This film follows the ancient cycle of sunset, to night, to sunrise. A continuous loop of perpetual movement that has been unbroken since the dawn of time, and the only true constant in our lives.
I shot this film over 12 days around the San Pedro de Atacama region of Northern Chile. San Pedro is an oasis town in the Atacama and sits at an altitude of 2600m. The town is a great base to explore the fascinating landscapes that surround it, and everything just goes up and up.
The Atacama is well-known for what are arguably the cleanest, darkest skies on Earth. The dry air adds an extra transparency and this coupled with the altitude creates a night sky like no other. I visited at a time when Venus was situated quite close to the centre of the Milky Way; an astronomical event that only takes place every 8 years or so. I also timed my visit with the Autumn equinox which is a good time of year to capture Zodiacal light; the celestial phenomenon caused by sunlight scattering interplanetary space dust in the Zodiacal cloud. It stretches across the ecliptic and glows for a short while after sunset like a UFO beam and I was lucky enough to witness this every night I stepped out into the dark.
In my opinion an adventure is not complete unless there are challenges, and this trip was no different. My luggage was lost for the first 6 days I was there so for half of my trip I had no tripods and no motion control equipment. I shot many time-lapses in this film with my cameras on buckets weighted down with rocks! it was far from ideal but I was determined not to miss an opportunity to capture this wonderful sky. I battled through with little food and less sleep, language barriers and I even broke down in the middle of nowhere at one point, but at least the sunset was nice that evening! I found the Atacama to be a very harsh landscape; the dry air makes your skin crack and split, the winds pummel you with every gust and the altitude slows you down and affects your ability to hike with heavy equipment. By the end of this trip me, my kit and my car had taken a real battering but it was all worth it, I wouldn't have had it any other way.
Music composed by Shudan, please support this amazing artist by clicking here:
All footage is available in resolutions up to 4k. If you would like to licence any of my clips or talk about a project you have in mind please contact me at:
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To see more work please visit http://www.nicholasbuer.com
For motion control I used the Stage One Dolly System by Dynamic Perception:
New York City is at the top of the list when it comes to New Year's eve celebrations around the country. Nothing beats the magical 12 foot sparkling Waterford crystal ball descent at the stroke of midnight. Times Square is arguably one of the most electrifying places to bring in the new year, which is why it is no surprise that it has become the global celebration with millions of broadcast viewers.
This New Year's Eve timelapse production was produced using more than 18,000 still frames, shot over the course of 12 hours from two hotel rooftop locations ( DoubleTree Suites by Hilton New York City - Times Square and Manhattan Times Square ) led by Noel Cordero, Brandon Cotter & Hector Arrivillaga of the Timelapse Group. Objective of the project was to grab b-roll footage of regular video, time-lapse, & slow-motion clips of the ball drop, for next years NYE promotional video for the client.
A special thanks to the production crew (by location assigned):
DoubleTree Suites by Hilton-TSQ (http://ow.ly/shDFO)
Matt Mateiescu, Michael Villegas, George Benitiz
Manhattan Times Square (http://ow.ly/shDIW )
Lesley Davis, Augie Ciambriello, Avery L.. Cooper, Carolyn V. Moritz, Zach Smart
Also to our Producer Shiseido Ruiz (same producer of Manhattan in Motion) for working with Times Square Alliance/NYPD to secure clearances from the hotel rooftop locations and ground level access. We were also fortunate to work with both Adrian Cabezas and Brian Dohn of Switronix who oversaw the battery solutions for all our DSLR cameras and 2 Red Epics.
If you are interested in licensing non-exclusive material please contact (Noel Cordero) at firstname.lastname@example.org
Gear List Used On Both Locations:
(3) Canon 5d Mark III's, (3) Canon 7D's, (2) 60D's, T3i, T4i
(2) Red Epics
(2) Canon 24-70 II's, (2) 16-35mm II's, (2) 70-200mm II's, 24mm Tilt Shift II, and 10-22 EF-S
BAND WEBSITE http://www.familybandfamily.com & http://www.thewildunknown.com
NEW ALBUM http://itunes.apple.com/us/album/grace-and-lies/id540854074
PLEASE SHARE THIS VIDEO !!!!!!
FAMILY BAND IN "MOONBEAMS"
DIRECTED BY - SAM MACON
CINEMATOGRAPHER - TRAVIS AUCLAIR
PRODUCTION DESIGNER - FAYTHE LEVINE
EDITED BY - MARK P. SMITH
MAKE UP BY - SARAH WOJNER
GAFFER / KEY GRIP - CHRIS MARKS
SET CONSTRUCTION BY - VINCENT ZAGER
ART ASSISTANT - GHAZAL SHEEI
COSTUMES - KIM KRANS
VFX - GRANT CHENEY
GIRL & BOY PLAYED BY HANNAH MACON & ANDY MCGUIRE
VERY SPECIAL THANKS TO
HEATHER WOJNER & JOHN McGUIRE
THE ARNOLD FAMILY
THE LOEB FAMILY
Executive Producer - JAMES BRETTON
Producer - BEN LOLE
Writer - BECKY AND JOE / BAKER TERRY / HUGO DONKIN
Voices - BAKER TERRY / ROY
Art Direction - BECKY & JOE
Live Action DOP - MAX HALSTEAD
First AD/Production Manager - HUGO DONKIN
Camera Assistant - THOMAS BOLWELL
Animation - JOSEPH PELLING / DAN BRITT
Stop Motion Set - ALBERT SALA
Puppets and Props- BECKY SLOAN, JEN NEWMAN, MARK MORGAN
Music & Sound- JOSEPH PELLING
Compositing - FELIP DOCOLOMANSKY
- EMANUELA GATTO
CLAPHAM ROAD STUDIOS / DAZED DIGITAL / CHARLIE PELLING / GOOD EMPIRE LASER CUTTING/ CHANNEL 4