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Build Us Airplanes - "Releasing Hands"

• Vimeo 3:27

Directed and hand colored by Lewis SmithinghamnEdited by Matthew KadinShot on 16mm film at UC Santa Cruznwww.buildusairplanes.bandcamp.comnn...

Directed and hand colored by Lewis SmithinghamnEdited by Matthew KadinShot on 16mm film at UC Santa Cruznwww.buildusairplanes.bandcamp.comnn---------------------------------------------nnstuck in this maze turning corners njust to find, I'm back where i began nlethargic and weak, to tired to sleep, ni can't stand on broken knees nthis same old defeat nnreleasing hands nunclasp and excommunicate nmake tracks as we speed away ndim lights on long interstates nfade out as the credits play nnempty space on a blank white page ni fill with pointed fingers and blame nthe same familiar case nlike cancer it spread and we cut it out nwe're fake, we take what we can nand throw the rest away nnthese shaking hands nunclasp and excommunicate nwrite words that don't change a thing nthis weight remains in my bed nyour face painted in my head nntime wipes it clean and chips away ni don't recall who i was before nnwe dwell in two separate cells nwith miles between ni'm picking scabs tonight, nhaunted memories ndo what you gotta do with no change nI'll do what i gotta do without choice nnand act like it's all ok nto save pride and to save face ndim lights down long interstates njust stay the fuck out of my way   Less

5 Power Ring Magnets by the 3P Company

• Vimeo 1:56

When you first receive these Power Rings, they will be in a stack with a plastic spacer in between each of the Power Rings. It is hard enoug...

When you first receive these Power Rings, they will be in a stack with a plastic spacer in between each of the Power Rings. It is hard enough separating them with the plastic spacer, but if you allow them to stack against each other without the spacer, it is almost impossible to separate them with just your fingers. With the spacers in between the Power Rings you can separate them by sliding one of the Power Rings side ways off the stack. You need strength to do this. If you don’t have the finger strength to do this, you can put the stack at the edge of a table with one Power Ring over the edge. One hand on the stack on the table and the other on the one Power Ring you want to separate from the stack and push down with your weight. The stack remains on the table as the one Power Ring will separate off the edge of the table.   Less

Plexus

• Vimeo 1:07

ENnManual labor is disappearing. Potters, glass blowers or cabinetmakers, to name just a few, are dying trades, and with their dwindling pre...

ENnManual labor is disappearing. Potters, glass blowers or cabinetmakers, to name just a few, are dying trades, and with their dwindling presence long traditions refined through the centuries fade. Electronics and the robotization of the manufacturing process erase the hand as a fabricating tool. Homo faber gives way to homo cyber. What a paradox that in the digital era, it is precisely the digit of the hand that disappears from the labor process.nnPlexus questions the hand of the artist as the origin of an artwork in the digital era. The clusters of hands seen in the artwork – those of the artist – depict fingers weaving in the air to form undulating curtain-like formations. The rhythms of the hands resemble the choreography of Busby Berkeley and Esther Williams films from the 1930s, as well as the use of humans as mass ornament in the Third Reich’s Nuremberg parades. Hands, so present through the history of art since the first cave paintings, here succumb to multiple synchronized rhythms, evoking the mass production of the global market. nnAn important influence in the genesis of the artwork were Muybridge and Marey’s photographic human motion studies from the late 19th Century, as well as the optical effects of the 18th Century zoetrope that created movement out of static images. In these pre-cinematic inventions human beings were incorporating themselves into the mechanical rhythms of the moment, of which photography and film were a product. In the present we are synchronizing ourselves to the new rigors of a digital culture. Plexus helps me reflect on how I want to incorporate, or resist, the unstoppable digital rhythms of today. It also helps me to find my own trace in the electronic era. nnESnEl trabajo artesanal está desapareciendo. Ceramistas, sopladores de vidrio o ebanistas, por poner algunos ejemplos, escasean cada vez más, y con su desaparición se aniquilan largas tradiciones refinadas a lo largo de los siglos. La electrónica y robotización del proceso productivo eclipsa la mano del ser humano como herramienta fabricante. El Homo Faber da paso al homo ciber; que gran paradoja que en la era digital sea el dígito de la mano lo que está despareciendo del mundo laboral. nnPlexus interroga la mano del artista como origen de la obra de arte. Las manos que se ven en la obra – las del propio artista – forman un cortinaje de dígitos tejiendo en el aire. Los ritmos de las manos pueden recordar a las coreografías de Busby Berkeley y Esther Williams del cine estadounidense de entreguerras, o a la utilización del soldado como ornamentación masiva en los desfiles de Núremberg del Tercer Reich. Las manos, tan presentes en la historia del arte desde las primeras pinturas rupestres, aparecen aquí arrastradas por infinitos ritmos sincronizados, evocadores de los nuevos procesos productivos del mercado global. nnUn influencia importante de la obra son los estudios de movimiento humano de los fotógrafos Muybridge o Marey, y los efectos ópticos del zootropo, que conseguían poner en movimiento sucesivas imágenes estáticas. Si en estas imágenes pre-cinematográficas el ser humano se estaba acoplando a los ritmos mecánicos del momento – de los cuales la fotografía y el cine eran un producto – en el presente el ser humano se está reescribiendo para sincronizarse con los nuevos rigores de la sociedad electrónica. Plexus me invita a reflexionar sobre como deseo incorporarme, o resistirme, a los imparables ritmos digitales, y a buscar mi huella en la era electrónica.   Less

Eye Conductor - Play music with eye movements and facial gestures

• Vimeo 3:00

Eye Conductor is a musical interface that allows people with physical disabilities to play music through eye movements and facial gestures. ...

Eye Conductor is a musical interface that allows people with physical disabilities to play music through eye movements and facial gestures. Using a $99 eye tracker and a regular webcam, Eye Conductor detects the gaze and selected facial movements, thereby enabling people to play any instrument, build beats, sequence melodies or trigger musical effects. The system is open, designed for inclusion and can be customised to fit the physical abilities of whoever is using it.nnEye Conductor was built in 8 weeks as my final project at www.ciid.dknMade by Andreas Refsgaard - www.andreasrefsgaard.dknnThanks to Scott Leinweber for filmingnnn***Why make Eye Conductor?***nImagine playing a musical instrument without using your hands. It can be hard to conceive and even harder to actually do. For a lot of people with physical disabilities the lack of fine motor skills exclude them from producing music on traditional instruments.nWith Eye Conductor I wanted to push the boundaries of the interaction design by exploring how eye and face tracking technologies could be used for creative purposes. I believe that the ability to express oneself artistically should be available to all, regardless of physical disabilities or challenges. Therefore I wanted to create a solution that operated in the same domain as traditional instruments. Something that gives people a lot of freedom, but also requires them to practice, just like a regular instrument.nnn***User research***nThe project relied heavily on user research, and I visited several schools and housing communities for people with physical disabilities, as well as families with children in wheelchairs in their private homes.nThe people I meet were extremely diverse in terms of physical abilities, but music seemed to be a unifying interest for them all.nAt Jonstrupvang, a home for people with different disabilities, "Music Thursdays" was the activity that gathers the most people every week, despite the fact that almost half the people doesn't produce any sound, because of physical inability to do so.nAbout half of the people I tested early stage prototypes with were unable to speak, but as soon as I showed them my interactive prototypes we immediately connected.nnn***Insights*** nFrom all my user insights the following three stood out:n1) Regardless of physical abilities music is a major interest, which has the ability to connect people (abled or disabled) through a shared activity.n2) The ability to create music functions as an important identity marker and a channel for expressing deep emotions, but often requires aid or execution by others.n3) The technology and the hardware exists, but tools for creating music in real time for people who cannot use their arms and fingers are missing.nnn***How Eye Conductor Works***nEye Conductor translates eye gaze into musical notes or beats in a drum sequencer. Raising your eyebrows can be used to transpose all played notes up one full octave while opening your mouth can add a delay, reverb or filter effect to the instrument being played. Thresholds for facial gestures can be adjusted and saved to fit the unique abilities of different users.nEye Conductor is programmed in Processing and early prototypes uses FaceOSC by Kyle McDonald for face tracking.   Less

PSA

• Vimeo 2:20

...nnMUSIC: MF DOOM (as Metal Fingers) - Benzoin GumnnI do not own the rights to the music used in this film.n© Mezu Ukah, 2016.  

SINGULARITY

• Vimeo 5:24

An ode to planet earth, solely told with organic fluids and a tiny crystal ball.nnSometimes, the complexity of simplicity makes us fail to p...

An ode to planet earth, solely told with organic fluids and a tiny crystal ball.nnSometimes, the complexity of simplicity makes us fail to preserve the fundament of all we are and all we represent. But reaching awareness is not about the end, it is about the beginning. SINGULARITY takes us back to zero hour, 4.5 billion years back in time. It is the story of an indescribable hazard and a singular fortune: the fortune of being a human.nnThis is organic FX from terracollage. Household ingredients and ink. Strictly 2D, no CGI.nHeadphones highly recommended!nnLatest articles:nhttp://thecreatorsproject.vice.com/blog/organic-vfx-big-bangnhttps://fstoppers.com/vfx/macro-photographer-creates-amazing-organic-video-fx-inspired-big-bang-120958nhttp://www.diyphotography.net/4k-macro-video-makes-tabletop-landscapes-look-like-ethereal-masterpieces/#more-43601nhttp://bokeh.digitalrev.com/article/macro-photographer-creates-entire-galaxies-from-his-tabletopnnReflections about SINGULARITY: http://terracollage.com/singularity-a-reflection-pt-i/nInsights into the production process: http://terracollage.com/singularity-release-insights/nFree mesmerizing organic wallpapers in 4K: http://terracollage.com/mesmerizing/nWatch my first macro short “STREAM” here: https://vimeo.com/125434519nnwww.terracollage.comnfacebook.com/terracollage   Less

Tarantino's Slow Motion

• Vimeo 3:43

The films of Quentin Tarantino are some of the most stylish films ever made. Slow motion is just one of the many techniques jammed into Tar...

The films of Quentin Tarantino are some of the most stylish films ever made. Slow motion is just one of the many techniques jammed into Tarantino's overstuffed bag of tricks. Tarantino often employs slow motion when he wants us to really take in a tragic moment, forcing us to endure the tragedy slowly with more details. Other times, he uses slow motion to build energy and prolong intensity. And sometimes he uses it simply because it looks so cool. Here is a look at Tarantino's use of slow motion shots throughout his career.nMUSIC: "I Quattro Passeggeri" by Ennio Morricone, "Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra, and "Who Did That to You?" by John Legend.nFilms used:nReservoir Dogs (1992)nPulp Fiction (1994)nKill Bill: Vol. 1 (2003)nKill Bill: Vol. 2 (2004)nDeath Proof (2007)nInglourious Basterds (2009)nDjango Unchained (2012)nThe Hateful Eight (2015)nCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.   Less

Stop Motion is Pain

• Vimeo 0:03

One of the worst decisions I have ever made was to invest my complete waking hours in stop motion creation... fingers crossed it pays off  

The Spielberg Touchscreen

• Vimeo 11:02

This video essay analyzes tactile visuality in films directed by Steven Spielberg, focusing on the motif of hands and fingers making contact...

This video essay analyzes tactile visuality in films directed by Steven Spielberg, focusing on the motif of hands and fingers making contact with other onscreen objects. It was produced for publication through [in]Transition: Journal of Videographic Film & Moving Image Studies, Issue 3.1, March 2016. http://mediacommons.futureofthebook.org/intransition/2016/03/18/spielberg-touchscreen   Less

Winter Wonderland - Finland | 4K Timelapse

• Vimeo 4:10

I have experienced unforgettable moments during this project.nI've witnessed amazing sunsets, bright night skies, unbealivable Northern Ligh...

I have experienced unforgettable moments during this project.nI've witnessed amazing sunsets, bright night skies, unbealivable Northern Lights and endless amount of snow.nnI have also almost frozen my fingers off while searching for a memory card in a snowbank, felt frustrated while checking the next weeks forecast and struggled my way up to the Finnish fells with all my gear just to realize the weather is actually pretty miserable.nnBut everything I've been through in the past 4 months is priceless. I wouldn't change a thing.nBig thanks to everyone involved in this project, especially Riku Karjalainen.n------------------------------------------------------------------------------------------------------------------------------------------------nYouTube: https://www.youtube.com/watch?v=R5l4MghKGEAnnAll the clips are available for licensing.nContact me for more information: niko.j@hotmail.finnFollow me on Instagram: @nikojuntunennnMusic:nReverie - James Everinghamnsoundcloud.com/james-everinghamnnEquipment used:n-Canon 6Dn-Canon 700Dn-Canon 24-105mm f4 Ln-Samyang 14mm f2.8n-Samyang 10mm f2.8n-Sigma 17-70mm f2.8-4n-Motorized timelapse dolly by PocketSlider.den-Syrp Genie Mini motorized pan-head   Less

EYES WIDE OPEN

• Vimeo 2:32

EYES WIDE OPEN (2’30’')nThese are just a few impressions of my trip in Bangladesh. (Dhaka-Gaibandha-Chittagong-Syhlet)nnI went there to ...

EYES WIDE OPEN (2’30’')nThese are just a few impressions of my trip in Bangladesh. (Dhaka-Gaibandha-Chittagong-Syhlet)nnI went there to shoot a documentary for the NGO Friendship http://www.friendship.lu who supports communities mainly in the shifting nothern river islands, known as "Chars".nThe documentary “Voice of Bangladesh" will coming soon !nnWhat can I say about my trip ?nnIn Bangladesh especially in the chars of Gaibandha, I rediscovered all the things I thought we had lost: the joy of life, the innocence, the simplicity, the human warmth, the authenticity, peace, space and freedom … or almost. It’s like I found back the human being.nHow did I feel during my trip?nSometimes I felt like Robinson Crusoe especially on the chars, sometimes like an adventurer, sometimes like a star making selfies with the local people, sometimes I felt like turning back in time, sometimes being on an other planet, sometimes being like in a dream, sometimes I was lost in translation and ….sometimes I missed my spaghettis.nTo resume, Bangladesh is a wonderful country … I have never met such franc, kind and hospital people like the Bengalis.nAnd what great workers ! They made me often think of ants ... I saw everywhere legs, hands and fingers of men, women, young and old … but also of kids … and that put some tears in my eyes.nYes, I will never forget all these beautiful and intense moments and faces.nNow I am a rich man.nnnThis is also my first experience with the Sony A7s2.nEntirely filmed handheld in 4K - exported in full hd.nI used mostly Sony lens 16-35mm f4 and sometimes sony 35 mm f2.8.nPresets Ciné 4. Miller Luts - Hyde ParknnMusic arranged by Rem PerrynMany thanks to Rem Perry (Composer, Producer and Arranger)nhttp://www.remperry.com   Less

‘Berlin’ Premiere Pro Preset // I Make Films

• Vimeo 0:42

My 'go-to' black and white preset: BerlinnnA simple but magical black and white preset that i especially use in fashion films for a single s...

My 'go-to' black and white preset: BerlinnnA simple but magical black and white preset that i especially use in fashion films for a single shot of BANG and nearly every wedding highlights I've created features variations of 'Berlin'.nnIf you love Berlin as much as I do you can now purchase the 'Berlin' Premiere Pro Preset for AU$9.99 @ nnThe 'Berlin' Preset works with Adobe Premiere Pro CS6 and all versions of CC.nPrior to purchasing, please read the Premiere Pro Preset FAQ's at: digitalfilmactions.com/faq   Less

Body Integrated Programmable Joints Interface

• Vimeo 2:12

We envision a machine-driven evolution of human body form and function, where the programmable nature of machines plays a crucial role. Robo...

We envision a machine-driven evolution of human body form and function, where the programmable nature of machines plays a crucial role. Robotic joints worn on the wrist turn into extra fingers so that a person acquires skills beyond what five fingers can offer, or performs “tri-manual” tasks with the machine joints.nnSang-won Leigh   Less

SON LUX // Cage Of Bones [Official Music Video]

• Vimeo 4:16

Written & Directed by Jean-Paul Frenay (http://www.frenayjp.be)nProduction : Bang Bang ClubnExecutive Producer : Geoffroy RouffiangenDirecto...

Written & Directed by Jean-Paul Frenay (http://www.frenayjp.be)nProduction : Bang Bang ClubnExecutive Producer : Geoffroy RouffiangenDirector of Photography : François StarrnEditor : Jean-Paul FrenaynVFX : Prodigious CGInnCast : nnGustaaf Smans nDenis CarpentiernChristel PedrinellinThomas DemareznWalter Zimmermann nLeslie AttarnSamuel SeynavenOlivier FrancartnFlorence GillesnMathias AmbrozynHelena CoppejansnnPhantom Operator : Léo LefèvrenFirst Camera Assistant : Juan SepulcrenFirst Assistant Camera (only for promo) : Ryszard KanSecond Camera Assistant : Guillaume CrynCamera Assistant : Virgil LeclerqnProduction Manager : Luc DechampsnProduction Assistant : Charly Calicis, Mariola Heslop, Jonas BukowskynFirst Assistant Director : David OeyennArt Director : Jean-Paul FrenaynSet Builders : Stéphane De Broyer, Béatrice Arteaga, Maxime Houpe, Abdes, nStéphane Dekie, Joyce Gomez, Samuel Charbonnot, Geoffroy Rouffiange, nJean-Paul Frenay, Luc Dechamps, François StarrnProps : Tom DarmstaedternCasting Director : Charly CalicisnMake Up : Aurélie ElichnGaffer : Abdel MouhssinnSpark : George Bulterys, Marco Vieira, Denis Liégeois, Edouard ChandellenKey Grip : Xavier Servais, Brendan SendennKey Grip (only for promo) : Julien ChassaignonnGrip : Richard DesmarlièresnGrip Assistant : Charles Jacquier, Quentin Govaerts, Edouard ChandellenGrading : Jean-Paul Frenay nnCGI Producer : Laurent SequarisnProducer assistant : Alexandre RubinnVFX Producer : Matthieu Royer, Noucha ShahbazinVFX Producer Assistant : Audrey LagnousnPost Production Manager : Kwet DupicnTechnical Director : Laurent MartinnModeling : Kadeg BouchernConcept Artist : David BrochardnMotion Designer : Bright Photon, Jean-Paul FrenaynTracking : Tim Mendler nSetup/Animation : Gwenhael GlonnAnimation : Jean-Claude Charles, Fabrice LacroixnShading : Franck Julia, Jérémie Abrial,nLead Compositor : Jérôme LionardnCompositing : Fabrice Lacroix, Jérémie Abrial, François Vico, Laetitia Nicolas, nMathieu Legros, Estelle Chiron, Guillaume Gaussuron, Diego Palacios, Jean-Paul FrenaynRenders : Franck JuliannA Bang Bang Club Production ©2015nMusic video by Son Lux performing Cage of Bones. (C) 2015 Glassnote Entertainment Group LLC   Less

IT SHALL COME TO US

• Vimeo 4:26

Director: Machete Bang BangnCinematography & Color: Rick DargenConcept: Machete, Toogiesauras, SmacnHead Choreography: ToogiesaurasnDancers:...

Director: Machete Bang BangnCinematography & Color: Rick DargenConcept: Machete, Toogiesauras, SmacnHead Choreography: ToogiesaurasnDancers: Smac, Toogiesauras, MachetenEditor: MachetenSpecial thanks to Brandon HawkinsnMusic: Plekete by Zap Mama & Work It by Missy Elliott   Less

La Petite Mort

• Vimeo 1:49

Taking sexy backn'La petite mort' is a digital work for the touch screen. It is an abstract erotic experience. By sliding your finger over t...

Taking sexy backn'La petite mort' is a digital work for the touch screen. It is an abstract erotic experience. By sliding your finger over the touch screen and moving the finger in different patterns, places and with different intensity, you can create different receptive responses in the private parts, depicted in abstract pixelated forms. The different 'levels' in the experience each have a different sound composer behind, so each level is different, just like each individual is different and has a different sexuality.   Less

Diaries Downunder Winter Teaser 2016.

• Vimeo 1:13

WINTER TEASER 2016!!nnGet excited - 2016 Winter has arrived and the mountains in New Zealand have already been battered with several storms ...

WINTER TEASER 2016!!nnGet excited - 2016 Winter has arrived and the mountains in New Zealand have already been battered with several storms allowing resorts to all open on time and conditions to have been AMAZING right from the beginning of June!nDiaries Downunder is back for another season and episodes will be kicking off early July. Until then, get hyped on our Early Season teaser with the best bits from winter at the bottom of the world.nnRiders: nNick BrownnMahi MainsnNick HynenStef ZeestratennBlake ThorntonnRoland Morley-BrownnSeth HillnnMusic:nArtist: Panther ClawnSong: Bang BangnFacebook: Pantherclaw.bandcamp.comnnDiaries Downunder is only possible because of the absolute legends atnnewzealand.comnairnewzealand.com.aunBurton.comntorpedo7.comnworldbar.com/queenstownnsherwoodqueenstown.nznLakewanaka.co.nznnEdit: Heath PattersonnThumbnail Image Rider: Nick HynenThumbnail Photographer: Stef Zeestraten   Less

A-Z of Dance

• Vimeo 3:33

Shot on the streets and rooftops of sunny LA, the A-Z of Dance shows you how to set hearts alight and clubs on fire. Float like an Arabesque...

Shot on the streets and rooftops of sunny LA, the A-Z of Dance shows you how to set hearts alight and clubs on fire. Float like an Arabesque, spin like a B-Boy, wobble like a Chicken Noodle Soup... it's time to step up! In a very special project for i-D and Diesel, director Jacob Sutton has captured the world's hottest dancers walking in the air. Lil Buck shows us the way of Memphis Jookin, super-thighs Nicole the Pole - star of Rihanna's "Pour It Up" video - takes us to a whole other level and, fresh from the Rick Owens catwalk, the Soul Step team show us how to dance to Le1f. Enjoy!nnCreditsnnDirector Jacob Sutton nExecutive Producer Laura Holmes at Laura Holmes Production nDirector of Photography Jackson Hunt nEditor Jarrett Fijal at Bonch nMotion Graphic Designer Sebastian Lange at qu-int.comnProduction Manager Pia Ebrill at Laura Holmes Production nCasting Coordinator Molly Zinar at Laura Holmes Production nLocal Producer Wes Olson at Connect The Dots nLocal Production Manager Meghan Gallagher at Connect The Dots nLocal Production Coordinator Cassandra Bickman at Connect The Dots nFirst Assistant Director Knoko Chappele nProduction Assistants/ Drivers Hank Hartnell, Jordan Jolliff, Diane Kim, Saul Luzeus, Paris Potter Studio Teacher Cyndi Raymond nFocus Puller Rachel Fox nB-Camera Operator Doug Porter nSecond Assistant Cameraman Steve Doyle nCamera Production Assistant Nolwen Cifuentes nKey Grip Tom Whitehead nBest Boy Grip Matthew Lim nGrip Ivan Acero nDigital Imaging Technician Claire Fulton nVideo Playback Operator Kai Morrison nGaffer Brandon Musselman nSwing Kevin Scaggs nPost Producer Josh Falcon at Bonch nColourist Kevin Kim nEditor's Assistant Anna Gerstenfeld nAfter Effects Artist Matt Detisch nPhotographer's Assistant David English nMusic Supervision Pitch & Sync nMusic Le1f, Wut nnStylist Tracey Nicholson nHair Tony Chavez at Tracey Mattingly nMake-up Lisa Storey at The Wall Group nStyling Assistants Camila Dominique Jimenez, Timothy Chernyaev, Ali Raizin nHair Assistant Mateo Sifuentes nMake-up Assistants Megumi Asai, Hinako Nishiguchi nSeamstresses Lauren Bradley, Caroline Flach nAll clothing Diesel and Diesel Jogg Jeans Diesel nnExecutive Producer Marcus Ray nExecutive Producer Eddy Moretti nExecutive Producer Shane Smith nExecutive Producer Suroosh Alvi nExecutive Producer Andrew Creighton nGlobal Head of Video Danielle Bennison-Brown nVideo Commissioner Jack Robinson nnSpecial thanks to Diesel, i-D, Bloc Agency, Connect The Dots, Bonch and all our incredible dancers and their managers nnA - Arabesque, Morgan Quinn nB - B-girl, Bgirl Terra nC - Chicken Noodle Soup, Terence Dickson nD - Death Drop, Nick Lanzisera nE - East Coast Swing, Yani Marin, Nathan Kim nF - Finger Tut, John P-Nut Hunt nG - Grand Jeté, Julia Cinquemani nH - Harlem Shake, Amanda Meade-Tatum nI - Indian Bhangra, Reshma Gajjar nJ - Jump Style, Høps nK - Krump, Jigsaw nL - Liquid Dance, Phillip 'Pacman' Chbeeb nM - Memphis Jookin, Lil Buck nN - Northern Soul, Levanna McLean nO - OMG, Anthony 'Lil' Bob' Cabaero nP - Pole, Nicole 'The Pole' Williams nQ - Questionable, Reid Shapiro nR - Rumba, Junior and Emily Alabi nS - Step, Soul Steps: Dionne Norton, Heather DeLeon, Maxine LylenT - Twerk, Twerk Team: Lady Luscious, Mizz Twerksum nU - Ultimate, Shofu Tha Beatdown nV - Vogue Hands, Javier Madrid of Legendary House of Ninja nW - Whine, Colleen Craig nX - X-press Yourself, Ryan Heffington nY - YMCA, Allison Chu at Next Models LA nZ - TurF FeinZ: Byron Vincent Sanders Jr aka T7, Donald Brooks aka Torch, Eric Bossett aka Kidd Strobe, Gary Morgan aka Noh-justice, Leon M Williams aka Mann, Rayshawn Thompson aka Looney2smoothnnA-Z of Dance on YouTube:nhttp://www.youtube.com/watch?v=UFZxK8edZWA   Less

Pieter-Jan Pieters on using human movement to compose music

• Vimeo 6:42

Design Academy Eindhoven graduate Pieter-Jan Pieters makes digital music using his body parts as the instrumentsnnPieter-Jan Pieters is a re...

Design Academy Eindhoven graduate Pieter-Jan Pieters makes digital music using his body parts as the instrumentsnnPieter-Jan Pieters is a recent Design Academy Eindhoven graduate, and founder of OWOW (theomnipresentworldofwizkids), interested in innovation, design, technology, engineering and fun. At Design Indaba Conference 2013 he talked about his Sound on Intuition (SOI) graduation project.nnThe SOI project looks at digitalising instruments and questions why people should learn to compose music by reading notes instead of simply using technology and computers, which is how most of today’s songs are created.nnThroughout his Pecha Kucha presentation, Pieters explained how the ISO works. It consists of five instruments that translate people’s movements into sound. An arm-waving motion becomes a wavy sound; a person reaching up, a high note; the tapping of a foot or finger, a rhythm; its tempo, a heart beat.nnBy capturing the unique movements of people, the ISO allows users to interact with a computer in a more intimate and fun way.nn"A live band isn’t perfect, neither is my project. That’s the beauty of it," says Pieters.nEnding off his presentation, Pieters enlightened audiences to a short but powerful live performance, where the designer used his body to compose a music piece.nnWatch all the talks from Design Indaba Conference on your tablet or smart phone while you're on the go.nnDownload the Design Indaba App here:   Less

WE KEEP ON DANCING - Short Film

• Vimeo 8:11

Two distinctly disparate characters come together over a broken down Volkswagen Beetle in this sweet, amusing tale of love, loss and… car ...

Two distinctly disparate characters come together over a broken down Volkswagen Beetle in this sweet, amusing tale of love, loss and… car trouble.nnjerryprojects.com I facebook.com/jerryprojectsfilms/nnWINNER ‘Best Live Action Narrative Under 15 Minutes’ Palm Springs International ShortFest 2013nWINNER ‘Best Actor’ Made In Melbourne Film Festival 2014nFESTIVAL HONOURS Newport Beach Film Festival 2014nWINNER ‘Best Film’ ReelGood Film Festival 2015nNOMINATED Grand Jury Prize of Best Narrative Short at Slamdance Film Festival 2014nNOMINATED ‘Best Achievement in Editing’ at St Kilda Film Festival 2014nNOMINATED Grand Prix International Prize at Cork Film Festival 2013nNOMINATED ASSG Award for 'Best Achievement in Sound for a Short Film' 2013nnOFFICIAL SELECTIONnnPalm Springs International ShortFest Film Festival 2013nSan Diego Film Festival 2013nRaindance Film Festival 2013nCork Film Festival 2013nRocky Mountain Women’s Film Festival 2013nSlamdance 2014nFlickerfest 2014nWorld Of Women Film Festival 2014n38th Cleveland International Film Festival 2014nByron Bay Film Festival 2014nChicago International Music & Movies Festival 2014nAspen Filmfest 2014nRincon International Film Festival 2014nNashville Film Festival 2014nNewport Beach Film Festival 2014nSt Kilda Film Festival 2014n21st Capalbio Cinema ISFF 2014nBarwon Heads Film Festival 2014nMissouri Film Festival 2014nFairhope Film Festival 2014nHeathcote Film Festival 2014nHeartland Film Festival 2014nCalgary International Film Festival 2014nSapporo International Short Film Festival 2014nFIJR Granada –International Short Film Festival 2014nMilwaukee Film Festival 2014nMade In Melbourne Film Festival 2014nReelGood Film Festival 2015nnCASTnnWilliam Gluth ~ AlannJohn Brumpton ~ DannynRhys Mitchell ~ FingersnnCREWnnWriter ~ Rhys MitchellnDirector ~ Jessica Barclay LawtonnDirector of Photography ~ Edward GoldnernProducers ~ Jessica Barclay Lawton & Rhys MitchellnExecutive Producers ~ James Frecheville, Jessica Barclay Lawton & Rhys MitchellnAssistant Director ~ Lucy MckendricknGaffer ~ Sam Osborn Rassabyn1st AC - Bradley AndrewnBest Boy ~ John MaloneynSound Designer ~ Mark EdwardsnSound Composition ~ Oscar DawsonnChoreographer - Aisha KuryananProduction Assistants ~ Freya Esders, Lewis Mitchell, Callum MitchellnEditor ~ Marty GilchristnColourist ~ CJ Dobson 'Pocket Post'nVisual Effects ~ The Pixel Kitchennn© JERRY PROJECTS 2016   Less