Project : House Vision 2 – Sou Fujimoto Architects Pavilion
Architect : Sou Fujimoto
Location : Tokyo, Japan
Filmed & Edited by : Vincent Hecht
Music : ” Insight XX” – Julien Marchal
Equipments : Canon 5D MkII + 14mm + 24mm TS-E f/3.5 + 50mm f/1.4 + 100mm f/2.8
「House Vision 2」で大東建託と藤本壮介が手がけた「賃貸空間タワー」の動画。
There’s a small stretch of soil north of the Rio Grande river that’s still part of the United States, but exists below the Mexican border wall. The Atlantic went inside this no-man’s-land to uncover what life is like in a place that feels like not-quite America, but not-quite Mexico.
Creative Director: Patrik Johäll
Project Manager: Anna Johäll
AD: Simon Sjödin
Director: Daniel Mattiasson
DOP: Andreas Nilsson
Camera incl Aerials: Andreas Nilsson, Markus Wetterberg
Aerials: Aircam. Operator: Daniel Casselby
Edit / Grade : Andreas Nilsson
Post: Norbert Nagel, Robert Melander, Andreas Nilsson
Assistants: Pontus Ahlqvist, Amelia Bordahl, Robert Elmengård
360 degree movie shot of the venue of “Rei Kawakubo / Comme des Garçons: Art of the In-Between”, the special exhibition of the Metropolitan Museum of Art, .
On the occasion of the Bienniale Internationale Design Saint Étienne 2015, Sam Hecht and Kim Colin curate an exhibition entitled ‘Beauty as unifinished business’ that attempts to describe designed beauty through 35 recently produced items.
Industrial Facilityのサム・ヘクトとキム・コリンがキュレーションした2015年の展覧会「Beauty as unfinished business」の動画
To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A’s Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney.
Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did.
Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc’s position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time.
Marc Ascoli: That’s true.
PS: Nick introduced me into the system, that bit came next … you do that bit … Nick, just finish that bit.
NK: So I’ll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models – not the mainstream models … all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I’ll art direct them, but who can create the – who can do the graphic design?
PS: Who said that? You said that?
NK: Marc said that. So I said well, there’s somebody who I’ve worked with over the past couple of years on and off, and I introduced Marc to Peter.
PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues.
NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time – I was interested in the world of people like Lee Barry, Taboo, Michael Clark – very extreme. You’re talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn’t really quite got to London. It wasn’t really part of the fashion vernacular, it wasn’t what was going on, it wasn’t part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin … It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn’t about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting.
Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we’ve talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document.
NK: I have to stop you there, Magda. There’s a big difference between a look book …
MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function …
PS: No joy – do you remember any joy?
MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way … or it operates in a commercial way.
PS: I mean it’s a work, a collective work of it’s own … this is a new way, not really done before. They were innovations in themselves.
NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to se
1980年代にヨウジヤマモトのビジュアルアイデンティティをつくりだした3人のコラボレーター – マーク・アスコリ、ニック・ナイト、ピーター・サヴィルの鼎談
Monocle Films heads to Vilnius to explore Uzupis. This creative and quirky corner of the Lithuanian capital is more than just a neighbourhood – it’s a mini-state.
To discover more about Monocle magazine head to monocle.com
A trailer of a documentary “Integral Man” depicting the relationship between James Stuart, a mathematician / violinist and his “Integral House” designed by Shim-Sutcliffe Architects.
In a new, predatory ice age, two brothers search for a place to call home.
As the oldest of three brothers, I got an early start at directing – ordering my brothers Ethan and Noah in fierce make-believe sword fights in our basement. In many ways, this film is an extension of those childhood adventures: it is a story of two brothers in battle against a harsh new world, and it stars my youngest brother Noah.
Over the last few years, I’ve watched Noah grow up. No longer just my kid brother, he is now one of my best friends. At its core, this is a film that imagines what it takes to grow up in a dangerous and lawless world. The story centers on a boy who still remembers what life used to be like before everything turned to ice – a childhood of birthday parties and movies and after-school cartoons. As Jem clings to his childhood, the responsibility for their lives falls to Cody, the older brother. He stays awake each night, rifle in hand, making sure they survive to see the next morning.
This is a film about a younger brother forced to grow up faster than he wants to, and an older brother who will do anything to protect the brother he loves.
***Oh, and if you’ve got headphones, use them. And jack up the volume.***
Spanning four continents, this short documentary takes you on a journey into the hardships of truckers and their families.
Directed by Patrick Fileti
A Collider Production
Cinematography: Ross Giardina ACS
Editor: Patrick Fileti
Sound: Abigail Sie
Music: Gustavo Santaolalla
Producer: Hamish Roxburgh
Executive Producer: Rachael Ford-Davies
Russia: Ilya Kropancev
China: Sun Guangyong
Mexico: Ruben Lopez
India: Dhirender Singh
USA: Edward Shill
FULL BLOG POST with everything you need to know here!! gopb.co/koh
All shot with the GoPro Hero 3+ in 2.7K mode in either wide or medium (mostly wide) in Protune flat 25p
All shots around the local children at the pier were filmed with my second Phantom fitted with prop guards for extra caution.
This was shot on my holiday (yes my passion is also my job!) alongside some stuff for my GH4 review. Koh Yao Noi is one of the least developed islands in Thailand despite being right in the middle of the most touristic bay there. It’s a little haven of real Thailand with just 18km of roads.
Please read the in depth blog post linked at the top if you are interested in knowing more about what it’s like to fly the Phantom 2 or any part of this film. Here is a little bit of tech info anyway!
Phantom 2 with Zen Muse 2 axis gimbal and FPV. Boscam TX with iOSD with Black Pearl monitor/ receiver
Phantom 2 with Zen Muse 3 axis gimbal and no FPV
Graded with FIlmConvert 10% off with code bloom at gopb.co/filmconvert
and Colorista II 10% off with code bloom10 at gopb.co/redgiant
Fish-eye removed with After Effects optics compensation. More info in blog post.
Yes i had a lot of jello issues. First time. More in my blog post! 🙂
Anyway enjoy this journey to a very different place!
Music courtesy of The Music Bed
Gatlin Elms “For we never knew your beauty”
An apartment designed by Future Facility with integrated products and services for the elderly, commissioned by the Helen Hamlyn Foundation on the occasion of the New Old exhibition held at the Design Museum in London.
A few days ago I had the chance to stay in Venezia for four hours. It was the first time in my life, despite living in Italy and being almost forty. I’ve been waiting for this so long that I decided to shoot a video to remember this experience.
I tried to replicate the approach of the ancient travellers, meaning that I didn’t use a map and I simply walked around losing myself in the beautiful narrow alleys of the city, trying to capture the life of the natives and trying to avoid the tourist areas as much as possible. I must say that the experience was pure gold. Venezia is without doubt one of the most beautiful cities on earth, a place you’ll remember forever.
Filmed with a Canon 6D
I was on a short visit to London for a few days. I was introduced to the city by my girl and I just tried to capture all the different vibes. I also experimented with color grading in this edit. Everything was captured with a Canon 700d and a 18-135mm lens.
Special Thanks to SineRider and Not for letting me have their music for my video.
Edit with Final cut Pro X