Hauschka - The Key by Jeff Desom // Music by Hauschka “Children” from the album “Foreign Landscapes” FatCat 2010 with Summer Shapiro Film by Jeff Desom Cinematographer Jean-Louis Schuller Steadycam Olivier Koos, Raoul Henri Editor Chris Coupland Costume Carole Pochard Shot in Luxembourg
John Dooley demonstrates The Leica M by Leica Camera // John Dooley from the Leica Akademie Mayfair demonstrates the new features of The Leica M. Dooley highlights everything you need to know about the camera including the including the use of R-lenses, life view, focus peaking, movies and accessories in this tutorial. The Leica M was introduced on September 17 at the “LEICA- DAS WESENTLICHE” event before photokina 2012.
Atacama Starry Nights: Episode I by Babak Tafreshi // Make sure to watch this full-screen with the sound on! Featured on the National Geographic News: http://bit.ly/xhgGCS Astronomer’s Paradise is the first episode of Atacama Starry Nights timelapse movie series. Cerro Paranal is truly an astronomers paradise with its stunningly dark, steady and transparent sky. Located in the barren Atacama Desert of Chile it is home to some of the world’s leading telescopes. Operated by the European Southern Observatory (www.eso.org) the Very Large Telescope (VLT) is located on Paranal, composed of four 8 m telescopes which can combine their light to make a giant telescope by interferometry. Four smaller auxiliary telescopes, each 1.8 m in aperture, are important elements of the VLT interferometer. Walking on the desert near Paranal between the scattered stones and boulders on the pale red dust feels like being on Mars but under the Earth sky. It is an amazing experience to be under an ideal night sky, a pure natural beauty unspoiled by urban lights. On Cerro Paranal in the Atacama Desert you look all around the horizon and there is no prominent sign of city lights, neither direct lights or light domes. There are not many locations left on this planet where you can still experience a dark sky like this. I have been to similar dark skies in other continents from the heart of Sahara in Algeria to Himalayas or islands in the Pacific. But what makes Atacama beat others is being dry and clear for so many nights per year. Paranal was selected for cutting edge astronomical observations also because of the sky transparency and steady atmospheric condition which let astronomers peer in to tiny details in the deep cosmos using giant telescopes. This footage is made during an imaging expedition to Paranal assigned by the European Southern Observatory (ESO). All video rights reserved by Christoph Malin (www.christophmalin.com) and Babak Tafreshi (www.twanight.org/tafreshi) of The World at Night (TWAN) program (www.twanight.org). The inside observatory video is contributed by Stephane Guisard (www.astrosurf.com/sguisard). The music is by Carbon Based Lifeforms (www.carbonbasedlifeforms.net). Song Arecibo extract from the album [Twentythree], write & produced by Johannes Hedberg and Daniel Segerstad, published by Ultimae (www.ultimae.com).
The Forty Story by Pentagram // The Forty Story The story of a boy born on the day Pentagram opened and how his life has been tracked (and kerned) by forty years of Pentagram design. Written by Naresh Ramchandani and Tom Edmonds Directed by Christian Carlsson Additional animation by Simone Nunziato Sound design by Iain Grant and Wam London Music by Graeme Miller Titles by John Rushworth Design by Pentagram Voiceover by Daniel Lapaine
LEARN by Rick Mereki // 3 guys, 44 days, 11 countries, 18 flights, 38 thousand miles, an exploding volcano, 2 cameras and almost a terabyte of footage… all to turn 3 ambitious linear concepts based on movement, learning and food ….into 3 beautiful and hopefully compelling short films….. = a trip of a lifetime. move, eat, learn Rick Mereki : Director, producer, additional camera and editing Tim White : DOP, producer, primary editing, sound Andrew Lees : Actor, mover, groover These films were commissioned by STA Travel Australia: http://bit.ly/xaCKkR Thanks heaps to Adam Fyfe, Brendan, Simon and Crissy at STA. All Music composed and performed by Kelsey James (email@example.com) Soundtrack available here: http://bit.ly/yst26K Music Recorded and mixed by Jake Phillips Colour Grade : Edel Rafferty and Roslyn Di sisto Online Edit : Peter Mirecki Assistance in titles and production design : Lee Gingold, Jason Milden, Rohan Newman Big Ups to Michelle, Kiri, Renee, Hana, Andre, Ross, Bernie & Julie for your patience and support and awesomeness….. Huge Thanks to : Marco, Juliana and Julio at GAP Argentina and Peru Ariana Cardenas, Toni Figuera and cooltra scooters in Barcelona, Abete Zanetti Glass blowing school, Murano, Venice (http://bit.ly/nF2X9n) Annabel, Rosario and Carolina (Pitu) in France Juane and Andrea from the Princeca Insolenta hostel in Chile Thank you all for your kind words and encouragement. The response has been phenomenal and overwhelming. We never thought this little project would reach out to so many people. x
Small World Energy by Niles Heckman // Production: AURORA-LAB Title: SMALL WORLD ENERGY - public service announcement (2011) Director: Niles Heckman Producer: Lance Menjohnski Editor: Jack Linemennosh Score: Antonio Vivaldi - Concerto in D minor for Two Violins, Cello, and Strings Op111 No. 11 - Allegro - Adagio e piccato - Allegro Special Thanks: Jackie Dela Merced Summary: nilesheckman.com/work_experience/2010/12/24/small-world-energy-aurora-lab-2011.html
Designing Bond’s Look by Barbican Centre // http://bit.ly/MRAHHO Here we present a short study into James Bond’s personal style, meeting award winning costume designer, Lindy Hemming; and a handful of bespoke tailors who have been instrumental in shaping and crafting this icon of style over 50 years. The Barbican marks the 50th anniversary of James Bond with a unique exhibition showcasing the inside story of the design and style of the world’s most influential and iconic movie brand: http://bit.ly/yMcmih
Dieter Rams, designer - Cold War Modern by Victoria and Albert Museum // Every company makes the same design with dark brown wooden housings. They called that in Germany [unclear]. It’s always a compliment when some products you have designed become a nickname, like the ‘Snow White Coffin’. Nobody knows exactly where it’s coming from, it comes from the competition or it comes from the inside. The first thing was not only the cover, it was only the base, the main base in metal. I was influenced by my grandfather who was a carpenter and he was a specialist with surfaces. I learnt that from him, but I had in mind to study architecture. After that I finished my studies. That was a time where in Germany there was nothing, so things come back from the United States, for example, with architecture – there’s things from … Gropius, from Marcel Breuer – all these things come. And it was for us just to look in a New Brave World. Somebody said that there is an announcement in the newspaper that there’s a company called Braun. And then I get an answer from Braun – I met him first and he told me about his ideas. His vision was to change the product line. It was at this time unbelievable – totally new approach as a company. But that was the thinking behind it - it was not only concentrated on design – design was one part. In the company there were possibilities that people could have things because even secretaries doing always the same things the whole day, they need something to stay healthy. The first exhibition of the new design of the radios was very successful. The media and everyone was surprised about that, so Braun became more known. Nobody had this idea that by the help of design, you also could be very successful. I did it because I became a teacher at the Academy of Fine Arts in Hamburg, so it was necessary to do something which you could tell the students and could tell to the press and also to keep together our own behaviour in the design department at Braun. The last one was as little design as possible, which is a similar lesson. I hate everything that is driven by fashion. From the beginning I was hating in the 60s the American way of styling, especially cars. They changed their styling things every 2 years and designed new ones which is nothing to do with good design. So at the end of the 60s the whole programme was looking like that. In the beginning were the first writing machines. It was also monochrome – why should it not be in a colour? It’s a difference between a kitchen machine that stays permanently in the kitchen and has to be in the background like … it was thought our products should look like an English butler – be there when you need them, but in the background when you don’t need them. So it depends on the product to make it colour or not. I was involved always and still in the field of furniture. And then I met Otto Sap and Nils ??? I had in my mind always thinking not one blinds alone but always thinking how can I add something? Specially developing furniture - people could change them, they could add something after using them a while. Somebody has written that I am the designers’ designer – I take that as a compliment. I also take it as a compliment that ??? is taking some of the ideas I had in the 60s and that is for me, again, the best compliment you can get as a designer. They called it later the first Walkman because it was the first one you could have with earphones and walking with it. It was also designed as a system – separate radio. They made an exhibition with the and they make this poster. I think that design has a great, great responsibility for the future. I am always optimistic – as a designer you have to be an optimist, otherwise you should not stay as a designer any more.
Arrivals and Departures with Jacob Aue Sobol: Episode 6 – The Final Episode by Leica Camera // This is the sixth and final episode of our “Arrivals and Departures” series with Magnum Photographer Jacob Aue Sobol after his journey photographing what he saw with his Leica M Monochrom through Moscow, Ulaanbaatar and Beijing.
Peter Karbe & the Leica APO-Summicron-M 50 mm f/2 ASPH. by Leica Camera // Peter Karbe works as a lens designer and head of optics development at Leica Camera AG. Building on a hundred years of history, Peter introduces the Leica APO-Summicron-M 50 mm f/2 ASPH.