1. This is a short longboard film I recently produced. The idea behind it was to marry some slow motion longboard sliding to a 'glitch' track and mash it all up to the beat. I wanted the images and audio to become one. Also wanted to try some super slow shots and see how far I could push optical flow.

    Camera // Canon 7D, GoPro HD
    Lenses // Canon 24-105mm L f4, Canon 50mm f1.8, Tokina 11-16mm f2.8
    Software used // Final Cut Studio, Photoshop CS4

    Shot/directed/cut by Benjamin Dowie
    Music written and produced by Oliver Dowie

    soundcloud.com/oliver_dowie


    facebook.com/BeanpoleProductions
    beanpole.com.au/
    ©2010 BEANPOLE PRODUCTIONS

    # vimeo.com/13359521 Uploaded 306K Plays 275 Comments
  2. The film was created in little over 2 weeks.
    Playgrounds director Leon van Rooij asked us, like 6 months ago, if we wanted to do the titles for this years' fest.

    I quote: "Playgrounds is a two-day festival in Tilburg, the Netherlands, where you can see the best digital audiovisual art in the world, such as musicvideos, animations, commercials, character design, VFX and games AND you can find out how it's been made during artist lectures and Q&A's."

    Of course we said yes, because doing titles for festivals like these are rare opportunities. So we welcomed it with open arms.
    Next to that, we've been involved in the festival for 3 years now and we are the first ones to design a title sequence for this festival. What a burden... ;)
    With no creative brief and even less budget, we slowly started thinking, concepting, designing, thinking of how we could create something impressive, something new, something with a lot of production value but produce-able within 3 weeks and of course something we had not done before with our team, to challenge ourselves even more.

    We ended up with the idea to have 2 fighters fighting over whatever on a childrens' payground. Kind of a metaphor for a creative process, which can be a battle sometimes.. kill your darlings.. etc.. etc... Anyway, this could become visually very interesting, so we thought. We focused on the image, look and feel, a bit more than we used to this time, simply because we wanted to.
    We did some research, especially on the visual style in photography, the air we wanted the film to breath.
    Initially, the film needed to be very slow paced, almost like a dance on classical music in ultra slow motion, this was still the idea at the time when we shot the images.

    Just ultra slow motion, shooting with a phantom camera would not do the trick for us. We wanted to have more control over the slow motion in post production, still be be able to decide camera angles and motion. To do this we used the camera mapping technique in 3D.
    The production was made fairly simple compared to live-action shoots with high speed camera's shooting on location. By using this technique, simply because we only needed still images, we wrapped the shoot in 3 hours. Our photographer, Jasper Faber did an outstanding job by using only 2 flash lights, a camera and a macbook.

    In post production we changed the direction a little, we wanted more action. Jasper took a bunch of photo's which I found out could work just fine in a quick sequence. The contrast between the ultra slow-motion image and super fast paced short sequences made it more powerful and dramatized the impact of the slow motion sequence.
    Joris, our sound designer did what was necessary to enhance the impact even more.

    For the production of this shoot we contacted rotterdam based production company Revolver and asked them if they wanted to help us out producing the shoot.
    Luckily they said yes. They had just signed photographer Jasper Faber who is now represented by Revolver. Jasper was willing to shoot the images and help us out with the production, since we knew that post production would be very time consuming. Revolver helped us out producing it, so we could focus solely on direction and post production.

    The people who saw it thus far, all responded to the film equally, asking the same question "... how did you shoot it, with a phantom?" .. no, it's all 3D.

    Credits:

    Direction & Post-Production - Onesize (onesize.com)
    Sound Design - Studio Takt (studio-takt.com)
    Production Company - Revolver (revolver.nl/)
    Producer - Dijana Olcay-Hot
    Photography - Jasper Faber (jasperfaber.com/photography.html)
    Fighter #1 - Jeroen Roos
    Fighter #2 - Cesario di Domenico
    Make-up - Elseline Hokke (elselinehokke.nl/)
    Location Scout - Hans v/d Berg

    Playgroundfestival: (playgroundsfestival.nl/)

    # vimeo.com/6988731 Uploaded 49.8K Plays 58 Comments
  3. Creative Credits:
    Client: FX Network
    Project: Justified promo (:30)
    Agency: FX Network, Los Angeles, CA
    EVP, Marketing & On-Air Promos: Stephanie Gibbons
    SVP, On-Air Promotions: John Varvi
    Creative Director: Ethan Adelman
    VP of Production & Special Projects: Kenna McCabe
    Director of Production: Julie Graham
    Producer: Elizabeth Knight

    Production Company: The Arsenal
    Director/Designers: Onesize (Kasper Verweij & Rogier Hendriks)
    Executive Producer: Michele Maples,
    Line Producer: Rayna Saslove
    Visual Effects: Onesize
    DP: Allen Daviau
    3D & Animation: Kasper Verweij, Reinier Flaes, Harm van Zon, Heerko groefsema

    Arsenal the multimedia production company representing Onesize handled the large-scale promotional campaign for FX’s new show "Justified", based on an Elmore Leonard character.
    We were asked to direct, supervise and post-produce the promo in close co-operation with the talented people of FX networks.
    In this promo we applied the same technique that was used in the Playgrounds titles film. The big difference in post production (compared to the Playgrounds film) were all the detailed backgrounds we had to put in 3D as well. Quite a challenge.

    # vimeo.com/10870259 Uploaded 9,338 Plays 11 Comments

Slow motion

Cody Martin

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