SCANable performed 3D Laser Scans of numerous elements from Columbus Circle at the southwest corner of Central Park to the northeast corner and stitched together the journey as a set of data. The result is a visual representation of the “energy differential between the city and the park,” as Director Marco Brambilla described it.
The Mill+ team worked with video artist Marco Brambilla for ‘Anthropocene,’ a triptych of haunting, dreamlike video installations depicting the geography between Central Park and Columbus Circle. Anthropocene premiered at the celebration of the new Hugo Boss flagship store opening at The Shops at Columbus Circle in New York City.
The Mill’s 3D team employed a technology often used by archeologists and engineers called LiDAR scanning to digitally map objects using reflected laser light. According to Vince Baertsoen, Head of CG, who has spearheaded the unique use of this technology at The Mill, “It was a great creative and challenging process to use this technique mixed with programming and CGI to create such a surreal environment: abstraction and realism merging in a great piece of art.” The Mill collaborated with SCANable, who did the acquisition of all of the LiDAR on set.
‘Anthropocene’ also features black and white footage of roving, iconic views of Central Park and Columbus Circle, shot using the rare RED Epic Monochrome camera. The Mill’s Adam Carboni, Director of Photography, said “We had a bird’s-eye view of Central Park from every conceivable angle thanks to the invaluable assistance of the experts at The Central Park Conservancy. They were instrumental in helping us secure optimal vantage points for the shoot.”
“Hugo Boss was a colossal undertaking, since we knew we wanted to capture Central Park in a way that had never been seen before,” notes Co-Head of 2D, Westley Sarokin. “The RED Epic Monochrome has amazing light sensitivity and allows for extensive color grading. We were able to bring out a very beautiful and almost painterly look to the footage. Using locked-off shots, I rebuilt the geometry of the scenes, buildings, and streets in Flame to create virtual camera moves that brought the scenes to life in a hyperreal way, as many of the camera moves would have been physically impossible to achieve otherwise. Marco was involved every step of the way guiding the creative aesthetic of the project toward its ultimate completion.”
The video installation plays accompanied by Carnival of the Animals by Camille Saint-Saëns.
I was starting to sweat. It has been 45 minutes and I’ve tried every button, every combination.
Sitting in front of me was my dream camera, the RED Epic.
Behind me was my two DPs, eyebrows furrowed in frustration. Further down the hall sat my talent. We were supposed to start filming a hour ago but still couldn't figure out how to change the settings on the camera.
I gave up trying, it was time to humble myself.
I texted Alan, my friend who gave me a sweet deal for renting this beast of a camera.
FUTURE PROOF is a short film developed for the 2011 A/NZ PromaxBDA Conference. Essentially a labour of love for DMCI creative director Nathan Drabsch, this performance piece continues to be admired throughout the world.
The response to this emotive piece, still amazes us. Since launch FUTURE PROOF has been selected for various film and digital media festivals and showcases throughout the world.
The only boundary to the project was the theme of FUTURE PROOF. The development of the film started with an approach that aimed to focus not on futuristic notions but consideration of that which is timeless. People, the expression of self and the interactions between each other are timeless qualities relevant to creativity, no matter what the future holds.
The concept started quite fluidly, by briefing a variety of dancers, with individual performance styles, to develop choreography based on the concepts of growth, sharing, sending and receiving.
Directed by Nathan Drabsch, the performances were shot over one day using two RED Epic cameras, capturing the action at high speed. All design, editing and post production was done in-house by The DMCI team. We worked closely with composers and audio designers Mark Brandis & Jeff Black from ism studios, to create a unique score that perfectly compliments the performances.
As a whole, the focus is on the dancers as they create and interact with abstract forms in a vast unknown world. Their own movements determine the creation and final destruction of these elements. Their own paths of communication and creative expression have come full circle, and all that remains is the individual.
TAAFI Awards - Stash Magazine Presents: VFX Highlights of 2011-2012
Pause Fest - Best in Show
Circuitto OFF 2012
Prix Ars Electronica 2012
Pixellerie Fine 2 – Paris, France
Screening At London Olympics ICCI 360 Visual Arena – Arts Festival In Dorset
IDN Feature: Issue 19 Sexual Graphics
International Melzo File festival 2012
Liberarti Film Festival
Inclusion in Nasjonalgalleriet / Norwegian Arts
Director: Nathan Drabsch
Design, Edit, 3D & Compositing: The DMCI - Brecon Littleford, Bernard Tan, Nathan Drabsch
Produced by The DMCI
Composition & Sound Design: Mark Brandis and Jeff Black @ ism studios
Director: Nathan Drabsch
DOP: Simon Chapman
Camera Operators: Aaron Haberfield & Glen Cogan (Enigma)
Producer: Amy Nguyen
Talent Co-Ordinator/Production: Briony Luschwitz (Motion Picture Company)
Gaffa/Lighting: Steve Scholfield
Best Boy: Andrew Ward
Hair Stylist: Elizabeth Vo
Make Up Artist: Angela Vien-Debetaz
Cameras supplied by Lemac and Enigma
Christopher Van Doren
"MOVIE OF THE YEAR" - Powder Video Awards 2012
"BEST FILM" - X-Dance Film Festival, SLC 2012
"BEST PICTURE" - International Freeride Film Festival, France 2011
"BEST FEATURE-LENGTH MOUNTAIN FILM" - Banff Mountain Film Festival 2011
"BEST FILM OF THE YEAR" - Adventure Film Festival, Copenhagen 2011
"PEOPLES CHOICE" and "BEST SKI FILM" - Fernie Film Festival, BC 2011
"BEST SKI FILM" - Adventure Film Festival, Boulder 2011
"2012 CINEMATOGRAPHY AWARD" - Mountain Film Festival, Telluride CO
"BEST CINEMATOGRAPHY" - ESPN Fan Favorites 2011
"BEST CINEMATOGRAPHY" - International Freeride Film Festival, France 2011
"BEST CINEMATOGRAPHY" - X-Dance Film Festival, SLC 2012
"BEST DOCUMENTARY" - IF3 Film Festival Montreal 2011
"MOST INNOVATIVE VISUAL FX" - IF3 Film Festival Montreal 2011
"AMBASSADOR OF GREEN" - X-Dance Film Festival, SLC 2012
"FULL THROTTLE AWARD" - Kye Petersen, Powder Video Awards 2012
"BEST NATURAL AIR" - Kye Petersen, Powder Video Awards 2012
"BEST POV" - JP Auclair, Powder Video Awards 2012
"BEST EDITING" - Powder Video Awards 2012
"The best movie in skiing." - Jamey Voss, ESPN es.pn/pPxkbQ
"The Sherpas are firmly in the lead of a new wave of filmmakers that are changing the face of ski films for good." - Leslie Anthony, Skier Magazine: http://bit.ly/mVaYsy
"Certainly, All.I.Can. is like no other ski movie past or present." - John Stifter, Powder Magazine: http://bit.ly/nl0JiT
"...a new benchmark in ski movie cinematography..." - Ski Star Movies review: skistarmovies.com/review/all-i-can
...An unparalleled cinematic experience: All.I.Can is a stunning exploratory essay that compares the challenges of big mountain skiing to the challenges of global climate change. Shot on 6 continents over 2 years, the world’s best skiers deliver inspirational performances while ground-breaking cinematography expands our vision of the natural world.
Journey through Morocco’s majestic desert peaks, Greenland’s icy fjords, Chile’s volcanic craters, Alaskan spine walls, and more. Join the revolution and experience one of the most spectacular, captivating, and thought-provoking films ever created in the action sports genre.