105K Plays / 990 Likes / 120 Comments
like me on https://www.facebook.com/cneistat My office isn't far from Zuccotti Park and when I heard it was being cleared I went down with my camera. I ended up filming for 18 hours until the Park was reopened at 6pm on November 15, 2011. The police presence was overwhelming, more than I've ever seen - more than during the blackout, more than the days after September 11th.+ More details
300 years in the future, a forensic accountant reviews the video stream from one mercenary's drop-pod which has been damaged during the initial stages of a colonial invasion. Directed by Ferand Peek Download at www.mis-drop.com https://www.facebook.com/MisdropShortFilm learn more about how it was made at http://www.directorsnotes.com/2014/05/26/ferand-peek-mis-drop/+ More details
374K Plays / 539 Likes / 0 Comments
The 67th Fighter Squadron, known as the "Fighting Cocks," won the Raytheon Trophy for air-to-air excellence for their 6th time in history in 2013, making them the most-winning squadron in the US Air Force. All rights reserved to SNIZZLER. This is his channel: http://www.youtube.com/channel/UCXbzzoN2LBwoxIqG34VYgPA+ More details
28.4K Plays / 174 Likes / 6 Comments
Every day we set out to build sails that are better than any that have come before them. We evolve, tinker, test, question without compromise. In the end, we inevitably end up with something that is bigger than the sum of its parts. A NeilPryde feeling – where you just know when it’s right. Introducing the 2014 range, the next step in our journey to sailing perfection. We took the Forceline Panel idea from 2013 and evolved it into something bigger and better – a full sail concept where loads are dynamically controlled using advanced materials that do away with unnecessary panels and seams. The 2014 sails are built for one thing and one thing only – performance. Variable density yarns built into the materials allowed us to follow loads and reinforce the sail where it needs it most. Segmented luff panels in freeride sails follow loads to support significant downhaul tensions. On wave sails, the fully integrated Forceline Frame radiates from tack to clew and follows the leech into the head, holding the sail’s shape and creating a shield that can support the high loads experienced in these areas. We call it precision crafted performance. Dear water, apologies in advance. Learn more: http://www.neilpryde.com/sails.html+ More details
16.8K Plays / 155 Likes / 0 Comments
Ronnie is a BEAST! He is a big giant Viking that lays down beatings on all bikes across the land. Since no handlebars can hold up to the abuse that this Viking dishes out, Ronnie decided to design the COMBAT BAR. The COMBAT BAR is the greatest bar to hit the scene since CHEERS! The COMBAT BAR can hold up to even the most brutal attacks on a 20 inch yet is light weight and has the kind of handling even a mother could love. Check out what Ronnie can do with these bars and what they can do for you! FIlmed & Edited by Mike Mastroni Music: Green & Wood - "Rockin Real Hard" http://demolitionparts.com http://facebook.com/demolitionparts http://twitter.com/thedemolitionparts instagram.com/demolitionparts+ More details
4,655 Plays / 132 Likes / 8 Comments
Traditional animation samples from projects ranging through 2006-2012.On all clips, performed as either Key Animator or Full Animator (keys & tweens), and for many of these projects I was also the storyboard artist. Please contact me for further information, or view my profile at LinkedIn at linkedin.com/profile/view?id=176696500+ More details
25.8K Plays / 132 Likes / 17 Comments
This video comprises a short collection of clips from my time working as a civilian videographer for the U.S. Special Forces in Afghanistan in the first half of 2012. The song is Chad VanGaalen's "Rabid Bits of Time" from his terrific 2008 album Soft Airplane. I learned in Afghanistan that everything I thought I knew about humanity was wrong. I was profoundly depressed in the wake of this admission. My ideology needed to be true and so constantly justified; I needed to believe it was advantageous, even though it so often led me astray and prohibited my real salvation from error. Now I can see things from which I had heretofore blinded myself. Some of these things are beautiful. And they are more beautiful because I could only arrive at them by first wading forward through so much pain. In this film, I wanted to juxtapose those pieces of the war that people tend to cut out in their editing process with the ones we see in the final product. The film shows what we think we know through such familiar images as tanks moving forward to combat and weapons systems shooting into some blank nowhere; and yet here's what we viscerally understand, the face of a man laughing or a small girl's confusion. In this tension, we are confronted with the superficiality inherent in our narratives of war. Hopefully, recognizing this, we might deliver ourselves from that false framework to a more genuine place where we see this American soldier could be my brother, that little Afghan girl could be my daughter. I was especially interested in isolating those moments in my footage where I saw a moment of vulnerability. In a combat zone, everybody is trying very hard to conceal how scared they are, whether they're soldiers or children or village elders or whatever. But the special thing about having a camera there is that I can capture the flinch, laughter, or other momentary lapse from this big secret we're carrying together: that we're in a place where we have to believe it's okay to kill each other. Our eyes plead with one another to keep up this pretense. The editing process demands that you play these images over and over until it's technically adequate. Once you've seen the same clip hundreds of times, something interesting happens; you begin to see these tiny admissions that you couldn't catch when you were there. Every once in a while our faces let slip how we really feel about all of this despite what we'd otherwise willingly admit. When I arrived back in the States, everybody wanted to talk with me about Afghanistan. It was very difficult for me, even to hear the name; I just wanted to hide somewhere private and cry. I couldn't really understand why that was for a while. But I think I've come to realize that here in the West, people's opinions about the region, its people and the war have really congealed into this sickening sort of knee-jerk bring-the-troops-home or these-colors-don't-run blather that ignores the humanity of everyone involved. I think it's very easy to ignore people when we don't want to genuinely confront the difficult questions that come with acknowledging their existence. It's easy, but it's wrong. I don't want to tell people what to think about this war, whether it's good or evil — that would be an arrogant presumption on my part and I've learned from Afghanistan that nothing is so unambiguous — but I want them to think of the broader implications for humanity in their considerations of where we should go from here. We can't always avoid making mistakes but we can at least avoid being uninformed. And that means more than reading the news. It means understanding the people. It is still unclear what the conclusion will be amid so many possibilities for humanity. Afghanistan is a lens through which the world might better understand itself.+ More details
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