#Daniel Clements Photography | Explore Tumblr posts and blogs

ulkaralakbarova · 11 months ago

Text

In 1863, Mississippi farmer Newt Knight serves as a medic for the Confederate Army. Opposed to slavery, Knight would rather help the wounded than fight the Union. After his nephew dies in battle, Newt returns home to Jones County to safeguard his family but is soon branded an outlaw deserter. Forced to flee, he finds refuge with a group of runaway slaves hiding out in the swamps. Forging an alliance with the slaves and other farmers, Knight leads a rebellion that would forever change history. Credits: TheMovieDb. Film Cast: Newton Knight: Matthew McConaughey Rachel: Gugu Mbatha-Raw Moses Washington: Mahershala Ali Serena Knight: Keri Russell Daniel: Jacob Lofland Sumrall: Sean Bridgers Lieutenant Barbour: Brad Carter Miss Ellie: Jane McNeill Prosecuting Attorney: Gary Grubbs Jasper: Christopher Berry Amos Deason: Joe Chrest Quitman: David Jensen Injured Soldier: Kurt Krause Confederate Color Guard: Carlton Caudle Freedman 1: Martin Bats Bradford Matthew Yates: Matt Lintz Mary: Kerry Cahill Annie: Jessica Collins Confederate Soldier: Juan Gaspard Junie Lee: Liza J. Bennett Polling Station Clerk: David Maldonado Schoolgirl: Serenity Neil Chester: Lawrence Turner Mrs. Deason: Lara Grice Col. Robert Lowry: Wayne Pére Farmer 1: Jim Klock Town Folk: Emily Bossak Sergeant: P.J. Marshall Third Man: Ritchie Montgomery Stillman Coleman: Mattie Liptak Aunt Sally: Jill Jane Clements Col. McLemore: Thomas Francis Murphy Old Man: Johnny McPhail Lt. Barbour: Bill Tangradi First Man: William Mark McCullough Edward James – Cotton Field Worker: Sam Malone Boy at Alice Hotel: Kylen Davis Farmer 2: Will Beinbrink George: Troy Hogan Confederate Soldier: Cy Parks Ward: Dane Rhodes Second Woman / Yeoman Farmer: Lucy Faust Yeoman Girl: Stella Allen Older Coleman Brother: Cade Mansfield Cooksey Maroon (uncredited): Tahj Vaughans Davis Knight: Brian Lee Franklin Film Crew: Casting: Debra Zane Production Design: Philip Messina Costume Design: Louise Frogley Editor: Juliette Welfling Producer: Jon Kilik Supervising Art Director: Dan Webster Editor: Pamela Martin Director of Photography: Benoît Delhomme Producer: Scott Stuber Executive Producer: Oren Aviv Set Decoration: Larry Dias Writer: Gary Ross Executive Producer: Robert Simonds Executive Producer: Robin Bissell Art Direction: Andrew Max Cahn Sound Re-Recording Mixer: Paul Hsu Executive Producer: Wang Zhonglei Executive Producer: Stuart Ford Prosthetics: Gary Archer Foley: Marko Costanzo Makeup Department Head: Nikoletta Skarlatos Executive Producer: Wang Zhongjun Co-Producer: David Pomier First Assistant Director: Eric Heffron Assistant Costume Designer: Meagan McLaughlin Foley: Eric Milano Second Unit Director: Garrett Warren Visual Effects Editor: Gershon Hinkson Executive Producer: Michael Bassick Makeup Artist: Kris Evans Executive Producer: Bruce Nachbar “B” Camera Operator: Jerry M. Jacob Executive Producer: Matt Jackson Additional Camera: Michael Watson Executive Producer: Christopher Woodrow Hairstylist: Felicity Bowring Casting: Meagan Lewis Music Editor: John Finklea Executive Producer: Jerry Ye Set Designer: Randall D. Wilkins Still Photographer: Murray Close Sound Re-Recording Mixer: Mike Prestwood Smith First Assistant “A” Camera: Chad Rivetti Special Effects Coordinator: David K. Nami Hair Department Head: Jules Holdren Key Hair Stylist: Melizah Anguiano Wheat Set Costumer: Adriane Bennett Costume Supervisor: Carlane Passman Prosthetic Makeup Artist: Matthew O’Toole Visual Effects Producer: Lisa Beroud Key Hair Stylist: Theraesa Rivers Executive Producer: Russell Levine Additional Camera: Greg Morris Set Costumer: Tom Cummins Art Department Coordinator: Wylie Griffin Supervising Dialogue Editor: Branka Mrkic Visual Effects Supervisor: Kelly Port Second Assistant “C” Camera: Griffin McCann Set Costumer: Lisa Magee Wigmaker: Khanh Trance Art Direction: Chris Craine Gaffer: Bob Bates Original Music Composer: Nicholas Britell First Assistant “C” Camera: Wade Whitley Co-Producer: Diana Alvarez Second Second Assistant Director: Marvin Williams “A” Came...

#american civil war #Slavery #Top Rated Movies

0 notes

soylazaro · 2 years ago

Video

vimeo

Bibi Zhou - Lunar from Hero Productions on Vimeo.

Music video for Bibi Zhou and Nowness

Personas/Dancers: Stefanie Noll, Morgan Williams, Maeva Berthelot, Mehdi Baki, Kevin Bago

Writer/Director: Jodeb Edit, Matte Paintings, Compositing, VFX and Color grading: Jodeb Director of Photography: Kristof Brandl Choreographer: Amy Gardner Bibi’s stylist and Creative director: Lucia Liu Dancers stylist: AJ Helie Stylist Assistant 1: Bianka Roussel Marino Stylist Assistant 2: Daniel Dessureault Wright Production Company: PRETTYBIRD UK / COLOSSALE Exec Producer: Juliette Larthe Executive Producer: Vlad Cojocaru Head of Production: Hannah May Executive Producer: Hannah Bellil Production Manager: Stefan Petrisor Sound Design / Sound Mix : Theo Porcet Sound Studio: Cult Nation

Montreal Production: Producer @ Colossale: Mathieu Leduc Associate Producer @ Colossale: London Summers Production Manager: Smith Steadicam: Hugo Longtin 1st AD: Stephane Bourdeau 1st AC: Mathieu Nadon 2nd AC: Charles Durand-Morin Video Assist: Ronald Casseus Key Gaffer: Jacques Girard Key Grip: Stephane Leblanc BB Electric: Tony Pelletier BB Electric: Loik Lessard BB Grip: Andre Caron BB Grip: Samuel Dempsey Rosemberg BB Grip: Jean Marc Plante Art Director: JF Clement Art Dept. Assist: Sofia Rojas Art Dept. Assist: Paola Ridolfi Art Build: Mordicus Inc. Props Master: Julie Vigneault PA: Alexis Tremblay PA: Arnaud Provencal PA: Edouard Provencal

Iceland Production: Hero Productions Producer: Bui Baldvinsson Line Producer: Þóra Margrétardóttir Location Manager: Alfred Gislason Focus Puller: Michael Hannides 2nd AC: Rútur Skæringur Key PA: Finni @finnifix Runner: Ingimundur Viktor Helgason Runner: Malwina Bieniawska Runner: Sigrun Erlingsdottir Runner: Tota Van Helzing

0 notes

danclementsphoto · 5 years ago

Photo

@classyaffairsto @mothersgardenfd @thehartmangalleryvenuebnb⁠ #classyaffairsto ⁠ #danclementsphoto #danielclementsphotographer #danielclementsphotography #torontoweddingphotography #torontoweddingphotographer #niagaraweddingphotography #niagaraweddingphotographer #niagaraweddingphotographers #torontoweddingphotographers #weddings #wedding #weddingpictures #instawedding #weddingday #weddingphotography #weddinginspiration #weddingphotographer #weddingplanning #weddingideas #weddinggown #weddingdress #weddingphoto #bridal #weddinginspo https://ift.tt/37QbMDS

#wedding photography #toronto wedding photographer #weddings #Daniel Clements Photography #Dan Clemen

2 notes · View notes

romancandlemagazine · 4 years ago

Text

An Interview with Al Baker

I first came across Al Baker’s photography whilst looking through an old copy of a magazine called Flux I’d snaffled from Manchester’s world-famous second-hand wonderland, Empire Exchange.

Hidden in the magazine’s pages, between an interview with Mark E Smith and a review of a newly-released sci-fi film called The Matrix, were two black-and-white photos, snapped from the window of an ice-cream van, showing kids lined up for a bit of frozen respite from the summer heat. Reading the fairly minimal bit of text below, it turned out the photos were part of a series called ‘Ice Cream You Scream’.

I’d missed the exhibition by approximately 20 years, but thanks to the high-speed time-machine known as the internet, I managed to track him down. Here’s an interview about his fine photos, his time living in Hulme Crescents and the benefits of carrying cameras in a Kwik Save bag...

Classic ‘start of an interview’ question here, but when did you get into photography? Was there something in particular that set you off?

Like a lot of young people, I knew that I was creative but hadn’t quite found my place. I didn’t know whether I wanted to be a writer or in a band. I used to doodle, copy Picasso’s in biro, so off I went to art college and tried my hand at different things. All it really taught me was that I had neither the patience, technique or talent to become a painter. Photography seemed a much easier way to make images, a more instant result. Of course, the more you get into it you realise that whether you’re any good or not does rely upon patience, technique and talent after all.

Was ‘being a photographer’ something that people did in Manchester in the early 90s? Who did you look up to back then?

Not really. It was very rare to see another person wandering around with a camera back then. Even years later when I began photographing the club scene in Manchester no-one else seemed to be doing the same thing. Not at the night clubs I went to anyway.

Now it’s very different. These days you see people with cameras everywhere. Club nights almost always have a photographer. People are far more image-conscious due to social media. Today most people are busy documenting their own nights out with their phones. Look at footage from any major gig these days and half the room is filming it. Back in the 90s no-one seemed to care about documenting anything like that. You were very unlikely to see the photos that someone might be taking the next day or, in fact, ever. People often used to ask ‘What are you taking photos for?’ with genuine surprise or distain.

In terms of photographers whom I looked up to there are so many! There are great image masters like Cartier-Bresson or Elliott Erwitt. Photographers of war and social upheaval like Don McCullin and Phillip Jones-Griffiths. I liked Alexander Rodchenko and Andre Kertez, how they broke the conventions of their day with wit and invention.

I loved the dark and dirty images of Bill Brandt, and his inspiring nude studies too. I loved the city at night recorded by Brassai. Paris in the 1930s definitely seemed to be the place to be. Diane Arbus, Jane Bown and Shirley Baker. American street photographer Gary Winogrand was a huge influence on me, as was Nick Waplington’s book ‘Living Room’.

I was also quite lucky to be living in Manchester at that time. Daniel Meadows and Martin Parr had both attended Manchester Polytechnic. Denis Thorpe had worked for the Guardian in Manchester. I saw Kevin Cummins iconic Joy Division images, Ian Tilton documenting The Stone Roses. Both were regularly in among the inky pages of the NME.

I also saw an exhibition of Clement Cooper’s photographs of the Robin Hood pub in Moss Side, which was another big influence. I was also very lucky in that my very first photography tutor was Mark Warner, who produced very beautiful images, did a lot of work for Factory Records. He shot The Durutti Column’s (1989) Vini Reilly album sleeve. He was probably the first person who ever really encouraged me.

I really like that series of photos you took from inside an ice-cream van in the late 90s. What was the story behind that?

The initial idea for that project came from my friend Steve Hillman, who is an actor. At the time he was ‘between jobs’, which is an actor’s euphemism for being unemployed, so he was working an ice-cream round to help to pay the rent. I was at his flat one night, thinking aloud about where I might go next with my camera. I’d spent quite a long time following graffiti artists work around Hulme, and had my first exhibition based around that. But it only seemed to lead to offers of more work with graffiti artists, and I wanted to do something else.

I’d done a 2nd exhibition based around portraits of my friends in Hulme. I’d flirted with some one-day projects, like Belle Vue dog track, Speakers Corner in Hyde Park. Anyway, while I was talking, not really knowing what I was going to do next, Steve simply stated ‘You should come out on the ice-cream round with me. No-one ever comes to the van without a smile on their face.’ And it just struck me as a beautiful & simple idea. So, one day we just set off. 4 or 5 rolls of film and all the free ice-cream I could eat, which I discovered wasn’t very much!

What was the logistical side of those photos? Were they taken from the same van?

They were all shot on the same day, the same van, all around Salford. It was good fun, but actually very hard work. Trying to constantly find new angles, different framing and working on a hot August day in such a small confined space. By the end of the day I felt that I had enough strong images for my next exhibition. They were much jollier images than ones I’d made before. As a result, because it had more universal appeal, I got quite a lot of good publicity out of it, and Walls gave us hundreds of free Magnum ice-creams to give away on the opening night!

These days I could think of more than a few reasons why you probably shouldn’t drive around Salford photographing other people’s children without permission haha (in fact, I’m surprised that I wasn’t hung from the nearest lamppost!) but I was much younger and far more naive back then. Besides, that was something that I’d learned from living in Hulme. You don’t ask for permission. Someone will only say ‘No’. Just crack on and do it anyway.

You also documented the last years of the Hulme Crescents. A lot of people talk about that time and place in Manchester, even now—but what was the reality of it? What was a normal weekend there like?

It was quite unlike anywhere that I’d ever lived before. It looked like a fascist dystopian nightmare, only one peopled by Rastas and anarchists. Bleak concrete interconnecting walkways. No through roads whatsoever. A fortress feel to the place. The entire estate was earmarked for demolition before I arrived. Everyone else seemed to be busy moving out. But I was already spending a lot of time there, post-Hacienda, parties, friends, lost weekends.

There were lots of young people living there. Families had mainly moved out as the heating didn’t work properly, flats were cold & damp, often infested with cockroaches. There were traces of old Irish families, the Windrush generation, interwoven with punks and drop-outs.

There was a cultural & artistic flowering among the ruins. A Certain Ratio, Dub Sex, A Guy Called Gerald, Edward Barton, Ian Brown, Dave Haslam, Mick Hucknall, Lemn Sissay, all lived there at one time. It was the original home of Factory, where all the post-punk bands played. In turn that led to Factory Records, New Order, and the Hacienda. The PSV club later hosted raves and notorious Jungle nights. It was a good time to be young.

You lived there as well as shooting it. Do you think it’s important to be a part of the thing you’re photographing, rather than just an outsider with a camera?

I don’t know that it’s important to be a part of the thing you’re photographing, ‘embedded’ is what the war photographers call it, but you definitely capture different images. Certain things that might have been shocking to an outsider were commonplace, normal & every day to me. Boring even. On the other hand, I was much less likely to be robbed walking around. That meant I could take my camera places that other people couldn’t, or maybe shouldn’t!

I used to wear my camera beneath my coat so it couldn’t be seen, and I carried my film and lenses in a Kwik Save shopping bag so as not to attract unwanted attention. I got into the habit of handing that bag over the bar at the pubs I went in. I would collect it the next day if I could remember where I’d been the night before. Bless you, saintly barmaids of old Hulme.

If you look at my images of Hulme people they’re usually reacting to me and not the camera. Either that or they’re not reacting at all. They’re ignoring the fact that I’m taking a picture. That’s what gives them that ‘fly-on-the-wall’ feeling.

This is something that I put to greater effect later when I was photographing in night clubs, skulking stage side or hiding in a DJ booth. When DJs & MCs see you week in week out at the club doing the same thing they stop posing for the camera and just get used to you being there. You become part of the furniture. And when people stop being conscious of the camera, when they ignore that you’re even present, you can step in much closer. Put simply, you get better pictures. They’re much less performative and far more honest. It’s not often people can say they like it when they’re being ignored, but for photographers it’s a gift.

Do you think somewhere the Crescents could exist now, or was it just a case of the perfect accidental recipe for that kind of creative, DIY activity?

No, I don’t think anywhere like Hulme will ever happen again. I think the city council learned that lesson a long time ago. It was a dystopian utopia for us, but it grew out of failure. When I 1st went to university they warned us never to set foot there. I said, ‘But what if you live there already?’ and there was an embarrassed silence. They really hadn’t expected a poor boy from Hulme to be in the room. Now they own half of it and it’s all student Halls of Residence.

The city centre has been regenerated, redeveloped & gentrified. We can’t afford to live there anymore, and people like me are pushed out. Hulme was a failed social housing experiment, an eyesore & an embarrassment to the people who had commissioned it. People like me moved in & we made it our own. They’re never going to allow anything like that to happen again. Every quaint old fashioned pub that closes becomes a block of flats. The footprint is too valuable to property developers. One day all we will have will be faded photographs to bear witness to a very different way of living.

Was it through the Crescents that you started shooting graffiti? 

When I first arrived in Hulme I’d just spent 3 years living with mates in a couple of houses elsewhere in the city. It suddenly struck me that that part of my life was over and I had very few photographs of that time. I’d been too busy learning photography, taking the kind of photos that every art student takes: Broken windows; abandoned buildings, and bits of burnt wood. I vowed I wouldn’t do that again. I began documenting the life that was around me.

I started with the architecture, as it was quite unlike any other place I’d ever seen. It had a desperate, faded beauty even then. The whole estate had been condemned for demolition before I arrived, but the city council had given up on the place long before that.

I started to notice graffiti pieces going up, seeing the same names repeated. It was obvious that there was a small group of writers trying out their styles on a large canvas for the 1st time. Wanting to claim this derelict space as their own Hall Of Fame. I started to document them as they sprang up. Then I noted that context was crucial, and so I began to include the soon-to-be-derelict buildings in the images also. The shapes & colours of the graffiti looked positively psychedelic beside the drab monochrome of the setting.

With your graffiti shots, you show a lot more than just the pieces. Was it an intentional thing to show the act behind it a bit?

Because it was Hulme and no-one cared, these guys weren’t working in the dead of night like most graffiti writers do in the train yards and what-have-you. They were working during the day, right out in the open. So, documenting their work, it wasn’t long before I ran into Kelzo. He really didn’t trust me at first, but I kept coming back. So, I got to know them. They started to let me know where they were going to be painting next.

In 1995 Kelzo organised the 1st SMEAR JAM event (named after a young aspiring writer who used to come down to Hulme to learn, and had died suddenly from a nut allergy). That was such good fun that another event arrived the following year, another & another. Graf writers came from London, Edinburgh, Leeds, Sheffield, and as far afield as Spain. The local community came out to support and, as usual, it turned into a party that lasted all weekend.

I got into the habit of taking 2 cameras. One loaded with B&W film to capture the event itself, and another with colour transparency to document the finished artwork.

Graffiti… hip-hop… kids getting ice cream… I suppose there’s a few different subjects there, but was there an underlying thing or theme you wanted to show with your photos? Maybe getting a bit philosophical, but they’re all quite free acts—is it about enjoying what’s there?

It was more about documenting the life I saw around me. Moving to Hulme was what led to me capturing graffiti, and graffiti led to hip-hop events. Once Hulme was demolished I moved my camera into the city centre and began photographing club nights. House and hip-hop turned into Drum’n’Bass, and then dubstep. Residents and warm-up acts have now become headliners in their own right. Manchester has always been a great city for music, and it kept me busy throughout the naughty Noughties. I’ve pretty much retired from all of that now. I’d had enough after over 15 years of it. I no longer feel compelled to document something as ephemeral as a club night anymore when half of the audience are doing it themselves anyway. Then coronavirus came & properly killed it all off. I don’t know what it’s going to be like now going forward, but it’ll be someone else’s turn to document whatever that is.

What do you think makes a good photograph? 

You need to have a good eye. You need to notice & be aware of the world around you. You always see an image before you create one. You don’t require expensive equipment. Mine never was. And you don’t need to be trained. It’s one of those areas where you really can educate yourself. A certain amount of technique and technical understanding goes a long way but, again, you can pick those things up as you go along.

There are different kinds of photography, of course, but for me it was always about capturing a moment. The Decisive Moment, as Cartier-Bresson so eloquently put it. It’s something that the camera has over the canvas. For me the camera has always been a time machine. Like an evocative love song on the radio, it can transport you back immediately to a time & place long gone. It also acts as a witness for those people who were not there. Images tell stories. And we all like to hear and tell stories.

A couple of years ago I was invited to talk at the University of Lancaster for a symposium on documentary photography, which is a tradition that I had always considered my photographs sat within. But oddly, as I gave my slide-show presentation, images that I have seen and shown many times before, and thought I knew very well, I suddenly saw in a brand-new light. I could see myself in every image. Almost like a self-portrait from which I was absent but my own shadow cast large. I realised that I haven’t been documenting anything other than my own life. 25 year old images suddenly had something new to say, something new to tell me.

Do you still take photos today? What kind of things are you into shooting these days?

I don’t really do a lot of photography these days. I teach and facilitate as part of my job now. I still do the odd event but night club photography is a much younger man’s game. I really don’t have the levels of commitment, energy or enthusiasm I once did. I feel like I’ve taken enough images. If I never took another photograph ever again, that’s OK. Maybe, perhaps, I’ll get into a different kind of image making in my twilight years … but for now I’m trying to reassess the images I made 25 years ago. People are far more interested in them now than they ever were at the time. Now they have become documents of a time and place which has gone. The graffiti and the walls that they were written on have disappeared. Many of those night clubs have closed. Time moves on. The images and the memories are all that is left.

Over all those years, how has the art of photography changed for you?

Back when I started taking photographs, where I lived in Hulme, the kind of music that I was into, the magic of a night club moment, there were very few people I knew of who were doing the same thing. Now I am aware of others who were. Almost everyone is their own photographer now. Mobile phones & social media have given a platform for anyone to make & share images of their individual lives, whether it be their friends & families, holidays, public events or more private & intimate moments. Anyone can document their own lives now, so I no longer feel that I have to. I do still love photography, it’s still my favourite form of art, but I don’t feel compelled to capture it all anymore.

I suppose I’ve pestered you with questions for a while now. Have you got any wise words to wind this up with?

If you want to become a photographer you must learn your craft. Keep doing it, and you will get better. But you must remember to always be honest. Make honest images. Listen to the voice of your own integrity. Don’t worry too much if no-one sees any value in what you do. If you’re any good people will eventually see it. It may take years, it did for me, but images of the ordinary & everyday will one day become historical, meaningful & extraordinary.

We live in a world today mediated by images, a Society of the Spectacle, but we still need photographers: People who have a good eye, an innate feel for the decisive moment; what to point the camera at and when to press the shutter. The images that you make today will be the memories of the future.

See more of Al’s photos here.

#Photography #Interview #Al Baker #Manchester #Hulme Crescents

4 notes · View notes

artwalktv · 6 years ago

Video

vimeo

Directed by Loïc Andrieu Produced by SOLDATS FILMS Music by AGORIA (ft. STS) performing "CALL OF THE WILD" © Soldats Films © 2019 Sapiens Recordings Producer: Pierre Cazenave-Kaufman (Soldats Films) Director of photography: Simon Chaudoir Editor: Naza Giral (Soldats Films) Colorist: Mathieu Caplanne Art Director: Loïc Andrieu Los Angeles Producer Gaetan Rousseau (Paradoxal inc) Wardrobe Stylist Los Angeles: Yasmine Abraham Re-Recording Mixer: Christophe Leroy VFX House: REEPOST Starring Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Guilbert, Christianno Chavez, Sam Ingraffia Label: Sapiens Video commissioner: Christian De Rosnay Development manager: Juliette Labrousse Production Service Los Angeles: PARADOXAL INC Sound facilities: YELLOW CAB STUDIOS ADR & Foley Mixer: Christophe Leroy Sound designers: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot Special thanks: Victoria Videnina ---------- Los Angeles crew Executive Producers: Pierre Cazenave-Kaufman (Soldats Films) Associate Producer: Gaetan Rousseau (Paradoxal Inc) Production Service Los Angeles: Paradoxal Inc Line Producer: Hugo Marcel Production Manager: Thomas Duchêne 1st AD: Manuel Roman 2nd AD: Nick Brokaw Production assistants: Eric Hellberg & Yohan Lefevre & Martin de Bokay & Nicolas Thau & Timothy Watson Vocal Coach: Laura Rizzotto Location Scout: Kaelyn Phillips Set Designer: Freyja Bardell Set decorator: Crystal Criego Prop master: Dominic Wymark Leadman: Eligh Macias Set Dresser: Daniel R. Oregel & Kevin Lopez, Pedro Ramirez, Taylor Williams Wardrobe Stylist: Yasmine Abraham Wardrobe Assistant: Coleen Chan HMU: Jessica Sainclair Casting director: Sarah-May Levy Cast: Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Gilbert, Christianno Chavez, Sam Ingraffia, Spencer Frankeberger, Deron Cash, Rusty Rooftop, Gabriella S.Robinson, Shan Moreno, Sadyr Diouf, Natasha Churchil, Bodhi Dell, Johan Domhoff, Ryan Gatewood, Abraham Sesay Newscaster Voice Over: Douglas Rand 1st AC: Vincent Toubel 2nd AC: Dusty Saunders & Rogelio Mosqueda Steadicam Operator: Olivier Merckx Sound operator: JP Delacruz Sound design: Alexis Jung & Olivier Ranquet Mix: Christophe Leroy Gaffer: Joel Gill Best boy electric: Gerardo Ruiz Electrics: Laura Sfeir, Eddie Teram, Davis Villa, James Wray Key Grip: Dennis Pires Best Boy Grip: Ivan Garcia Grips: Robert Dulany, Ardy Fatehi, Michael Parlinic Motocrane: DRIVER’S EYE TEAM LAPD SERVICE: Paul Hinton, Darryl Martin Catering: Mia’ Cuisine Los Angeles Studios: BEEPS DINNER, SILVER DREAM FACTORY, ESCOBAR FAMILY Los Angeles Costumes rental house: UNIVERSAL COSTUME, WESTERN COSTUME Los Angeles Police Car rental house: CINEMA VEHICLES Los Angeles props rental house: ISS, SET STUFF OMEGA Los Angeles Camera rental house: PANAVISION HOLLYWOOD, CHAPMAN : LEONARD, JQ DA SILVA ---------- Paris crew Production Company: Soldats Films Producer: Pierre Cazenave (Soldats Films) Line Producer Paris: Quentin Henneguelle (Soldats Films) Production Manager: Charlotte Giral (Soldats Films) 1st AC: Maud Cyrano Gaffer: Michael Monod Electrics: Jerôme Baudouin, Cedric Guerby Key Grip: Benjamin Rame Prop Master: Ludovic Jardiné HMU: Elisabeth Pilarsky On Set VFX Supervisor: Clement Germain YELLOW CAB STUDIOS Sound designer: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot ADR & Foley Mixer: Christophe Leroy SOLDATS CREW Post Producer: Naza Giral (Soldats Films) After Effects by: Naza Giral (Soldats Films) - Rémi Muzzupapa (Soldats Films) – Paul Laurent (Soldats Films) - Victor Sellier (Soldats Films) REEPOST CREW REEPOST VFX Supervisor: Adrien LEPINEAU REEPOST VFX Post-producer: Loundja OUSSANA Assistant post-production: Tilou MARTIN 3D Supervisor: Stephen PLONGEON 3D Artists: Xavier VERDIER Marion GUICHENUY Geoffrey PONS Olivier MASSON Compositing: Matthieu DESTRADE Marc LATIL Benoit MESSAGER Johan ROCHE Gaetan BAILLEUL Thierry BONNEAU Mathieu PLESSIS Alexis BAILLA Tracking: Toufik MEKBEL Walid BEN HEND (VISION AGE VFX) Studio La Villette: Navarro ------------------ Special thanks to Agoria « You made it happen ! » Christophe Leroy for Yellow Cabs Studio « Sound Wizard ! »

#Videos & Films

2 notes · View notes

half-a-tiger · 6 years ago

Video

youtube

FLOATING POINTS - “Last Bloom”, from the album 'Crush', released October 18th, 2019 on @ninjatune.

Directed and produced by Hamill Industries

Producer: Belén Palos

Director of Photography: Nathan Grimes

Prop Making: Carles Clemente

Bubbles: Margarita Rojas

Sculptures & Landscaping: Enric Sant

Flower and Plant Arrangements: Jeanette Ramirez & Sauvage Studios Sauvage Studios (Chabeli Rodríguez + Laura González)

VFX team: Karen Weiss, Daniel López

Graphic Design: Bey Rodríguez

#floating points #music video #new music #2019 #ninja tune #idm #electro #electronica #animation #flowers #dark #hamill industries #belén palos #nathan grimes

2 notes · View notes

lesterplatt · 2 years ago

Video

vimeo

Agoria - CALL OF THE WILD from Loic Andrieu on Vimeo.

Directed by Loïc Andrieu

Produced by SOLDATS FILMS

Music by AGORIA (ft. STS) performing "CALL OF THE WILD"

Producer: Pierre Cazenave-Kaufman (Soldats Films) Director of photography: Simon Chaudoir Editor: Naza Giral (Soldats Films) Art director: Freyja Bardel Artistic Director: Loïc Andrieu Colorist: Mathieu Caplanne Los Angeles Producer Gaetan Rousseau (Paradoxal inc) Wardrobe Stylist Los Angeles: Yasmine Abraham Re-Recording Mixer: Christophe Leroy

VFX House: REEPOST

Starring Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Guilbert, Christianno Chavez, Sam Ingraffia

Based on feature film script "LIFE LINE" written by Hedi Chellouf & Loïc Andrieu

Label: Sapiens Video commissioner: Christian De Rosnay

Development manager: Juliette Labrousse

Production Service Los Angeles: PARADOXAL INC

Sound facilities: YELLOW CAB STUDIOS

ADR & Foley Mixer: Christophe Leroy Sound designers: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot

Special thanks: Victoria Videnina

----------

Los Angeles crew

Executive Producers: Pierre Cazenave-Kaufman (Soldats Films) Associate Producer: Gaetan Rousseau (Paradoxal Inc) Production Service Los Angeles: Paradoxal Inc Line Producer: Hugo Marcel Production Manager: Thomas Duchêne 1st AD: Manuel Roman 2nd AD: Nick Brokaw Production assistants: Eric Hellberg & Yohan Lefevre & Martin de Bokay & Nicolas Thau & Timothy Watson Vocal Coach: Laura Rizzotto Location Scout: Kaelyn Phillips Art director: Freyja Bardell Set decorator: Crystal Criego Prop master: Dominic Wymark Leadman: Eligh Macias Set Dresser: Daniel R. Oregel & Kevin Lopez, Pedro Ramirez, Taylor Williams

Wardrobe Stylist: Yasmine Abraham

Wardrobe Assistant: Coleen Chan HMU: Jessica Sainclair

Casting director: Sarah-May Levy Cast: Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Gilbert, Christianno Chavez, Sam Ingraffia, Spencer Frankeberger, Deron Cash, Rusty Rooftop, Gabriella S.Robinson, Shan Moreno, Sadyr Diouf, Natasha Churchil, Bodhi Dell, Johan Domhoff, Ryan Gatewood, Abraham Sesay Newscaster Voice Over: Douglas Rand 1st AC: Vincent Toubel 2nd AC: Dusty Saunders & Rogelio Mosqueda Steadicam Operator: Olivier Merckx Sound operator: JP Delacruz Sound design: Alexis Jung & Olivier Ranquet Mix: Christophe Leroy Gaffer: Joel Gill Best boy electric: Gerardo Ruiz Electrics: Laura Sfeir, Eddie Teram, Davis Villa, James Wray Key Grip: Dennis Pires Best Boy Grip: Ivan Garcia Grips: Robert Dulany, Ardy Fatehi, Michael Parlinic Motocrane: DRIVER’S EYE TEAM LAPD SERVICE: Paul Hinton, Darryl Martin

Catering: Mia’ Cuisine Los Angeles Studios: BEEPS DINNER, SILVER DREAM FACTORY, ESCOBAR FAMILY Los Angeles Costumes rental house: UNIVERSAL COSTUME, WESTERN COSTUME

Los Angeles Police Car rental house: CINEMA VEHICLES Los Angeles props rental house: ISS, SET STUFF OMEGA Los Angeles Camera rental house: PANAVISION HOLLYWOOD, CHAPMAN : LEONARD, JQ DA SILVA

----------

Paris crew

Production Company: Soldats Films Producer: Pierre Cazenave (Soldats Films) Line Producer Paris: Quentin Henneguelle (Soldats Films) Production Manager: Charlotte Giral (Soldats Films) 1st AC: Maud Cyrano Gaffer: Michael Monod Electrics: Jerôme Baudouin, Cedric Guerby Key Grip: Benjamin Rame Prop Master: Ludovic Jardiné HMU: Elisabeth Pilarsky On Set VFX Supervisor: Clement Germain

YELLOW CAB STUDIOS Sound designer: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot ADR & Foley Mixer: Christophe Leroy

SOLDATS CREW Post Producer: Naza Giral (Soldats Films) After Effects by: Naza Giral (Soldats Films) - Rémi Muzzupapa (Soldats Films) – Paul Laurent (Soldats Films) - Victor Sellier (Soldats Films)

REEPOST CREW

REEPOST VFX Supervisor: Adrien LEPINEAU

REEPOST VFX Post-producer: Loundja OUSSANA

Assistant post-production: Tilou MARTIN 3D Supervisor: Stephen PLONGEON

3D Artists: Xavier VERDIER Marion GUICHENUY Geoffrey PONS Olivier MASSON

Compositing: Matthieu DESTRADE Marc LATIL Benoit MESSAGER Johan ROCHE Gaetan BAILLEUL Thierry BONNEAU Mathieu PLESSIS Alexis BAILLA

Tracking: Toufik MEKBEL Walid BEN HEND (VISION AGE VFX)

Studio La Villette: Navarro ------------------

Special thanks to Agoria « You made it happen ! »

Christophe Leroy for Yellow Cabs Studio « Sound Wizard ! »

1 note · View note

helalifilms · 4 years ago

Video

vimeo

LIFE AFTER LIFE - Director’s cut from Cyprien Clément-Delmas on Vimeo.

A short documentary commissioned by Ray-Ban exploring how Ghanians celebrate life through death ! Shot in Ghana in April 2016

Directed by Cyprien Clément-Delmas

clement-delmas.fr instagram.com/cclementdelmas/

Producer: Ore Okonedo Additional Production Support: Katie Lambert Director of Photography: Jack Wilkinson Editor: Carlos Font Clos Grade: Daniel De Vue // Glassworks Sound Mix: Harald Jones Music: Vieux Farka Touré - Ana (Mawimbi Remix) Voice over: Wisdom Production Company: Caviar Content Client: Ray-Ban Creative Agency: Yours Truly Creative Creative Director: Babak Khoshnoud Creative Director: William Abramson

Special thanks to Caviar LA: Jasper Thomlinson, Gina Steffe, Axelle Zwartjes, Sacha Ben Harroche And Charlie Kwai, Jack Wood, Alexandra Agulló Soler, Vanessa Espinoza.

caviarcontent.com/

0 notes

ulkaralakbarova · 1 year ago

Text

Two street basketball hustlers try to con each other, then team up for a bigger score. Credits: TheMovieDb. Film Cast: Sidney Deane: Wesley Snipes Billy Hoyle: Woody Harrelson Gloria Clement: Rosie Perez Rhonda Deane: Tyra Ferrell Robert: Cylk Cozart Junior: Kadeem Hardison George: Ernest Harden Jr. Walter: John Marshall Jones Raymond: Marques Johnson T.J.: David Roberson Zeke: Kevin Benton Dwight ‘The Flight’ McGhee: Nigel Miguel Willie Lewis: Duane Martin Self: Bill Henderson Self: Sonny Craver Self: Jon Hendricks Tony Stucci: Eloy Casados Frank Stucci: Frank Rossi Duck Johnson: Freeman Williams Eddie ‘The King’ Faroo: Louis Price Himself: Alex Trebek Reggie: Reggie Leon Etiwanda: Sarah Stavrou Tad: Reynaldo Rey Lanei: Lanei Chapman Real Estate Agent: Irene Nettles Tanya: Torri Whitehead Alisa: Lisa McDowell The Bank: Dion B. Vines Malcolm: David Maxwell Tournament Announcer: Bill Caplan Tournament Referee: Richard James Baker Big Guy’s Girlfriend: Amy Golden Little Guy’s Girlfriend: Jeanette Srubar Sponsor: Zandra Hill Sponsor: Fred P. Gregory Pickup Truck Driver: Carl E. Hodge Ruben: Ruben Martinez Oki-Dog Businessman: Gary Lazer Yolanda: Donna Howell Jake: Don Fullilove Jeopardy! Announcer: Johnny Gilbert Dr. Leonard Allen: Leonard A. Oakland Rocket Scientist: Allan Malamud Dressing Room Staffer: Jeanne McCarthy Cop: John Charles Sheehan Leon: Gregg Daniel Gambler: Carl A. McGee NBA Announcer: Chick Hearn NBA Announcer: Stu Lantz Ballplayer: Ronald Beals Ballplayer: Joe Metcalf Ballplayer: Mahcoe Moore Ballplayer: Mark Hill Ballplayer: Eric Kizzie Ballplayer: Chalmer Maddox Ballplayer: Leroy Michaux Ballplayer: Joseph Duffy Ballplayer: Pete Duffy Ballplayer: Gary Moeller Ballplayer: Daniel Porto Ballplayer: Lester Hawkins Ballplayer: Jeffrey Todd Film Crew: Producer: Don Miller Director: Ron Shelton Producer: David V. Lester Editor: Kimberly Ray Director of Photography: Russell Boyd Editor: Paul Seydor Costume Design: Francine Jamison-Tanchuck Production Design: J. Dennis Washington Art Direction: Roger G. Fortune Executive Producer: Michele Rappaport Casting: Victoria Thomas Unit Production Manager: Ed Milkovich Set Decoration: Robert R. Benton Sound Re-Recording Mixer: Gregg Rudloff Makeup Department Head: Stephanie Cozart Burton Hair Department Head: Sterfon Demings Makeup Artist: Patricia Messina Hairstylist: Kenneth Walker Second Assistant Director: Robert J. Metoyer First Assistant Director: Richard Alexander Wells Sound Editor: Patrick Bietz ADR Editor: Barbara J. Boguski Sound Editor: Robert Bradshaw Sound Re-Recording Mixer: David E. Campbell Sound Editor: Larry Carow Foley Editor: Bill Dannevik Foley Editor: Michael Dressel Supervising Sound Editor: Gordon Ecker Supervising Sound Editor: Bruce Fortune Sound Mixer: Kirk Francis Foley Editor: Leslie Gaulin Sound Editor: Howell Gibbens ADR Editor: Holly Huckins ADR Mixer: Doc Kane Sound Editor: John Kwiatkowski Sound Editor: Kimberly Lowe Voigt Sound Editor: Anthony Milch ADR Editor: Michele Perrone Sound Re-Recording Mixer: John T. Reitz Foley Editor: Steve Richardson Sound Editor: Steve Schwalbe Foley Editor: Shawn Sykora Sound Editor: Richard E. Yawn Stunts: Gary Baxley Stunts: Simone Boisseree Stunts: Mike Johnson Stunt Coordinator: Julius LeFlore Stunts: Scott Leva Casting Associate: Jory Weitz Costume Supervisor: Betty Jean Slater Camera Operator: Mike Benson Steadicam Operator: Michael Meinardus Gaffer: Patrick Murray Grip: Mark Pearson Grip: Ty Suehiro Grip: Clay H. Wilson Grip: Edmond Wright Movie Reviews:

#Basketball #buddy #california #confidence artist #friendship #hoodlum #hustling #jeopardy #los angeles #male friendship #racial segregation #Sports #streetball #Top Rated Movies #white trash

0 notes

danclementsphoto · 5 years ago

Photo

@kurtzorchardsweddings @gracewoodestate⁠ #kurtzorchardsweddings #kurtzorchards⁠ Beautiful #sunset while shooting this for @livishawphotography⁠ #kurtzorchardsweddings #kurtzorchards #gracewoodestate #danclementsphoto #danielclementsphotography #weddingphotography⁠ #weddingphotographer #torontoweddingphotographer⁠ #niagaraweddingphotographer #wedding #weddings #thatsdarling #soinlove #shesaidyes #realwedding #loveintentionally #intimatewedding #ido #foreverandever #brideandgroom #weddingideas #bridalgown #weddingphotos #torontowedding #brides #bride #groom https://ift.tt/37olEVy

#wedding photography #toronto wedding photographer #weddings #Daniel Clements Photography #Dan Clemen

2 notes · View notes

wewhohavebeeninspired · 7 years ago

Video

vimeo

adidas Originals | Original Is Never Finished | SS18 by Jeph Burton Out of repetition, comes variation. Out of variation, comes iteration. Out of iteration, comes creation. Uniting some of the world’s most influential creators, our latest film presents a new definition of originality by building upon what came before to create what will come next. Client: Adidas Originals General Manager: Torben Schumacher Global VP of Brand Communications: Alegra O’Hare Global Senior Director of Communications & Brand Marketing: Jenny Pham Global Director of Social Media & Public Relations: Silvia Calligher Global Senior Manager Communications: Edi Borrelli Global Communications Manager: Gemma Albi-Verdu Senior Director, Global Brand Marketing Operations & Creative Shoot Production: John van Tuyll Senior Shoot and Production Manager: Justin Townsend Global Brand Management, Operations & Procurement: Andreas Hemmerlein Shoot and Production Manager: Christian Wirth Agency: Johannes Leonardo Chief Creative Officer: Jan Jacobs Chief Creative Officer: Leo Premutico Creative Director, Founding Partner: Ferdinando Verderi Creative Director: Wesley Phelan Creative Director: Matthew Edwards Senior Copywriter: Jeph Burton Senior Art Director: Hunter Hampton Head of Integrated Production: Dana May Executive Producer: Maria Perez Senior Producer: Tina Diep Senior Producer: Craig Keppler Associate Producer: Alexandra Olivo Junior Producer: Maddie Tiedrich Producer: Jay Jenkins Producer (Shanghai): Joey Mok Group Account Director: Sam McCallum Account Director: Dominique Dalton Account Supervisor: Gulru Soylu Account Supervisor: Katherine Gutierrez Account Executive: Adriana Mariella Head of Strategy: Mark Aronson Senior Strategist: Johnny Roelofs Strategist: Miné Cakmak Director of Business Affairs: Marta Stajek Senior Business Affairs Manager: Ann Marie Turbitt Social Agency: Annex88 Chief Creative Officer: Harry Bee Brand Director: Sean Benz Senior Account Director: Tyler Murphy Account Manager: Alessandra Russo Senior Creative: Nikki Mirsaeid Senior Social Media Creative: Clement Balavoine Producer: TJ Docena Editor: Gian Buazulli Editor: Christie Brown Photography Retoucher: Renata Raksha PR Agency: PR Consulting Founder: Pierre Rougier Partner: Sylvie Picquet-Damesme Vice President: Matt Kays Senior Digital Director: Parise Sellitti Associate Director: Jordan Potter Brand Films – Production & Post Production: Production Company: Iconoclast Director: Manu Cossu Director of Photography (Los Angeles): Mattias Rudh Director of Photography (Shanghai, Madrid, San Francisco): Alex Barber Managing Director: Charles-Marie Anthonioz Executive Producer: Valerie Romer Producer: Suza Horvat Production Service Company (Shanghai): Lunar Films Executive Producer: Ken Yap Producer: Terri Goh Producer: Feng Zhe Production Manager: Wang Wei Production Service Company (Madrid): Widescope Production Company Owner / Managing Partner: Marcos de Fortuny Production Manager: Nestor Cano Production Coordinator: Sara Valderas Production Assistant: Flint Pearce Editorial: Exile Editor (Lead): Robert Lopuski Additional Content Editor: Christopher Fetsch Assistant Editor: Alex Doyle Executive Producer: Sasha Hirschfeld Producer: Alejandra Alarcon Producer: Becca Riehl Visual Effects: The Mill VFX Supervisor / VFX Lead: Antoine Douadi CD, Supervisor: Corey Brown 3D Lead: Ajit Menon Senior Producer: Nick Strange Thye Senior Producer: Bugs Russell Associate Producer: Ashley Goodwin Designs & Illustrations: Not To Scale The Art of Ginozko Album Cover Illustrator: Matt Anderson Color: Company 3 Colorist: Tom Poole Color Producer: Alexandra Lubrano Assistant: Jenny Montgomery Music – “Keep Pushin” Publisher: Warner Publisher: BMG Publisher: Mushroom Group Writer: Mousse-Tee Writer: Errol Rennalls Writer: Boris Dlugosch Writer: Jafan Davis Music Supervision: adidas Global Music Manager: Daniel Cross Music – Remix: Human Music and Remix: Human and Sibot of Say Thank You Creative Lead / Composer / Remixer: Morgan Visconti Creative Lead: Mike Jurasits Composer / Remixer: Sibot of Say Thank You Composer / Remixer: Matthew O’Malley Executive Producer: James Dean Wells Singer: Briana Nadeau Singer: Moonchild Sanelly Additional Orchestration of Franz Schubert’s “Symphony No. 8 in B minor aka the Unfinished Symphony”: Robert Gulya Additional Vocal Production: John Christopher Barnes

#video #inspiration #motion graphics

2 notes · View notes

architectnews · 5 years ago

Text

Argentina Architecture News, Buildings

Argentina Architecture News, Buenos Aires Building Projects, New Construction Design, Property Images

Argentina Architecture News

Contemporary Buenos Aires Building Designs – South American Built Environment Links

post updated Sep 28, 2020

Argentina Architectural News

Contemporary Argentina Architecture News, chronological:

Argentina Architecture Designs – chronological list

14 Sep 2020 Azaleas Housing Complex, Villa Allende

30 Jul 2020 Rancagua Station in Villa Retiro, Córdoba

24 Jun 2020 FITSHIP Gym in Business City, Córdoba

13 Apr 2020 Jardín Nº 1207 Dra. Sara Faisal, Santa Fe Kindergarten

3 Apr 2020 Collegiate Entreverdes Building in Buenos Aires

28 Mar 2020 Lazzarini Optics, Villa Carlos Paz, Córdoba Architects: Castellino Arquitectos photo : Architect Gonzalo Viramonte Optica Lazzarini in Villa Carlos Paz, Córdoba Shop The program’s resolution retained three “hard” and immovable sectors, the cash register area, the workshop area and the contact lens cabinet area, the rest were storage and display spaces.

16 Mar 2020 AER La Pampa Building in Buenos Aires

Argentina Houses Argentina Houses – for the latest properties added

12 Feb 2020 Bocatoma Taproom, Cerro de las Rosas, Córdoba Architects: VS Arquitectura photo : Architect Gonzalo Viramonte Bocatoma Taproom in Cerro de las Rosas, Córdoba This craft brewery is located on a main avenue in the middle of a gastronomic boom. The clients have their own craft brewery in Rio Segundo, which is why, evidencing that they are producers was the fundamental requirement.

11 Jan 2020 Ñato – Restaurant in Barrio Jardín, Córdoba

9 Jan 2020 Judiciary Building in Nechochea, Buenos Aires Province

7 Jan 2020 Paroissien Street Office Building Ciudad de Buenos Aires

3 Oct 2019 Tokin Sushi Bar in Cordoba

30 Aug 2019 Deam Offices in Cordoba

12 Aug 2019 University Institute of Biomedical Sciences in Cordoba

1 Aug 2019 El Clásico de Quilmes Bar in Buenos Aires

22 Apr 2019 Lucciano’s, Av. De los Lagos 7010, Nordelta, Tigre Architecture: FERRO & assoc. photo : Gonzalo Viramonte Luccianos Ice Cream Shop in Nordelta This shop is the 34th of the Argentinian artisan ice cream cream company established in by Christian and Daniel Otero.

10 Apr 2019 Seguí Studio Apartment, Palermo, Buenos Aires Architect: Carol Burton photo : Gonzalo Viramonte Seguí Studio Apartment in Buenos Aires The purpose of this architectural intervention is to rethink the internal space of a small apartment within a Palermo building built in the 1940s.

24 Mar 2019 White Curve Housing in Cordoba

27 Jan 2019 Plazza Jewelry in Villa María, Córdoba

23 Jan 2019 Ricky Fast Food Restaurant, Banfield, Buenos Aires Design: Además arquitectura Ricky Fast Food

22 Jan 2019 GZ Weekend House, Buenos Aires Design: Además arquitectura photo : Gonzalo Viramonte New Weekend House in Buenos Aires This project located inside a country-club in Guernica, arises from the need of building a weekend house with the particularity of being inhabited by two families.

15 Jan 2019 Casa Cándida, Villa del Dique, Córdoba Architecture: Karlen + Clemente photo : Gonzalo Viramonte New Property in Córdoba From Karlen + Clemente’s study they try to interpret each project according to variables that can be synthesized in a single response, in a practical, concrete and, to the extent of our possibilities, artistic.

12 Jan 2019 Lucciano’s Ice Cream Café, Córdoba Architecture: FERRO assoc. photo : Gonzalo Viramonte New Café in Córdoba This is the flagship store in Cordoba of Lucciano’s, the ice cream company established in 2011 by Christian and Daniel Otero, who want to satisfy the most demanding customers of artisan ice cream.

24 Oct 2018 MF House in La Plata

24 Sep 2017 CITO Centro de Investigaciones y Tratamiento Ocular, Ciudad de Buenos Aires Design: BAAS – Brunzini Arquitectos y Asociados, architects photo : Andrés Negroni CITO Centro de Investigaciones y Tratamiento Ocular The CITO Surgery center is a specialized ophthalmology facility. The site location being so highly dense provides many sustainable benefits to the occupants of the building. Having close access to public transport, supermarkets, restaurants and other resources, can results in reduction of car usage for employees and patients.

30 Dec 2016 Nordelta Tigre Yacht Club House, Buenos Aires Design: Estudio Ramos, architects photograph : Daniela Mac Adden Nordelta Tigre Yacht Club House in Buenos Aires

17 Oct 2016 Buenos Aires Pedro Residence Design: VDV ARQ, architects photograph : Curro Palacios Taberner Buenos Aires Residence

6 Oct 2016 MD House, Bariloche, Río Negro, Patagonia región Design: ALRICGALINDEZ Arquitectos photo : Alric Galindez and Albano Garcia House in Bariloche, Río Negro

1 Sep 2016 Valeria House, forest of Mar Azul – Valeria del Mar, Pinamar, Buenos Aires Design: BAK arquitectos photo : Daniela Mac Adden New House in Pinamar The purpose was to do an intervention in a place of significant landscape value, an opportunity to propose alternatives for design and construction, considering caring of the natural environment as a fundamental premise.

19 Aug 2016 Torcuato House Pavilion, Olivos Golf Club, Malvinas Argentinas, Buenos Aires Design: Besonías Almeida arquitectos photo : Federico Kulekdjian Torcuato House Pavilion in Buenos Aires The commission arises from the principals need to have an enclosure where they can be isolated from the activity of the house, and then facilitate the development of functions more relaxed and much more connected with the landscape.

25 Apr 2016 Casa Rampa, Patagonia Design: Andrés Remy Arquitectos photo : Alejandro Peral Ramp House in Patagonia

21 Apr 2016 New House, San Benito District, Escobar, Buenos Aires Design: Besonías Almeida arquitectos photo : Federico Kulekdjian San Benito House in Buenos Aires

9 Mar 2016 La Parra Winery, Colegiales, CABA Argentina Design: Epífita Arquitectura photography : Estudio MiGO La Parra Winery in Buenos Aires All architecture is ephemeral and is future support for other architectures or activies. The ephemeral may be transferred to new media that is always constituted as a recipient of multiple configurations and variations through minimal efforts.

2 Apr 2015 New City Hall Buenos Aires, Parque Patricios Design: Foster + Partners, architects image from architects New City Hall in Buenos Aires Lord Foster visited Argentina for the opening of the new Buenos Aires Ciudad Casa de Gobierno, a sustainable building for the Mayor and 1,500 staff. It is the first civic project in Argentina by the celebrated British architecture practice.

Bicentennial Civic Center Córdoba Argentina

More Argentina Architecture News online soon

Location: Argentina, South America

Buenos Aires Architecture Walking Tours

Argentina Architect

Website: Visit Argentina

Buenos Aires Art Museum

Argentina Architecture

South American Buildings

Comments / photos for the New Argentina Architecture News page welcome

Website: Architecture

The post Argentina Architecture News, Buildings appeared first on e-architect.

#e-architect

0 notes

sportscarww · 5 years ago

Text

SCW Interviews: Daniel Gonzalez

Barcelona based photographer Daniel Gonzalez from Daniel Gonzalez Photography answered today’s questions:

What’s your favorite shot?

I like when you can capture the driver's eyes or some sort of spontaneous gesture. I try to show what I see, and I see fast cars going flat out. That image from Kimi was pretty hard to get so maybe its one I love. Also the one from Valtteri or George looking at me. I also love the one with the Formula 2 car at 3 wheels at Mirabeau. It is my phone's wallpaper.

Which corner is the best to shoot?

I love Monaco. I hated it when I was a kid watching it on tv, because I felt it was boring but as a photographer is a superb playground. I think I'll never get bored of taking pictures there. Specially I love Mirabeau all the way to the entry of the tunnel and also the pool chicane. This is a track every fanatic should visit. I also loved Austria, and at Barcelona I have a special feeling at Turn 11 because I've been track marshaling there for 12 years, and Turns 5-6-7-8-9 are specials, you'll see me around there often.

To take pictures of, rally or circuit?

Tuff to answer. Rally offers you a more pleaseant result as a photographer as when they race in gravel or snow you obtain way more spectacular images in an easier way because parts of the ground fly over, and also they jump and so on. Its great to photograph and I love going out into the woods with my friends as a spectator. But I've been hoocked with Formula 1 since kid in the mid 80's so I'm a circuiteer!

Most races in a year?

Last year actually but 2018 was very close, I did 15 events. Some as a mere spectator. But as Media it was also 2019 followed close by 2018.

What’s at the top of your bucket list?

I would love to do Le Mans 24hr and Nurburgring 24h. I have started that motorsport photographic journey as a photographer in 2014 in a 24hr race and since then I got to love it. The atmosphere is great, you got different kind of light to work with, and you can try different things as well,you have 24 hours to get the job done. And Le Mans its because I've been as a spectator in 2010 and I was really impressed.

Dogs or cats?

I've only had dogs in the past so I love dogs, but I don't mind cats. They are also great!

Who’s good for a laugh in the media centre?

Vid Vorsic, Jonatan Diaz, Andreu Artés, Joan Codina, Xavi Images, Jordi Gimeno and Josep Maria Marcet are great fun 🙂 And at a Rally my mate Stig Ringsbu is not only one of the most talented photographers I've seen doing Rally but good fun!

What have you got away with?

I got away with a lot of fun and happiness! I have achieved a dream that was to take part in Motorsport which is what I love. I also got away meeting lots of talented, passionate and very nice people with a passion for motorsport and photography.

Thank you Daniel.

Tomorrow’s questions will be answered by Clement Biais.

All pictures are used with permission.

#Scott_Christie #Daniel_Gonzalez

0 notes

hotfps · 5 years ago

Video

tumblr

a film by Alaska presenting Eddy Soares & Larissa Ozato starring Tove Lo & MC Zaac produced by Iconoclast executive producer Charlie Twaddle Francesco Civita Natan Schottenfels Tove Lo producers Francesco Colombo Henrique Danieletto director of photography Pierre Kerchove production designer Pedro (Bolo) Catellani costume designer Marina Vieira tove lo’s stylist Annie & Hannah make up artist Marcella Leme Ferreira tove lo’s makeup artist Korey Fitzpatrick head of production Fabio Arisaka editor Beto Araujo Kaue Kabrera post production Nash Mosh color Osmar Junior (Spalva) lettering design Isabella Vdd 2nd unit director Pedro Clemente 1st assistant director Vanessa Morya 2nd assistant director Marina Loducca production coordinator Andre Bauer assistant producers Carolina Loureiro Izabella Araujo Barbosa Mayara Gabrielle Sandow production assistants Beatriz Soares Carolina Loureiro Fabiana Baptista Lucas Pereira Samantha Figueira location manager Carlos Eduardo de Lima Silva (Dread) assistant location manager Osvaldo Tavares Juliano Neto 1st assistant photographer Marco Antônio Barrera Contreras (Chile) 2nd assistant photographer Caio Freitas de Oliveira video assist Júlia Lacerda de Alcântara logger Vanessa Cristina Alves camara intern Felipe Puerta Coin Ribeiro 1st assistant photographers (2nd unit) Marcelo Bezerra Tavares steadycam Sandro Galvão behind the scenes Pedro Oranges boom operator Sidney Santos Sapucaia (Xuxa) gaffer Juarez Rios Santana (Prego) gaffer assistants Rodolfo Alonso de Melo (Baby) Denis Fabri Hudson Monteiro de Lima Dantas Moacir Monteiro Filho Michel Aparecido Sant Ana de Oliveira Giovani Gomes Araújo rigging Weber José da Silva Cunha (Cabelo) rigging assistants Alexandre Barnete Rodrigo Iamamoto Campos Pedro Luiz Ferreira de Oliveira Fernando Tavares da Silva Fabricio Antônio Galli Thiago Ferreira de Carvalho fidalgo generator operator Maurício Gardim art department assistants Bianca Spina Taisa Malouf art department producer Fabiano Boaretto set decorator Fernanda Madureira Reinert assistant set decorator Maria Carolina C. M. de Campos Menezes art department crew Rodrigo Silva Dos Santos Kaio Monteiro Bruno Jimenes Monteiro Givanildo Carlos da Silva Felipe Santana Abraão Lincoln Gonçalves dos Santos Juan Santos do Livramento Carlos Alberto Silva dos Santos André Santos Sucupira Rodrigo Oliveira Santos tove lo’s manager Laura Harber tove lo’s creative director Charles Twaddle tove lo’s security Marcos Vieira make up artist assistants Carlaxane Passos Maia Francisco head of special effects Vagner Aparecido (Martão) special effects assistant Jefferson Klimke head of stunts Hélio Febrônio Alves stunts Regivaldo José da Silva Gerson da Silva Pinheiro casting Alice Wolfenson Neto Avena casting assistant Verena de Moraes Dias e Moraes actor (boyfriend) Eduardo Dornelis dos Santos choreographer José Henrique de Lima Pereira assistant costume designer Maria Eduarda Waddington Ronaldo do Carmo Junior security Carlos Virgilio assistant editor Tomas Pasten vfx superviser (nash) Cirilo Bonazzi line producer (nash) Flavia Gannam vfx artist (nash) Alice Villela Andre Neumann Diogo de Moura Felipe Passarini Gustavo Samelo Luiz Fernando Tavares Alves Rafael Vormittag post production coordinator (nash) Andre Baltrusaitis post production assistants (nash) Gabriel Bittencourt Renata Prado vfx director (mosh) Bruno Vianna Costa line producer (mosh) Jacquelini Lima vfx coordinator (mosh) Jessica Rodrigues vfx artist (mosh) Daniel “Capanga” Iglesias Conform (mosh) Enrique Augusto 3d Lead (mosh) Leo Dobbins post prodigo films Priscilla Paduano Everson Martins Leandro Ferreira satellite audio Kito Siqueira Ana Cordeiro Ana Tardelli Rafaela Oliveira catering Juliana Souza Emilly Gonçalves da Silva Alexandra Pereira Carla Tedeschi transportation Paulo Xavier da Costa Andre Amorin Renato da Silva Henrique Adaias Francisco Dos Santos Claudir (Cinevan) Alexandre Penkal Andre Bispo José Roberto Oliveira Arnaldo Ramos Palmieri Felismino Rodrigues dos Santos Junior Edson Vieira Borges Alexandre Lemos Passiani Ivanildo Cezar Sturaro (Sabugo) Marcos albino de Freitas Pereira (Marquinhos) Carlos Eduardo de Souza (Duda) Paulo Ricardo Tavares da Silva Gesi Moacir special thanks Mauricio Bouzon Olivia Chiesi Rafael Thomaseto

#IFTTT #Vimeo

0 notes

artwalktv · 5 years ago

Video

vimeo

#Videos & Films

0 notes