Aiko - nado verde




Empire Of The Sun - Changes

Producer/2nd Unit DP: Morgan Gold Creative Direction: Snaps (Jodi Lee Steele) Production Company: Flos Flor Production Company Thailand: Deluxe Line Producer: Sudkamol ‘GOB’ Tangtham 1st AD: Pacharaporn ’NOI’ Hitanant Director of Photography: Chaiyapruek ‘BANK’ Chalermpornpanit Art Director: Premsak ‘ART’ Ketsrinarong Make-up Artist: Ashley Joy Beck Hair Stylist/2nd Unit Makeup Artist: Quinn Enright Costume Designer: Supachai ‘ARM’ Bunnag Additional Costume Design: Kate Tabor Locations Manager: Suwatcharee ‘MAY’ Prateep Na Thalang Editor: Dave De Carlo Assistant Editor: Brigitte Haynes Editing Facility: Rooster Post Production Colorist: Jordan Benegbi Color Facility: The Vanity VFX Supervisor: Jeremy Hunt for Screaming Death Monkey VFX Artist: Aujik VFX Artist: Kyle Tiernan Additional Score by Nick Shadel




DIIV: Everyone Out

Animation/Editing: Aaron Anderson Creative Direction: Parker Sprout and DIIV




L'Impératrice — Danza Marilù (feat. Fabiana Martone)

Avec le soutien du Centre National du Cinéma et de l'Image Animée




Torn In Two - Beachwood Sparks

"Torn In Two," Beachwood Sparks' long-awaited single produced by Chris Robinson of the Black Crowes, showcases the band's signature Western swing and the blend of soft signature, expressive vocals of Chris Gunst. The song crests with a glorious guitar solo that electrifies the soul. With Robinson's seasoned touch, the track and animated video by Mark Neeley captures the raw energy of Neil Young's Zuma era, while weaving a narrative of West Coast environmentalism. After 12 years, the band's return is marked by both familiarity and lil' bit of evolution.




Bktherula - THE WAY




muque - Bite you

1st Camera Assistant:Sora Shimizu 2nd Camera Assistant:Tomoya Sato Lighting:Ryo Ueda Lighting Assistant:Daisuke Sakai /Hanna Kasho Hairmake:Shizuka Satake Stylist:Yuya Nakajima Dancer:Takato Yamazaki Choreographer:Suichu-megane∞ Colorist:Yuma Izuka Production Manager:Koki Okuno Production Assistant:Shunya Sakanoshita /Karin Idouji /Kokoro Shukunobe /Taiki Baba(P.I.C.S.) Producer:Shogo Honda(P.I.C.S.)




Crumb - AMAMA

Editor: Alex Futtersak Creative Direction: Abraham El Makawy & Crumb Mario Paint Animation: Michael Jensen Web Developer: Michael Saunders Analog Processing: Alex Futtersak Special Thanks : Julián Cordero




La Femme - Françoise




Future, Metro Boomin, The Weeknd - Young Metro

Producer: Nour Sayeh DP: Brett Arndt Production Manager: Tali Weizman Production Coordinator: Natalle Jastrow 1st AD: E Class 2nd AD: Ricky Dula A Cam 1st AC: Daniel Ajemian B Cam 1st AC: Jay Dallen 1st AC: Levi Jawara A Cam 2nd AC: Nicholas Menio A Cam 2nd AC / Media Manager: Joseph Wise Steadicam Op: Zachary Stanke Steadicam Op: Donald Turner Gaffer: Jorge Hernandez Swing: Sam Kim Key Grip: Mike Long Gaffer: Zied Jendoubi Editor: Omar Jones, Hidji World Colorist: Josh Bohoskey VFX: Rick Lancaster, Omar Jones, Keats Titles: Mark St Andre Photographer: Matt Adam Location Manager : Ron Dabach Production Assistant: TJ Gormely Production Assistant: Charlie Agurrie Production Assistant: Daniel Price Production Assistant: Khaki Jean MUA: Alan Gonzalez Jr. MUA ASSISTANT: Gabriela Vega Stylist: Sakinah Bashir Stylist Assist: Taylor Bell Future Stylist: Storm Pablo Jeweler/Assist: Marvin Douglas Stylist Assist: Junichi Kamata Future Barber: Ian Owens Metro Braider: Priscilla Williams Casting Director: Dorcas Thete Gymnast: Sydney Barros Background: Ameena Brown Background: Zainab Okeo Background: Kyyla Renee Taylor Background: Nafia Muhammad Background: Nyla Dixon Background: Kyniah Thompson Background:Amber Lynee Background: Mauri Phillips Production Co: MirrorBox




Erika de Casier - Polite

Dancer: Patrick Afuale Eirup

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Max Cooper - A Model Of Reality


(Official video by Eris is Red) Max Cooper: This chapter of the Unspoken Words album story ( deals with the arrival of abstract thought as a tool for human expression, visualised by the artist Eris is Red. A hypnotic model of reality is created and explored, with reaction diffusion forms reminiscent of the real world, but never quite real. Familiar symbols are visually referenced as a tool for building and communicating abstraction and new ways of thinking from the ground up, with the new model of reality emerging as meaning emerges from the symbols of our language. I wrote the piece of music during some difficult times of isolation. It came from a live improvisation where I found a hypnotic repeating structure that made me feel the creation of something new and hopeful. It yielded an abstract space I became lost in for months. I came across the beautiful voice of Kotomi (Lauren Culjak) from the ending sequence of an episode of Rick and Morty (S4 E10), where she sings “Don’t look back” in collaboration with Ryan Elder. Something about her voice immediately grabbed me. It has a beautiful otherworldly quality to it which strengthened the feeling of the abstracted space I was trying to create. And I was surprised and happy to find that she was interested in working together on the track, and ok with me mangled her voice into granular oblivion to try and capture the feeling of human expression without the literal restrictions of lyrics. The Dolby Atmos mix for the Blu-ray/Atmos streaming version, was created together with Adam Hare and Niels Orens, focusing on an organic slow moving and inviting space for becoming lost inside, without rigid structures, and lots of improvised paths of sounds through space, in line with the feel of the original piece of music. Eris is Red: "Wittgenstein's concept of Sprachspiel, or Language Games, describes the fluid nature of how we communicate and how it contextually based and can change the very reality we experience. The organic and ever changing nature of the visuals is intended to represent that core base of our collective reality. The beautiful abstract motion of reaction-diffusion felt the right fit to communicate that concept. When I was contacted by Max for this project I had been experimenting with a technique of creating animated 2D greyscale image sequences that were then used to drive both 3D displacement as well as material mixes. One side effect of the process is a certain 'banding' that occurs when the bit depth is limited and there is not enough information to have a smooth gradient between the values of black and white, this artefact is usually undesirable, however with the pulsing hypnotic melody of the song I was able lean into it and it became part of the art direction. After the initial displacement maps were created, they were imported into Cinema 4D, where I displaced flat planes and other objects and did countless experiments of mixing and blending the maps and clamping values to drive material mixes based on the topology. Throughout the process I used both Cycles4D and Redshift to render."

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