MOVE from Rick Mereki on Vimeo.

3 guys, 44 days, 11 countries, 18 flights, 38 thousand miles, an exploding volcano, 2 cameras and almost a terabyte of footage… all to turn 3 ambitious linear concepts based on movement, learning and food ….into 3 beautiful and hopefully compelling short films…..

= a trip of a lifetime.

move, eat, learn

Rick Mereki : Director, producer, additional camera and editing
Tim White : DOP, producer, primary editing, sound
Andrew Lees : Actor, mover, groover

These films were commissioned by STA Travel Australia: youtube.com/watch?v=-BrDlrytgm8

Thanks heaps to Adam Fyfe, Brendan, Simon and Crissy at STA.

All Music composed and performed by Kelsey James (kelseyanne.james@gmail.com)
Soundtrack available here:
itunes.apple.com/au/album/play-on-move-soundtrack-single/id456257170

Music Recorded and mixed by Jake Phillips

Colour Grade : Edel Rafferty and Roslyn Di Sisto
Online Edit : Peter Mirecki

Assistance in titles and production design : Lee Gingold, Jason Milden, Rohan Newman

Big Ups to Michelle, Kiri, Renee, Hana, Andre, Ross, Bernie & Julie for your patience and support and awesomeness…..

Huge Thanks to :
Marco, Juliana and Julio at GAP Argentina and Peru
Ariana Cardenas, Toni Figuera and cooltra scooters in Barcelona,
Abete Zanetti Glass blowing school, Murano, Venice (abatezanetti.it)
Annabel, Rosario and Carolina (Pitu) in France
Juane and Andrea from the Princeca Insolenta hostel in Chile

Thank you all for your kind words and encouragement. The response has been phenomenal and overwhelming. We never thought this little project would reach out to so many people. x

Stop Drawing Dead Fish from Bret Victor on Vimeo.

People are alive — they behave and respond. Creations within the computer can also live, behave, and respond… if they are allowed to. The message of this talk is that computer-based art tools should embrace both forms of life — artists behaving through real-time performance, and art behaving through real-time simulation. Everything we draw should be alive by default.

Part 1 talks about the potential of the computer as a new visual art medium. I show a collaboration between art and artist, with the art behaving through simulation, the artist behaving through performance, and the two of them working together, responding to each other.

Part 2 demonstrates a tool for “programming” how art should behave and respond. The artist directly manipulates art objects on the canvas, the way that visual art has always been created since the time of cave paintings. The tool is based around direct, geometric construction rather than indirect, algebraic “code”.

Part 3 is a short performance.

This talk was originally presented to SF SIGGRAPH on May 16 2012, and was recorded at the Exploratorium on November 27 2012.

Driving Google Street View with Leap Motion from Teehan+Lax Labs on Vimeo.

Music Credit: Andrew Bayer - Farnsworth Court
anjunabeats.com/andrew-bayer-if-it-were-you-wed-never-leave/

We were lucky enough to receive some Leap Motion (leapmotion.com) units. Naturally, the first thing we tried was integrating it with Google Street View using the same engine we used on Hyperlapse (hyperlapse.tllabs.io). The app is entirely written in Javascript using LeapJS (github.com/leapmotion/leapjs) and a hacked version of Hyperlapse.js (github.com/TeehanLax/Hyperlapse.js). Panoramic points are spidered out from a single latitude/longitude in all linked directions. The examples in this video had 300 panoramic points.

Us: tllabs.io

KAIROS Trailer from Studio La Cachette on Vimeo.

Réalisation & Production
Studio La Cachette

Idée Originale & Direction Artistique
Ulysse Malassagne

Storyboard
Oussama Bouacheria

Dévelopement Visuel
Nuno Alves Rodrigues
Alice Dieudonné
Julien Chheng
Ulysse Malassagne
Rémi Salmon

Animation
Nuno Alves Rodrigues
Oussama Bouacheria
Alice Bissonnet
Julien Chheng
Hanne Galvez
Rachid Guendouze
Sandrine Han Jin Kuang
Ulysse Malassagne
Stéphanie Mercier
Bung Nguyen
Stéphanie Pavoine
Julien Perron

Décors
Alice Dieudonné
Ulysse Malassagne

Compositing
Ulysse Malassagne

Design Sonore et Mixage
Florian Calmer

Musique
X-Ray Dog

OBLIVION GFX Montage from GMUNK on Vimeo.

The mighty Joseph Kosinski invited Munkowitz to the GFX party once again, this time for his spring blockbuster feature film OBLIVION™… Predictably, the list of graphic assets to be created was obscene, so munko assembled and led another super team of GFX mercenaries and descended into the lovely confines of Crater Lake Productions to generate the aforementioned fuckload of graphic content… Working with Joseph always brings out the best in Munk and Company, and this time around was certainly no exception… OBLIVION © Universal Pictures, Inc. All Rights Reserved.

GFX METHODOLOGY

The briefing for the Graphic Language stressed functionality and minimalism while utilizing a bright, unified color palette that would appear equally well on both a dark or bright backdrop… The function was to reflect the modernized sensibilities of the TET Mainframe computer and would assist the characters with the key components of their duties on earth; be it the monitoring of all Vitals on the ground using Vika’s Light Table, or the various diagnostics in the air using the Jack’s Bubbleship… For good measure, the team also designed and animated all of the HUD UI for the various machines and weaponry in the film cuz they could, establishing a consistent graphic language that rendered all the interfaces with a loverly cohesion rarely seen in them massive-budget Sci-Fi productions…

OBLIVION LIGHT TABLE UI

One of the most widely seen Graphic elements was Vika’s Light Table, which allowed her to guide Jack Harper through his tasks as a Drone repair man in the field of duty… The table itself was built practically, so most of the visuals were captured in-camera, lending a beautiful optical touch to the design ( thx Joe & Claudio )… The table consisted of four screens: A main map that Vika used to monitor the Bubbleship, Drone, and Scav positioning, a Drone Monitor which tracked all their key vitals and fuel status, A Hydro Rig monitor that displayed the collection progress for the large resource gatherers over the ocean, and finally a Weather Screen which showed the Tet’s online status and also key vitals of the ever-changing weather systems… A couple extra tasks had the team designing another Map Diagnostic screen on a milky-white breakfast table top and a few key standalone windows that were analyzing Rogue Signal feeds that were key story points in the film…

OBLIVION BUBBLESHIP UI

Jack’s helicopter, a remarkable Daniel Simon creation called the Bubbleship, was Jack’s paramount vehicle in the film… The UI appeared as a hologram embedded within the spherical glass cockpit, done to perfection by the lovely folks at Pixomondo, and functioned to assist Jack in his flight and combat duties throughout the film… The team researched a grip of Flight simulator and Helicopter Combat interfaces and sought to modernize the aesthetic while still delivering key functionality that would mimic real-world flight tools… And of course the team didn’t want to fuck up Simon’s baby with ugly UI, the German wrath was implanted deep within and ultimately, the Bubbleship UI was by far the most researched and pampered graphic task…

OBLIVION HUD GFX

The team also designed all of the Machinery HUDs and various Gauges in the film, be it the Drone Machine Vision, Jack’s Gun HUD, all the Scav equipment and some of Jack’s smaller vehicles… The interfaces again stressed functionality over excess, keeping the Greeble under control and communicating key story points throughout the film.. All of these graphic elements were ingested by the VFX Vendors and ultimately integrated seamlessly into the live-action plates; many thanks mighty peoples…

OBLVN Light Table UI Credit list

Production Facility: Crater Lake Productions
Oblivion Director: Joseph Kosinski
Oblivion Producer: Steve Gaubs
Oblivion Assistant Producer: David Feinblserbr

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Jake Sargeant
Graphic Designers: Joseph Chanimal, Alexander Perry
Lead Graphics Animators: David Lewandowski, Joseph Chanimal
Graphics Animator: Alexander Perry

OBLVN Bubbleship UI Credit list

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Joseph Chanimal
Lead Graphics Animator: Navarro Parker
Graphics Animator: Joseph Chanimal

OBLVN HUD GFX Credit list

Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Joseph Chanimal, Bradley G Munkowitz
Graphic Designer: Alexander Perry
Lead Graphics Animators: Navarro Parker, Alexander Perry
Graphics Animator: Joseph Chanimal

OBLVN Process Montage Credit list

Production Facility: Autofuss
Design Director: Bradley G Munkowitz
Lead Editor: Ian Colon
Director of Photography: Ian Colon

Land of Sciacchetra’ from Larry A Burns Jr on Vimeo.

This is a trailer for a (Larry A Burns Jr) feature length documentary film, shot in Le Cinque Terre, Italy, about the lives and lineage of the producers of a passito specialty dessert wine called Sciacchetra’, that is only produced and sold in Cinque Terre and the struggles and hardships that they endure working this rugged trecherous terrain. This wine is thought to have been made since before the time of Jesus Christ. Around 90% of the vineyards are being maintained by a generation that is in their 60’s. For the most part, their children, which are now adults, have chosen technical jobs, renting out rooms and tending bar over continuing their heritage.

If this younger generation does not step up to take over the family vineyards, will the way of life that their forefathers have built for over 25 generations be sustained? Or will it become a fading memory and a bedtime story told to their grandchildren and their grandchildren after them?

With the arrest of the park president of Parco Nazionale delle Cinque Terre and eleven other officials that were fighting in possibly unscrupulous or unorthodox ways, to save this precious legacy, and with the state of Cinque Terre in complete dismay, how will life change and how will life be the same ever again? Is there still hope?

Follow us as we take you through this beautiful and heart-tugging story of a way of life in peril.

Then Nebuchadnezzar came near to the door of the furnace of blazing fire; he responded and said, “Shadrach, Meshach and Abed-nego, come out, you servants of the Most High God, and come here!” Then Shadrach, Meshach and Abed-nego came out of the midst of the fire. The satraps, the prefects, the governors and the king’s high officials gathered around and saw in regard to these men that the fire had no effect on the bodies of these men nor was the hair of their head singed, nor were their trousers damaged, nor had the smell of fire even come upon them. (Daniel 3:26, 27 NASB)
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Then Nebuchadnezzar came near to the door of the furnace of blazing fire; he responded and said, “Shadrach, Meshach and Abed-nego, come out, you servants of the Most High God, and come here!” Then Shadrach, Meshach and Abed-nego came out of the midst of the fire. The satraps, the prefects, the governors and the king’s high officials gathered around and saw in regard to these men that the fire had no effect on the bodies of these men nor was the hair of their head singed, nor were their trousers damaged, nor had the smell of fire even come upon them. (Daniel 3:26, 27 NASB)