1. Water Light Graffiti by Antonin Fourneau, created in the Digitalarti Artlab

    02:00

    from Digitalarti Added 866K 9,410 109

    The "Water Light Graffiti" is a surface made of thousands of LED illuminated by the contact of water. You can use a paintbrush, a water atomizer, your fingers or anything damp to sketch a brightness message or just to draw. Water Light Graffiti is a wall for ephemeral messages in the urban space without deterioration. A wall to communicate and share magically in the city. Contact, exhibitions and artwork rental : services@digitalarti.com More creations: http://www.digitalarti.com/fr/blog/digitalarti_services More pictures and details on Digitalarti : www.digitalarti.com/wlg Water Light Graffiti is a project of Antonin Fourneau Engineer : Jordan McRae Design Structure : Guillaume Stagnaro Graffiti performance : Collectif Painthouse Assistant team: Clement Ducerf and all the Artlab volunteers Artlab Manager: Jason Cook Filming: Sarah Taurinya & Quentin Chevrier Photographs: Quentin Chevrier Music: Jankenpopp (www.soundcloud.com/jankenpopp) Editing and titles: Formidable Studio and Maïa Boumpoutou Support : Ville de Poitiers, Centre Culturel Saint Exupéry, Mairie de Paris (10th district)

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    • FIREFLY

      02:37

      from samadhi production Added 768K 6,484 168

      created by: http://www.samadhiproduction.cz http://www.jamcopters.cz DIRECTED BY Jan Minol PILOT / TECHNICAL SUPPORT Jan Dojcan STORY Jan Minol / Jan Dojcan EDIT / POSTPRODUCTION Jan Minol SPECIAL CREATIVITY Jana Minolova CAMERA OPERATORS Jan Fuksa Ondrej Prochazka Daniel Truhlar SKATER Jan Minol SONG Nullified Mark Petrie Watch making of FIREFLY here: https://vimeo.com/55086619

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      • Light Emitting Dudes - LED Freerunning

        03:34

        from Frank Sauer Added 556K 6,172 173

        Light Emitting Dudes takes a team of freerunners, geared up from head to toe with LED lights, and sets them loose on the streets of Bangkok at night. With acrobatic grace, they carved up the already buzzing nightlife spots while adding their own flair and colour to the mix. Jason Paul, Shaun Wood, and Anan Anwar are a team of freerunners whose homes are already quite far apart, coming from Frankfurt, Sydney, and Bangkok respectively. Director Frank Sauer and Costume Designer Christina Zahra also had to fly in from Germany, so getting everyone together to shoot this video was a challenge in and of itself. With no definite locations, pre-planned stunts, or even a working LED suit prototype, making the decision to fly to Thailand was a real leap of faith. All I had was an idea in mind of what I wanted to create. I had worked with Jason before in 2011 to create Dream World, which documented Jason's journey to London to compete in the Art of Motion Freerunning competition. Since then I have been looking for another opportunity to work together and to get the rest of his team involved. I wanted to portray freerunning in a way that hasn't been done before. I realized that freerunning at night was a barely-touched space where I could do some ground-breaking work, so I began thinking about LED suits as a concept. One of the biggest challenges was putting together a suit that both looked cool and was functional. It had to be able to withstand the stresses of high impact acrobatic stunts, while adequately lighting up the surroundings as we passed through them. Luckily, Christina, with a wealth of experience as a fashion designer, was there to put it all together. Armed with a few morphsuits, some batteries, and a plethora of LED strips and duct tape, Christina really did a great job of fashioning together a Tron-style LED suit on a shoe-string budget. Once the suits were ready, and we were tired of playing dress-up in the apartment and scaring the cat, it was time for the team to hit the streets. This opened up a whole new can of worms. It turns out, walking around the streets looking like creepy Neo S&M Power Rangers attracts unwanted attention, making guerilla-style shooting particularly difficult, to say the least. And the traffic police didn't take our presence at busy intersections light-heartedly either. Go figure. The mix of dangerous stunts and exhaustion due to all-night shoots really tested our resolve to finish the video. Maintaining the suits in good condition was also a continual hassle. They needed to be disassembled from time to time so the batteries could be recharged, and damaged LED strips needed to be unthreaded and replaced. The schedule being what it was meant that the suits never really had time to air out. We had to work with the mild stench of men’s locker room on us the whole time. The low light conditions presented their own challenges for shooting, but did provide an opportunity to experiment with long exposure to create beautiful light stroke shots. For two weeks we were out every night collecting shots and enjoying the confused look on peoples face when we walked by. Oddly enough the cool factor of looking like a general bad ass never wore off. I think a lot big kids dream of dressing up like superheroes and leaping around the city. That's something I can cross off my bucket list, now. We had a great time together. In the end, it's definitely worth it to create something new and unique in a way only you can. CREDITS 
WRITTEN & DIRECTED Frank Sauer
 (www.frank-sauer.com) IN COOPERATION WITH Team Farang (http://www.farang-mag.com/) EDITING Frank Sauer & Sebastian Linda COSTUME DESIGN Christina Zahra SOUND DESIGN Jens Fischer
 TITLES Stephan Baumann MASTERING Matthias Greule MUSIC 
Metric - Artificial Nocturne (Love Thy Brother Remix) TECH-SPECS 
CAMERA: GH2
 (Hack: EOSHD Vanilla) LENSES: Voigtlander f/0.95 25mm, SLR Magic Hyperprime f/1.6 12mm, Panasonic f/4 7-14mm
, Canon FD f/1.4 50mm, Canon FD f/2 85mm

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        • SWEATSHOPPE Video Painting Europe

          03:58

          from SWEATSHOPPE Added 189K 3,611 80

          www.sweatshoppe.org www.brunolevy.com www.blakeshaw.net New media art duo SWEATSHOPPE aka Blake Shaw and Bruno Levy are back from Europe with a new video that showcases their live interactive video wheatpaste in Berlin, Bristol, Belgrade, London and Paris. Over a two week period the duo pasted their videos in over 10 spots including the Berlin Wall, Les Invalides, Cordy House and even constructed a 5 meter telescopic electronic paint roller to create a two-story tall video painting in Bristol. Video painting is a technology the duo developed that allows them to create the illusion that they are painting videos onto walls with electronic paint rollers they built. It works through custom software that they wrote that tracks the position of the paint rollers and projects video wherever they choose to paint, allowing them to explore the relationship between video, mark making and architecture and create live video collages in real time. Music: Artist Eskmo "Cloudlight" from the album Eskmo Ninja Tune (2010) Copyright 2010 buy track: http://itunes.apple.com/ca/album/cloudlight/id416299279?i=41629928

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          • Musical Laser Forests, Light Painting, and Quadcopters | Meet Marshmallow Laser Feast

            07:07

            from The Creators Project Added 107K 2,804 24

            Using drones, laser beams, projection mapping, and custom tools, Marshmallow Laser Feast explores new canvases by creating interactive, real-time, magical experiences. _______________________________ The Creators Project is a partnership between Intel and VICE: http://thecreatorsproject.com/ _______________________________ Facebook: http://fb.com/thecreatorsproject Twitter: http://twitter.com/creatorsproject Tumblr: http://thecreatorsproject.tumblr.com/

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            • CONSTELLACTION

              02:08

              from ◥ panGenerator Added 106K 2,766 32

              CONSTELLACTION an emergent a/v installation for Copernicus Science Centre / Przemiany Festiwal 2013 more info: http://www.creativeapplications.net/arduino-2/constellaction-intricate-emergent-behaviour-using-autonomous-building-blocks/ http://www.pangenerator.com http://www.przemianyfestiwal.pl/en/ http://www.kopernik.org.pl/en/ -- PROJECT CREDITS -- CONCEPT, DESIGN, DEVELOPMENT by panGenerator: Piotr Barszczewski, Krzysztof Cybulski, Krzysztof Goliński, Jakub Koźniewski -- VIDEO CREDITS -- VIDEO EDITING & ADDITIONAL FOOTAGE Jakub Koźniewski MAIN FOOTAGE Łukasz Gregorek STILLS AND PRODUCTION COORDINATION Katarzyna Grzeszczak SOUND RECORDING Michał Ścibior SOUND EDITING Krzysztof Cybulski ORIGINAL MUSIC Maciek Dobrowolski ( http://www.mdobrowolski.com ) feat. guitars by Richard Carter + you can download track here - http://soundcloud.com/maciek-dobrowolski/constellaction -- SPECIAL THANKS -- Ewa Pawlak and whole Przemiany Festiwal team Andrzej Surowiec Katarzyna Grzeszczak Magdalena Major Olga Górnicka Stefania Szczuka Wiesław Bartkowski Krzysztof Schellenberg - vacuum forming at www.schegor.com ---

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              • Flying Lotus "Tiny Tortures" Process montage

                04:42

                from dlew Added 51K 1,947 73

                breakdowns of my new flying lotus video - http://dlew.me/Flying-Lotus-Tiny-Tortures music by Pearson Sound, "Clutch"

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                • The Projector - 8mm Direct to 5Dmk2

                  04:38

                  from James Miller Added 125K 1,817 222

                  Many thanks to Mitch Aunger (Planet5D) for getting this story rolling and spreading the word. http://home.planet5d.com ---------------------------------------------------------- This is my method for transferring 8mm footage using the Canon 5Dmk2 in real time. The results are very good for such a fast method if you cannot afford the money or time for frame scanning. 00:42 - It very important to use a flat type LED's not the dome shaped ones. The dome shape LED's will give you lots of blooming and the focus will drift at the edges making you suspect the lens. 00:58 - I drilled 3 holes in the body of the projector for the LED flexible light strip, behind where the original bulb used to sit. I mask out light I don't want projected with putty. The position of the lights helps mask out some of the scratches. I need to add another couple of (horizontal) lights either side of the centre light. 01:29 - I modified the original projector lens to try and achieve a flat field image. Made from the rear element from a Carl Zeiss Flektogon 35mm and attached to the original lens tube with a bit a tape no less. You could use standard lens and there are some very nice ones out there. 03:08 - Utilising the body from the old 35mm lens, it proved a good way in shielding the projector from light pollution, I also added a 12mm extension tube. A lens cloth draped over the front further seals the light from entering, of course you could just film in very low light. 00:12 - I put 2 drive belts on the motor, this slowed the motor down just enough to reduce the shutter flicker. The Canon 5Dmk2 was set to 24p and 1/50 for our electrical phase. ISO ranged from base up to 1000, depending on exposure of original film. The footage is fine at ISO 1000 but this could be reduced by using a more powerful flat lens LED. 03:30 - Focus and frame size changed by moving the projector or camera and adjusting the screw type lens. Try and focus on the film grain and not the scratches. 00:37 - I removed the internal mask for 8mm & S8mm aspects at the gate to project an unrestricted image into the camera. You gain areas that are hidden but they have the perfs though them and you see the top and bottom of the next and previous frame, but you can re-mask in post. If it's personal footage you want to see everything on the frame, some times it makes the difference. You can use the crop sensor DSLR's but the lens would need changing or modifying unless you wanted a cropped image. On this lens and projector I can not bring the camera near enough without fouling on the body of the camera or projector body to get a full image captured. I have tried to make this project as accessible as possible and apart from the camera, all the items are fairly cheap to pick up. Projector used: Eumig Mark 501, I also use the Eumig 610D & the Eumig Mark DL Camera: Canon 5Dmk2 Ref LED: http://www.maplin.co.uk/dc-12-v-flexible-led-light-strip-400mm-47376 Here are links to a couple of films transferred using this exact setup: http://www.vimeo.com/20900718 http://www.vimeo.com/20871186 I have other 8mm transfers back from when I started this 2 years ago, but the quality was not as good. They are further down my videos.

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                  • Lusine - Arterial

                    04:14

                    from DaBrainkilla Added 118K 1,400 66

                    Music video Genre : Electronic / Ambient breaks 4’14 min – Technique : stop motion / video Directed, filmed and produced by Christophe Thockler http://christophethockler.com http://www.facebook.com/dabrainkilla http://twitter.com/dabrainkilla Extract from the EP Arterial, composed by Lusine (Seattle, Washington State - USA) http://lusineweb.com/ http://www.facebook.com/lusine.official Album available on Ghostly International http://www.ghostly.com/ Details : 7 000 photos, 30 min of video, 15 kg of electrical components from old tvs, phones and computers, 5 liters of blood. The complexity of this electronic track, mixing both cold and warm sounds, inspired me to create something I call "electrorganic" : a mix of blood and human tissues with electronic components like LEDs, screens and boards. The result is an intriguing video, where you don't really know what's happening, but you can imagine that some sort of electronic machine is powered by, or producing blood. Movies and music videos from the 80s and 90s were also a source of inspiration for this video, there are some sequences that are very small tributes to audiovisual works I love like Shinya Tsukamoto's Tetsuo, Coppola's Dracula, Cameron's Terminator, Carpenter's The Thing, Cronenberg's Videodrome, the music video Digging in the Dirt by Peter Gabriel... © July 2014

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                    • HYPERCUBE

                      00:52

                      from Kit Webster Added 38.3K 1,207 10

                      www.kitwebster.com The Hypercube is a concentric cubic sculpture illuminated with a 120 metre addressable LED array. These light pixels allow for the investigation of a range of intricate choreographies that can be obtained through its minimalistic form. The pixels positioned throughout the sculpture are capable of indicating their virtual coordinates and therefor programmed to illuminate as they are intersected by a variety of transient virtual volumes. This capacity to reveal shape as light is automated and recorded into individual scenes which are then sampled, duplicated, resized and syncopated along a rhythmic timeline and combined with the illumination of individual elements of the structure and the inclusion of particle animation. Sound designs are employed to deliberately cultivate a deeper audiovisual synesthetic connection. By continually cross referencing the sound and vision, audiovisual sync is gradually tightened and unified. Ambient light that is captured by the surrounding walls of the room further intensifies these audiovisual choreographies, culminating in the creation of a dynamic immersive environment. Although the work straddles a temporal structure, is also departs from a single point of reference and positions itself outside conceptual framework and into the realms of arbitrariness and abstract expressionism. It's frenetic technical pace evokes cognitive suspension while, conversely, its moments of serenity provide a paradox of contemplative reflection. The aim of this piece is to provide consideration into the depth and breadth of spatio-temporal relationships and how much of this information can be identified and absorbed through crossmodal sensory perception.

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