Pra quem gosta de western, vai adorar ver esse curta-metragem que combina Origami, Kirigami, Time Lapse, ilustração em nanquim, quadrinhos e cinema ocidental. MALÁRIA conta a história de Fabiano, um jovem mercenário que é contratado para matar Morte. Totalmente brasileira e legendada (pros gringos).
Criado por: Edson Oda, Alexandre Tommasi, Sergio Prado, Gabriel Carrera and Zeeg2, João Pinheiro, David Donato, , Alexandre Braz, Kaue Uema, and James Kwon Lee. Possuí a
Artificial amateurs, aren’t at all amazing
Analytically, I assault, animate things
Broken barriers bounded by the bomb beat
Buildings are broken, basically I’m bombarding
Casually create catastrophes, casualties
Cancelling cats got their canopies collapsing
Detonate a dime of dank daily doin dough
Demonstrations, Don Dada on the down low
Eatin other editors with each and every energetic
Epileptic episode, elevated etiquette
Furious fat fabulous fantastic
Flurries of funk felt feeding the fanatics
Gift got great global goods gone glorious
Gettin godly in his game with the goriest
Hit em high, hella height, historical
Hey holocaust hints hear ‘em holler at your homeboy
Imitators idolize, I intimidate
In a instant, I’ll rise in a irate state
Juiced on my jams like jheri curls jockin joints
Justly, it’s just me, writin my journals
Kindly I’m kindling all kinds of ink on
Karate kick type brits in my kingdom
Let me live a long life, lyrically lessons is
Learned lame louses just lose to my livery
My mind makes marvelous moves, masses
Marvel and move, many mock what I’ve mastered
Niggas nap knowin I’m nice naturally
Knack, never lack, make noise nationally
Operation, opposition, off, not optional
Out of sight, out of mind, wide beaming opticals
Perfected poem, powerful punchlines
Pummelling petty powder puffs in my prime
Quite quaint quotes keep quiet it’s Quannum
Quarrelers ain’t got a quarter of what we got uh
Really raw raps, risin up rapidly
Riding the rushing radioactivity
Super scientifical sound search sought
Silencing super fire saps that are soft
Tales ten times talented, too tough
Take that, challengers, get a tune up
Universal, unique untouched
Unadulterated, the raw uncut
Verb vice lord victorious valid
Violate vibes that are vain make em vanished
? well would a wise wordsmith just
Weaving up words weeded up, I’m a workshift
Xerox, my X-ray-diation holes extra large
X-height letters, and xylophone tones
Yellow back, yak mouth, young ones yaws
Yesterday’s lawn yards sell our (yawn?)
Zig zag zombies, zoomin to the zenith
Zero in zen thoughts, overzealous rhyme ZEA-LOTS!….
On April 2, former pro snowboarder Ian Ruhter launched “Silver & Light,” a documentary of his most recent wet plate photography project.
“S&L” goes behind the scenes of Ruhter’s obsession with wet plate collodion photography and the lengths he’ll go to get the shot. Though the Tahoe-based lensman recently did a wet plate photo project with Foursquare, this new mini-doc doesn’t focus on his snowboard photography work. Here, he is making the film, the developer, the camera — all of it.
Ruhter’s voiceover divulges a sort of addict’s admission: “I’m so far down the path that I can’t go back even if I wanted to… I can’t stop; I’ve backed myself into a corner.” But the mixture being created before our eyes is the chemical cocktail required to develop your own wet plate photographs, which Ruhter does in the field. He’s addicted to the process, not the chemicals.
“This project isn’t about the actual photography, it’s about doing what you love,” explains Ruhter, 38. “I think that’s why people like it… We all want to do what we love or encourage [other] people to do so.”
That said, some of the photos produced by Ruhter and his team are stunning in their depth and originality. Even when things go wrong — and they do — it’s difficult not to admire the photographer’s commitment to a project that costs him over $500 per photo, whether the plates turn out or not.
Music video created to promotion of producer Benga. The stop motion-esque video employs the use of 960 pieces of vinyl to create a straightforward and creative way to let the music speak for itself and create a mirrored image of the digital waveform.
Directors – Us
Producer – Liz Kessler
Line Producer – Connor Hollman
DoP – Matt Fox
Gaffer – Ben Fordesman
Editor – Vid Price
Grade – Mark Corbin
Animation consultant – Alice Dupre
Structural consultant – Jorge Betancor
DIT – John Fisher
Runner – Tayo Rapoport
Runner – Paul Mckelvie
Runner – Chaelyn Allcock
Production Company – A+
Commissioner – Dan Millar
La Faim/Hunger is a 1974 animated short film, was directed by Peter Foldes and is one of the first computer animation films. The amazing story, told without words about a cautionary tale on greed and gluttony in the (then) modern society.
produced by the National Film Board of Canada in 1974
Radiohead held an online contest to remix “Nude” from their album – “In Rainbows” This was quite a difficult task for everybody that entered, as Nude is in 6/8 timing, and 63bpm. Most music that’s played in clubs is around 120bpm and usually 4/4 timing. It’s pretty difficult to seamlessly mix a waltz beat into a DJ set.
This resulted in lots of generic entries consisting of a typical 4/4 beat, but with arbitrary clips from “Nude” thrown in so that they qualified for the contest.
Thom Yorke joked at the ridiculousness of it in an interview for NPR radio, hinting that they set the competition to find out how people would approach such a challenging task.
James Houston decided to take the piss a bit, as the contest seemed to be in that spirit.
Based on the lyric (and alternate title) “Big Ideas: Don’t get any” I grouped together a collection of old redundant hardware, and placed them in a situation where they’re trying their best to do something that they’re not exactly designed to do, and not quite getting there.
It doesn’t sound great, as it’s not supposed to.
Sinclair ZX Spectrum – Guitars (rhythm & lead)
Epson LX-81 Dot Matrix Printer – Drums
HP Scanjet 3c – Bass Guitar
Hard Drive array – Act as a collection of bad speakers – Vocals & FX