I’ve been a fan of Ash Bolland‘s work at Umeric for a while now, but I only realized tonight that these scattered pieces I had kept coming back to over the years were all his. There’s something about the live action mixed with 3D that’s other worldy and strange that I absolutely love. Some of these organic models make no sense, but they’re beautifully designed and rendered and also amazing to watch interact with the environment. The four above sort of detail his latest work first, middle work second and third and oldest work last. Really love the sound design in the fourth piece.
I don’t usually go too deep trying to interpret films and videos simply for the fact that I’m not good at it. Can you really ever truly determine the intentions of an artist? True, some are pretty forthright and wear it on their sleeves as a sort of art-form in and of itself, but for the most part art and expression are purely personal exercises, the products of which can’t be expected to be faithfully interpreted by others. And that’s the beauty; that others are free to take the form and mold it to their own experience, to derive a more personal meaning from it. I for one hope that the majority of people who consume my work perceive it in a completely different way than I do. I know that by and large that’s not the case, but I’d like to think it could be if properly framed.
But this video struck a chord with me as an artist and as a human being in general. How can we reconcile our passions and goals with the biological imperative and our desire to find true meaning in life? Is our work the true meaning? On your death bed will you praise yourself for the things you’ve achieved as an artist, be fulfilled because you followed your “dream”. Or will you be thankful for the the relationships you’ve forged and the lives you’ve touched? Hopefully both. But as I grown older and learn more of myself and my work, I begin to fear these goals are mutually exclusive in some respects.
Curious to hear other’s thoughts. And I’m not missing the lighter side of this, it’s downright hilarious in it’s own way. But on a more serious note I think this is outlines some conflicts we all must face as artists striving towards our self-oriented goals.
Via Dusty Brown
Designed as a companion book to the LP-sized “Pulp Art Book: Volume One”, this much anticipated second volume builds on the first, introducing several new characters and vignettes, while solidifying Joni Harbeck and Neil Krug’s position as the hippest ex-Kansans in the contemporary art world. Poliziotteschi films were a major influence for Volume Two, in particular with the “Heist” series, which introduces Farrow, Patti and Tash. Jackie, Mystic White Flight, SummerLovers and other favorites make their appearances as well. Taken together, the characters and imagery in this fresh new collection take Pulp Art Book to a new level.
Daito Manabe is a Japanese artist, designer, programmer, DJ, VJ & composer, who just seems to be able to bend at will the use of technology as an artistic element. His programming skills are impressive to say the least, which are incorporated and put to use in a variety of different projects, installations and collaborations.
Below are a few examples of his work.
How good is that song in the last video? It says in the video’s description and comments that the track is by Ametsub, but that it cannot be found anywhere for download, as it was composed exclusively for the show. Maybe Jakub can find a way to get a hold of that track…? I want it. Bad.
Posted by B3PO
I stumbled on this film the other day, I’m a little late to the scene sometimes… Its a film made from 80,000 video clips that were submitted to YouTube on a single day, July 24, 2010. There were 4,500 hours of footage from 192 nations to sift through and edit into a 95 minute film. This wasn’t completely spontaneous and had some direction but still captures a very personal glimpse of a day in our world.
posted by @hallwood
Last week I flew out to Las Vegas alongside the Fiction crew for NAB. The show covers everything from post-production and computer hardware to lenses, cameras and lighting. It’s hard to summarize everything that I saw because I was constantly in overload, so I decided to pick the one product that stuck out, the Blackmagic Digital Cinema Camera.
The Digital Cinema Camera is a Raw ( Cinema DNG 12-Bit ), 2.5K ( 2432 x 1366 ) camera for 3,000.00 USD. There’s a laundry list of features that the camera offers but mainly…it’s very, very cheap and it’s output at 2.5K is RAW. They implemented a Canon EF mount, so everyone transitioning from Canon can do so, easily. Also, it’s all touchscreen and uses off the shelf SSDs as media. The sensor is Micro 4/3 so it’s smaller than a Super35mm ( 7D / Red Epic ) and much smaller than the 5D which is close to 65mm ( In film terms, not still ), but they’re claiming 13 stops of dynamic range on it. The camera only shoots up to 30fps, so it’s not a camera that just beats all the others, but it definitely puts an option out there that a lot of people have been interested in.
From my perspective, it’s not about what the camera looks like, it’s what it delivers when it’s in the timeline. I think this fills a gap that’s been around for the past few years where the Canon DSLRs work for a lot of stuff that’s non-commercial or internet only…this offers professional level images at a bargain price. I think what I’m excited to see is the creativity and quality that’s about to change. I feel like a lot of motion designers and directors starting out use Canon DSLRs for low budget and experimental work and while it looks great now, imagine if these guys and girls are shooting 2.5K RAW and able to really work footage in terms of color, overlays, etc. The camera ships in late July, and they’re also including Davinci Resolve with it. I’m having a hard time not clicking “Add to Cart”.
Here’s a video detailing the camera completely from DSLR Newshooter. I wanted to get in and shoot a little interview but the booth and the 3 or 4 cameras they had out were swarmed every day I was there.
As of right now, I’m heavily invested in a RED Epic and I’m hoping to get together a techincal post on the camera and answer any questions on it in the next month. However, if I didn’t have it, I’d be all over the Digital Cinema Camera.
If you’ve got some time, hop over to their specs page and check it out.
Also, I hope to never hear the phrase “game-changer” again.
In the summer of 1968 three men and good friends, climber and surfer Yvon Chouinard, climber and skier Doug Tompkins, and champion skier Dick Dorworth, set off from California in an old van to surf, ski and climb their way down to the southern end of Argentina, where they were met by a young British climber, Chris Jones. Their goal was to climb a mountain that had been climbed only twice before: Cerro Fitz Roy.
Little did they know, this journey would not only have a tremendous impact on their own personal lives, but would also help launch a movement by inspiring (and continue to inspire to this day, like the film 180º South) many other outdoor lovers, as well as set the tone for many future expedition/adventure films and documentaries.
Posted by B3PO
Fascinating new video work by one of my favorite video artists Sabrina Ratté, this is from an ongoing project called Plink Flojd which is a super audio/visual collective started by David Quiles Guillo. When I saw Sabrina do visuals for Le Révélateur it was incredible how the visual identity was perfect for the music, soo many “VJ’s” get it wrong or end up trailing off and making no sense with the music and this was one of best accompaniments i’ve ever seen.
Sabrina Ratté lives and works in Montreal. Her video work mixes digital and analog techniques and often deals with the diverse manifestations of light. She is also interested by the relationship between electronic music and the electronic image, and she often collaborates with musicians in different contexts. She has an ongoing collaboration with composer Roger Tellier-Craig, with whom she also performs live video projections. Her work has been shown in different galeries and festivals internationally, and her recent videos with Le Révélateur have been released on DVD by the San Francisco Label Root Strata.
And here’s a video from last year for Boxcutter’s track TV Troubles.