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1. Open Your Eyes to the New Vimeo

  • Published: 2012-01-23T16:14:21+00:00
  • Duration: 56
  • By Vimeo Staff
Open Your Eyes to the New Vimeo

We made zillions of improvements that cover the front end, the back end, and the parts in between to create a Vimeo that is bigger, faster, smarter, and more fun. Check it out! Video by m ss ng p eces -

2. Vimeo - "Open Your Eyes to the New Vimeo"

Vimeo -

It feels good to make a piece for a brand I really believe in. Great job all around with limited resources.

3. How we made Cyclope ?

  • Published: 2014-01-02T11:23:18+00:00
  • Duration: 42
  • By Thopla
How we made Cyclope ?

Here is the recipe. Full movie online now : New videos to come soon ! Keep your eyes wide open, like, share and follow us !

4. (Pr) Blake Whitman

  • Published: 2011-08-25T14:04:22+00:00
  • Duration: 267
  • By Protein®
(Pr) Blake Whitman

Vimeo has become the go-to place to see creative videos on the web. Underneath this sea of content - which ranges from the hilarious to the utterly inane - is an exciting new generation of digital filmmakers that are helping to transform the industry. ‘It’s become an entire social platform for sharing knowledge and ideas through video,’ says Blake Whitman, the Vice President for Creative Development at the video-sharing network. ‘It’s really taken on a life of its own.’ Read the whole Profile here - The Village by Pedro Sousa | visuals LA Light by Colin Rich Wefi Surfboards by Mark Wyatt Open.your.eyes by Camille Marotte The Weekend Lake by Matt Wiebe Lundberg Loses It by Kenny Luby

5. Film in 4k Mount Rainier National Park - trailer

  • Published: 2015-03-15T13:54:20+00:00
  • Duration: 137
  • By Pro Art Inc
Film in 4k  Mount Rainier National Park - trailer

buy film here: watch here on vimeo: Open your eyes and get ready to be emerged in the most beautiful places in Mount Rainier National Park. New TV Series in 4K (UHD) resolution will bring alive nature into your house. 4K quality is a real window into nature. “Mount Rainier National Park” TV Series is also available in HD quality. The movie shows about 20 famous trails throughout the park, and it is shot for each one of you! Tourists or residents of Washington State, nature lovers or those who want to visit this land, but do not have the possibilities - this film is just for you! Stay at home and explore the trails with 4K (Ultra HD) technology from your couch! TV Series will also help you to be prepared for your visit to the Mount Rainier National Park. All the key places and trails are shown in details, and you will be able to see gorgeous beauty of the park with your own eyes.

6. The Gatebil Experience | Full Video | OMGproductions

The Gatebil Experience | Full Video | OMGproductions

Here it is. The Gatebil Experience. The longtime expected video finally done after months of waiting, planning, filming, editing, teasering, sorting, learning, working, complaining and now it is finally finish. Done. Færdig. Finito. Perfectum. Shown to you in cooperation with and The Gatebil Experience takes palce at the Gatebil car festival at the track of Rudskogen in Norway and is filmed over two envents in July and September 2011. This was my first time at Gatebil, but certainly not the last times. Gatebil is awesome. An entire weekend full of high performance cars, an awesome atmosphere, a lot of media guys, the smell of gasoline all the time, burn tires in your eyes and the sound of 9000 RPM from an awesome new Rudskogen track makes these weekends some of the best weekends of all year! The track is full of drifting cars at the whole day with more than 50+ cars at the track at the same time, the spectators sits close to the track and watch the awesomeness while you can get free limited edition Fredric Aasbø stickers at the Need For Speed stand. What more do you need? And when the night turns over and the track gets closed for the day, DJs play the sound all night long at a great open concert besides the track. Do you like what you see above? Watch the official tearser here: Turn over to Facebook and follow me with more awesome photos and videos. A special thanks to: Sanne Skøttegaard, Marc Pedesen, Stefan Nicolai Nielsen, Gregers Pedersen, Sara and Jacob Vollhaase Hagemann, Fredric Aasbø, Micke, David Johansson, Thenorwegiankid, Henrik Oulie, Andrew Bohan, Nicolas Jimenez, Steven Campbell, the Alm brothers, SS Performance, Joe Ayala and Justin Shreeve of Tandeom of Die

7. Uplistsikhe, Georgia, 11.2014

Uplistsikhe, Georgia, 11.2014

I’ve a new project called Open Your Eyes Diary. It’s about mini-travels at different countries. For me, the point of visiting countries is staying as long as I can here to discover atmosphere of local places, details of national holidays so on and so forth. And my videos is totally about this point. Enjoy! Мой новый проект Open Your Eyes Diary. Проект о мини путешествиях в путешествиях по разным странам. Так как, для меня главное побывать в стране как можно дольше, я решил выкладывать короткие видео переедающие атмосферу конкретных мест, национальных праздников И так далее. Camera: Canon 5D Mk3, Lens: Canon 70-200 mm f/2.8, Mir 35mm f/2 Cut in Adobe Premiere Pro, graded VSCO. Location: Uplistsikhe, Georgia Music: Jo Johnson – Ancestral Footsteps ( Thanks a lot for the FX Evgeniy Kaurov (

8. Showreel 2015

Showreel 2015

Hey ! I'm Théo Arnaudet aka Epsilon. I'm a young french student who never stopped learning new things in the field of motion design and animation. I work a lot on some project since 2013, you can see a large part of these here. Now let's try to improve my work in the future! ~ 0:00 Intro 0:14 Isometric Tower 0:16 Client work 0:17 Gotswim - What you see 0:18 Client work 0:19 Open your eyes 0:21 Peronnal experiment 0:25 Client work : Venise Activation 0:26 [wip] 0:27 Complexity is simple 0:30 Old stuff 0:31 Client work 0:35 [wip] 0:36 [wip] 0:42 Diptyque videogame 0:45 Client work 0:48 Personnal project 0:51 Client work 0:52 Template 0:53 personnal project 0:54 Old stuff 0:56 Client work 0:57 Old stuff 0:59 Old stuff 1:02 Client work 1:03 Client work 1:05 [wip] 1:06 Personnal experiments [wip] 1:10 1:11 [wip] 1:14 [wip] 1:20 Outro ~ If you want to know more about me, you can check this : Or see my online portfolio : ~ Song : scratch bandits crew - En petites coupures

9. Christmas Is Cancelled (Part 2)

  • Published: 2009-12-23T05:37:31+00:00
  • Duration: 309
  • By Mark
Christmas Is Cancelled (Part 2)

The Claus Effect is BACK with another warning to all you suckas trying to spread your holiday spirit. Starring Mark Cersosimo, Tim Styne and Michael A. Capasso. Filmed in 14 hours over 2 days in our native land of New York. Technical Specs // Camera: Canon 7D Lenses: Sigma 10mm, Canon 50mm, Sigma 18-200mm Editing: Final Cut Pro Grading: Magic Bullet Looks Burn Effects: Artbeats Film Clutter Digg It! On Buzzfeed: YouTube Link: Download the MP3 (Free) Watch Part One: Watch Us Recording The Song: LYRICS ---------------------------------- Christmas is cancelled, yo it's gone for good On December 25th we terrorizing your hood We pawned off the reindeer we came here to spread fear We're putting an end to all your christmas cheer! Want us to ease up on you? Well I gotta say no, man We'll melt your stupid face off like Frosty The Snowman Not coming down the chimney, we're busting down front doors Oh yes you know it's true we're the O.G. saboteurs We're the gangsta santas, we're back And this time around we're causing heart attacks I'm Santa number one, about to end your fun When it comes to ruining Christmas, can’t be outdone I'm like Orville Redenbacher, you corn i'm gonna pop ya Don't try to fake me out, i'm gonna block ya Shock ya, rock ya, shishkabab ya A pointy stick right through your head, you better see a doctor Santa number two, yeah you know who I'm not the kind of Santa that you want to bump into You're lookin' way too happy this holiday season I'm gonna end it now and I don't need no reason I'll piss in your stocking, throw out all your presents Chop up your body into itty bitty segments Feed ‘em to my reindeer till they aint hungry anymore Then i'll go do the same to the family next door I'm Santa number three all up in this song I'm gonna tape your mouth shut, so don't try to sing along Your Christmas is over I came to destroy Santa one does the killing, santa two a decoy My job? In disguise, eat your cookies and pies Take your office supplies and then i'll devise Yet another plan to take all I can Then i'll jump out your window just like a stunt man I got a word or two for you and your crew To your family and friends you better bid a fond adieu I'll make you eat fondue with a gigantic kangaroo Tie some bricks up to your shoes and throw you into a pool Then i'll pull you out and in your eyes i'll rub in shampoo And i'll leave you out in the cold so you can catch the flu Swine Flu! Swine Flu! Swine Flu! Achoo! Yeah, it's comin' for you sucka! Christmas is cancelled, yo it's gone for good On December 25th we terrorizing your hood We pawned off the reindeer we came here to spread fear We're putting an end to all your christmas cheer! Want us to ease up on you? Well I gotta say no, man We'll melt your stupid face off like Frosty The Snowman Not coming down the chimney, we're busting down front doors Oh yes you know it's true we're the O.G. saboteurs I owe a couple hundred grand to my bookie I don't think he's gonna let me pay with milk and cookies I got 'em stockpiled after years and years I keep 'em next to my jars of children's tears I make 'em scream and cry and then I fly away On a motherfuckin' one horse open sleigh I come back a year later, do it over again Making kids cry is my moment of zen If you wanna knuckle up i'm putting you in a hearse I'm gonna make you curse, make you go berserk I run this fuckin' enterprise like Captain Kirk Through rain, sleet and snow I put my elves to work It's a full fledged sweatshop up at the North Pole But Christmas is cancelled, HARDEY HO HO HO! What I did to my elves, man, this really aint a shocker They’re Oompa Loompas now, I sold ‘em off to Willy Wonka Whoop Whoop! That's the sound of the Police I didn't leave no presents all up under your trees I left my fecal matter with a little bit of splatter And it doesn't even matter that I didn't clean up after You gotta see your face, man you're looking so forlorn I thought you'd enjoy picking out the bits of corn While it's stinking up your home, i’ll beat you black and bluish I’ll bet your wishing now that your family was Jewish (Shalom!) We're gonna kidnap your mother, kidnap your father Kidnap your cousins and your sister and your brother We'll feed 'em to some zombies, some reindeer zombies That's right, I said reindeer zombies Gonna wrap it up now, another year gone We'll be back next December with a brand new song With a little less love and a little less affection If I were you i'd file for witness protection Christmas is cancelled, yo it's gone for good On December 25th we terrorizing your hood We pawned off the reindeer we came here to spread fear We're putting an end to all your christmas cheer! Want us to ease up on you? Well I gotta say no, man We'll melt your stupid face off like Frosty The Snowman Not coming down the chimney, we're busting down front doors Oh yes you know it's true we're the O.G. saboteurs REEEMMIXX!! Christmas is cancelled, yes y’all you know it’s true We’re not Maroon 5, 311, B52’s Santas 1, 2 and 3 - Gangsta Santas - We guarantee To bring you lots of pain, pop you like some champagne We’re gonna ruin your whole day with our Christmas soiree You better watch out yo, you better not cry You better not pout and i’m tellin you why Cuz i’m gonna kill you.. I’m gonna kill you, kill you, kill you

10. DIY DSLR Skateboard Dolly Mk2 (550d & iPhone)

DIY DSLR Skateboard Dolly Mk2 (550d & iPhone)

Skateboard dolly Mk2, for those of you who have not seen my previous prototype skateboard dolly (Mk1) please take a look at the below link. This all started after seeing the amazing SpiderTrax Rotating Video Skate Dolly but thought the price tag was a bit to high for me so thought i would give it ago myself and add a little tweak (tilt adjustment). There is one thing missing from this dolly and its a proper tripod head , i will get around to doing this but i do not have a spare head at the moment. Thanks for watching please comment and let me know what you think or please ask any questions you may have. Im currently working on a slider rig i can attach to a tripod so i can do smooth video at different heights on the move. Keep your eyes open for a new video.

11. Compost, 2007

Compost, 2007

Cartoon Brew — CITY Newspaper — Fast Forward Film Festival — Compost, 2007 • Directed/Animated/Recorded, Jim Downer • Directed/Gathering, Diane Downer • Music, David Shaw, John Nyerges • Stop Motion, Replacement • Found Objects • Digitally Composited, AE • 2 Minutes 30 Seconds IFC/RoofTop Films Interview, Dec. 2008 RF: Tell us about your film: JD: Animators have been making synesthetic films for years—visually interpreting sound. In this realm Compost is nothing new. At its core it's an experimental film made with sticks and leaves. On another level, through the symbolism provided by nature’s cycles Compost represents continual change through rebirth and decomposition. The film includes the capacity for growth, reproduction, functional activity, and other conditions through quick successive interchanges of subject matter. RF: What was your inspiration? JD: Found animation—multiples—easily accessible everyday objects. While food shopping I couldn't help looking at piles of vegetables and thinking, "This stuff would make a great series of animated replacement objects." The idea later shifted from produce to things in the backyard. RF: Is there anything you’d like to share about the film that might not be immediately apparent (your conception of the film, backstory, production methods, etc.)? JD: It would have never been made without Diane, my wife, who had looked at some tests I'd done earlier in the year and then suggested we create an entire film. She's the primary force behind the film. It wasn't apparent to me at first, but now looking back on the project I see it as a documentary, a record of all the walks Diane and I took together with our four dogs to collect specimens. Things go by so quickly on the screen, when in reality they took months to collect and assemble. There's a lot of wonderfully peaceful memories associated with this film. Also, along with being entertaining the film also has scientific value. It represents a cross section, a sampling of Rochester's biomass. Grade-school children always seem to make that connection when they watch the film. RF: What is the piece of music playing along with the images? JD: Dave Shaw and John Nyerges are the musicians. A couple of talented individuals—easy going, intelligent, open minded, fun to work with. I'd been working with Dave, getting digital recording lessons, torturing him with avant-garde musical directing when John stopped in. He sat at the piano and I asked him to play some Baroque jazz. That's the longest piece of music in the film. All the bits and pieces are improvisational tinkerings done by Dave. At the time of recording there were no plans to make a film, it was just the three of us doing what we do as artists. RF: What, if any, is the correlation between the images and the tonality and rhythms of the music? JD: I relied heavily on intuition. Shooting each series of replacement objects, then testing them against the music for appropriateness. In the back of my mind I kept a visual catalogue of shapes and colors. Listening to the music I'd run through the visual possibilities internally before doing any cutting of image to music. I purposely wanted to keep the improvisational spirit of the film free from over analysis. RF: Where did you find all of these lovely, colorful, natural images to work with? How did you select which would appear in the film? JD: All of the collected objects come from property around our home. Again I give Diane most of the credit here. She's a painter whose sensibilities in selecting color and texture really comes through in the film. I would have discarded, or overlooked many of the things she picked up. I had to learn not to edit, or over-think while gathering. RF: Any interesting stories about the production? Any particular difficulties or serendipitous events or pleasant/unpleasant surprises? JD: Now and then we picked up a stowaway—insect or spider.  A couple became a part of the film and were later released. It's tough to photograph a bug who's running around an animation table. I also suffer from plant allergies. Some things we brought back into the studio made my eyes water and nose run. I had to shoot right away and then get them back outside as quick as possible. Thorns and splinters where also a bit of a painful issue. Some plants just don't want anyone touching them—understandable. On the upside, I never got poison ivy.

12. DIY Telecine TUTORTEST Speed Control Projector RealTime / Slow Sync

  • Published: 2011-04-12T13:50:30+00:00
  • Duration: 297
  • By apefos
DIY Telecine TUTORTEST Speed Control Projector RealTime / Slow Sync

"Yes, what you hear in the video is the projector noise... in slow speed..." PAY ATTENTION: The potentiometer used in this test is not recommended alone, it needs to be combined with a powerful electronic component called RESISTANCE to allow a safe operation. It got very hot due to be just 5 Watts power, and the Gaf projector motor is 17 Watts power. There is no potentiometer capable of handling this amount of power when used alone. To make this modification in a safe way you need a DIMMER. A dimmer is an electronic circuit developed to handle more power when doing this kind of job. The dimmer must be built by an ELECTRONIC EXPERT taking into account the projector motor specifications. The motor Volts, Amperes and Watts. The GAF 2000S projetor is 24 volts, 0,7 amperes, 17 watts. Each projector motor is different, so this specifications are valid just for this model. Also, for this projector tested, the dimmer needs to adjust a resistance from 0 (zero) to 50 OHM. This is the resistance range for doing the speed control in the GAF 2000S projector motor. For other models it may be different. This method is under development... What I am saying here is: it is possible to do. But the way to do you must find with an ELECTRONIC EXPERT HELP. In this video, the contrast is a little high and blacks a little crushed, you can improve it doing: 1 - use camcorder Cine Gamma, it will improve Dynamic Range 2 - do a better manual exposure setting in camcorder 3 - use a white or less grey screen, the screen used in this telecine was a 18% grey, probably too dark for the job. 4 - Do a better post production correction You may also see: This method consists in installing a dimmer in the Super 8 or 16mm projector motor / engine to allow speed control and get a flicker free telecine using a full hd camcorder to shoot the projected image. This method allows 1:1 perfect 24fps cadence telecine when using projector at slow motion speed. After installing the dimmer you can: A - Telecine realtime in near normal speed and avoid flickering, adjusting the speed to sync projector to the 24p camcorder B - Telecine with projector in synced slow motion speed, and rebuild the footage in video editing software, to get the perfect 1:1 24fps cadence, the beauty of motion cinema. Observation: I did no tests with 60i NTSC or 50i PAL camcorders, you must try it yourself. My goal here is the 24p. Advice: it is not guaranted this method works with all projectors, but, in theory, there will be a slow speed capable of syncing the projector shutter with the camcorder shutter. Main advantages: 01 - inexpensive, if you have the camcorder, the projector and a trusted electronic expert to do the mod 02 - the modification does not destroy the projector keeping it's original purpose 03 - Very fast method, can do a real time telecine for who just want to remove the flickering and does not care about perfect 24p cadence 04 - can extract 24fps 1:1 from film to video to get the perfect 24p frame cadence if done in slow motion projection 05 - high resolution output using a 1080p Full HD camcorder, just a frame by frame dslr or a DataCine can do better 06 - can keep the beauty of film grain 07 - The camcorder white balance can helps a lot correcting colors from old films 08 - telecine workflow with a projector is pleasant 09 - does not add lenses / mirrors / optical components so there will be no chromatic aberration or distortion in the image Main Disadvantages (commented): You need to build a dimmer with the correct electronic components to make the modification into a safe operation and it will need a professional paid service. It might happen to the projector does not synchronize in real time when decreasing speed. If this happens, instead of the projector need a speed reduction he might need a speed boost, a increase in the engine power instead of energy reduction, if this happens the dimmer does not solve the problem and probably the projector will sync just at slow motion speed. Slowing the projector speed can damage the film due to sometimes the film lump together. So it is recommended to do a normal speed telecine before doing the slow motion telecine for safety reasons. You need to be careful to film do not stop moving, because if it stops the lamp will burn it. If you want the perfect 24fps cadence you need to telecine with projector in synced slow motion, import the footage to video editing software and "cut and keep" each best different frame and delete the repeated bad frames. It is time consuming. I did a try increasing the footage speed to see if it could delete the repeated frames automatic, but I could not find the exact speed increase amount to type in the speed settings. Even with the best approach, typing 266,66% speed for a 9fps slow motion projector, from time to time the playback showed a double image in some frames. I did a carefull look at the footage frame by frame and I found the good frames are not in a constant interval, So to get the perfect 24p cadence a manual frame extraction must be done. Maybe I got this issue due to be using a 9fps slow motion. To make things faster, you can use the speed increase in all captured footage to do the editing, and after finding the usefull scenes you remove the speed increase, putting it back in slow motion, and do the "cut and keep" frames in just them. I did a google search about "repeated frames removal" / "duplicate frames delete" and I found some DIY softwares to do it but I did not try them. The problem here is the repeated frames are not equal, they are slightly different in sharpness and the software must find the best one from the repeated ones. If you have the practice in video editing software using the correct keyboard shortcuts, you can extract the good frames from one Super 8 50 feet cartridge or a 16mm 100 feet reel in about 2 (two) to 3 (three) hours work. The dimmer will give you a perfect sync, flicker free telecine, but sometimes the sync will be a little lost and you need to do a careful small adjust in the speed to get sync again. It is easy to do, but you will need to telecine again to get that scene where you losed sync. You can stop projector, play backwards, stop, play forward again, adjust speed, and conitnue. Or you can telecine all the reel, rewind and start again from the begining. Your choice. Finding sync when adjusting speed manually is a work for careful people, you must trust your fingers and your eyes, the diference from a perfect synced image from a out-of-sync is very subtle... but do not feel yourself insecure, you will get your eyes trained after some mistakes. The dimmer button must be well fixed for you slightly adjust it. Probably removing the shutter from the projector is a easier way to get hid of flicker and avoid the losing sync problem, but I am not sure about that, and it is not easy to do and it will destroy the projector original purpose. The projectors cannot do Max 8 (Super Duper 8), Ultra 16 and Super 16 telecine. The projector's gate are designed for the default 4:3 aspect ratios found in Regular 8, Super 8 and Standard 16mm. It is possible to modify the projectors to do these widescreen aspect ratios but it is not an easy and inexpensive job. Some projectors can be modified just opening the gate, other projectors need lens changing also, due to the default lens can vignette when you increase the frame size. Another point in the modification is: will the lamp (light source) cover the opened gate? I do not know. So I consider this method to be used with default aspect ratios. The projector gate crops some amount of the image, the projector gate aperture is smaller than the cinema camera aperture. This method does not do HDR telecine / filmscan. But you can find a good balanced camcorder exposure in telecine and use two layers from the same footage in video editing software, calibrate them with different light settings and mix them with luminance key. Also a light grey screen can helps in better blacks and dynamic range. Also a little Shadow/HighLight filter helps increasing dynamic range. You need to add some amount of film to the reel begining to do the speed adjust when you start the projector. If you start projection with the desired film you will lose some scenes due to be adjusting the projector speed. What you need: A 24p HD camcorder or dslr, not just 24p frame rate, it also needs to have the 24 shutter speed. (some camcorders and dslr have 24p frame rate, but the minimum shutter is 25 or 30, so pay attention to this). In this test I used a NTSC HV20 camcorder. A super 8 or 16mm projector with AC or DC motor. the motor cannot be Step motor (stepper motor) because this kind of motor does not allow inexpensive and easy speed control. To know wich kind of motor your projector have you can count how many wires are plugged to it. A general rule is: 2 power feeding wires are for AC or DC motors, 3 or more power feeding wires are for stepper motors. When examining the motor, do not confuse a ground wire with a power feeding wire. Again I say, ASK FOR ELECTRONIC EXPERT HELP. A specific DIMMER must be built. Measure the followings informations from the motor: if it is AC or DC, Volts, Amperes and Watts, to build the correct dimmer circuit. Get these informations from your projector using a multimeter. Remember, to build a dimmer is a task for professionals. I developed an idea of combining a resistance with the potentiometer. a 20 WATTS 20 OHM RESISTANCE would remove some amount of power and a 5 WATTS 30 OHM POTENTIOMETER would do the fine adjust, but I am not sure it would be safe, and this would work just for slow motion, not for realtime telecine. Again I say: ASK ELECTRONIC EXPERT HELP You can also use a 18% grey screen to project into, to get better blacks and better dynamic range. I did my grey screen with an A4 Matte Photo Paper 108 gramas, printed by a high resolution inkjet printer with pigment ink. I think pigment ink is better because dye ink can have some kind of reflections. My grey settings was 203 for R G B channels. If you feel the contrast in this video is high, you can use a white screen or a less grey screen. The workflow: Remember this: when working in slow motion, if you stop the projector, sometimes it does not run when you turn it on again. So you need to rotate the dimmer knob increasing the speed to make it run, and decrease the speed again to find sync. Just the simple basic way to telecine: 01 - point projector to screen 02 - point camcorder to screen 03 - set camcorder to 24p frame rate and 24 shuttter speed 04- start projection 05 - focus the projection 06 - frame the projected image with the camcorder 07 - adjust camcorder focus, I recommend manual focus 08 - adjust exposure, I recommend manual exposure, (set it to auto, wait it find autoexposure in a bright scene, turn to manual exposure, and decrease it until you find the highlights are preserved, but be carefull to not crush the shadows) 09 - set camcorder white balance in a projected scene with more white color, or balanced colors, do this many times until you get good colors in camcorder 10 - rewind film in projector 11 - start recording in camcorder 12 - start projector again 13 - adjust the dimmer to find the normal speed sync or the slow motion speed sync 14 - pay attention to sync everytime, if you lose it, adjust the dimmer again capture footage to computer and tweak it in video editing software as you like, adjusting levels, color, sharpness, chroma noise removing, framing, etc... The unsharp mask filter settings for Super 8 was good at a slightly apply: 50 / 2,5 / 0 when telecine is done in pilarbox frame with HV20 camcorder. This is a small amount, and it proves this method really delivers good default HD resolution. A tip: you can recover the square shape from the image using a image composition video software because when doing the telecine the camcorder will be at the projector side or under it making the image shape turn into a subtle parallelogram format. About aspect ratio: PilarBox is a default option when doing Super 8 and 16mm telecine to Widescreen HD output. But if you want a 16:9 image you can zoom in the camcorder when doing telecine. I preffer the pilarbox because Super 8 and standard 16mm do not have too much image resolution to fill all the 1080p widescreen, and also it would remove the top and bottom parts of the original image from film. About slow motion telecine: you must try all your projector frame rates associated with the dimmer adjust. In all my tests the GAF 2000S can get sync in slow motion at something about 9fps. The 9fps worked great for me to extract the sharpest frame in each group of repeated frames. I have all the film frames captured by camcorder with at least one frame in sharp condition among the repeated frames, to allow recover the 1:1 24p cadence from film. So I think the main rule is: the projector must sync slow motion in 9fps or less. The following fps are desirable: 1, 2, 3, 4, 6 or 8 fps. Maybe a default factory slow motion projector can give better results when adjusting the installed dimmer and would allow a steadier slow synced fps with less shutter interference. It deserves a try. A short tutorial to extract the good frame using Premiere is: Put the telecined video footage in timeline in layer 1, press + to zoom in timeline until you can see the individual frames, position the red line in the begining, start pressing the right arrow key to do a frame by frame advance, when you see a good frame press CTRL+K shortcut and you will do a cut, go on pressing the right arrow key to find the next different good frame, press CTRL+K again to do the next cut, go on doing this until the end of footage. This way you will have the cutted IN POINT for all good frames. Press - key to zoom out the timeline to see all the cutted clips, click and drag the mouse to select them all, go to software menu and choose CLIP / SPEED DURATION, in the popup window type in the duration setting the value 1 (one), click ok, all the clips will be changed to 1 frame duration and all the repeated bad frames will be deleted. Create a black video, go to FILE / NEW / BLACK VIDEO, put this black video in the layer 2 with the duration of all good frames in timeline, click and drag the mouse to select all the good frames, click + to zoom in timeline to see a magnification that allows you to drag them, drag the good frames to layer 2 over the black video, drag the good frames back to layer 1 keeping the position in time, the black video will be cutted in many pieces, click - to zoom out timeline to see everything, click and drag the mouse over all black video pieces to select them all, right click the mouse over the black video and click in RIPPLE DELETE, all the black video pieces will be deleted and the good frames will join together creating the perfect 24p cadence, render it to a video file. Done. It will be a good idea to change the cut keyboard shortcut from CTRL+K to other letter to avoid you pressing two keys in every cut. Pressing just one key to do the cut is faster and easier to do. Now the creative idea: NEW SOFTWARE: SlowSyncTelecine If there was a software capable of: 01 - open the telecined video file 02 - analises the video file to identify the groups of repeated frames 03 - compare the repeated frames inside a group to identify the sharpest one 04 - extract the sharpest frame from the group and save it to a still file 05 - go to next group doing the same task until the telecined video ends This software would be the solution for slow motion sync DIY telecine, no more time consuming "cut and keep good frames" task. When doing the analises to find the sharpest frame among the repeated frames, the software must take into account: 01 - the movement inside the image, because the repeated frames does not have movement inside the image. 02 - the film grain, because if cinema camera was on tripod and there is no movement inside the image, the software will get confused to find the repeated frames, so the film grain is the way to find repeated frames, because the grain does not change in repeated frames, the grain just changes from one different frame to other different frame. 03 - sometimes happens one recorded (telecined) frame to be a mix from two film frames, the software must know in wich group to put this kind of frame, or just ignore it when doing the analises. 04 - sometimes the repeated frames can be different in up/down and/or left/right position, due to projector shutter interference and the filmstrip movement in projector gate, so the software must consider this kind of misalignment in the repeated frames in order to not create a false new group of repeated frames. the software can have a dialog box to user type an approach of how many times each film frame is repeated in the recorded video, or type the fps projector was running, because the projector speed is almost constant. In my tests I got each frame repeated about 2,66 times, in a 9 fps projection speed. 2,66 times means 3 times with the last frames in the group mixed with the first frame from next group. This value would be used as a reference by the software. The software can use the audio from the telecined video to help finding the group of repeated frames because when projector changes the frame in the gate it makes a specific noise. SlowSyncTelecine!

13. Cosmic Cine Film Festival - Trailer 2012 english

Cosmic Cine Film Festival - Trailer 2012 english

Official cinema trailer Cosmic Cine Filmfestival 2012 - Awakening of the Blue Planet Awakening of the Blue Planet - Open-Mind-Movies for a better World - AWAKENING OF THE BLUE PLANET... the motto for Cosmic Cine as it heads into the 2012 film festival year! During a festival week with 7 theme days, we will screen documentaries and feature films on the topic of CONSCIOUSNESS. Until February 2012, nominations are open for any films that open our eyes as human beings and inhabitants of the Blue Planet. Cosmic Cine hopes to move, fascinate and inspire you to think, feel and act. We offer a platform of interesting encounters for anyone who wants to feel awakened. Wake up world, it's flow time! Sharing the experience of a Cosmic Cine film in the auditorium means activating your senses. The program of events surrounding the film includes lively music, creative art, pleasant scents, healthy refreshments and an exchange between presenters and the audience according to your individual preferences. The Filmfestival 2012 gives viewers a moment in the here and now
- real, conscious and above all shared. New perspectives, different cultures, creative people and networkers, lateral thinkers and scientists, future researchers and activists -- large and small, young and old: everyone is welcome to help shape our life on the Blue Planet. We are looking forward to the 2012 Festival Tour from April 11th - May 17th, in 5 cities: 
Munich, Karlsruhe, Bonn-Bad Godesberg, Darmstadt and Frankfurt am Main. Be there and help us choose the Audience's Film for 2012,
 which will receive the 2012 Cosmic Angels Award at the big finale in Frankfurt! SPONSORS TAKE NOTE: If you would like to support Cosmic Cine please write us an E-Mail. We welcome inquiries and ideas of all kinds, and we look forward to opening even more eyes in collaboration with our supporters. More information about the Cosmic Cine Filmfestival at DETAILS TRAILER Cosmic Cine Filmfestival 2012 Trailer, Germany, 2012 Runtime: 1 minute 8 seconds A Cosmic Cine & ROOTZ & WINGZ filmproduction Speaker: Daniela Hoffmann (German voice Julia Roberts (Pretty Woman), Mary Stuart Masterson (Fried Green Tomatoes at the whistle stop cafe; Bad Girls), Jamie Lee Curtis (True Lies), Sharon Stone (Diary of a Hitman). In the TV-Serie Ally McBeal she is the german voice of Calista Flockhart Music: Resurrection © Alexander Maas - Editing: Maik Burghardt Storyboard: Dunja & Maik Burghardt Fractal-Animationen: Minghao Xu 3D Visual Effects: Thomas Schumacher Studio / Production: ROOTZ & WINGZ filmproduction Footage: © Piotr Podermanski (Akurra), creativeballs, Morgan Lane Studios, mosaicrob (mosaicrob), Karsten Flindt (kafl) - / © Yuri Arcurs, Radoslaw Frankowski, Piotr Marcinski, freeonestock - Homepage: Facebook: Twitter: YouTube: Vimeo: Google+: Pinterest: Flickr: TM and © C.C.A. Cosmic Cine Filmfestival. All rights reserved. Property of Cosmic Cine. Promotional use only. Sale, duplication, other transfer of this material or excerpts thereof, is strictly prohibited. The download of the trailer by website visitors is only permissible for individual desktop use as long as no further copying, use or transfer is made.

14. Episode 1 - Tacos A'Muerte - A climbing odyssey

  • Published: 2012-05-30T10:00:11+00:00
  • Duration: 374
  • By Austin Z
Episode 1 - Tacos A'Muerte - A climbing odyssey

Bishop This is the first installment of Tacos A'Muerte, a climbing odyssey. We are entirely new at filming and editing, what you see here on this Vimeo account contains the entirety of my career as a filmmaker. My Girlfriend, Emily, and I are on an extended road trip, living out of a VW bus and climbing boulders until our skin falls off, and attempting to sell food from our Vanagon! This is from our last day of climbing in Joe's Valley Utah! Neither of us are V-Amazing climbers, the idea of this project is to film as many moderates as we can, as well as the projects and ascents of others that we meet along the way, and pack it all into a feature length compilation. Follow along at! Filmed on a Rebel T2i Edited with iMovie Music - Dr. Strangeluv - Blonde Redhead - Open your eyes - Supervision

15. Boom Fields & Higher Skies

  • Published: 2015-01-09T02:20:49+00:00
  • Duration: 1775
  • By Brittlyn Tyler
Boom Fields & Higher Skies

Turn down the light (HD full screen is a must) & let DJ Booma take you to the great places where boom bands are playing. Oh the places you'll go with Dr. Seuss' life lessons, as you travel through strange kaleidoscopic vortexes. Shroom fields and enlightening builds, Galactic thrills that aren't run of the mill, Avatar & Disney's sweethearts, these are just many of the same parts. Come on now, don't be shy, Feast your eyes & fly through higher skies. Music from the album "Boom Fields & Higher Skies": Editing: Brittlyn Tyler Found Footage: "Oh the Place You'll Go" Motion Graphic ( How To Open Your 7 Chakras - As Explained In a Children's Show ( "Bloom" by Pogo ( Terence McKenna - The Mushroom Speaks ( New 'Pillars Of Creation' Hubble Image Is Breathtaking - Video ( Breathtaking Time-Lapse Video of Earth From Space ( Timelapse - Nature and landscape of the Swiss Alps (sunset, sunrise, clouds, lakes, mountains) ( Flying eagle point of view #1 ( Oh, Sing Sweet Nightingale (English) ( Lord of the Rings - Landscape Montage ( -In The Clouds- Clip - Maleficent ( NASA - Moon Phase and Libration ( Sense of flying (

16. cmiVFX Releases New Color Grading Migration Guide for ASSIMILATE SCRATCH

  • Published: 2012-06-19T15:49:31+00:00
  • Duration: 117
  • By cmiVFX
cmiVFX Releases New Color Grading Migration Guide for ASSIMILATE SCRATCH

cmiVFX Releases New Color Grading Migration Guide for ASSIMILATE SCRATCH High Definition Training Videos for the Visual Effects Industry Princeton, NJ (June 21st, 2012) - cmiVFX has released a new Color Grading Migration Guide for ASSIMILATE SCRATCH®. How can you convince someone how beautiful a sunrise is who will not open their eyes? Mike Burton is here to open your eyes to the speed and power of ASSIMILATE SCRATCH. SCRATCH is a trusted tool for production environments throughout our industry. This courseware will quickly guide the viewer to a stage of efficient productivity with SCRATCH. Sprinkled throughout, among the grading instructions, you will find features unique to SCRATCH. Mike introduces compositing capability that makes client meetings unexpectedly pleasant. Be sure to watch for the renowned speed of SCRATCH as you view this excellent cmiVFX production. After this lesson you will fully understand the powerful XML-based conform features in this wonderful tool. SCRATCH is a welcome addition to any film production and by the end of this lesson you will have a firm grasp on how to use it. Short Description This courseware is intended to quick start existing colorists migrating to ASSIMILATE SCRATCH. Mike Burton tackles several situations that cover what is most often required of colorists everywhere. Further offered are topics covering features unique to SCRATCH. Vimeo Link Here at cmiVFX we maintain a current training library for the latest versions of popular software titles. When it comes to high end CG and VFX training, there is only once choice... cmiVFX! Don't forget about the cmiSubscription plan! Get one today. cmiVFX launched the most affordable subscription plan in Visual FX Training History for only $399 USD, and if you were a subscriber, this New Training Release would already be in your account. This video is also available a-la-cart in our brand new HTML5 player system. |||||||||||||||||||||| COLOR GRADING MIGRATION GUIDE WITH ASSIMILATE SCRATCH |||||||||||||||||||||| CHAPTER DESCRIPTIONS From SCRATCH In this first chapter we will explore the basic functionality of the SCRATCH user interface. We'll learn about recommended system configurations from the ASSIMILATE website, discuss control surfaces, we'll set up a project and adjust specific parameters to customize the SCRATCH UI. This will get you up and running in SCRATCH and prepared to start working on your first project. SCRATCH in Production In Chapter two we'll explore the many ways in which SCRATCH is being used on set in production environments. Using footage from the film "Café" starring Jennifer Love Hewitt, Jamie Kennedy and Alexa Vega we'll work on RED One 4K files, adjust metadata settings, sync audio in the SCRATCH Media Browser, do a one light color pass, create custom metadata notes and render our dailies to an Avid MXF codec for offline editorial. Learn how SCRATCH can become the central hub of your digital lab. Conform This chapter will take an in depth look at conforming a short sequence from the independent film, "BloodLine". First, we'll dive into FCP and look at setting up the sequence timeline for conforming both EDL and XML deliveries to SCRATCH. In SCRATCH, we'll load both our EDL and XML and examine the benefits of both methods while exploring the EDL/XML Assembler. Primary Grading In this chapter we will perform primary color grading on a short scene from the feature film "Café". This simple scene stars Jennifer Love Hewitt and Jamie Kennedy who are at odds with one another in a small cafe in west Philadelphia. Our job is to subtly enhance the emotion of the scene, which we will do with some primary color adjustments. We will use our scopes in SCRATCH to "balance the image", use Lift, Gamma, and Gain controls to add color and contrast, and even learn some secondary keying techniques. Let's cool off these two before someone gets hurt! Advanced Grading Techniques Our challenge in this Advanced Grading Chapter is to take the basics which we've learned in the previous lessons and apply some new techniques as well to save a shot from the cutting room floor…at 1500fps. We'll take an in depth look at using "Scaffolds" to isolate different aspects of the frame, make color/hue adjustments, keyframe semi-articulate shapes and finally de-noise the shot with the "Neat Video" de-noiser plugin in SCRATCH. We'll also make some older 35mm film footage look like new again with grain reduction techniques using "Neat Video's" de-noiser plugin. Composting In this chapter we'll composite multiple layer elements onto a Honda Pilot dashboard to create an LCD Navigation display. Masking, keying, texturing, staging and structure will be terms you will get to know intimately as we explore the SCRATCH compositing toolset. VFX Preparation In this chapter we'll explore visual effects preparation. Working with original footage and final composites from the independent feature film, "BloodLine" we'll set up a shot for exporting to visual effects, create custom colored notes, create custom metadata for visual effects facilities and discuss versioning with real-time performance as the key to fast vfx reviews. Output Finally, we'll look at how SCRATCH manages outputs within its "output module". We'll get familiar with the output node layout, use the output module to create our final color decisions, create multiple output deliverables including guides, burn-ins and add them to the "Queue" for processing in faster than real-time rendering performance. Project Contents All cmiVFX videos come with all the training materials you need right from our website. No matter what time of day, your location, or how you’re feeling, cmiVFX will be there waiting for you! ASSIMILATE Home: This video is available today at the cmiVFX Store: About cmiVFX cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for FREE and receive hours of FREE content at the cmiVFX Video-on-Demand Player. ( ) For additional information about cmiVFX, visit © 2012 cmiVFX | cmiStudios. All rights reserved.

17. Eyes 4

  • Published: 2014-07-12T13:23:28+00:00
  • Duration: 66
  • By The Unstitute
Eyes 4

A video from Vidiot Eyes Project: The Unstitute is an Evolving Interactive Environment which extends its territory and adapts its nature according to the activities of its workers. Workers are anybody who participates in The Unstitute’s programme of open-submission projects. The Unstitute wants you, whoever and wherever you are, to participate in a new online project entitled ‘Vidiot’; a word-blend accidentally created by one of our manifesto-writing machines of ‘vidi’ & ‘idiot’, possibly meaning ‘simple video’. The Unstitute would like to ask you to send us your eyes. You don’t need to cut them out of your face though. Just video both of your eyes for 1 minute on your cell phone and upload it to, and send us the link. The Unstitute is going to construct itself a new wing out of your eyes, built on the architecture of watching. It will be a unique place you can go when you want everyone to look at you, or when you want to feel you are being watched - a sort of vulgar Panopticon for the internet. Just send an email to [email protected] containing the link to your eyes, and write ‘participant’ in the subject header. Then we’ll know it’s you.


  • Published: 2016-11-17T13:59:18+00:00
  • Duration: 286
  • By Hanna Tuulikki

Extract from one of three interlinked films featured in SOURCEMOUTH : LIQUIDBODY. About the work: (3-screen film & sound installation, vocal composition, choreography, visual score) Commissioned for Kochi-Muziris Biennale 2016, Hanna Tuulikki’s SOURCEMOUTH : LIQUIDBODY is an audiovisual installation which features an innovative visual-score, and a suite of films incorporating choreography, vocal composition, and costume. The installation flows between gesture and sound, inspired by the mnemonic landscapes of India and the relationships between river-systems and the human body. At the heart of the work is a gestural sequence known as Nadi Varnana (River Description), from the Kutiyattam tradition – a form of Sanskrit theatre practiced in Kerala, and one of India's oldest living performing arts. Through a range of exaggerated gestures made with the eyes and hands, it embodies the watershed mimetically, representing the river cycle as a sequence of codified movements – the first rain on the mountaintop, rivulets becoming mountain streams, fast flowing river, and, the completion of a slow meander to the sea. Beginning as a novice, over the course of a month-long residency in 2016, Tuulikki learned the Nadi Varnana cycle, tutored by her friend and mentor Kapila Venu, a gifted practitioner of Kutiyattam. Adapting the traditional sequence into a performance-to-camera, Tuulikki created three interlinked films. In the first, on the largest of screens, her silver-painted figure traces a fluvial line that enacts each stage of the river’s journey. Recalling early photographic experiments in chronophotography, the use of repetition and layering suggests a liquid body flowing from source to mouth. Traditionally accompanied by mimetic percussion, which evokes the river’s formation and flow, Tuulikki has created a vocal composition for her version, from multiple-layered vocals whose drum-like sounds conjure up the original percussion, playfully and poetically depicting the sounds of rain, wind, insects, and the effects of water in motion.  Projected onto a second screen, the second film is a startling close up of Tuulikki’s open eyes performing choreographed gestures that signify the same transition from river source to mouth. Nadi Varnana requires the eyes to be receptors and projectors – seeing the river, becoming the river, and creating the river before the audience, inviting them to be aware of the bond between what is perceived and what is embodied. As her eyes close shut, and the stage falls empty, on a third screen, Tuulikki’s disembodied mouth begins to incant instructions for the performance, using a melody that draws on the vocal chanting style of Kutiyattam: “take your eyes to the top of the high mountain, trace the summit with your fingers, open the brow, wait for the rain to fall...” Two visual scores are displayed nearby, transcribing the stages of the river embodied movement. As the mouth closes, bringing an end to the song, the body gives corporeal expression to the lyrics, beginning a new cycle of the river score, flowing along the carrying stream of tradition – teacher to novice, observing eyes to embodiment, score to performance. SOURCEMOUTH : LIQUIDBODY is a work of hydrological expression, as universal as it is local. Made in collaboration with Kapila Venu (Kutiyattam mentor & choreography); Daniel Warren (film); Pete Smith (final sound mix); Emily Millichip (costume maker); Beinn Watson (production consultant); Amy Porteous (production management). Supported by the National Lottery through Creative Scotland, The British Council, Edinburgh Sculpture Workshop and CCA Glasgow. With special thanks to Kapila Venu, Di Ball and Mahin Manu. Installation photos by Zuzana Zweibel, Artforum and Kochi-Muziris Biennale. Winner of Scottish Awards for New Music, Sound Art / Electro-acoustic category, 2017. Watch extract from third film (eyes): Watch extract from second film (mouth): View complete visual scores here: VOGUE’s 12 must-see artworks at Kochi Biennale: Hanna’s blog on her process:

19. Eyes6

  • Published: 2014-07-12T16:37:02+00:00
  • Duration: 46
  • By The Unstitute

A video from Vidiot Eyes Project: The Unstitute is an Evolving Interactive Environment which extends its territory and adapts its nature according to the activities of its workers. Workers are anybody who participates in The Unstitute’s programme of open-submission projects. The Unstitute wants you, whoever and wherever you are, to participate in a new online project entitled ‘Vidiot’; a word-blend accidentally created by one of our manifesto-writing machines of ‘vidi’ & ‘idiot’, possibly meaning ‘simple video’. The Unstitute would like to ask you to send us your eyes. You don’t need to cut them out of your face though. Just video both of your eyes for 1 minute on your cell phone and upload it to, and send us the link. The Unstitute is going to construct itself a new wing out of your eyes, built on the architecture of watching. It will be a unique place you can go when you want everyone to look at you, or when you want to feel you are being watched - a sort of vulgar Panopticon for the internet. Just send an email to [email protected] containing the link to your eyes, and write ‘participant’ in the subject header. Then we’ll know it’s you.