What would you do if you had a couple of days with the Bolt High Speed Cinebot and a Phantom flex 4K camera capable of shooting at 1,000 Frames per second? The creative geniuses at Forsberg and Stiller Studios tried everything they could think of and we think the results are rather spectacular. Flames, water, smoke, and champagne – Covering all aspects of shooting, from action & adventure, to fashion, sports and gourmet, lots of different things were shot – and kicked, dropped, cracked, burned, exploded, cut, cooked, hit, splashed and all with great hilarity.
See the Final showreel here. https://vimeo.com/118040232
Director : Clemens Habicht
Production : 75
Producer : Sarah Boardman
Label : Ministry of Sound
VFX : PE Joubert
"The Late Show with Stephen Colbert" Director's cut opening
Directed by Fernando Livschitz
- Published: 2013-10-29T09:13:20+00:00
- Duration: 50
- By Ruud Bakker
This is The Ruud & Jonas Show. Theme: Love and Lust.
Eight ultra short animations, eight weeks of fun, or a giggle at least, and that's worth it!
follow The Ruud & Jonas Show on Facebook:
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The Ruud & Jonas Show is a collaboration between Ruud Bakker and Jonas Ott.
Two individual animation film makers working on the same subject in their own distinctive way.
All these little gems combined make up The Ruud & Jonas Show! Enjoy
- Published: 2015-06-13T07:31:56+00:00
- Duration: 325
- By Saman Kesh
WATCH IT LOUD & FULL SCREEN
A pair of cosmic astronauts crash land near a house party. Moments after they begin to steal the show as they dance the night away. Stole The Show is a cosmic love letter with the cuteness of ET and the ridiculousness of a Spike Jonze video...Enjoy!
Written + Directed by Saman Kesh
Producer // Geoff Mclean
Cinematographer // Guillermo Garza
Production Designer // Jason Kisvarday
Costume Designer // Michelle Thompson
Editor // Paul Rogers
Miniatures // FONCO
Helmet // Alterian Inc.
Post Producer: Nicholas Carmen
Roof VFX // Varnish
Post Animation: Marc Steinberg
Helmet VFX // Paul Laberge
Post Sound // Brent Kiser
Astro 1: Ron Myles
Astro 2: Olga Sokolova
Casting Director: Michael Beaudry
© SONY 2015
- Published: 2015-07-22T21:48:22+00:00
- Duration: 155
- By Joe Simon
The Delivery Men's 2015 Show Reel is a compilation of work we have created over the past year for a wide array of clients. We are blessed to be able to collaborate with such awesome people, thanks for fueling our filmmaking passion!
The Delivery Men is a boutique production company offerring clients a way to break the mold and re-ignite creativity when it comes to their brand - www.the-delivery-men.com
- The Delivery Men Team
Music licensed from @themusicbed "Song of Every Soul" by Young Oceans
- Published: 2016-10-30T23:15:16+00:00
- Duration: 148
- By Emily & Ariel
Juxtaposing animated video footage with stop-motion puppetry, Emily & Ariel bring you into their lives on an average Friday night.
New Orleans Film Festival, New Orleans, LA, 2016
LA Film Festival, Los Angeles CA, 2016
Best Experimental Short Film -- Evolution International Film Festival, Mallorca, Spain 2016
Motion Commotion @ ICON9, Austin, TX 2016
Mammoth Lakes Film Festival, Mammoth Lakes, CA, 2016
Tricky Women Animation Festival, Vienna, Austria, 2016
Post Alley Film Festival, Seattle, WA, 2015
California Women's Film Festival, Sherman Oaks, CA, 2015
Now available on iTunes!
SHOW ME THE MEANING OF BEING LONELY
A glamanimated space opera.
The flamboyant KINGSHIP strikes again, with a fully animated video this time, directed by Steven Mertens.
In this exploration of lonely interstellar spaces, Tristan Crusade (Chris Hall) delivers a jacked up re-imagining of the Backstreet Boys 1999 classic hit. As his co-pilot, Memo Rex (Paul Leschen) accompanies our hero through danger with his epic melodies.
Mixed/engineered by Paul Hager (Miley Cyrus, Katy Perry, Van Halen) and brother Josh Hager (DEVO), mastered by Howie Weinberg.
Special thanks to The Warrior (Mike Maenza) on drums, Druce Mortal (Drew Mortali) on bass and Presto The Wizard (Eric Presti) on guitar.
milo is a twenty two-year old rapper from rural Maine and urban Illinois. He just moved to Los Angeles and released his official debut, a toothpaste suburb. This short film captures that transition and his process to create art.
Director / Cinematographer: Giovanni Solis
Editor: Marcos Jimenez
Production Sound Mixer: Alexander Kollman
Additional Cinematography: Shireen Alihaji / Rigo Santoyo / Ashley Blakeney
Music: milo & Riley Lake: "evil doer melody (this can't be the place)"& "the lorde's prayer in a lower fidelity"
Follow along at-
(...) One catch: after soundcheck the day before, Tallest Man’s guitars were locked inside the NYC music venue, Town Hall, where he’d be playing later that night with Bon Iver. Solution: we’d have to shoot somewhere with a decent supply of guitars that he might borrow. A fan of music of all kinds, Jeff, the awesome, museum-quality proprietor of the legendary Music Inn on West 4th Street in Greenwich Village was happy to oblige. (...)
- Published: 2012-10-19T18:03:28+00:00
- Duration: 259
- By Lucy Cooke
I made this video for www.vice.com, Vice magazine's brilliant online channel. It was shot at the Aviarios Sloth sanctuary in Costa Rica: www.slothrescue.org. For more of my sloth photos and videos visit www.slothville.com
To watch more amazing Cute Shows on everything from hedgehogs to weiner dogs visit www.vice.com
paris, l'olympia, march 2007
images & edit by vincent moon
sounds by adrien cordier & chryde
mix by francois clos
produced by chryde for la blogotheque
The creation of Take Away Shows is linked to Arcade Fire. Before the cancellation of their European Tour, Arcade Fire played two amazing video sessions in Paris: one in a lift, and, after, into the crowd.
Win Butler had to slouch a little to fit into the freight elevator. He went directly to the back, leaned against the iron door, turned around, looked at the cramped space, and asked us, “Think we can all go back now?” Then he smiled a smile that a kid would give, pure and honest, like he had just found his hiding place. Win Butler smiled, and five weeks of work seemed to crumble before us.
During those weeks, I had been in continual contact with Vincent Morisset, who runs the Neon Bible site. Win and Régine had been responsible for coordinating our Take Away Show. We had discussed dates and places, imagining the Madeleine at night, the knoll at the Île de la Cité, an old café, a roundabout behind the Olympia...We checked the weather every day and despaired about the cold front that was passing through Paris. We had surveyed the entire inhumane neighborhood from top to bottom, trying to anticipate the crowd, the willpower of the group, the cold, and the fatigue. Then, suddenly, we had a plan. Win asked if there was a freight elevator. We found it, Win smiled, and the Take Away Show was no longer in our hands.
We knew that the Take Away Show with Arcade Fire wouldn’t be like the others. The project was made for them because they’re of a different kind, a different essence. We had spent the afternoon with them when suddenly we realized, in a flash: “yes, this group is different.”
We had been playing the role of “outsider” the entire day, like a foreign body that latches onto the daily grind of these magnificent musicians. We had to adapt, through astonishment and wonder, as the band took up their instruments and started to play. But Arcade Fire didn’t take us as outsiders. It all seemed to unfold naturally: we entered into their logic as they awaited us and eventually swallowed us up. It was now Win Butler’s Take Away Show, and we followed.
It was too cold to play outside after the show, so we initially thought about playing in the entrance hall during Electrelane’s performance, but the Olympia didn’t allow it. All we had left was the freight elevator, and we had to do a little convincing to make it happen. On the other side of the elevator, there was a door that would lead us into the concert hall. They could go back to the pit in the Olympia by exiting through there, and then re-exit through the door near the stage. Win wasn’t so hot on the plan...the venue was a little too big and the whole thing sounded complicated. It took us about 20 minutes to convince him, not knowing at all what was waiting for us at the other end of this crazy idea. Win went back to tell Richard and Will to follow him to the elevator, with everyone asking when to play, or whether this was going to happen before or after the show. It was going to be before. Régine was the only one who thought differently, and there were a few seconds of furious looks, which immediately mellowed and eased into resolution. The big guy won, and everyone went back to reconfigure the set-list.
Arcade Fire is a unique group. Everyone’s split up during the day, managing and wandering through his/her own affairs in the dressing rooms and corridors. No one seems to move about as much as Win, who manages everything, knows everything, watches everything, and hears everything. Afterwards, as show time approaches, everyone slowly comes together again, each still folded into him/herself. A couple of notes sound from a bugle, Régina taps on a box, Jérémy amuses himself with a drum, and Tim does a little Monty Python dance. A mobile cacophony, a music that takes form, several people coming together, and some random and various snippets of songs to come. Everyone is concentrating alone, but at the same time following a trace towards the group’s uncanny unity. As the orchestra tuned and grew powerfully aligned, we started towards the elevator.
The rest waits on film. We all bunched into the elevator, and I took my position at Richard’s feet. They started off with an enchanting version of “Neon Bible” and the door opened, allowing us to approach and penetrate the massive torrent of fans. I didn’t think about anything more. I was taken by the fervor, watching Vincent Moon with his camera, screaming in silence, and thinking over and over again:
“We did it. Shit, we really did it!”
text by chryde
- Published: 2012-08-05T07:29:52+00:00
- Duration: 265
- By Rebecca Hayes
Best viewed in HD!
A hand-drawn animation surrounding the routine lives and pre-show practices of a small traveling carnival troupe as they prepare for ‘The Show’.
Writer / Director / Animator: Rebecca Hayes
Sound Design: Angela Grant
Produced at the Royal Melbourne Institute of Technology (RMIT), 2010
Special Mention- Best Australian Film - Melbourne International Animation Festival
Winner- Best Tertiary Animation - 2011 ATOM Awards, Melbourne
Winner- Best Student Film- Australian Effects & Animation Festival
Winner- Best Student Animated Short, AniMazSpot 2011, Los Angeles
To learn more, please visit: www.rebeccakhayes.com/the-show/
On facebook- www.facebook.com/RebeccaHayesArt
Une occasion ratée à Coachella, deux mois plus tard, une opportunité à San Francisco. Le public qui attend dehors, un piano qu’on pousse dans la rue, et voilà, une épiphanie improvisée avec Edward Sharpe et ses Magnetic Zero’s.
Directed by Art Perez
Read the story
- Published: 2015-06-12T04:19:07+00:00
- Duration: 4163
- By John Gruber
Producer: Amy Jane Gruber @amyjane
Junior Producer & Announcer: Paul Kafasis @pbones
Directed & Edited by: App: The Human Story @appdocu
Audio Engineering by: Caleb Sexton @calebsexton
Webcast Production by: Hybrid Events Group @hybrideventsgrp
- Published: 2016-10-14T23:29:59+00:00
- Duration: 774
- By Julie Sokolow
Synopsis: Graphic designer Brett Yasko wanted to save his friend John’s life, so he asked every artist in their town to make a portrait of John. The result is the 2016 art show “John Riegert” – a funhouse containing 250 portraits on the titular subject, with John himself acting as tour guide. This heartfelt story chronicles the making of a singular exhibit and the mental health struggles and personal triumphs of its subject.
Directed by: Julie Sokolow
Produced by: Olivia Vaughn, Ryan Loew