If the state of 2020 has got you down, and I wouldn’t be surprised if it has, take 5 minutes out of your day and watch the video below. Created by the New Yorker this is one of the many documentary shorts that they have on Vimeo. This one focuses on the collection of artifacts that the New York Public Library owns. The collection is fascinating, and a bit odd. The video is extremely well made and for 5 minutes you don’t have to think about what a completely awful year 2020 has been in so many ways
Everyone is just a bit stressed right now, and understandably so. We are for the most part all working from home. In some cases like mine, unable to see loved ones in person do to their location at an assisted living facility. There is the stress of not being able to socialize in person, which goes against the very nature of being human. Some of us are worried about finances, whether or not we will catch the Covid-19 virus, will I have enough toilet paper to last me, or will I have to go to the store and risk infection just to maintain my hygiene…
Let the video below help reduce your stress level by taking you to a place of tranquility and peace for 6 and a half minutes. If you have a large smart TV I suggest firing up the Vimeo app on it and watching this with the sound cranked up. If you don’t, make sure to watch this full screen on your computer or device for the best visual impact.
Oh, and by the way this was done in almost one single shot filmed on the 8mm2 (0.3 square inch) surface of a chemical reaction – making it a one of even more impressive.
“As Above” is a short film exploring the tight link between the microscopic world and immensity of the universe. Illustrating our universe’s never ending dance of destruction and creation, in which life can emerge…
As Above was made of one single shot filmed on the 8mm2 (0.3 square inch) surface of a chemical reaction.
The environment in which we live, is at the constant mercy of the ever changing flow of planets, stars and galaxies… As well as the composition of the microscopic world.
“As Above” is an invitation to contemplate the beauty of this perpetual movement of which we are part of… And perhaps invite the viewer to reflect on his position in the universe and the preciosity of life.
In the same ways, recent events have shown us that a microscopic virus could have a destructive
impact on humanity… A destructive impact counter weighted by a positive impact on our planets
Created by Roman Hill
Music by Thomas Vanz
Co-produced by Nano-Lab
I’ve been a season ticket holder to the Kansas City Symphony for ages, and I’m pretty familiar with their marketing materials. I know they don’t have the same budget as the London Symphony Orchestra, but they should watch this video and take notes.
Wowza talk about a stunner.
London agency Superunion and motion studio Found combine dance, pyrotechnics, and mo-cap to create a spectacular campaign for the London Symphony Orchestra’s 2020/21 season.
“In his fourth year with the LSO, Sir Simon Rattle leads a two-year exploration of music written in the first half of the 20th century. The title refers to a phrase used to describe the febrile atmosphere in Germany in the 1930s, as Europe lay on the cusp of profound social, cultural and political upheaval.
With such an emotive theme, Superunion wanted to create something unexpected, something that would reflect the tension and volatility of the new season.
This meant shifting away from the CG approach of previous campaigns and embracing practical live-action effects to create a dramatic, explosive and tension-fuelled abstract film.
Conceived for both film and print, the resolution was of huge importance. We opted to shoot on the RED Helium camera at 5K so as to capture as much detail as possible.
Filmed against black, from a dramatic top shot, we worked with dancer Ella Robson Guilfoyle, to interpret the motion capture data of Sir Simon Rattle’s baton into an expressive dance sequence.
Costume designer Karen Avenell was commissioned to create a custom-made silk dress to further accentuate Ella’s movements.
The sequence would have been impossible to perform in real-time, so we broke it down into 19 individual bite-size movements. These were then edited together in post-production and re-timed to precisely match the motion capture data.
This ‘base’ layer of fabric was then processed with a bespoke echo trail, to create a fiery flame-like effect.
In addition, we filmed an array of pyrotechnics and practical effects [sparklers, flares, smoke grenades, and chalk dust] at high speed which were later composited into the sequence to enhance the volcano effect, culminating in an epic final shot.”Mike Sharpe, Creative Director at Found Studio
This so nice. I’m mining the internet to find any related marketing and advertising materials. If I track them down, I’ll updated this post with them. I have to say, I’m not sure how any of them could compete with the drama created by the choreography and music presented in the video.
The next step for the London Symphony Orchestra, is to replace that hideous logo with something as grand as this video. That however is a topic for another time.
Ed Ruscha has always been one of my favorite artists. When I was in Art School at the University of Kansas he had a heavy influence on the work I was producing at the time. Not so much his photography, but definitely his paintings and print works. The video above was Commissioned by The Getty Museum on the occasion of their 2019 Getty Medal to the painter, draftsman, photographer, and bookmaker, Ed Ruscha.
Produced by Matthew Miller the Getty Research Institute’s preservation and digitization of over a million images from Ed’s Streets of Los Angeles photo series. Miller then had Ruscha record a voice over for the piece using excerpts from Jack Kerouac’s “On The Road”.
I think this is a wonderful way to experience Ruscha’s photography of Los Angeles in a new way. If you are unfamiliar with Ruscha’s books I recommend checking them out. If you Google “Ed Ruscha Books”, you’ll be able to find them. Start with “26 Gas Stations”, or “Some Los Angeles Apartments”. They’ll give you a solid insight into where Ruscha’s head was in the early to mid-1960s.