The cybernetic construction in “Fire Painting” sets off explosive levels of kerosene. Its burning can be handled by subtile movements of the sensory data glove for tactile formulation of the fiery image. Thus, the image can be manipulated, yet it constantly escapes control.
There is no auteur in cinema with such a distinctive visual style as Terrence Malick. One key visual element that stands out is the focus on nature. In all Terrence Malick’s films, nature always plays a central character. Being nature itself or the elements of nature, they are as crucial as the actual human protagonists in the telling of the story, much like a third character.
The films included are:
Days of Heaven (1978)
The Thin Red Line (1998)
The New World (2005)
The Tree of Life (2011)
To the Wonder (2012)
Knight of Cups (2015)
Music: Hanan Townshend- Marina’s Theme overture (To the wonder OST)
A frame by frame reconstruction of the film Blade Runner using a type of artificial neural network called an autoencoder.
The model is a variational autoencoder trained with a learned similarity metric [Larsen et al. 2015 – http://j.mp/1RRgaCW] that I implemented in TensorFlow at a resolution of 256×144. It has been trained on every individual frame of Blade Runner for 6 epochs before reconstructing the film.
This video is the outcome from a research project as carried out for my dissertation of the Msci in Creative Computing at Goldsmiths, University of London. Read more about the project in my medium piece: http://j.mp/1XlibAb
In 1972 Ed Catmull (founder of Pixar) and his colleagues created the world’s first 3D rendered movie, an animated version of Ed’s left hand. This is the film that they produced. It includes some “making of” footage (around 1:30) and some other early experiments. Read more at http://j.mp/21XboLR.
BEWARE, THIS VIDEO CONTAINS SPOILERS OF:
American Horror Story
Six Feet Under
Sons of Anarchy
In this recompilation you’ll find the first and last shot of some of the best TV series of the latest times.
Of course, it’s not about every single one of the tv series just some of the best.
Inspired by: Jacob T. Swinney
You can find his video here: http://j.mp/1SHjDoi
Probing the illusive boundary itself, Interstice presents the veil as a self-contained magic trick: a shapeshifting second skin loaded with potential energy to manipulate identities and temporal-spatial dimensions that would otherwise be rendered immeasurable in its absence. Interstice is an attempt to pass through the veil that obscures our collective vision to reach a space in-between. An interstitial space.
Directed by Andrew Thomas Huang
Featuring Flex artists Bones the Machine, Slicc, & Brixx
Producer: Sophia Rothbart
Executive Producers: Adam Joseph & Tom Berendsen
Cinematographer: Alexander Khudokon
Production Designer: Lauren Nikrooz
Costume Designers: threeASFOUR
Choreographer: Jason Akira Somma
Original Music by CFCF
Editor: Armen Hartootun
Visual Effects by Wolf & Crow
Special Effects & Fragrance Design by Stephen Dirkes
Helmet Designs by Savannah Wyatt & James Marsella
“Tao Te Ching” read by James Lee
“Olive Tree” by Chyi Yu read by Mike Fu
Unit Production Manager: Francesca Consarino
Assistant Director: Dave Ebel
2nd Assistant Directors: Amanda Rodriguez & Blake Wilson
Assistant Camera: Anton Du Preez
Gaffer: Smokey Nelson
Key Grips: Will Gottlieb & Garrett Cantrell
Grip & Electric: Zach Frank & Will Gottlieb
DIT: JJ del Rosario
Special Effects Assistant: Adam Maiolo
Art Assistants: Megan Kiantos, Jonathan Qualtere & Tim Ferro
Hair & Makeup Artist: Christyna Kay
Wardrobe Stylist: Sasha Sheehan
Production Assistants: Tyson White, Rebecca Tiernan, Dennis Nguyen, Lucca Galloway
Wolf & Crow:
Executive Producer: Kevin Shapiro
Compositors: Lindsey Fry, Cecilia Sweet-Coll & Martin Tzonev
Post Production Coordinator: Kitty Walsh
Sound Mix by Paul Seradarian
Sound Mix Studio provided by Shapeshifter Post Production
SPECIAL THANKS TO: