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1. Landscapes: Volume Two

Landscapes: Volume Two

For licensing footage and work inquires contact me at [email protected] This copyright protected video is a compilation of individually shot clips. Each clip is available on a rights managed license. No permission for footage use will be given without a license agreement. Our company website: www.dfvc.com. Follow me twitter.com/Dustin_Farrell and facebook.com/dustin.farrell.dfvc. PLEASE WATCH IN HD FULL SCREEN w/SOUND. It is a much better viewing experience. Hopefully you have a 1080P monitor and good connection. If not, bug a friend or colleague that does. It is worth it. Landscapes: Volume 2 is the second of a three part series. Every frame of this video is a raw still from a Canon 5D2 DSLR and processed with Adobe software. In Volume 2 I again show off my beautiful home state of Arizona and I also made several trips to Utah. This video has some iconic landmarks that we have seen before. I felt that showing them again with motion controlled HDR and/or night timelapse would be a new way to see old landmarks. Sales Pitch: I would now have to say that my timelapse skill set is very complete. The amount of knowledge I have gained through research, testing, and shooting experience is astounding. From moon phases to high dynamic range to motion control rigs to noise reduction, you would have a tough time finding someone with more overall knowledge of timelapse. Most of the motion control for this video was done with the Stage Zero Dolly by Dynamic Perception. Once I got comfortable using the DP dolly I fell in love. I can set up shots now in much shorter times. More importantly for me, it is much smaller and much more portable than my homemade motion control. Without it, shots like the Delicate Arch shot in Utah would be nearly impossible due to the length of the hike. Buy the Stage Zero Dolly if you are looking for quality, inexpensive, easy-to-use motion control. http://dynamicperception.com/ In addition to the Stage Zero, I also used a three axis motion controlled CamTram. The CamTram is the most versatile dolly I have ever used. Its applications are only limited by your creativity. The CamTram has virtually no weight limit. I was able to achieve shots that dolly-in with the camera just over the ground because of the CamTram's ability to hold heavy counter weights. CamTram Motorized Options Video: http://www.vimeo.com/30385088 Music is "Sunshine (Adagio In D Minor)" by John Murphy. #15 here: http://itunes.apple.com/us/album/sunshine-music-from-motion/id297702863 Thank you to the Lowell Observatory in Flagstaff for allowing me to shoot there. They were very friendly and helpful. http://www.lowell.edu/ Saving the best for last . . . thanks to my wonderful wife Laura. Not only does she put up with and support this crazy passion of mine, she helped out on many of these shots. I think I'll keep her :-) ENJOY


2. New Zealand Landscapes Timelapse Volume Two

  • Published: 2013-03-30T05:24:12+00:00
  • Duration: 359
  • By Bevan Percival
New Zealand Landscapes Timelapse Volume Two

Follow my work at: www.primalearthimages.com https://www.facebook.com/primalearthimages http://www.flickr.com/photos/primal_earth_images_bevan_percival/ This timelapse features my best work yet. It represents hours and hours of dedication to the art. I'm driven by chasing fleeting moments of damatic light on beautiful landscapes and also capturing the night sky and milky way in all it's glory is a real buzz. Not be mention curling up out under the stars beside all the gear for whole nights at a time catching some sleep here and there between checking the gear and changing batteries and staring up into eternity with spectacular meteors burning up in the cosmic shore out the corner of your eye. Doing this sort of thing has bought me closer and closer to the wilderness. There is something about doing this sort of stuff that just makes you want to keep coming back for more and more. Maybe it's the experience of being out there at one with the incredible beauty of this landscape. Maybe it's the challenge of capturing it in the camera in the way that you witnessed it. Maybe it's the excitement of seeing just what you got when you finally render it all out. Maybe it's the satisfaction you get out of showing this to other people. Most probably it's a combination of all these things. I hope you enjoy watching this timelapse. Please leave a comment if you wish, I'd love to hear from you. It is my hope that in bringing back a little piece of nature to portray in this way helps spark the respect we need to have for such an incredible place. All scenes shot in the North Island of New Zealand. Main equipment used: Canon 5D Mark II & various Canon Lenses Dynamic Perception Stage Zero 6ft Dolly Music: "Go Beyond" by Ben and Matt Hales, licensed for use through Universal Publishing Production Music and APRA New Zealand. Thanks to my family for putting up with my habit ;)


3. Pleasant Places --- Excerpts

  • Published: 2015-11-17T18:43:14+00:00
  • Duration: 148
  • By Quayola
Pleasant Places --- Excerpts

4k Video Installation 28 min loop Dimension Variable --- Titled like the first series of landscapes prints produced in Holland in the Seventeenth century, Pleasant Places consists of a series of digital paintings exploring the boundary between representation and abstraction. Inspired by the work of Vincent Van Gogh, Quayola has returned to the same countryside of Provence 125 years later. The landscapes serve as a point of departure - a pretext to shape an inner motion and vision. Through the misuse of image-analysis and manipulation algorithms, Pleasant Places challenges the photographic image and proposes alternative modes of vision and synthesis. Familiar landscapes - filmed in Ultra-High-Definition - is shown with meticulous attention to details and to the anthropomorphic shapes of the trees. Then, through the use of custom-software, the detailed texture of the foliage is reduced to two-dimensional masses of volume veering towards abstraction. As the outlines of trees and shrubs get blurred, nature becomes dense and almost impenetrable. The resulting compositions remain, suggestively, suspended between representation and abstraction, between the depth of the natural scenery and the surface of the screen. In contrast to this vision, raw data-visualisations of colour and motion information follow in sequence the contemplative digital paintings to remind us what really lies beneath the surface. Pleasant Places pays homage to the modern tradition of Western art that takes landscape as a point of departure towards abstraction, reducing the complexity of the world into new alternative synthesis. --- a project by Quayola Software Programming: Nikolai Matviev Cinematography: James Medcraft Sound Design: Simone Lalli Producer: Nicolas Wierinck Producer Shoot: Luigi Filotico Assistants: Caterina Rossato, Sebastiano Barbieri Commissioned by GLOW with support from BKKC and the Foundation Van Gogh Brabant, in the context of the 2015 Van Gogh Year Thanks to Commission du Film Luberon-Vaucluse / Joan Azorin -


4. DEATH VALLEY DREAMLAPSE 2

DEATH VALLEY DREAMLAPSE 2

(Watch in HD with headphones on and the volume cranked, if you can. Hands and arms inside the cart at all times!) To get the latest on Sunchaser Timelapses, LIKE our NEW Facebook Page! facebook.com/SunchaserPicturesPage Check out "STARCHASERS: BEHIND THE DREAMLAPSE", a 4 minute Behind the Scenes Doc here: vimeo.com/65031084 After the unbelievable response to our first DEATH VALLEY DREAMLAPSE (vimeo.com/57757618) our team returned for Part 2, this time going deeper, to the mysterious and unexplained sliding stones of Racetrack Playa. No UFOs this time (we THINK) but plenty of wonder and amazement, including some insane star trails, a beautiful milky way pass over the lakebed, and an incredible pink desert aurora! We also tried out some new timelapse techniques, like moonpainting the foreground landscapes (0:53 -- 1:20), and also some experiments merging regular timelapse footage with star trails -- a technique we've been calling STARSCAPING (1:07:1:33). If it has an actual name, let us know! :) Star Trails shot at 25 sec exposures. No special effects used, just the natural rotation of the earth's axis. Photography Merging: STARSTAX. Used two Canon EOS 5Dmkii, with a 24mm/1.4 lens & 28mm/1.8. The pink aurora first makes an appearance during the star trails shot at 1:36 and later in more detail at 2:22. Since we didn't even know auroras were POSSIBLE this far south, we did some research and learned there was a CME (Coronal Mass Eruption) solar event that night (March 17th) which likely triggered what we see. Read more at UNIVERSE TODAY (bit.ly/11ygzCy). If anyone has any additional theories/insight, we'd love to hear more! To learn more about the mysterious sliding rocks, read here: bit.ly/YgjOf2 Download our DREAMLAPSE 2 PRESS KIT (22MB) of Behind the Scenes Photos, Stills and Full Captions: bit.ly/17s4u5d Shot and Edited by: Gavin Heffernan twitter.com/GavinHeffernan Producers: Michael Darrow, Rachel Payne, Ben Dally, John Brookins Associate Producers: Michael Leland, Briana Nadeau, Adam Jeremy Williams Music: "Stay Down (Ambient)" by MOBY (License Courtesy MobyGratis.Com) Behind the Scenes Doc: Shot, Edited, and Produced by John Brookins. vimeo.com/65031084 For more on this this and other upcoming projects, visit SunchaserPictures.com or twitter.com/GavinHeffernan The Sunchaser team is CURRENTLY SEEKING SPONSORSHIP for future adventures. Email [email protected] To see more of our other Sunchaser Pictures Timelapses, visit our album here: bit.ly/LFy9KJ


5. Pleasant Places --- Process Breakdown

  • Published: 2015-11-17T16:09:08+00:00
  • Duration: 62
  • By Quayola
Pleasant Places --- Process Breakdown

Process - Shot Breakdown Pleasant Places --- Titled like the first series of landscapes prints produced in Holland in the Seventeenth century, Pleasant Places consists of a series of digital paintings exploring the boundary between representation and abstraction. Inspired by the work of Vincent Van Gogh, Quayola has returned to the same countryside of Provence 125 years later. The landscapes serve as a point of departure - a pretext to shape an inner motion and vision. Through the misuse of image-analysis and manipulation algorithms, Pleasant Places challenges the photographic image and proposes alternative modes of vision and synthesis. Familiar landscapes - filmed in Ultra-High-Definition - is shown with meticulous attention to details and to the anthropomorphic shapes of the trees. Then, through the use of custom-software, the detailed texture of the foliage is reduced to two-dimensional masses of volume veering towards abstraction. As the outlines of trees and shrubs get blurred, nature becomes dense and almost impenetrable. The resulting compositions remain, suggestively, suspended between representation and abstraction, between the depth of the natural scenery and the surface of the screen. In contrast to this vision, raw data-visualisations of colour and motion information follow in sequence the contemplative digital paintings to remind us what really lies beneath the surface. Pleasant Places pays homage to the modern tradition of Western art that takes landscape as a point of departure towards abstraction, reducing the complexity of the world into new alternative synthesis. --- a project by Quayola Software Programming: Nikolai Matviev Cinematography: James Medcraft Sound Design: Simone Lalli Producer: Nicolas Wierinck Producer Shoot: Luigi Filotico Assistants: Caterina Rossato, Sebastiano Barbieri Commissioned by GLOW with support from BKKC and the Foundation Van Gogh Brabant, in the context of the 2015 Van Gogh Year Thanks to Commission du Film Luberon-Vaucluse / Joan Azorin -


6. Pleasant Places --- Teaser 1

  • Published: 2015-11-02T15:34:24+00:00
  • Duration: 55
  • By Quayola
Pleasant Places --- Teaser 1

Titled like the first series of landscapes prints produced in Holland in the Seventeenth century, Pleasant Places consists of a series of digital paintings exploring the boundary between representation and abstraction. Inspired by the work of Vincent Van Gogh, Quayola has returned to the same countryside of Provence 125 years later. The landscapes serve as a point of departure - a pretext to shape an inner motion and vision. Through the misuse of image-analysis and manipulation algorithms, Pleasant Places challenges the photographic image and proposes alternative modes of vision and synthesis. Familiar landscapes - filmed in Ultra-High-Definition - is shown with meticulous attention to details and to the anthropomorphic shapes of the trees. Then, through the use of custom-software, the detailed texture of the foliage is reduced to two-dimensional masses of volume veering towards abstraction. As the outlines of trees and shrubs get blurred, nature becomes dense and almost impenetrable. The resulting compositions remain, suggestively, suspended between representation and abstraction, between the depth of the natural scenery and the surface of the screen. In contrast to this vision, raw data-visualisations of colour and motion information follow in sequence the contemplative digital paintings to remind us what really lies beneath the surface. Pleasant Places pays homage to the modern tradition of Western art that takes landscape as a point of departure towards abstraction, reducing the complexity of the world into new alternative synthesis. --- a project by Quayola Software Programming: Nikolai Matviev Cinematography: James Medcraft Sound Design: Simone Lalli Producer: Nicolas Wierinck Producer Shoot: Luigi Filotico Assistants: Caterina Rossato, Sebastiano Barbieri Commissioned by GLOW with support from BKKC and the Foundation Van Gogh Brabant, in the context of the 2015 Van Gogh Year Thanks to Commission du Film Luberon-Vaucluse / Joan Azorin -


7. Pleasant Places -- Teaser 3

  • Published: 2015-11-05T20:56:27+00:00
  • Duration: 74
  • By Quayola
Pleasant Places -- Teaser 3

Titled like the first series of landscapes prints produced in Holland in the Seventeenth century, Pleasant Places consists of a series of digital paintings exploring the boundary between representation and abstraction. Inspired by the work of Vincent Van Gogh, Quayola has returned to the same countryside of Provence 125 years later. The landscapes serve as a point of departure - a pretext to shape an inner motion and vision. Through the misuse of image-analysis and manipulation algorithms, Pleasant Places challenges the photographic image and proposes alternative modes of vision and synthesis. Familiar landscapes - filmed in Ultra-High-Definition - is shown with meticulous attention to details and to the anthropomorphic shapes of the trees. Then, through the use of custom-software, the detailed texture of the foliage is reduced to two-dimensional masses of volume veering towards abstraction. As the outlines of trees and shrubs get blurred, nature becomes dense and almost impenetrable. The resulting compositions remain, suggestively, suspended between representation and abstraction, between the depth of the natural scenery and the surface of the screen. In contrast to this vision, raw data-visualisations of colour and motion information follow in sequence the contemplative digital paintings to remind us what really lies beneath the surface. Pleasant Places pays homage to the modern tradition of Western art that takes landscape as a point of departure towards abstraction, reducing the complexity of the world into new alternative synthesis. --- a project by Quayola Software Programming: Nikolai Matviev Cinematography: James Medcraft Sound Design: Simone Lalli Producer: Nicolas Wierinck Producer Shoot: Luigi Filotico Assistants: Caterina Rossato, Sebastiano Barbieri Commissioned by GLOW with support from BKKC and the Foundation Van Gogh Brabant, in the context of the 2015 Van Gogh Year Thanks to Commission du Film Luberon-Vaucluse / Joan Azorin -


8. PROJEKT ROAM: Landscapes Vol. 2

  • Published: 2013-10-24T02:36:15+00:00
  • Duration: 177
  • By Projekt Roam
PROJEKT ROAM: Landscapes Vol. 2

If it wasn't for the colorful and diverse landscapes that decorate and geographically define our country, where would we ride? Landscapes is a film series that celebrates and depicts the fruit of the earth's time and toils with the elements that have helped to create and shape the terrain we mountain bike across today. Volume Two of Landscapes showcases several sides of the multi faceted trail systems found in Durango, CO. This elevated, mountainous country provides a plethora of variation and trail options for any mountain bike adventurer to explore.


9. Pleasant Places --- Teaser 2

  • Published: 2015-11-02T15:14:55+00:00
  • Duration: 86
  • By Quayola
Pleasant Places --- Teaser 2

Titled like the first series of landscapes prints produced in Holland in the Seventeenth century, Pleasant Places consists of a series of digital paintings exploring the boundary between representation and abstraction. Inspired by the work of Vincent Van Gogh, Quayola has returned to the same countryside of Provence 125 years later. The landscapes serve as a point of departure - a pretext to shape an inner motion and vision. Through the misuse of image-analysis and manipulation algorithms, Pleasant Places challenges the photographic image and proposes alternative modes of vision and synthesis. Familiar landscapes - filmed in Ultra-High-Definition - is shown with meticulous attention to details and to the anthropomorphic shapes of the trees. Then, through the use of custom-software, the detailed texture of the foliage is reduced to two-dimensional masses of volume veering towards abstraction. As the outlines of trees and shrubs get blurred, nature becomes dense and almost impenetrable. The resulting compositions remain, suggestively, suspended between representation and abstraction, between the depth of the natural scenery and the surface of the screen. In contrast to this vision, raw data-visualisations of colour and motion information follow in sequence the contemplative digital paintings to remind us what really lies beneath the surface. Pleasant Places pays homage to the modern tradition of Western art that takes landscape as a point of departure towards abstraction, reducing the complexity of the world into new alternative synthesis. --- a project by Quayola Software Programming: Nikolai Matviev Cinematography: James Medcraft Sound Design: Simone Lalli Producer: Nicolas Wierinck Producer Shoot: Luigi Filotico Assistants: Caterina Rossato, Sebastiano Barbieri Commissioned by GLOW with support from BKKC and the Foundation Van Gogh Brabant, in the context of the 2015 Van Gogh Year Thanks to Commission du Film Luberon-Vaucluse / Joan Azorin -


10. Ametsuchi: Photographs by Rinko Kawauchi

Ametsuchi: Photographs by Rinko Kawauchi

The title of photographer Rinko Kawauchi’s latest book, Ametsuchi, is comprised of two Japanese characters meaning “heaven and earth,” and is taken from the title of one of the oldest pangrams in Japanese—a chant in which each character of the Japanese syllabary is used. In this new volume of photography, Kawauchi brings together images of distant constellations and tiny figures lost within landscapes, as well as photographs of a traditional style of controlled-burn farming (yakihata) in which the cycles of cultivation and recovery span decades and generations. Punctuating the series are images of Buddhist rituals and other religious ceremonies. Ametsuchi: Photographs by Rinko Kawauchi is now available: http://www.aperture.org/shop/books/rinko-kawauchi-ametsuchi-books


11. What are you waiting for?

  • Published: 2014-04-13T14:17:55+00:00
  • Duration: 205
  • By Demontego
What are you waiting for?

VK Page: http://vk.com/onedemontego Music: Audiomachine - Solace Video: 2SCS14 TRAILER 2 2011 Aerial Reel by RC Aerial Cam Adaptive Snowboard Reinvented - Every Third Thursday Raising The Bar Alaska Wakeboarding Teaser from Catchin' Air Tv Show All I Can A-Town Throw-Down Hydrofoil Freeriding Nov 12,2011 Blob Jump Official Guinness World Record Craziest way to go down a waterslide, Fritt Fall - Skara Sommarland - Sweden driving on mountain top ORIGINAL! Endless Roads (Trailer) Experience Human Flight Extreme Mountain Unicycling Freeway A Skydiving Story GoPro 2011 Highlights- You in HD GoPro HD Avalanche Cliff Jump with Matthias Giraud GoPro - HERO3 Black Edition - Smaller, lighter, mightier still GoPro - Powder Mountain Heliboarding Hdr skies HEAD - Goodbye from Norway Human Slingshot Slip and Slide - Vooray Isaac Levinson and Friends Kayaking in Mexico 2012 Isenseven 'Kaleidoscope' Trailer 2011 Jeb Corliss ' Grinding The Crack' Jumping from Bridges in Alaska [demo] Landscapes Volume Two Level 1 After Dark Official Trailer Longboarding- French Fries and Dogs Eyes Man hanging on Airplane Wing Minds Wide Open Trailer More Than A Feeling NOISIA VISION Teaser North Legion SMX 2011 - shizofanatic.com Path into the Future - Flying with Vultures Pogo GoPro PROCESS FILMS - A SHOT IN THE DARK - TEASER 1 PROCESS FILMS - A SHOT IN THE DARK - TEASER 2 PROCESS FILMS - A SHOT IN THE DARK - TEASER 3 Red Bull Chronicles Teaser 2010 Ride, bmx freestyle in super slow motion by STOCKSHOTS Robert Jan Jansen Ice Karting 2012 Rollerblade - Compilation 2010 2011 Ryan Williams Web Edit Two Salt Boarding - Blank Snowboards Saran Wrap Sledding - 1000fps Skyliners Paris Storm Freerun - Volume 1 The Arctic Light The Art of FLIGHT - snowboarding film trailer w-Travis Rice The Human Slingshot The Scene Official Trailer The Tank Bangers - Our Blue Trike Racing - Fast and the Furious Trip Of a Lifetime - Cliff Diving In Bermuda Turbolenza SoulFlyers Fred&Vince - Yes, Les Chefs! Video Tutorial - use of a steadycam for outdoor sport filming VM i Dods 2011 promo Water Jet Pack - Get High with Jetlev! World's Largest Rope Swing


12. Group 4 - Hybrid Topologies

  • Published: 2012-11-27T20:07:37+00:00
  • Duration: 85
  • By ScanLAB
Group 4 - Hybrid Topologies

Hybrid topologies is an investigation of how two different landscapes can merge in time, morphology, scale and sound. The video demonstrates a visual and virtual construct of a polysensory environment where the augmented soundscape and extreme close ups of the camera, open a new scale of vision where one hears a way of touching at a distance. Although hybrid topologies is a virtual construct, the camera’s movement in terms of speed and navigation is closely related to the soundscape’s volume and duration. Moreover it simulates a real camera motion-track challenging Deleuze statement that ‘the virtual is opposed (…) to the actual’. Hybrid Topologies suggests an alternative way of perceiving the relationship between the real and the virtual through an augmented, hybrid, in vitro landscape, where 3D scanning is used as a tool for scanning and manipulating real sites and exploring new aesthetic dimensions and methods of representation.


13. Font Gill Sans

  • Published: 2013-12-16T21:16:00+00:00
  • Duration: 91
  • By Florian Saa
Font Gill Sans

Project of HfK Bremen Video-Footage: G: Cityscape Chicago; Eric Hines vimeo.com/52302939 I: The City Limits; Dominic vimeo.com/23237102 L: Iceland, Eyjafjallajökull - May 1st and 2nd, 2010; Sean Stiegemeier vimeo.com/11673745 L: Москва'2011(Moscow/Russia); zweizwei |motion timelapse| vimeo.com/34134308 S: PHANTOM WATER EDIT; Chris Bryan vimeo.com/30830412 A: Landscapes: Volume Two; Dustin Farrell vimeo.com/29950141 N: Cityscape Chicago; Eric Hines vimeo.com/52302939 S: Whitehaven Beach, Whitsunday Island – Australia; HD-XPOSURE vimeo.com/50457458 Music: M83 – Outro (Hurry Up Were Dreaming)


14. Effects Artist Reel

  • Published: 2014-08-18T03:24:10+00:00
  • Duration: 130
  • By Laura Murphy
Effects Artist Reel

REEL BREAKDOWN STYLIZED TREES & LANDSCAPES Houdini The stylized landscape and trees are inspired by the artwork of Eyvind Earle. Everything is procedurally modeled to mimic the graphic style of the reference artwork. In the cliff scene, L-systems describe the shape of the white tree, cliff path, and ground clearing. Point and line geometry is rendered to achieve a stippling effect and the look of graphic linework. The coast scene employs a 1D perlin noise composite and a rotation about an axis with falloff to create the shape of the wave. In this scene, all shaders are custom-made in the shop context. The trees in the hill with cow scene are created with simple flat shaded geometry with stippling points scattered across the surface. The trees have different levels of detail depending on their distance from camera. Each tree has separate shadow geometry to create a smooth stylized cast shadow shape. This work in on-going for my thesis to achieve more more variety and accuracy in stylized renders to Eyvind Earle’s artwork. CLOUD CITY Maya, Houdini, Nuke Clouds are rendered in different passes using transparent circular sprites. There are two color schemes created in comp. The final look of the clouds is a blend between the Pink and Blue color schemes. SPRAY PAINT EFFECT Maya, Python, SLIM, TCL, Houdini, Nuke From Maya, a custom python script saves out OBJ animation and spray can locator data. In Houdini, the data is read and used to intersect a spray geometry with the scene geometry. A custom shader reacts to the intersections and is rendered out in uv space. The uv rendered images are then processed in Nuke to create a texture map sequence. A SLIM shader chooses the correct texture map per geometry per frame using TCL variables and custom attributes. The render is composited into the shot. A particle system creates the spray in the air. C++ RAY TRACER C++, CImg for image output, GLM math library Shown Features: Reflections, Glossy Reflection Map, Translucent Refraction, Motion Blur, Bump Map, Texture Map, Thin Film Interference The thin film interference rainbow effect is created by multiplying a sine wave according to the normal with different coefficients on each RGB channel. Translucent refraction on the bouncing ball is created by jittering the transmission ray. The area lights featured in the yellow image are rectangular planes. The dimensions can be specified per light. For each pixel sample, the light vector is jittered within a different rectangular region of the light rectangle. This allows the shadows to be smoother with less samples. The Gooch & Gooch inspired shader has an ambient color and lit color per shader instance. It also features hard specular highlights created by thresholding the specular term. ART DIRECTABLE REACTION DIFFUSION SYSTEM C++ and OpenCV for image operations. The equations are based on the Gray Scott equations. I explored the space and mapped the coefficients into usable, keyframable terms: Size, Shape. The Shape term is a slider between spiraling curls on one side and rectangular corners and lines on the other. SPRINGY MESH SIMULATION C++ with OpenGL display. GLM obj reader. This springy mesh simulation uses springs along the edges of each triangle, and it uses cross springs to roughly maintain volume. There are 4 times the number of verts cross springs randomly placed. ADENOVIRUS Maya, SLIM, After Effects I wrote a custom python script to procedurally model the viruses. The virus particles use a basic Maya particle emitter and geometry instancing.


15. Letters From Prison - ART.17

  • Published: 2015-06-22T13:25:58+00:00
  • Duration: 691
  • By guido gazzilli
Letters From Prison - ART.17

LETTERS FROM PRISON " - ART 17. The Prison of Civitavecchia, a medium-security prison experimental treatment intensified, is located in a nineteenth century building, built by Pope Pius IX. The building, which is located in the port area, is enclosed in a rectangle which contains eight arms that give the area an octagonal shape. The project was born with the intention of involving the inmates of the Prison of Civitavecchia, in the realization of a photographic exhibition and a book. The selection of the images is mainly focused on moments of daily life, personal diaries, experiences , places , portraits and landscapes, people,. The idea of bringing art within this space with the conviction that beauty is only a means to generate reflections, create reports and trigger positive reactions, and that, in this case, can help break the negative chain in The spectators of the exhibithion are sealed, contributing to the re-educational function and humanizing have served their sentences. The pictures will inhabit the space of the prison, the images presented by 35 international photographers who have donated their portfolios that will be selected by the prisoners themselves, through meetings and talking about their personal stories and about photography. The inmates, in fact, will be encouraged to get in touch with their emotions, with the reactions triggered by the sight of the photographs. Then they will be invited to chose 10 photos and writing their intimates stories, true stories or just imaginations, expressing the feelings you generate in their works. The transition from the images to the written words aims to offer participants the use of this medium as a vehicle of expression, to leave a trace, and to communicate with the outside. It is very Important for prisoners to understand the potential that art and writing are in the process of rediscovering the person's being, beyond the deviant aspects, bringing to the surface features and other aspects of the self. The results of this project will be published in a book, which will give detainees tangible proof of the usefulness of this experience. The final exhibitions will be open in two phases: the first will be set up on 20th of June inside the room where the meetings take place with families, while the second will be hosted by the spaces of the Rotunda in October 2015, an area open to the public authorized. In this second stage the opening and guided tours in the exhibition space will be made by the prisoners themselves, who will be able to explain to the public the project, telling their own experience through the story of the photo. “Art has always been considered a window to the world, a chance to offer the viewer a vision, subjective, but potentially universal reality. The emotional power of photography in its multiple manifestations can create deep reflection as well as to stimulate operational.” The photographers who participated in this project are: Adam Cohen ,Arja Hyytiäinen, Angelo Turetta, Lorenzo Castore ,Guido Gazzilli, Massimo Nicolaci, Lele Saveri, Veronica D'Altri, Paolo Cenciarelli, Federica Valabrega, Marcello Fauci, Lavinia Parlamenti, Stephane Carpienter, Pamela Piscicelli ,Gianfranco Gallucci ,Andrea Campesi, Lina Pallotta, Peppe Tortora, Igor Pisuk ,Cato Lein, Jannis Tordheim, Alexander Arnild, Magdalena Switek, Ilias Georgiadis, Zoe Zipela, Gilda Louise Aloisi, Cristina Vatielli, Anna Faragona, Matteo Alessandri ,Pierluigi Amato, Yulia Kazban, Damien Daufresne, Fabiene Pio, Gabrielle Duplantier, Gael Bonnefon, Daniel Hofllund., Eduardo Castaldo. The project is curated by Guido Gazzilli, Silvia Marsano and Roberta Pucci of Fondazione Volume ! Thank you also to our sponsor Thekitchen Production and to our writer Dario D'Amato. A special thanks to Dr. Iole Calvigioni , Dr. Alessia Giuliani and the director of the prison for believing in this project and making it happen.


16. Suzhou Chapel by Neri&Hu

  • Published: 2017-05-04T03:14:31+00:00
  • Duration: 239
  • By Neri&Hu
Suzhou Chapel by Neri&Hu

The chapel is a feature building within the larger Village zone. As such, it occupies a prime location visible from the main road and along the waterfront. Its architectural language is derived from similar elements found elsewhere in the project, such as the undulating brick walls and floating white volume—but they are here, taken to another level of articulation. The brick walls begin to break down to an even more refined scale, where different heights of walls interweave with each other to create a choreographed landscape journey leading into the building itself. The white volume also receives special treatment, here, it is composed of two layers. The inner layer is a simple box punctuated on all sides with scattered windows, while the outer layer is a folded and perforated metal skin, a “veil” which alternatively hides and reveals. In the daytime, the white box emerges shimmering gently in the sunlight, subtly exposing its contents. In the night, the white box becomes a jewel-like beacon in the project, its various windows emitting a soft glow in all directions. Inside the building, visitors continue on their guided journey through the pre-function area and then into the main chapel space, which features a light-filled 12m high space. There is a seamless integration with the surrounding nature as picture windows frame various man-made and natural landscapes. A mezzanine level hovers overhead to accommodate extra guests, and includes a catwalk encircling the space, allowing 360 degrees of viewing angles. The mezzanine is integrated into a wood louvered cage element which wraps around the whole upper part of the room. A grid of glowing bulb lights and delicate bronze details give a touch of opulence to the otherwise quietly monastic spaces. Custom wood furniture and crafted wood details compliment the simple material palette of gray brick, terrazzo, and concrete. Another feature of the chapel building is a separate staircase alongside the main space, which allows visitors to gain access to the rooftop for unrivaled views across the scenic lake. Various openings along this stair ascent give unexpected views both internally and externally.


17. AION - Lost Highway (27/37 Shanghai Expo 2010)

AION - Lost Highway (27/37 Shanghai Expo 2010)

http://www.a-i-o-n.com/ Lost Highway Private house Siracusa, Italy, 2009 principals: Aleksandra Jaeschke, Andrea Di Stefano design team: Salvo Pappalardo, Andrea Romano, Francesco Minniti engineering: Nicola Impollonia, Antonio Di Caro "... a car speeding along a dark motorway lit only by the car's headlamps, with tarmac hurtling by in the windscreen. It is a modern version of the monad ... " (Gilles Deleuze) Lost Highway is a simple living prototype, a rectangular prism accessible from two ends. Although open at both extremities, it looks inwards onto an interior courtyard which interconnects two independent spaces, a private and a public sphere, creating a self-enclosed cosmos. The structural skin, an accumulation and alignment of 24x24cm square glulam timber beams, appears bare and scratched by a myriad of openings. The design strategy imposes a strict logic of subtraction; a systematic search for coincidence between structure and ornament. Having reduced to minimum the programmatic agenda and eliminated the finishes, basic building materials are left alone in front of the project instances. The skin section determined in function of thermal requirements generates a structural redundancy which offers a particular type of flexibility: an opportunity to respond to secondary requirements such as visibility, illumination and natural air conditioning. Strategically oriented and slightly elevated from ground, the volume exposes its four timber faces to its surrounding environment, which digitally decoded, informs the number and the arrangement of openings, introducing the desired amount of light and achieving better air convection. The system of openings follows a random yet parametrically-controlled logic of distribution. An algorithm generates countless solutions which are then evaluated to achieve maximum thermal and luminous performance in relation to local functional requirements. The interior spaces, translated into fields of luminous intensities and thermal gradients, become sensory landscapes modulated by the structural skin which acts as a medium between the body and the surrounding environment.


18. Objets Brodés by Rémi Bouhaniche & Lucie Bourreau

Objets Brodés by Rémi Bouhaniche & Lucie Bourreau

A collection of 4 objects using embroidery and terracotta. With the help of ADERA, Les écoles supérieures d'art de Rhône-Alpes How to introduce embroidery in the daily life through objects used in our homes? This is the question that we – me and Lucie Bourreau, posed to ourselves to work on an ambitious project concerning the age known manner of embroidering. Hence, this project is a dedication to time and material. The time to make, to think, to see, to contemplate, to use. Of terracotta and of hundreds of rolls of threads creating supports, covers, handles and landscapes. These light objects are embellished by textures and colours. They are the first step of a research that began six months ago in France and in India – Calcutta, New Delhi, Paris and Lyon. We channelized ourselves towards innovative research dealing with surfaces and volumes in order to create technical products- soft yet structured. These shapes are mainly containers but each piece explores a different function and vocabulary. The colour gradients applied, emphasises the contact zone between the user and the object. The Wooden Pond A landscape of branches is created by an accumulation of brown cotton threads wound together. The technique evolves from the horizontal support to vertical embroidery. An earthen bowl is the container of this embroidered, artificial nature which dresses the interior. A small wooden pond to be kept close to one. The Handle The object here explores tensioning of an embroidered surface applied on an earthen cylinder. The tensed projection on the earthen cylinder hence becomes a handle to hold, ideal and delicate to grasp the object. The Carpet Two reliefs embroidered on a surface, holds an earthen container that sits perfectly in between, supported by the forms. The zone of contact is emphasised by the yellow colour threads which emit a light reflection on the white volume of the earthen pot. The Cover Our aim here is to bring embroidery towards the conception of the technical complexes of the objects, such as fabrication of a cover. Here, the transmission of the threads on the cords helps to obtain a rigid surface around the border and flexibility towards its centre. The circle stretches towards one of the sites to create a flexible handle. The colour blue and its gradient towards grey create a functional dimension, marking the zone of the handle and the line of force.


19. Uncanny Sensing (TX Prototype) drone sequence

  • Published: 2014-04-18T02:01:19+00:00
  • Duration: 1304
  • By Steve Rowell
Uncanny Sensing (TX Prototype) drone sequence

One of three video projections from my "Uncanny Sensing (Texas Prototype)", on view in Houston through April 2014. This single channel sequence is for application review purposes only -- it is out of context of the installation and can only be fully realized when shown with the other two projections and slide projection. From the wall text: "Uncanny Sensing (Texas Prototype)" is an experimental, regional prototyping of a larger, national project, "Uncanny Sensing, Remote Valleys" (a project of Creative Capital) set to premiere in 2015. Three-screen video installation with four-channel audio; the three videos loop independently. Video durations (clockwise from gallery entrance): 8min, 10min, 22min Slide projection: 9 A note on the sound: The synthesized tones are generated using acquired data from the Bureau of Pollution Control and Prevention’s air monitoring network. Six primary toxins – carbon monoxide, carbon dioxide, sulfur dioxide ozone, nitric oxide, nitrogen dioxide – present in our atmosphere have been extrapolated as audible frequencies. These are then fed into a digital harmonium, or drone generator used in classical Indian music. The variable concentrations of these pollutants, from February 10, 2014 are audible as increased timbre, pitch, and volume. Harmony and dissonance ebb and flow. This 22 minute “composition” is paired with the aerial drone footage, which has been edited to the sound. "Uncanny Sensing, Remote Valleys" is aimed at investigating ecology, post-natural landscapes, and the philosophical dilemma of the anthropic principle. It’s about the rise of machines in the age of the Anthropocene, and how we perceive the environment using technology – giving us a view of the world around us that some say is incomplete, synthetic, uncanny. The title of the project is a reconfiguration of the terms “remote sensing” (a method of data collection from the physical world via sensors and other remote technology) and “uncanny valley” (the cognitive dissonance caused by lifelike replicas of living things). Through the use of autonomous aerial cameras, camouflaged sensors, and remote audio monitors, I present raw media gathered in the field, documenting animal behavior, industrial processes, erosional effects, and other elements of the landscape and environment. By relying on unmediated data, I intentionally reduce my role as an artist in the conventional sense and expand my role as interpreter, editor, and curator of the landscape. Beneath the technological elements of the project are evocations of animism, activism, and indeterminacy. This is a project about reconciling the natural world with the un-natural or post-natural world; it’s about coming to terms with the human altered environment. In this iteration, this prototype, I present an investigation of the Houston region as a distillation of three elemental planes of existence: water, land, and air. Through the use of aerial footage captured by a remote control drone, paired with other remote sensing systems, including data from air monitoring stations throughout the city, this installation presents a landscape both familiar and alien, as seen and heard through the eyes autonomous devices. Devices like this will someday interact with the natural world, no longer reliant on their human designers. A new, cybernetic ecology might evolve. Perhaps then, a better form of symbiosis may develop between us and everything else. As we experience this installation, we inherently apply meaning to what we see and hear, imposing anthropomorphism of the surveyed landscape, the animals’ reaction, the drones reflection and shadow. In order to better comprehend our landscape and our collective creation – in particular the petrochemical industry of the Gulf Coast region and its contribution to global climate change – a new perspective is sometimes needed. Remote (uncanny) sensing can provide this perspective and give us a new phenomenology of place.


20. the Corrugarou

  • Published: 2017-06-14T01:58:00+00:00
  • Duration: 143
  • By Klaas Hübner
the Corrugarou

Seen from a distance, Klaas Hübner and Andrew Schrock’s Corrugarou at first resembles a slightly sureal guard tower, its perforated metal sides slashed by large fan blades. Upon entering the structure, however, visitors find themselves within a two-story a playable musical instrument. By turning the cranks in the structure’s base, visitors can set the fans in motion. Changing the speed at which the cranks are turned in turn alters the pitch and volume of the harmonic tones that the instrument produces, as wind hums through the ridged tubes attached to the fans’ blades. Hübner and Schrock met through New Orleans Airlift, an artist-driven initiative founded in the wake of Hurricane Katrina in 2008. Airlift encourages collaboration between international and local artists and the community, often pairing artists and encouraging them to generate new public work. Airlift introduced Hübner and Schrock—who had both previously created work that involved fans—for Music Box (2011 – 2012), an installation of playable public art projects which allowed visitors and performers to experiment with musical composition in an entirely new way. The musical architecture projects begun with Music Box have since spread around the globe, from Atlanta, GA, to Kiev, Ukraine. For their project in North Adams, Hübner and Schrock collaborated with Morrison Berkshire, Inc., a local metal fabricator. They used the company’s offcuts and tools to fabricate the work before transporting it downtown and assembling it on-site. The structure—fashioned from discarded materials and industrial hardware—is a communal space for sonic exploration and play, where visitors are invited to create their own sonic improvisations. Alexandra Foradas Assistant Curator, MASS MoCA The Corrugarou is part of Earmarks II,The World of MASS MoCA in Sound Art: Walkways vibrating with voices, aural hauntings, solar-powered sonic landscapes, and instruments that look like buildings: EarMarks II traces new developments in sound art since MASS MoCA’s first EarMarks exhibition 20 years ago. New works by Klaas Hübner and Andrew Schrock of New Orleans Airlift and by Craig Colorusso join long-term installations by Sam Auinger and Bruce Odland, Christina Kubisch, Walter Fähndrich, Zarouhie Abdalian, Stephen Vitiello, and Julianne Swartz in this celebration of sound as medium and subject matter. www.andrewschrock.com www.klaashuebner.com www.neworleansairlift.org