Latest athlete profile videos at PopScreen

Michael De Feo: Crosstown Traffic

Vimeo 4:19

Crosstown Traffic, a new installation by Michael De Feo, is the seventh exhibition in Rice Gallery’s Summer Window series, which features ...

UFO RYDA

Vimeo 1:50

RIDING & EDITING: MATTHIEU BONNECUELLEnFILMING: XMB, MAXIME CASSAGNE, FEDERICO CAPON, PETITE CHATTE, MATTHIEU B.nMUSIC: MANA - UFO RYDA www....

Ruben's Elevator

Vimeo 4:28

Seventy-five year old Ruben Pardo is the oldest elevator manual operator in Los Angeles. For six days a week over the past 40 years, he has ...

"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

PORCELAINIA

Vimeo 4:47

This is the story of Teacher, Scientist, Artist- Bobby Jaber.nBobby is my Great Uncle and for years I have wanted to tell his story. This sh...

Film 04 Walkthrough

Vimeo 11:51

Zach, VSCO's Product Developer, walks us through the unique features of VSCO Film™ 04 for Lightroom 4 & 5 and ACR for Photoshop CS6 & CC, ...

Photography Phone Call: Are Snapshots Dead?

Vimeo 4:40

Robert E. Jackson isn't a household name but he's had some high-profile photography exhibits -- at the National Gallery of Art and at New Yo...

Squirrel >> AURA (Read Full Text Below)

Vimeo 3:41

Much has changed in the past few years of wingsuit design. With the most modern wingsuits, we’re flying on terrain that is much flatter th...

Much has changed in the past few years of wingsuit design. With the most modern wingsuits, we’re flying on terrain that is much flatter than ever before: now the best pilots are buzzing terrain at a glide ratio of 2.5:1, at high speeds and with a comfortable margin. They are also jumping from short, and positive, exit points. nnA whole new range of possibilities now exist, and the Aura represents our most advanced suit to date.nnThe difference in start arc and glide, compared to the Colugo, is not huge - but it is noticeable. The starts are a bit faster, and the glide performance is better. The suit does have more surface area and requires experience and practice to fly well, but overall there is not a big reduction in agility. nnThe AURA features a slightly different profile in the arm wing, and a small increase in leg wing volume. We've fine-tuned the inlets for this volume and profile change, and added a slightly slicker leading edge design which fits tightly over your arm. The suit is quite comfortable to fly, and you will notice the increase in efficiency. nnOverall, the Aura really gives a feeling of smooth power while terrain flying. Thanks to its excellent start, you'll be able to enter your terrain flying line with more altitude – and when it's time to pull up, the efficiency and power of the Aura gives you an incredible flare, which means you can stay connected longer to your line, and pull higher. We've seen crazy glide figures when pulling out of dives. nnThe pull is of course very clean - this is a priority for us on all of our suits. Consistent internal arm wing pressure at all angles of attack, combined with the arced wrist and flexible glideskin, means that you can get your PC quickly and safely and then reach your brakes immediately. nnThe Rapid Arm Deployment allows you to get your hands on your risers before deployment is complete, which can help to prevent line twists and work on canopy malfunctions early - so please practice this skill extensively. nnWe're really excited about this new suit and we look forward to hearing about your flights with it. From all of our team, thank you for flying Squirrel! We'll see you up there. Less

Sweetgrass Productions' VALHALLA - Trailer 2

Vimeo 2:26

Premiering September 13th, 2013 at the Paramount Theater in Denver, CO nBuy Tickets here: http://www.tickethorse.com/event/valhalla/1684nPre...

Premiering September 13th, 2013 at the Paramount Theater in Denver, CO nBuy Tickets here: http://www.tickethorse.com/event/valhalla/1684nPre-purchase the DVD and Blu Ray today at: http://www.sweetgrass-productions.com/shop/nCheck out Trailer 1: http://vimeo.com/backcountryski/valhallannPatagonia PresentsnSweetgrass Productions' VALHALLAnStarring Cody Barnhill, Sierra Quitiquit, Alex Monot, Pep Fujas, Zack Giffin, Eric Hjorleifson, Molly Baker, and Kazushi YamauchinnBeyond action sports-- with Valhalla's totally unique style and structure, we've recognized an opportunity to put a daring new spin on the ski film, exploding the boundaries of the genre, opening the eyes and melting the hearts of any story-loving soul. With hard-hitting ski and snowboard action complimenting a more narrative-driven approach than our past films, or perhaps any other ski movie before it, we follow one man's escape into the Northern woods, and his wild journey towards satisfaction, understanding, and love in some of the deepest snows on earth. nnWeaving story and character with award-winning, face-melting backcountry ski and snowboard cinematography; Valhalla is a vivid explosion of color, character, snow, and nostalgic soul.nnSupported by: Patagonia, Dynafit, Clif Bar, Outdoor Research, Backcountry.com, Blizzard/Tecnica, Powder Magazine, Zeal, Osprey, Venture Snowboards, Flylow, Gentemstick, Kootenay Mountain Culture Magazine, Outside TV, and Whitewater Ski Resort. nnLocations: Whitewater, BC; Rogers Pass, BC; Revelstoke, BC; Golden Alpine Holidays-- Sentry, Meadow, and Sunrise Lodges, BC; Valhalla Range, BC; Haines, AK; Glacier Bay, AK; Juneau, AK; Eaglecrest, AK; Tordrillo Mountains, AK.nn Athletes: Eric Hjorleifson - Cody Barnhill - Carston Oliver - Zack Giffin - Pep Fujas - Kye Petersen -Johan Olofsson - Adraon Buck - Ryland Bell - Josh Dirksen - Aidan Sheahan - Molly Baker - Forrest Shearer - Taro Tamai - Stephan Drake - Eliel Hindert - Will Cardamone - Jaime Laidlaw - Trevor Hunt - Donny Roth - Jesse Hoffman - Austin Ross - Nick McNutt - Paul Kimbrough - Thayne Rich - Kazushi Yamauchi - Keely Kelleher - Ralph Backstrom - Piers Solomon -Johan Jonsson - Alex Yoder Less

Go 4th 2013 Teaser (Alex Nunez)

Vimeo 0:26

GO 4TH is a blading film based out of New York City & South Florida. It features full-length profiles on ALEX NUNEZ,MAX RENSEN,CHRIS BURNS, ...

Jim Brown: All-American

Vimeo 2:58

HBO SPORTS OF THE 20TH CENTURYnA feature length documentary on the athlete, actor, activist and dynamic character that is Jim Brown.nDirecte...

KeWe - Connected

Vimeo 1:48

KeWe is a beautiful and highly functional social messenger. Combining the worlds of social networking with instant messaging.nnA messenger t...

Pharoah McKever highlights versus West Columbus

Vimeo 3:18

Video highlights of class of 2013 athlete and Wolfpack commit Pharoah McKever of Tabor City (N.C.) South Columbus High from his Sept. 21, 2...

adidas Originals | The Open Road | Pieter Retief

Vimeo 6:37

adidas Originals has released another in-depth webi-sode as part of a series showcasing some of the brand’s local ambassadors, across vari...

Footpatrol x Classic Material x Normski T-shirt Launch: August 15 2013

Vimeo 1:31

Classic Material is pleased to present its second collaboration with Footpatrol and renowned UK street style photographer Normski, a collect...

"Hal is very sophisticated. He's a copper sweaty mannequin"

Vimeo 3:23

See more architecture and design movies at http://www.dezeen.com/moviesnnMatthew Nurse, director of Nike Sport Research Lab, takes Dezeen be...

See more architecture and design movies at http://www.dezeen.com/moviesnnMatthew Nurse, director of Nike Sport Research Lab, takes Dezeen behind the scenes at the laboratory where Nike tests new technologies and introduces us to Hal, a sportswear-testing robot that perspires as he runs.nnNike Sport Research Lab is part of a sprawling campus just outside of Portland, Oregon, where the American sports brand is based.nnNike has developed and invested in a range of different technologies to monitor how athletes move, the pressures exerted on their bodies when they do, and what effects different products have on them.nn"We can objectively quantify athletes in motion, the environments they play in and the demands of the sport," Nurse explains.nn"We can quantify and understand Nike's different product innovations, how they affect athletes in the way they perform, the way they're protected and the perception they have of those different products."nnNurse demonstrates how, using a combination of motion-capture cameras and a pressure-sensitive plate in the ground, researchers at the laboratory can analyse a sprinter's motion and the forces they exert as they come out of the blocks at the start of a race.nn"We are able to collect the three-dimensional motion of an athlete and from there calculate the power that they produce and the energy that's produced or lost in the different joints," he explains.nn"[This provides] an understanding of how an intervention [such as a new pair of running shoes] contributes to their overall performance as they do the different movements."nnNike uses similar technology to monitor the movement of athletes in other sports, such as how a basketball player jumps, twists and lands when scoring a slam dunk.nnNike Sport Research Lab also features a number of sealed environmental chambers, where athletes' performances and the performance of the clothes they wear can be tested in different atmospheric conditions.nn"Our physiology team looks at understanding the body's regulatory systems, so what happens inside," Nurse says. "We use that information to quantify things like thermal temperature, to understand thermal regulation and skin wetness as athletes run and move and perspire."nnOne of these environmental chambers is home to Hal, a marching humanoid that Nurse describes as "a copper sweaty mannequin," which allows Nike to test the permeability and breathability of new sportswear.nn"Hal is very sophisticated," says Nurse. "We can set the environmental chamber to different conditions, whether it's temperature or humidity, and as he moves he actually perspires. It allows us to understand how different constructions or different methods of making affect the permeability of the garment, which is ultimately going to affect the comfort of the athlete and also the thermoregulation of that athlete. He's an invaluable tool for us."nnWith products such the Nike+ FuelBand and Nike+ running shoes, which collect data about the wearer's exercise routines via a mobile phone application, Nike has already started to commercialise some of the basic technology developed at Nike Sports Research Lab. Nurse says that there is more to come.nn"The technology is becoming ubiquitous and the ability to capture the information we collect is getting more and more robust," he says. "The willingness of different groups to spend money on the kind of tools we have is also growing. The tools that we have are going to be more and more available."nnHowever, Nurse believes that data alone is not necessarily that useful. How you interpret that data is more important, he says.nn"As data becomes ubiquitous and it becomes all-encompassing and all-informing, [Nike's] competitive advantage is the knowledge we have of how we apply that data to build unbelievable product. With that we're unsurpassed in the world." Less

CROPS (2012)

Vimeo 3:27

Director: Gerco de RuijternMusic: Michel BanabilannThis film is like an abstract film, but actually is not. It sets some very basic rules fr...

New York City | Breaking in the Blackmagic Pocket Cinema Camera

Vimeo 7:18

[UPDATE: Also check out the split-screen "color commentary" on this at http://vimeo.com/hpmoon/bmpc.]nnOn August 29, there were just a handf...

[UPDATE: Also check out the split-screen "color commentary" on this at http://vimeo.com/hpmoon/bmpc.]nnOn August 29, there were just a handful of Blackmagic Pocket Cinema Cameras (BMPCs) in circulation, but I managed to get one. That weekend, I took a visit to New York City as my occasion to break it in. Manhattan has been a limitless source of inspiration for people far more talented than me, but the Blackmagic technology, coming to market in such a versatile size, invited this cinematic tone poem which might, even so, look different. Instead of creating something like a tourism video, I wanted to try and capture the human energy of the city that New Yorkers themselves know best, driven by the extraordinary music of Richard Danielpour that I came across recently (ringing in my head all weekend as I captured these shots).nnTrue to the elegant simplicity of the BMPC (http://bhpho.to/bmccpckt), I shot the entire piece handheld, using a single lens (Panasonic 12-35mm, continuous f2.8 aperture, optically stabilized H-HS12035 | http://focuspull.in/hs12035). Shooting was over the course of two days, September 1 and 2, gathering well under an hour of raw footage which was all that could fit onto a flash card using ProRes 422 HQ anyway. In post-production on September 7, I performed clip-by-clip balancing adjustments using Fast Color Corrector in Adobe Premiere Pro CC, then applied an Adjustment Layer over the entire sequence with FilmConvert Pro 2, using its Blackmagic Cinema Camera profile and selecting the classic film stock emulation of KODAK VISION3 250D Color Negative Film 5207/7207 (adding vintage Super 16mm film grain to match the feel -- and the actual size -- of the BMPC's digital sensor).nnThe BMPC concept has a long way to go; it doesn't live up to its promises in terms of dealing with highlights (those dreaded white orbs), its batteries last a New York minute, and its interface is wonky, but I'm excited by the latitude that it buys me for image corrections in post, given its portable form factor which really suits my working style.nnIf you're interested in seeing the creations and comments and tips of other filmmakers using this camera, join the User Group community that I created at:nnhttp://vimeo.com/groups/blackmagicnhttp://facebook.com/BMCCusersnhttp://twitter.com/BMCCusersnn[Note: This video streams by default in full 1080p high definition. If you experience stuttering, click the HD icon in-frame to reduce its playback resolution.] Less