Update: Thanks so much for all your comments! I am reading them all and enjoy them a lot! I am sorry I can't reply to all of you. I am traveling at the moment and only have internet access once in a while. I hope to get to all the questions eventually. Thanks again!
A collection of time lapses I took around the San Francisco Bay Area roughly shot over the period of one year.
Update: Thank you so much to all of you. I am humbled and a little bit overwhelmed with all your comments. I am trying to answer all the questions (please keep 'em coming) but would like to thank each of you for taking the time to write a comment. I am reading them all. THANK YOU.
Almost 3/4 of a million views and 10k likes in one week, I am floored. It truly makes me happy that my little film is able to connect with you and hopefully evokes the same feeling of happiness that I felt while shooting it.
Thank you also so much to everybody that has left me tip. You are too kind!
It has been almost 3 years since I released "The Unseen Sea" and I'm excited and proud to share with you my latest project "Adrift".
"Adrift" is a love letter to the fog of the San Francisco Bay Area. I chased it for over two years to capture the magical interaction between the soft mist, the ridges of the California coast and the iconic Golden Gate Bridge. This is where “Adrift” was born.
The weather conditions have to be just right for the fog to glide over the hills and under the bridge. I developed a system for trying to guess when to make the drive out to shoot, which involved checking the weather forecast, satellite images and webcams multiple times a day. For about 2 years, if the weather looked promising, I would set my alarm to 5am, recheck the webcams, and then set off on the 45-minute drive to the Marin Headlands.
I spent many mornings hiking in the dark to only find that the fog was too high, too low, or already gone by the time I got there. Luckily, once in a while the conditions would be perfect and I was able to capture something really special. Adrift is a collection of my favorite shots from these excursions into the ridges of the Marin Headlands.
I hope with my short film I am able to convey the feeling of happiness I felt while I experienced those stunning scenes.
I am so grateful to Jimmy LaValle, from the band “The Album Leaf”, for composing a custom score for Adrift. Jimmy's music is fantastically beautiful and captures the mood perfectly. Please check out his website. Thanks again Jimmy for your hard work.
I hope you enjoy the film and thank you for watching.
If you like this short film, please consider using the Tip Jar below, proceeds will go towards the next project...
Licensing: Adrift is copyrighted. All of my work is available for licensing under a rights-managed agreement. If you are interested in using any of my images and/or time lapse footage, please visit my website or contact me directly. Most of my clips are available up to 4K resolution! All of them support 2.8K and standard HD resolutions of 1080p/720p. Some of my favorite scenes in the film are also available as high resolution prints.
'City Lights' is the final chapter from my "Trilogy of Light" time lapse series that began a couple years ago with 'LA Light' and then followed up with 'Nightfall'. It was an nightly adventure that took me to almost every angle of Los Angeles. It was an exercise in patience. A lesson in light. An understanding of what it is to live among each other and to understand the system and order of a city, the seemingly complex organics that make it up and the life form that the city truly is. A visualization of sonder. It was a daily jaunt to watch the arterial freeway systems pump car cells through its body and channel them to the capillaric avenues that are our neighborhoods and homes. It was a chance to break away from the 70mph freeway perspective and to observe the sun slip from view and watch the electric dance of nightfall begin. It was challenging. It was frustrating. Definitely dangerous at times. Sometimes it hurt. I was chased. Yelled at. Warned. But the overall context of things learned, people met, things seen, and places discovered over the past three years shaped who I am today. I didn't always love Los Angeles but I learned to and discovered that this city is much more than temperate weather, palm trees, pretty girls, and beaches; to me the true beauty behind the city lies hidden on the other end of a rusted fire escape to a view no one else has seen.
I'm looking forward to the next chapter of my film making career where I will be concentrating on narrative and documentary films.
Thanks for watching, reading, and supporting my films.
I will be running a limited series of high quality Kodak Endura VC metallic prints based on each series of shots. If you are interested in purchasing them, please email me at firstname.lastname@example.org with the shot (timecode).
Special thanks to:
Mom and Dad (always with the support and encouragement)
M83 (Anthony and D-E-F- Management)
Matthews MSE (Ed, Tyler, and Bob)
Dynamic Perception (Jay Burlage)
"Utilising a Busby Berkeley-style song and dance routine, with CGI toy soldiers as the players, Hattler succeeds brilliantly in blurring the lines between conflict and entertainment in a piece laced with satire. One foot wrong, and a film like this can quickly take the wrong turn into mawkish territory. But Hattler’s Spin triumphs were so many fail; engaging an audience and hitting them with the knock-out blow of a wake-up call." The Double Negative (2012)
"Max Hattler's fantastically bizarre, deliciously satirical Spin, a madcap cross between Singin' in the Rain (1952), Full Metal Jacket (1987) and A Town Called Panic (2009) the film portrays a synchronized group of dancing toy soldiers as they melt, maim and gun each other down." Cine Vue (2011)
"Animator Max Hattler, based in London and Germany, has been busy over the last couple of years creating his characteristically precise and geometric works that in some ways recall the kaleidoscopic choreography of Busby Berkley. Some of his best works unite the visual precision with military themes for a deft critique of totalizing control. His 2005 short, Collision, for example, brings together the visual iconography of Islam and the US, while Spin, from 2010, flips small military figures into spinning dervishes that again, create patterns that underscore the violence implicit in the images." Blur and Sharpen (2012)
"Spin is synchronised swimming for toy soldiers. Aficionados of plastic infantrymen will recognise them almost instantly, and while they've here been rendered such that they can move their limbs, some positional changes see them swapped for another. Here, they are green and black, the living-room invading menace of the tan toy soldiers perhaps being left for a sequel. The sometimes jaunty music from Eclectic works well with Max Hattler's visuals, all creating an entertaining spectacle. It's dark in places, intentionally so, and that's also to the credit of those involved. Perhaps the only note is that among the various GIs and Wehrmacht are some soldiers that appear in fact to be a police SWAT team - what one suspects is actually a battering ram is treated as if it were a giant Roman candle. That may be an artifact of childhood imagination, however, and given how many bricks substituted for firearms before Lego, if you will, bit the bullet, it's totally forgiveable. Watching Spin does in some ways recall the pageantry of fascism, the Nuhremberg rallies and North Korean stadium displays, though again that's an important element - divorced of ideology such efforts still glorify something, and the very notion of a toy soldier raises all sorts of questions. Spin doesn't attempt to answer any of them, nor should it - sometimes the mere act of asking questions is enough, and Spin manages that amply." Eye For Film (2010)
"The development of Spin has led to Hattler researching political parades and mass rallies, alongside kaleidoscopic Hollywood dance routines: ‘I’ve been looking at work by Leni Riefenstahl, and the escapist vision of Busby Berkeley. I’ve also been considering Fordism and the division of labour, where individuals create a bigger pattern. I’m interested in the human as ornament. What happens when you replicate a figure a million times?’ With this correlation of dance troupes and military troops, Spin presents a constantly self-replenishing supply of plastic toy soldiers, whose uniform movements shift from dizzying eye-candy patterns into increasingly threatening displays, all to a soundtrack of 1940s big band music." Electric Sheep, 2009