1. An ode to planet earth, solely told with organic fluids and a tiny crystal ball.

    Sometimes, the complexity of simplicity makes us fail to preserve the fundament of all we are and all we represent. But reaching awareness is not about the end, it is about the beginning. SINGULARITY takes us back to zero hour, 4.5 billion years back in time. It is the story of an indescribable hazard and a singular fortune: the fortune of being a human.

    This is organic FX from terracollage. Household ingredients and ink. Strictly 2D, no CGI.
    Headphones highly recommended!

    Licensing: roman(at)terracollage(dot)com

    The Song "Symphonies of the Planets 3" by NASA is licensed under creative commons. Find out more under archive.org/details/SymphoniesOfThePlanets3.

    Latest articles:
    thecreatorsproject.vice.com/blog/organic-vfx-big-bang
    fstoppers.com/vfx/macro-photographer-creates-amazing-organic-video-fx-inspired-big-bang-120958
    diyphotography.net/4k-macro-video-makes-tabletop-landscapes-look-like-ethereal-masterpieces/#more-43601
    bokeh.digitalrev.com/article/macro-photographer-creates-entire-galaxies-from-his-tabletop

    Reflections about SINGULARITY: terracollage.com/singularity-a-reflection-pt-i/
    Insights into the production process: terracollage.com/singularity-release-insights/
    Free mesmerizing organic wallpapers in 4K: terracollage.com/mesmerizing/
    Watch my first macro short “STREAM” here: vimeo.com/125434519

    terracollage.com
    facebook.com/terracollage

    # vimeo.com/159748388 Uploaded 79.1K Plays 52 Comments
  2. red blue green • circle square triangle • dog star man
    http://www.tedwiggin.com/Rose_Engine
    http://www.tedwiggin.com/400_experiments

    # vimeo.com/182091075 Uploaded 9,616 Plays 11 Comments
  3. Blu-Ray discs available here: mikeolbinski.com/shop/
    Song by Kerry Muzzey: "Revenge"/ "Revenge: Epilogue" (on iTunes: http://bit.ly/KM_TM3 Amazon: http://bit.ly/KM_REVENGE)
    Follow me: mikeolbinski.com / twitter.com/mikeolbinski / facebook.com/mikeolbinskiphotography / instagram.com/mikeolbinski

    -----------------

    If you asked the average person, many would characterize this summer's monsoon as a down season. Not a lot of storms overall and it seemed generally more quiet. And in many ways it actually was a slower season. All told I chased about 36 days for this film, which was less than the 48 in 2015. We had an early start in late June, and then it was dead for almost three weeks. When I looked back and realized I chased 12 less days...yeah, it definitely had less action than normal.

    But to a storm chaser, none of this really means anything. Sure there were days when nothing was remotely possible to chase, but most of the time the monsoon can be found in the far corners of the state even when Phoenix and Tucson are dry as a bone.

    For me personally, I loved this season. Maybe because as a filmmaker, having put out a few of these films now, I'm beginning to focus and hone in more on what I really love to time-lapse. My early scenes years ago had a lot of average clouds and distant rain that didn't have a lot of excitement or energy. But as the years go on, and I learn more and more about chasing storms here in Arizona...I've found myself in better spots to capture the stuff I really enjoy. Strong downbursts of rain, building clouds, lightning...and yes, dust storms.

    The one thing I was hoping for in 2016 that the previous years have lacked: Haboobs. Dust storms. Rolling walls of dirt and sand engulfing the deserts and even Phoenix itself. And my wish came true in that regard. Even a very late season, September 27th haboob that I captured right at sunset with glorious colors.

    Coming off the heels of filming Vorticity in the spring, with monster supercells and tornadoes, the monsoon is a totally different beast and you'd think it would be less exciting. I don't know. I find them both amazing and inspiring. Weather to me is weather. No matter how mind-blowing it was to witness the Wynnewood tornado this past spring, standing in front of a rolling wall of dust, or a distant lightning storm under the stars...it's all a blast to me and I never get tired of it.

    So Monsoon III...the credits will say it, but it was around 36 days of filming, I shot over 85,000 frames and am not sure how much made it into the final cut. The song I used was "Revenge" and "Revenge: Epilogue" by Kerry Muzzey, and I took both of them and sliced and diced until I actually had a six-minute version to fit in with all the footage I captured. I love it.

    As always...THANK YOU to Kerry Muzzey for supporting my work by letting me use his music once again. I don't even have enough words for this man for doing this for me. It means more than anything! Please buy his work!

    I started editing this film mid-summer once I figured out the song I was using. And as days went by and more clips were rendered, I kept adding them and re-arranging them all the time, trying to get every clip to match the tone and feeling of the music. And then I'd think I was done and more storms would come and I'd have to move things around again, and even drop stuff. I have a lot of fun scenes that are not in this film because I only wanted the very best.

    Special thanks to Bryan Snider and Dustin Farrell for some tips this summer on editing out dust spots and birds better than I had been doing. Appreciate it fellas!

    My wife takes the brunt of what I do, especially when I'm gone for days at a time. Filming in Arizona is easier because I'm usually home at some point in the evening and at least around in the mornings. But it's a lot of work and a lot of time being away. She supports me like no other and I can't believe how lucky I am to have someone with that much faith in what I do.

    And a lot of these clips will forever hold memories for me because my two oldest kiddos were there for them, and at times even all three were nearby. My littlest guy who just turned three, sits on my lap a lot when I edit, listens to the music and loves watching the final product. And he wants to keep watching it...over, and over and over.

    Makes a daddy proud.

    I hope you enjoy this latest installment. I'm not sure how it compares to years past, but for better or worse, this was Monsoon 2016 for me!

    Please let me know if you have any questions about anything! Most of these clips were shot in 8K with some 4K stuff thrown in there as well.

    -----

    Captured with a Canon 5DSR, two 5D3's, 11-24mm, 16-35, 35mm, 50mm and 135mm.
    Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro

    # vimeo.com/185441790 Uploaded 421K Plays 184 Comments
  4. This film was shot over 11 nights in March on La Palma, Canary Islands.

    La Palma is often called ‘Europes’ Hawaii’ as it has all the ingredients for a perfect night sky cocktail; altitude, dry air and a lack of light pollution. These elements when combined make for a stunning night sky. Because of it’s clean air and clear skies many of the worlds top observatories have facilities on top of the island.

    The main goal of this film was to capture the Milky Way rising from the horizon at a low angle across the sky. There are two main factors that affect the position of the Milky Way; latitude and time of year.

    Latitude is your distance either North or South from the Earth’s equator. In the Northern Hemisphere the closer you are to the equator the higher the central core of the Milky Way will rise into the sky. La Palma is positioned at 28˚ North, which is a good latitude to photograph the central core of the Milky Way.

    Time of year affects the angle in which the Milky Ways appears in the sky. The general consensus is that the Milky Way season starts in March and ends in October. In March the angle in which the Milky Way rises in the Northern Hemisphere is at its’ most acute. As Spring turns into Summer the Milky Ways angle increases tilting until it is upright through the months of June to August, then falls away back on itself slightly through September to November until the core disappears from view through the Winter months.

    To achieve the correct angle I had to visit as early as possible in the season and with the new Moon phase of March being the week of the 6th the plan was set. You would think that with La Palma being at a latitude that is on par with Northern Africa the conditions would be favourable any time of the year, but with altitude and the trade winds blowing in, this was not the case.

    I was hiking with a heavy pack back at altitude through very high winds, it was possibly the toughest conditions I have ever encountered in my time shooting astrophotography. But funnily enough it was not the wind, altitude or the cold that was the hardest part, the real test was having the endurance to wait out in these conditions for the Milky Way to rise which happens in March at around 3am. It is safe to say that after 11 consecutive nights of hiking from dusk and shooting until dawn I was a little broken, but adventure only truly starts when you are faced with challenges, when you overcome them, you remember these moments with far more clarity over anything else.

    To view more of my work please visit:
    http://www.nicholasbuer.com

    Follow me:
    http://www.instagram.com/nicholasbuer
    http://www.facebook.com/nicholasbuerphotography

    All Footage Copyright © 2016 Nicholas Buer
    All Rights Reserved

    # vimeo.com/189546757 Uploaded 119K Plays 82 Comments
  5. Year unknown. Population Zero. Welcome to LOST BOY.

    Following in the footsteps of SUNDAYS, their debut concept short success which turned heads worldwide last year, comes LOST BOY, the hugely awaited punk sci-fi feature project which is next in-line from visionary outfit PostPanic Pictures.

    Directed by Ash Thorp and Anthony Scott Burns, this LOST BOY concept short lays down the gauntlet once again by showcasing the creative ambitions of Hollywood’s next generation of storytellers.

    LOST BOY is an ambitious sci-fi concept heavily influenced by the American action classics and Japanese samurai films. LOST BOY represents the second feature in a series of director-driven film projects from the Amsterdam-based production company, PostPanic Pictures.

    postpanic.com/lostboy
    lostboyworld.com

    POSTPANIC PICTURES present - a ASH THORP & ANTHONY SCOTT BURNS film produced by MISCHA ROZEMA & JULES TERVOORT and starring NEREA REVILLA - WASTECLEY MORALES “LOST BOY” - original score by ANGUS MACRAE & PILOTPRIEST - director of photography ARNAU VALLS COLOMER - edited by ANTHONY SCOTT BURNS - vfx supervisor IVOR GOLDBERG - co-producers JONAS HENDRIX - ALVARO WEBER - costume design PATRICK RAZO - associate producer ANNEJES VAN LIEMPD - consulting producer ANIA MARKHAM - sound designer JOCHEN MADER - producers JULES TERVOORT - MISCHA ROZEMA - story, screenplay & directed by ASH THORP & ANTHONY SCOTT BURNS

    Copyright @ 2016 by PostPanic Pictures B.V. All Rights Reserved

    # vimeo.com/188650521 Uploaded 225K Plays 125 Comments

space

Djehan Lerouge

Browse This Channel

Shout Box

Heads up: the shoutbox will be retiring soon. It’s tired of working, and can’t wait to relax. You can still send a message to the channel owner, though!

Channels are a simple, beautiful way to showcase and watch videos. Browse more Channels.