s and the chairman and everyone had to resign," Rogers says. "The next chairman hated us, so we had a very tough last year."nnRogers says that the general reaction to the building once it was completed was also hostile, although opinion changed over time. Lloyd's building was Grade I listed in 2011, just 25 years after it was built, and Rogers sees parallels between it and Christopher Wren's iconic St Paul's Cathedral.nn"Wren was in his seventies when he at last got St Paul's built," he says, recounting a story that the dean of St Paul's Cathedral told him at the opening of Lloyd's building. "He’d started thirty years beforehand and was so tired of having his building attacked and turned down, by the time he got to building it he put a twenty foot fence all around the site so that nobody could see it."nn"So even St Paul’s was a shock of the new. We think its been there forever - certainly Prince Charles thinks it has been there forever - but it hasn’t. It was a risky building to build in those times, which is why it is great."nnRogers was speaking to Dezeen to mark the opening of an exhibition called Richard Rogers RA: Inside Out at the Royal Academy of Arts in London. Less

"Timeless design is not a cliché" - Philippe Starck

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See more architecture and design movies at http://www.dezeen.com/moviesnnFrench designer Philippe Starck argues that consumers should be buy...

Augmented Reality Toys.v1 (Work in progress)

Vimeo 2:40

Apparently, my project is very controversial. That is why I have to answer, and make things clearer about my project and its aims.nnThe aim ...

Apparently, my project is very controversial. That is why I have to answer, and make things clearer about my project and its aims.nnThe aim of this project is to make the frontier between video game and toy gaming progressively disappear by offering a new type of gaming experience linking both sides.nnFollowing the researches of Trond Nielsen in Augmented Reality gaming, I listed some important points which directly guided me to my final concept:nnWar gaming has two essential elements that are missing in computer war games:n• “First, computer war gaming lacks support for the social aspect of traditional table top war gaming. […]”nn• “Second, war gaming is both a hobby of gaming and a hobby of modeling. Some players gain a great deal of satisfaction out of painstakingly assembling and painting an army. […]”nn“With augmented reality, designers can build games that draw elements from traditional real world games and modern computer games. This is particularly clear in strategy games, where the strengths and limitations of both platforms are complementary.” n nNilsen, T., Linton, S., & Looser, J. (2004, June 26-29). Motivations for augmented reality gaming. In Proc. of the New Zealand Game Developers Conference (pp. 86-93). nnAfter having studied theses aspects I decided to follow the direction of tabletop game and imagine how we could merge strategy video games and toys. nnTherefore, I defined some important objectives to be reached with my concept game. nnObjectives:n• Merging the best of tangible toys with the best of video games.n• Keeping the tangible toy with its emotional value as a base.n• Giving a new lease of life to toys.n• Enhancing the toy capabilities thanks to the advantages provided by the Augmented Reality Technology.n• Introducing a part of imagination in the game essential for the user immersion.n• Interacting with the game through a Augmented Reality tangible user interface (AR TUI).n• Assisting players through the game mechanics & rules with a software support to focus on the game content.n• Transforming drawbacks of AR system into parts of gameplay rules.n nI want to show through this project that children, teenagers, and even older people, could get off the screen and play everywhere, in a children room, even in the backyard (wireless is possible). In the game Army Men, the virtual characters evolve in a virtual environment that looks like a real house. I propose here to go a step further by using the actual environment of the player to make it the world in which the characters of the game evolve. nn• http://www.flickr.com/photos/7681834@N07/3183068822/n• http://www.gametronik.com/site/rubriques/n64/Jeux/Army%20Men%20-%20Sarge%27s%20Heroes%202/Army%20Men%20-%20Sarge%27s%20Heroes%202.jpgnnChildren could still use their imagination and creativity to develop strategic skills by setting up the tangible environment and imagine a kind of battlefield like they already do with, e.g., Warhammers. With my project they could play not only on a Warhammer table but everywhere they want and use every object of the real environment as a part of the game, e.g., using a shoebox for a wall, hiding behind a plant to protect the toy, etc.nnChildren like to customise their toys, and that is why I kept the emotional value of the toy at the centre of this project. They could also enhance the capabilities the toys through virtual features, bringing them to life, somehow.nnThe gameplay of Warhammer is really complex and almost requires reading a book, while strategy video games assist players through rules and game mechanics. This virtual gameplay could be transposed to tangible games and thus virtually enrich the user gaming experience with rewards, goals, downloadable games and by increasing the immersion through virtual sounds and special effects. We could imagine that on the same system they would create stories and levels as in the game Little Big Planet and share it to others on an online community. I am envisioning that players could connect online and share their experiences, objects, advices, tricks, etc and be rated by others, etc.nnI am not trying to make a Bloodwar game here. I am just thinking about how we could merge Gaming with toys and gaming with video game and create a new gaming experience taking advantages of both. For this I am making a prototype which is a crossover between Warhammer and Armymen. nnThe use of the Lego minifig in my demo merely is an example and is there is no political view in this. I am actually working with simple figures for technical reasons. I need the 3D virtual model corresponding to the original to make an occlusion between tangible object and virtual things and be able to display virtual objects behind real ones which is completely impossible otherwise.nnFor the technical question, I am using Head Mounted Display (It is still a screen, I know…) but soon technology will be almost as natural as wearing sunglasses. Once this Less

mermaid speaking underwater for 2 minutes with one breath!

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http://www.mermaidmelissa.com/events/worlds-first-mermaid-speaking-underwater-for-2-minutes/nMermaid Melissa is known for many things. But m...

PopScreen - Video Search, Bookmarking and Discovery Engine