Gabe hits the greater Los Angeles area and hops onto unrideable spots.
Filmed and edited by Darryl Tocco.
Additional filming by John Hicks.
Song- Tupac "The Uppercut"
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A special thanks to the girls from Pearl London.
Please visit our website for more slow motion film tests photography-factory.co.uk
No harm done, Lola giggled a little and said it was all normal for her and that she had suffered much worse in the name of art or curiosity. We learned a lot from the results, but...there is one strange thing. Everyone who was there that day is still finding tiny little bits of red glitter turning up everywhere in their daily life, at home, in the car, on clothes, even on other people we meet? etc We are all sure we have never seen red glitter before but now the stuff keeps catching our eye and making us smile. Now even after many days we are still finding it on objects that are 60 miles away from the shoot and have never been near the studio??? I think we opened a portal in time and space with that spank..... Please do comment if you find some yourself...
On analysing the film we noticed a few things, one that we should have seen that pimple on her butt before shooting and filmed from the other side..... we could of course remove it in post, but as these are experiments we though we would leave it in as a permanent reminder. Notes to selves, Next time: get the biggest monitor possible when using the phantom under big lights. Also maybe to not be shy... and look at what you are about to film in every tiny detail (no mater how distracting) before saying action. If you are being picky Lola could also be a little higher in the frame, we argued this at the time as that is a trade off; because then she would look elevated and we felt that looked a little unnatural. Also when Eva's arm comes in, it would look quite short and you would not be able to follow the swing though, it would appear in frame later, which kills that little bit of anticipation and lengthens the gap between the shadow coming across and being able to see the GBH (Glitter Bad hand) swinging in.
If you liked this film, please take a good look at our other experiments here or at our website: photography-factory.co.uk where we will also post stills and a fully detailed technical breakdown, as well as unedited versions when we have a moment.
In this test we were using a Vision Research Phantom HD slow motion camera shooting to a 120 gig ram stack at 1000frames per second, the lens was a 35mm Carl Zeiss Planar T* wide open.
If you are inspired by this or any or our videos please leave a good comment.
If you are an agency minion do not rip us off, you can if you like get some slow motion viral photography at low cost made by us! firstname.lastname@example.org please get in contact we are a lot of fun to work with. At photography-factory are are very experienced in slow motion, quite reasonable, and (just about) make our livings from creative film and photography. Plus we need some more money to pay for better tests...
No babes, hot or otherwise were harmed* in the making of this film.
We really hope someone see this and likes what we have done enough to tell his/her company to use some of our raw talent... and pay us some raw cash.
Virals should be fun.
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