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"Man In Suit" is raw, dark and realistic.
A modern comedy.
Starring Matt Kemp
Directed by Eric Wheelis
Camera & Edit by Adrian Garcia
Produced by Justin Donlon
Written by Donlon, Wheelis and Kemp
Views: 19854 | Comments: 0
Synopse: Interregnum is based on the extraordinary career of René Carmille, history's first known computer hacker. The government of Nazi-occupied France launched a ghastly and unprecedented experiment in information science: much of the Vichy bureaucracy, including the operation of the death camps, was automated with punch-card computers. However, the Nazis didn't understand the technology's potential vulnerabilities...
Producer: Nick Fox-Gieg
Views: 22873 | Comments: 0
Clip "Full of regret" pour le groupe de rock canadien Danko Jones.
Starring: Elijah Wood, Selma Blair, Danko Jones
Directors: The Diamond Bros.
Views: 22517 | Comments: 0
Synopsis: Les aventures de Jean, accordéoniste qui vit dans la rue. Entre nuits en prison, une rencontre avec la femme qu'il aime et une fête improvisée dans un restaurant, Jean garde toujours son bon humeur et son sourire.
Synopse: The adventures of Jean, an homeless musician. He spends his nights in prison, meets the woman he's in love with and plays in an improvised party, always with his sense of humor and his smile.
Réalisateur: Giuseppe Scavo
Production: Giuseppe Scavo - Eric Wiener - Nuit Rouge
Scénario : Eric Wiener
Directrice de Production : Véronique Madre
Premier Assistant Réalisateur : Valentina Frugiuele
Scriptes : Marie Suran, Florence Cheron
Directeur de la Photographie : Paul-Anthony Mille
Assistant Opérateur : Sébastien Alcaraz
Chef Électricien : Adrien Chata, Nicholas D. A. Kent
Électriciens : Arnaud Jacquet, James Grossentham, Matthieu Witasse
Maquilleuse : Ana Ambrasaite
Habilleuse : Selma Sophie Kip
Décorateur : Hadrien Albert
Régisseur Général : Barney Roberts
Musique : Basile Théoleyre
Acteurs: Julien Honoré - Sophie Parel - Jacques Vincent - Yves Caloone - Pierre Nahori - Axel Aime - Sylvain Mounier
Genre: Comédie - Film muet
Format de prises de vues: Super 16 mm
Views: 4006 | Comments: 0
Synopsis: "L’île des huîtres" est un documentaire sur l'ostréiculture réalisé par Giuseppe Scavo. Tourné à l'Ile d'Oléron, le film raconte le parcours de l’huître de la mer à l’assiette, sans commentaire, seulement avec les sons d’ambiance et les voix de toutes les personnes qui travaillent dans ce domaine. De main en main, le mollusque est amené vers son destin de nourriture.
Synopse: "Oyster Island" is a documentary film about oyster farming made by Giuseppe Scavo. Shot on Ile d’Oléron, France, this movie shows what happens to an oyster from the sea to the plate, without any voiceover, just sounds and voices that belong to this small, particular world. Hand to hand, this mollusk is taken to its food’s destiny.
Réalisateur: Giuseppe Scavo
Production: Giuseppe Scavo
Format de prises de vues: HDV
Année: 2014 - In progress
Views: 2919 | Comments: 0
Bodie is by far the best preserved ghost town in the United States.
Gold was discovered back in 1859 by William S Bodey and at its apex, the town had a population of 10,000 residents through the 1880's. Bodie was replete with the makings of old west folklore; gunfighters, saloons, miners, gambling halls and prostitutes, a rough place through and through. But the town's success didn't last and faded from 'glory' prior to World War I and was finally down for the count during WWII once all mining operations were halted due to the war effort. It was effectively abandoned with many of the structures retaining the inhabitants belongings because the roads out were toll and weight based; many people simply decided to leave their belongings behind to avoid large fees so the ghost town was born.
Today, after two fires, around 100 structures remain, (5% of the original town) some of which are filled with furniture, lined and matted with layer up on layer of rotting and sagging wallpaper. Some buildings are seemingly untouched time-capsules to the once treacherous lives of the miners and other inhabitants of the town. Kids toys sitting by the window, a ball peen hammer on the ground, strewn gears in a machine shop, and rusted hangers hanging in a closet.
Walking the grounds, particularly the cemetery, I was overcome with a sense of foreboding and the gentle but incessant march of time continuing on. The once important lives buried under a wood tombstone were all but forgotten and those now nameless people who were loved or loved others, brothers, fathers, sisters and mothers, almost never existed unless you look at the uneven ground at a certain angle in the perfect light.
We spent a week shooting with access to some of the interiors of the buildings, and the ability to shoot at night. Because it is located in the Sierra Neveda and its unique geography and high elevation, the weather was quite extreme and could change in a matter of minutes; most nights were very cold and the temperature often sat in the low teens and were mixed with snow, wind, and icey rain.
Bodie is kept in a state of "arrested decay" and hangs (sometimes literally) in a sort of desolated limbo, as the dry lumber, rusted nails, and worn masonry, slowly give into the sands of time.
Special Thanks to Ranger Tom Gunther. Thank you for your help!!!
Thanks to Matthews MSE, (Tyler, Bob, Ed) for helping me with some last minute requests and their use of the DC Slider and dolly track.
Direction and Cinematography by Colin Rich
Assistant Camera: Mark Bernal
Music by Johnny Cash 'Wayfaring Stranger' off American III: Solitary Man
Views: 22001 | Comments: 0
Synopsis: Suite à l’intervention de la police auprès des sans-papiers dans l’école de Silvia, Teodora et sa fille prennent la fuite. Cherchant un refuge, elles pénétrent dans des appartements d’inconnus…
Production: Agneau. Production (Lille)
Réalisatrice: Rose-Marie Garcia
Producteur : Ioan Decoopman
Directeur de la photographie : Fabien Margnac
Assistant : Julien Jouvion
Réalisation : Rose-Marie Garcia Campos
Coach enfant : Elsa Michel
Scripte : Maud Martin
Photographe : Matthieu Chaffotte
Chef opérateur du son : Thomas Damien
Costumes-maquillage : Matthieu Chaffotte
Musique : Samuel Martinez
Régie : Nourritures terrestres : Elisabetta Pernigotti
Chauffeurs : Andréa Solano Elisabetta Pernigotti, Frédéric Parisot
Casting: Andréa Ferréol Maria Gotlib Clarisse Robilliart
Genre: drame social
Format de prises de vues: HD 2K
Views: 28742 | Comments: 0
Do you believe in destiny?
An anonymous emergency call in the night drags an ambulance crew into the arcane matrix of Good and Evil.
Are we really the masters of our own destiny?
Directed by Giacomo Sardelli, filmed in Italy.
Views: 21265 | Comments: 0
Une femme à la terrasse d'un café dans un village à l'exception du barman.
Lentement soudain, une mobylette fait irruption...
A lady is sitting outside of a café.
The only living soul is the bartender.
slowly suddenly, a moped is coming...
Réalisé par: Laurence Fauvet
Produit par: Julien Druinaud
Chef op/Cadre : Bruno Daguier
Montage : laurence fauvet
Mixage son : Fred Ambrosio
"Eastern Blues" by Sombrero(s) & "Test Drive" by Zapac
Assistant technique et mécanique : Adrien Fauvet
A circulation routière : Adrien Fauvet, Didier Berthet, Joris Granger
A la figuration : Cherryl Eudier, Christine Chaudet, Nathan Jacquet, Dylan Ghigonetto, Oui
Dans les rôles d'Aimé : Julien Druinaud
La femme : Laurence Fauvet
Le barman : Benjamin Martinett
Procédé : couleur
Views: 24253 | Comments: 0
"When all goes wrong and fails in his life, Peter decides to take control over his own fate with the only way he has left.
The first short film by director Ted Karlsson featuring Jonas P Hardebrant with Susanna Zacharoff.
Produced by Karin Högberg and Micheal Petersen.
Shot by Jacob Roya and Sean Cohen on SI2K & RED.
Edited on Final Cut Pro, color graded on DaVinci Resolve.
Original output to a 2K Christie DCP at 2048x856px @ 24fps dpx.
Music by Samuel Barber's Adagio for Strings composed by Leonard Bernstein. With rights from Sony Music.
The end credit song by Shallow Sense "Stay"
The epic poster and trailer banner is done by David Roya.
Copyright 2011 © Ted Karlsson & Chilibow Ltd. Film Production. All rights reserved.
Views: 24609 | Comments: 0
The Reservoir Films trailer, with new effects, to show a few categories.
Le nouveau trailer de Reservoir Films avec de nouveaux effets visuels.
Présentation de plusieurs catégories.
Views: 23168 | Comments: 0
My graduation project from Shenkar College of Design.
The film tells the tale of an international intelligence agency who initiates a unique "Retirement Plan" for their very own agents.
Tools used: Made entirely with After Effects CS5.
Original score: Asaaf Shani
End credits song:Donkey Zone - Out Of Line
Directed by Matan Yaniv
Views: 20820 | Comments: 0
The Pig Farmer is a short animated cartoon by Nick Cross.
A simple tale of a wayward soul, awash in an ocean of tragedy and regret.
Animated using Flash CS3 and a Cintiq 21UX tablet.
Backgrounds done in Photoshop CS4
Composited using After Effects CS5 and Final Cut Pro 5.
Views: 22236 | Comments: 0
Synopsis: In an abandoned beach house, a solitary girl finds a mysterious camera that reveals something unexpected.
Director / DP / Editor / Composer / Colorist / Sound Designer / Foley: PETER LEWIS
Girl: ABBIE LEWIS
Boy: GABE LEWIS
Camera: Canon Rebel EOS 550D T2i
Lenses: Canon 50mm 1.4, Tamron 28-200mm
Editing / Color Grading: Final Cut Pro X
Sound Design / Foley / Original Score: Logic Pro 9
Polaroid film: The Impossible Project
Views: 22998 | Comments: 0
Views: 29508 | Comments: 0
Une création de Barré
chorégraphiée et dansée par Anne Perbal
Réalisation, montage : Laurent Vayriot
Image, cadre : Sébastien Joffard
Format de prises de vues: 16/9ème HD numérique
© Les Studios Babel - 2012
Views: 24897 | Comments: 0
“Keops” est un morceau tiré du dernier cd de Thierry Maillard, "Beyond the ocean", en formation trio avec Matyas Szandaï et Yoann Schmidt.
Views: 23560 | Comments: 0
Une création de Barré
chorégraphiée et dansée par Anne Perbal
Views: 23594 | Comments: 0
“La côte sauvage” est un morceau tiré du dernier cd de Thierry Maillard, "Beyond the ocean", en formation trio avec Matyas Szandaï et Yoann Schmidt.
Views: 23586 | Comments: 0
2D animation, Animated traditionally and digitally in Adobe Photoshop cs5,
Composited in Adobe AfterEffects cs5
Director: Lee Tao
Production Assistance: Elaine Chen, Jean Liang, Richy Truong.
Views: 22497 | Comments: 0
Back in October of 2009, I set out to make a film that would push my talents as both a storyteller and a filmmaker. I wanted to create a film that would challenge myself and my audience, meshing both classical and experimental storytelling techniques from music, books, & films that have inspired me in one way or another. I wanted to make a film that didn’t do any spoon-feeding, where my audience would leave with questions as well as answers. It was a long a difficult road to get to this point and there were days where I felt that I was in way over my head but eight months later, I can proudly say I’ve finally completed my film “The Bridge” and it was an experience I would never forget.
The story of The Bridge was a story a cousin had told me when I was eight years old. It was a ghost story about two siblings on a bridge. I remember it haunting me for weeks and causing many sleepless nights under my sheets. Obviously, it had a lasting influence in my life. It had always been one of those stories that I wanted to adapt into a short film so when the opportunity finally came one day, I decided to pull to trigger.
When I was in film school, I would constantly fantasize about making some sort of epic period piece, especially one that took place during WW2. So when I decided I was going to make The Bridge, I instantly followed it up with “hell, why not make it into a WW2 movie”? I could have easily made this film as a contemporary piece but where would the fun be in that? I never do things because it’s easy; I do it because it’s hard. I love a challenge. I figured I could keep the same characters, themes, motifs, style, and wrap it around a WW2 setting. So I did.
So it began. After a quick outline, I started writing the screenplay and, being a one-man crew at the time, I also started doing work on costumes and props. I lived and breathed WW2 24/7. I watched every WW2 movie and documentary I could get my hands on. I even got my hands some real WW2 letters to get a grasp on the era’s language. I felt like a student again and I loved it. I scoured eBay for every WW2 field gear I could afford to buy and the stuff I couldn’t get, I had them custom made cheaply in China. I wanted it to be detailed and authentic as possible while keeping my almost non-existing budget down. I remember coming home one day and having almost a couple dozen eBay packages on front door. It looked like the front door of the post office.
The casting of The Bridge was actually one of the smoothest aspects of the entire process. I first went to my good friend Amy and asked her if she would like to help me produce the film. Having worked with each other before, I didn’t really have to ask twice. She was happy to be my first recruit.
For the leading role, I asked my good friend Pablo Soriano to take the part. Having worked with him before, we have a good understanding of each other. He is just a naturally gifted actor and he makes my job as a director so much easier. Plus, his puppy dog eyes make him a perfect protagonist.
For the leading female role, I went looking for a girl who had beautiful, almost hypnotic eyes. That’s when I spotted Leah in one my good friend’s music video. I called up Carlos and basically told him, “I need to have that girl for movie”. A few days later, she was on board.
I owe the discovery of Mike, the character who plays James Connolly, to my producer Amy. She had read the script and recommended him. I remember her telling me “Mike IS James”. Words that any director would love to hear and as usual, Amy was right.
So a couple months later, the script was complete, the costumes and props were ready, and the cast was cast. We were ready to shoot!
With our extremely limited budget, I knew right from day one that we were going to shoot “The Bridge” on DSLRs, specifically the Canon 7D and 5D Mark II. With this in mind, I knew (as also the DP of the film), I was going to push these cameras to its limits. I wasn’t going to let my equipment limit my vision of the film. I knew at the very beginning that I may or may not have a crappy movie in the end but hell, it’s gonna look damn good! We all know about the camera’s limitations but I wasn’t going to bitch and moan about it, I was going to work around it. I took it as a personal challenge to make these cameras work and I did.
About 75% of the film was shot with the 7D and the rest with the 5DM2. The main reason I shot with the 7D more was the 24p firmware update wasn’t available for the 5DM2 during the bulk of the shooting. I prefer the 5DM2’s full frame sensor the 7D cropped sensor.
Production, like any other shoot, had its ups and downs. Ours was mainly San Francisco’s unpredictable weather. You can blink and the bay area can go from miserable foggy weather (which is what I wanted for the film) to perfect summer beach party weather.
Also, being a guerilla production also has its own set of problems. I remember an actor and I almost getting arrested at a national park because a tourist reported seeing “some soldier carrying a rifle”. We got patted down and escorted off the premises. Before the ranger let us go, she handed me a business card for film permits. I thought that was hilarious.
There wasn’t really a “post-production” for The Bridge. I did post simultaneously during production. I would shoot on a weekend and then do visual effects or picture and sound editing on the weekdays. It was a very indie film workflow. The upside was I always had very polished dailies to show my cast and that kept them motivated to give me their best.
I spent my first two years out of film school as a CG artist. Being able to do my own 3d animation, modeling, surfacing, lighting, and rendering definitely upped the production value of my film. CG artists aren’t cheap and I calculated that if I had paid someone else to do my visual effects, it would have been double the entire budget of the film.
I hate ADR and foleying but if you don’t have a budget, you have to do it yourself. We had two whole scenes where sound was completely unusable (the tunnel scenes) so we had to redo it from scratch. I remember ADR sessions inside automobiles and 2 A.M. foley when my neighborhood is quiet and I don’t have to deal with traffic and barking dogs.
I discovered my composer Justin browsing through some filmmaking forums. He is such a talented musician. He added so much emotion to my film. Being a super control-freak, it’s very difficult for me to hand off any aspect of my film to someone else unless I have 100 percent confidence in that person. Justin is one of those people. In fact, Justin was the only other person who had a hand in post aside from me.
It was tough being a “one man studio” for this film. I acted as DP and director on Sunday, editor on Monday, sound editor on Tuesday, visual effects artist on Wednesday and Thursday, and compositor on Friday. I got some rest on Saturday (while my two computer farm renders). But in the end, when it all comes together… nothing feels more rewarding than seeing the art you’ve created. I can safely say that I created something I’m very proud of.
So here it is. 8 months work compressed into a 30-minute narrative short. The film I set out to create back in October of 2009. I would like to thank everyone who was a part of it. I couldn’t have done it without you. To my viewers, I hope this film challenges you like it challenged me. Enjoy.
Henry Sullivan - Pablo Soriano
James Connelly - Mike French
Samantha Johnson - Leah Thompson
Mitchell Walker - Mitch Walker
Justin R. Durban
Written, Directed, Shot, and Edited by:
Camera: Canon 5D Mark II, Canon 7D
Lenses: Canon 35mm f2, 50mm f1.4, 85mm 1.8, 100mm f2.8, 24-105mm f4L, 70-200 f4L
Sound: Zoom H4N, Rode NTG2
Running Time: 30 minutes
Format: 1.85:1 H.264 HD
Views: 4909 | Comments: 0
This is the tale of Left-brained Larry & Right-brained Rachel, a Siamese twin couple, stuck
together by the head and thus resulting in them sharing only one brain. Using exactly fifty percent
each, their separate personalities are kept intact and following the theory, being either left- or rightbrained, Larry and Rachel are complete opposites. They have a hard time being stuck together with their counterpart, but not only do they hate each other, their abnormality also makes them dislikable to the people around them, leaving them with a melancholy life of bullying and parental neglect.
One thing the couple shares though is a common hatred and a longing for revenge.
The opportunity arrives when they find out that using the whole brain at once might give them
supernatural powers that can help rid them of their enemies. But the tragic lesson is learned: Being
so opposite their team work is doomed to go terribly wrong.
I've had the idea for this story for a couple of years before I came to the European Film College
(EFC). I've always been very interested in how the brain works and how intelligence can be
categorized between individuals and at the time I had recently read what is now my favourite book,
The Melancholy Death of Oyster Boy and other stories by my number one idol Tim Burton.
Influenced by the style of this book, mixed with philosophies of left- and right-brained theories, the
characters of Larry and Rachel came to me out of thin air.
I drew my first sketch of the characters and played around with some rhymes but didn't get much
further at the time. I've always had a small dream of doing stop motion, so it wasn't until the
opportunity arose at the school that I decided to take up the idea once again. Eventually I submitted
it for the Final Projects and was extremely happy when it got chosen amongst the around seventy
Today the theories are quite outdated, but I decided that this wasn't supposed to be a story of realism afterall. The concept worked brilliantly though: From this very black and white way of looking at the world, the personalities of Larry and Rachel were strictly set from the beginning and it was easy to figure out how each of them would think in any given situation. The plot came from the idea of Larry and Rachel joining forces to get revenge on the people who had treated them badly whilst growing up. By mixing brainwaves Larry and Rachel could get supernatural powers. Knowing how opposite they are though, the ending was just as clear to me from the beginning.
I enjoyed writing this script and hope to write many more just like it. Stylistically it's very
influenced by the works of Tim Burton and even Edaward Gorey who inspired him. I regard this
project as the first step on my way to finding my own unique style; a mix of all the details I love so.
For four weeks we worked and lived in the common room of the Blue House at the EFC and hardly
saw the sunshine that was right outside the huge black curtain that was to be constantly closed for
light continuity reasons. A total of twenty sets of hands pitched in, all contributing with a great dose
of creativity. Some would merely join us for an afternoon of propmaking when they had free time
from other projects, others were full time members which gave us a core crew of seven people who
worked from 9 am to 11pm every day.
The film was made as one of the 16 Final Projects to culminate our school year at the EFC – being
the only animation film.
This film is definitely the result of an incredible effort and most importantly: Great management.
Because of a cool overview and control we managed to keep the deadline. There were many
challenges along the way, but they were always solved with creativity and hard work.
I feel extremely fortunate to have worked with such a hardworking bunch of people who not only
transferred my script and drawings to an exact replica of what I had envisioned in my mind, but
always added such a fine dose of humor and detail.
Written by Sally A. Ward, June 2009
Sally Andersen Ward
Director, writer, production design
Views: 24093 | Comments: 0
• 19 min
• Spanish with English Subtitles
Despite his wife’s disapproval, Hector bides his time as a deep-sea diver to provide for his family and to save for his own fishing boat. But after an accident at sea, Hector is forced to confront the deadly nature of his profession while weighing the responsibilities to his family.
Shot on location in the coastal towns of Baja Mexico, Contra el Mar (Against the Sea) is a portrait of a young marriage struggling to find common ground amid hardship and uncertainty.
• National Finalist - 2012 Student Academy Awards
• 2012 Art of Film Award presented by the Los Angeles County Museum of Art (LACMA)
• Best Narrative Student Film - 2012 RiverRun International Film Festival
• Grand Prize Winner - 2011 Directors Guild of America Student Film Awards (Latino / Western Region)
• Best Director - 2011 UCLA Festival of New Creative Work
• Best Screenplay - 2011 UCLA Festival of New Creative Work
• 2011 Palm Springs International ShortFest & Film Market – World Premiere
• 2011 Carmel Art & Film Festival
• 2011 Boston Latino International Film Festival
• 2012 Next Reel International Film Festival
• 2012 San Diego Latino Film Festival
• 2012 Charlotte Film Festival
• 2012 River Run International Film Festival
• 2012 Nashville Film Festival
• 2012 Newport Beach Film Festival
• 2012 Tel-Aviv International Student Film Festival
• 2012 Little Rock Film Festival
• 2012 Los Angeles Film Festival
• 2012 Festival Internacional de Cine de Monterrey
• 2012 Festival Internacional de Cine de Lago Puelo
• 2013 Festival Internacional de Cine de Cartagena de Indias
Views: 26875 | Comments: 0
Eusong Lee (director)
Visual Development, Story, Animation
Julian Kleiss (composer & musician)
Paul Fraser (Sound Designer)
Tomio Ueda (co-arrangement & mixing)
OPEN SHOW (2012)
PRODUCERS' SHOW (2012 WALTER AND GRACIE LANTZ ANIMATION PRIZE)
San Diego Asian Film Festival 2012
Synopsis: In the chaos between the first World Trade Center crash and the second, a father wishes to connect with his daughter.
Views: 21453 | Comments: 0