1. Soon every home will have a robot helper.

    Don't worry.

    It's perfectly safe.

    Written, Directed & Edited by Ruairi Robinson

    Starring Max Records from "Where The Wild Things Are".

    Cinematography by Macgregor

    Music by Olafur Arnalds courtesy of Erased Tapes

    Funded by Bord Scannan na hEireann / Irish film Board

    Budget was 45k euro - for the shoot. Visual effects budget was a grand total of zeeero. I designed Blinky, modeled him in 3D and played both the his voice and the body mocap performance. And did most of the VFX. Thankfully all footage of me in the skintight mocap suit has been permanently destroyed.

    Visual effects were completed over a period of 9 months, of hell. There's a reason why you don't see too many wet CG characters in movies even with 100 million dollar budgets. It's really, really hard.

    # vimeo.com/21216091 Uploaded 1.5M Plays 730 Comments
  2. In this one hour tutorial, Product Specialist Mary Poplin breaks down object removal using mocha Pro, including basic techniques and luminance render settings, remove with clean plate settings, and how to tackle more difficult multi-plane removes.

    mocha Pro is the upgrade from the Adobe After Effects bundled mocha AE.

    To learn more, visit: imagineersystems.com/products/mocha-pro/
    mocha Pro supports After Effects, Premiere, Nuke, Apple FCP/Motion, Boris FX, Quantel, Autodesk and more.

    # vimeo.com/123080893 Uploaded 12.3K Plays 4 Comments
  3. The characters in the films of Paul Thomas Anderson share many similarities. They come from dysfunctional families, they are desperately seeking acceptance, they let their emotions get the best of them, and the list goes on. But a similarity that seems to especially stand out is a sense of isolation. Anderson's characters are adrift, looking for someone or something to connect with in their lonely worlds. This idea is expressed visually through the use of long/extreme long shots. We are often presented with characters lost within the frame, and therefore have trouble connecting with said characters--we become isolated ourselves. Here is a look at Anderson's use of the long/extreme long shot throughout his first six feature films.
    MUSIC: "Alethia" by Jonny Greenwood
    Films:
    Hard Eight (1996)
    Boogie Nights (1997)
    Magnolia (1999)
    Punch-Drunk Love (2002)
    There Will be Blood (2007)
    The Master (2012)

    Featured at blogs.indiewire.com/pressplay/watch-a-video-essay-on-paul-thomas-andersons-provocative-use-of-the-long-shot-20150130

    Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

    # vimeo.com/120423327 Uploaded 61.2K Plays 12 Comments
  4. Darren Aronofsky seems to favor tracking shots that capture his characters from behind rather than the front or side (most frequently in The Wrestler and Black Swan). Using a dolly, Steadicam, Snorricam, or handheld camera, Aronosfky makes us feel as if we are being dragged through a scene. These shots are most often employed when his characters are experiencing times of stress or disorder. As they journey blindly into the unknown, we are forced to follow them.
    MUSIC: "Ghosts of Things to Come" and "Arnold" by Clint Mansell
    Films Used:
    Pi (1998)
    Requiem for a Dream (2000)
    The Fountain (2006)
    The Wrestler (2008)
    Black Swan (2010)
    Noah (2014)

    Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

    # vimeo.com/121628878 Uploaded 41.1K Plays 11 Comments
  5. A man returns to the Midwestern farm of his childhood on a desperate mission to unearth the horrifying truth of what landed there in the summer of 1960. View trailer: vimeo.com/55338337

    imdb.com/title/tt2831474 | thelandingfilm.com/ | facebook.com/thelandingQPIXFILM

    See our VFX featurette: vimeo.com/113455347

    WINNER - Best Short Film - 46th Sitges International Fantastic Film Festival (2015 Academy Awards® Qualifying Win)
    WINNER - Best Foreign Film - 18th LA Shorts Fest (2015 Academy Awards® Qualifying Win)
    WINNER - Best International Short - 38th Cleveland International Film Festival
    WINNER - Youth Jury Award, Best Short - Rhode Island International Film Festival, 2014
    WINNER - Best Short, Screamfest® Horror Film Festival, 2014
    WINNER - Jury Award, Narrative Short - Beverly Hills Film Festival, 2014
    WINNER - Octopus d'Or, Best International Short, Strasbourg International Fantastic Festival, 2014
    WINNER - Short Film Category - Fade In Awards, 2015
    WINNER - Prix du Public, Courts des Iles Festival, 2015
    WINNER - Best Real Image Short Film, FANCINE, XXIV Fantastic Film Festival of Málaga
    WINNER - Best International Live-Action Short - 10th Fantaspoa International Fantastic Film Festival
    WINNER - Best Of Fest & Best Sci-Fi Short - FilmQuest Festival 2014
    WINNER - Best Narrative Short (50 minutes or less) 2013 IPAF ATOM Awards
    WINNER - Honorable Mention, Narrative Short, Fargo Film Festival, 2015
    WINNER - Best Director, Rhode Island International Horror Film Festival, 2014
    WINNER - Golden Tripod for Best Cinematography in Short Film, 2014 National ACS Awards
    NOMINATED - Best Direction in Short Film, 2014 Australian Directors Guild Awards
    NOMINATED - Best Editing in a Short Film, 2014 Australian Screen Editors Awards
    NOMINATED - Best Production Design, Original Score, Sound and VFX, 2014 St Kilda Film Festival

    OFFICIAL SELECTION HIGHLIGHTS

    Warsaw Film Festival, 2013
    20th Austin Film Festival, 2013
    Foyle Film Festival, 2013
    Brisbane International Film Festival, 2013
    Flickerfest International Short Film Festival, 2014
    Byron Bay International Film Festival, 2014
    Omaha Film Festival, 2014
    Sarasota Film Festival, 2014
    Imagine: Amsterdam International Fantastic Film Festival, 2014
    Arizona International Film Festival, 2014
    SCI-FI LONDON Film Festival, 2014
    Newport Beach Film Festival, 2014
    St Kilda Film Festival, 2014
    Huesca International Film Festival, 2014
    Festrioa International Film Festival, 2014
    Revelation Perth International Film Festival, 2014
    Fantasia Film Festival, 2014
    Rhode Island International Film Festival, 2014
    Hollyshorts Film Festival, 2014
    Cambridge Film Festival 2014
    MOTELx - Lisbon International Horror Film Festival, 2014
    Shnit International Shortfilmfestival, 2014

    KEY CAST

    Father | Henry Nixon
    Edward | David Roberts
    Young Edward | Tom Usher

    KEY CREW

    Director | Josh Tanner
    Producer | Jade van der Lei
    Written by | Josh Tanner & Jade van der Lei
    Executive Producers | Mat Petrenko, Rob Matheison & Murray Berghan
    Associate Producers | Alana Jessop & Jacob Livermore
    Production Design | Charlie Shelley & Christopher Cox
    Cinematographer | Jason Hargreaves ACS
    Composer | Guy Gross
    Sound Designers | Tony Vaccher & John Dennison
    Editor | Derryn Watts
    Visual Effects Supervisor | Richard Waterhouse

    © PERCEPTION PICTURES PTY LTD 2013

    CONTACT:

    JOSH TANNER (director/writer)
    tannerofjosh (at) gmail.com

    JADE VAN DER LEI (producer/writer)
    jade (at) perceptionpictures.com.au

    # vimeo.com/113841869 Uploaded 323K Plays 198 Comments

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