#joseph bicknell

[nofatclips]

Savior Complex by Phoebe Bridgers from the album Punisher - Video starring Paul Mescal, directed by Phoebe Waller-Bridge [Behind the scenes here]

#music #phoebe bridgers #christian lee hutson #blake mills #sebastian steinberg #jim keltner #conor oberst #rob moose #ethan gruska #tony berg #music video #phoebe waller bridge #paul mescal #rina yang #paula rebanks #kat morgan #gary dollner #isobel waller bridge #joseph bicknell #zoe liang #bw #video #Youtube

[denimbex1986]

'THE POWER OF LOVE

When lensing an amalgamation of haunting and precious memories and heartbreak, director Andrew Haigh and cinematographer Jamie D. Ramsay SASC wanted to avoid being too heavy handed with nostalgia, instead opting for a subtle and organic visual expression of reminiscence and relationships.

Much like the journey of reflection and discovery that unfolds in author Taichi Yamada’s novel Strangers – a traditional Japanese ghost story of love, loss, the afterlife, and treasured and sometimes painful memories – the process of translating the book for the screen took writer-director Andrew Haigh (Lean on Pete, 45 Years, Weekend) on his own emotional voyage.

In Haigh’s cinematic reimagining, All of Us Strangers, we meet Adam (Andrew Scott), a 40-something gay screenwriter who lives alone in a high-rise flat in London. Still impacted by grief from the traumatic incident in his childhood which claimed the lives of his parents, when Adam meets Harry (Paul Mescal), who lives in the same block of flats, the love that grows has a transformational power.

Returning to his childhood home, Adam is transported back to the ‘80s and as past and present collide in a nostalgia-infused dreamlike world, he has the opportunity to spend moments with his parents who have been frozen in time at the age they were when they passed away. Memories of those he has lost and feelings of grief and suffering are revisited as Adam has conversations he wished he could have experienced if his parents had lived to see him reach adulthood.

In the telling of an ethereal tale of the power of love, Haigh wanted to “pick away” at his own past in the same way as protagonist Adam, even choosing to shoot the scenes with Adam’s parents at the director’s childhood home in Croydon, South London. “I was interested in exploring the complexities of both familial and romantic love, but also the distinct experience of a specific generation of gay people growing up in the ‘80s,” says Haigh, wanting “to move away from the traditional ghost story of the novel and find something more psychological, almost metaphysical.”

Speaking on a panel session following a BAFTA screening of the film which British Cinematographer attended, Haigh spoke of his interest in “the need to connect, or to soften whatever the pain is that you carry around with you.” While some changes were made to the story that unfolds in Yamada’s book, the central idea of the protagonist getting the chance to meet his parents, and “go back in time to have those conversations again, get to know them and them get to know him” felt really powerful to Haigh.

“I wanted to incorporate the idea of a love story into that and see how those two things connect and bounce off each other,” says the director. “There is a sense of yearning – he has lost his parents and is yearning for them as well as yearning to find someone to give him comfort and love. His parents are also yearning to be alive again and to spend more time with their child.”

A fresh narrative

The script stood out as extraordinary to Jamie D. Ramsay SASC, a cinematographer who finds it “rare to come across a piece of literature in script form that excites you, feels fresh and unlike something you’ve seen before.” He was fascinated by exploring the way people deal posthumously with trauma. “It touched me because there’s a lot of emotion attached to the subject, especially for those who grew up feeling prejudice against homosexuality and uncomfortable to come out to their parents. That was a childhood trauma that stuck with Adam, coupled with the grief he experienced,” says Ramsay, speaking to us from the location of his next production.

The feeling and “the way the movie moves you” always come first for the cinematographer, and is then “serviced by the next layer which is the choice of lights, glass, and style. “So in this film, there’s the feeling of loss as well as the emptiness of never being able to get the acceptance of the two most important people in your life. The relevance of the story to the current day when isolation is all too common struck a chord with me, and I also wanted to be part of making the movie because I love Andrew’s previous work – he’s an incredible filmmaker.

“He’s a rare director who has impeccable taste and direct sharp vision about what he wants to do. However once you have aligned with him and understand what he’s looking for creatively, he hands it over to you and trusts you completely.”

The South African/British cinematographer is familiar with lensing heart wrenching stories with sensitivity and creative flair, having won the Bronze Frog at Camerimage 2022 another adaptation of a book – Oliver Hermanus’ Living which sees a civil servant reflect on his life and how to spend his remaining days when faced with a fatal diagnosis. Ramsay’s work on All of Us Strangers also struck a chord with audiences and immersed them in another emotional story, resulting in the film being selected in this year’s Main Competition at Camerimage and scooping multiple British Independent Film Awards including Best Cinematography, Best Film, and Best Director.

Discovering the look

It is the smooth-flowing conversation between director and DP during the five-week prep and five-week shoot which Ramsay believes was key in the creative process and a result of Haigh being “super smart and knowing what he wants.” For Ramsay, a DP is “a visual ideas engine which the director then guides into place” and as Haigh knew so specifically what he wanted in terms of the story being told, the pre-production period of fleshing out their approach to the film was a joy.

“Andrew didn’t have a fixed idea of what it should look like though, which is great for me because I love the process of finding out what it should look like with the director,” adds Ramsay. “When the director is autonomous and has a strong visual idea, it’s difficult for you to collaborate and truly imprint your personality onto the film. We discovered it together through deep conversation, starting with what the narrative was really about, who the characters were, and then just talking about the references that appealed to us over the years.”

These inspirations included Ingmar Bergman productions such as Swedish period drama Cries and Whispers (1972) due to its unsettling movement, even though the narrative themes differed to All of Us Strangers. Taking creative influence from that production subconsciously and “allowing it to sit in the background” of their decision making, the filmmakekodrs explored Haigh’s wish to “create a sense of nostalgia but not be too heavy handed with it,” producing a subtle memory of sadness.

While Yamada’s book was a strong influence on Haigh, when shooting an adaptation of a novel, Ramsay “tries to avoid being affected by outside sources besides the script” and rarely reads the book because it “overprescribes your creativity and imagination”.

Discussions led them to explore the organic feeling of memories, and decide that those recollections of the filmmakers’ and protagonist Adam’s past would feel analogue. “We knew it would probably be things like 35mm prints from the ‘80s and early ‘90s, 300g printed records, a photo diary, or a tape deck which are all indicative of the era we grew up in, and the era in which the lead character went through this trauma,” says Ramsay.

The duo agreed this organic and analogue feeling would drive the visual approach – they wanted “to feel the dust on the negative, to feel that human touch to the film. We never wanted something that felt overly structured and overly perfect, it had to feel flawed.” With the touch of the filmmakers behind the lens combined with the creations of the art department shaping the final result on screen, the choice to shoot on 35mm 3-perf film was made quickly, working with Arricam LT and Kodak VISION3 500T, 250D and 50D film stocks and processing, scanning and dailies colour carried out at Cinelab.

“You can’t argue the value of shooting on 35mm film and I had great support from the teams at Kodak and Cinelab in terms of the tests and the dailies. Choice of film stock was largely driven by function as much as aesthetic. When you don’t have a huge budget for lighting and you’re using a lot of practical light, having the speed of 500T is really useful,” says Ramsay. “From a light perspective, we also did a lot of transitionary filming and having the extra bit of love out of the 250D allowed us to transition between day into night smoothly. For a lot of our daily life sequences we went for 50D because we love the robust strength it offers.”

The more vintage aesthetic was paired with cutting-edge technology in line with the filmmakers’ aim to “not be overly dramatic with the feeling of nostalgia.” Already venturing into a more organic technique of shooting on film, they wanted to avoid “adding another layer by using vintage lenses to achieve flares”. Instead they sought “the reality and responsibility of a sharp set of lenses, offset with the romance and organic nature of film” which led them to test multiple options before landing on Zeiss Master Primes.

“That contrast played with the analogue versus digital, the pastels versus the primaries which we kept leaning into,” says Ramsay. Colour palette was largely inspired by the era, selecting signifying tones that felt aesthetically pleasing as well as true to the time period. “We then worked out the evolution of those tones in a contemporary context. And whenever we went back in time, we imprinted those tones onto those moments,” says Ramsay.

A “journey of colour” that was birthed in Adam’s childhood found its way into his apartment in adulthood. “From the art department through to the camera and lighting crew, we all wanted to convey the feeling that Adam never quite grew up. He got Peter Pan syndrome and was locked into an area of his life he couldn’t move past.”

Haigh and production designer Sarah Finlay spoke about the design of the film needing to look quite naturalistic and avoid jumping in and out of the different time periods visually. Haigh’s childhood home needed to be modified in some ways to look as he had remembered it. He “wanted the past and present to bleed into each other and a lot of the design was more about feeling the past.”

Vintage meets cutting-edge

Both Haigh and Ramsay are fans of the look and feel of film, but they also wanted to create a “feeling of being out of touch with reality – a symptom of the self-induced isolation and loneliness Adam experienced.” This resulted in a collision between the analogue and digital filmmaking world, and Adam’s apartment being built in a studio at Wembley Park Studios in London. Incorporating virtual production techniques, the set was surrounded by an LED wall comprising ROE Visual Ruby 2.3mm (running on the Helios processing platform), upon which all of the views from Adam’s apartment were displayed. The 120ft by 50ft volume was built with the help of the team at Creative Technology – which supplied the LED screens – and plates were captured in and around Stratford, East London.

“In doing so, we could manage the time of day, luminance, position of the view, cloud structure, movement of traffic, or whether we wanted to do a time lapse with the clouds,” says Ramsay. “It just allowed us to put the reality a little bit outside of the realm of normal, just beyond his apartment. This helps create a slightly strange feeling in his apartment, which is a significant location as it’s where 30 minutes of the movie takes place.”

Ramsay enjoyed a harmonious combination of old and new technology, using ARRI SkyPanel LED lights to create an ambience matching the colour of clouds displayed on the LED wall in addition to 12K or 24K ARRI T12 or T24 tungsten fresnel lights to create the feeling of a sunset illuminating the room.

“I haven’t been able to achieve that with any other light besides the fresnel tungsten head which have a warmth and analogue feel,” he says. “My sweet spot is a specific combination between old and new such as using 35mm film against the LED wall to soften the wall. And by embracing LED technology to marry the colour tone of the wall with the ambience, you then create an interesting synergy with the analogue feel of an old fresnel.”

Helping Ramsay achieve this synergy was Warren Ewen, a gaffer the DP has collaborated with a number of times in the UK, who “goes above and beyond” and is “one of the strongest hands on set.” Working with a stellar lighting crew, the DP learnt about safeguarding himself from an exposure perspective and making sure there is enough lighting in place to service what is needed when shooting on film.

In addition to the benefits Ramsay and the crew enjoyed when working with the virtual set, the cast expressed their appreciation for having a visual context of the outside world displayed on the LED wall in contrast to their experiences of green screen shoots. However, Ramsay’s greatest challenge when shooting on the volume was occasionally discovering moiré in the dailies. “It gave me sleepless nights because when we got our dailies moiré might be introduced in the strangest situations – in reflections on the set as if a glass, mirror or wall was acting as a sensor,” he explains.

“That’s still a mystery that needs to be solved. It’s the hard thing about seeing your dailies 16 hours later when shooting on film. But Andrew was so collaborative and supportive throughout, knowing we were going down the 35mm and virtual production route and the emotional turmoil we might encounter along the way. But the results were well worth it.”

Prior to shooting commenced Ramsay explored technical challenges that might arise for scenes which were to be shot against the LED wall with his longtime colour collaborator, Joseph Bicknell, colourist at Company 3. “After understanding the story in broad strokes and Jamie’s perspective on it, I like to create a strong show LUT for him to load in camera during tests, so he can see live how it might react before photography,” says Bicknell. “Once we have that test footage we’ll dial in the look further, I’ll make a few adjustments and he shares his thoughts which we built into the final show LUT. The overarching look of the film didn’t end up straying far from this in the final grade.”

Bicknell felt the production was a “masterpiece” from the first time he watched the cut without final mix or colour as “all the mood and intensity was there”. Haigh and the cinematographer’s shorthand was so strong that Ramsay had a clear idea of the visual vibe the director desired when it came to collaborating with Bicknell again in the final grade. “Andrew is very supportive in that way and has a lot of confidence in the HODs he’s picked because he loves what they do. He trusts them and that’s why it’s wonderful to work with him,” says Ramsay.

Exploring the film’s emotional qualities, in the grade Bicknell and Ramsay worked with DaVinci Resolve to achieve a “light blend of magical realism to help the audience travel through the story”. On specific scenes they used colour to more forcefully convey emotion, for example during moments of distress such as the sequences that take place on the underground. “Inspiration for this was partly taken from the performances but also what was happening in the sound design,” says Bicknell.

Reacting to the moment

The majority of the narrative plays out in Adam’s childhood home, which Haigh was keen to shoot in the house he grew up in. But, as Ramsay highlights, shooting in quite restrictive spaces such as those in the house location with low ceilings and small windows would have been tricky even when working with small digital cameras. “The fact we are shooting on 35mm cameras with 1,000 foot loads made filming and lighting tough,” he says. “We managed to get permission from the property’s current owner to cut out a doorway to extend the lounge but it was still very challenging.”

Wanting to work within a wider frame to allow themselves the option to isolate characters, but also centralise characters in important moments led the cinematographer and director to adopt a 2.39: 1 aspect ratio. “There are scenes where we isolate the characters on either side of the 2:39 aspect ratio and others where we centralise the character and tighten the eyeline to a great extent,” says Ramsay, using the sequence where Adam and his parents are all in bed together as an example. Haigh and Ramsay wanted this to be an uncut scene, and to hide when the cast members in the bed needed to switch and move, creating a beautiful yet strange and jarring experience.

“This was difficult as we were on location at the house in Croydon and needed to build a cage inside the bedroom from which we could suspend the 35mm camera with a 1,000 foot mag above the characters,” says Ramsay, who likes to operate and “react to the feeling of a moment”, and was behind the camera for All of Us Strangers. “I had my grip Kevin Fraser seven inches above this rigging, operating the dual slider as the scene developed. It’s tough to find 35mm familiar crew but Kevin’s very comfortable with rigging film gear.”

Meanwhile, Ramsay was on the zoom, timing it precisely to push in so another character disappeared from the frame. “Each time they had to leave the bed without us feeling the bed move, and then another character got in and they were revealed. Building a structure to support the 35mm gear on location was difficult but what was most important to us was having absolutely no cuts in that sequence, so there was no chance to lose the audience’s attention, locking them in this dream.”

As well as not being too heavy handed with the sense of nostalgia, Haigh wanted to avoid being overbearing with the suggestion of Adam’s different states of mind, wanting the subtlety to almost make the audience question where they were and whether it was the past or present. “The only time we pushed it was the club sequence where Adam is intoxicated and that feeling was motivated more by the drugs he had taken than by the state of mind and the presence of ghosts in his life,” says Ramsay. “For the club scene, we had more free rein to really push the lighting, transitions, use reflections and break the fourth wall by Adam looking into the camera, confusing the situation.”

While pushing the camera movement and making it more confusing in that sequence, the filmmakers wanted everything else to be fairly stable, with a “slight movement and breath to it” achieved by shooting on zoom lenses and moving “constantly in and out of the zoom, to make everything feel like it was breathing a little and slightly strange.”

Difficult locations to control where the crew were at the mercy of what already existed included the Whitgift Centre shopping centre in Croydon. Shooting there demanded the crew carefully pick the time of day they were filming due to the large glass ceiling through which the sun would shine.

“Sequences that were fun to work out included the tube scenes which were shot on a tube line we had access to for a certain amount of time and could go back and forth on,” says Ramsay. “Adam’s journey always needed to appear to be in one direction, so I needed to work out when to mirror his placement on the tube and when to switch extras, so he always seemed like he was going in the right direction.”

In scenes taking place on the train, reflection was an important motif because “reflection is your self-identity” and the filmmakers “wanted to represent the decay of Adam’s psychology through the way he was seeing himself in those moments.” In line with Haigh’s subtle storytelling, the director wanted the use of reflections to be gentle and quiet rather than overbaked. “So, it was a case of choosing when to do it and leaning into what exists in reality,” says Ramsay. “For example, tube windows morph your face naturally, so we thought let’s lean into what happens in this environment and use it as a tool.”

Haigh emphasises the importance – “especially when lensing a story with queer identity at the heart of it – that the reflection a person gives to the world can be very different to how they feel. It can be quite problematic and traumatic.” The director felt it was important that Adam sees himself in a different light each time he looks at his reflection “and things are changing and he’s learning or coming to terms with things.” Another central and constant theme running through the film for crew and cast was conveying the power of love and that “long after you’re gone, that feeling of love remains.”'

#Andrew Haigh #Jamie D. Ramsay #All of Us Strangers #Lean on Pete #45 Years #Weekend #Taichi Yamada #Strangers #Living #British Independent Film Awards #Andrew Scott #Paul Mescal #Cries and Whispers #Sarah Finlay #Warren Ewen #Wembley Park Studios #Joseph Bicknell #Kevin Fraser #Company 3 #Whitgift Shopping Centre

[brokenpiecesshine]

Paramore on Instagram, 20/02/2023.

“Running Out Of Time,” directed by Ivanna Borin. Commissioner: Andrew Reid @Andrew_thomas_reid Producer: Briana Goldberg @brigold Production Company: UnderWonder Content @underwondercontent Exec Producer: Frank Borin x Ivanna Borin @frankborin x @ivannaborin Director’s Rep: Hart Represents Director of Photography: Maz Makhani @mazmakhani_dp Editor: Ivanna Borin @ivannaborin Colorist: Joseph Bicknell at Company3 Production Designer: Justin Ryan Brown @justinbh05 VFX: Max Colt @ The Frender @maxcoltt Steadicam: Emaad Hourdozi @emaadelhardouzi Gaffer: Scott Moody & Brad Jameison Key Grip: Charles Lenz & Ian Hotujac @workingmaninc Choreographer: Alejandro Lara Stylist : Lindsey Hartman @lindseyhartman HMU: Brian O'Connor @colormebrian 📸: @ZacharyGray, @zacfarro

#2023 #Paramore #Hayley williams #Zac farro #Taylor york #Running Out of time

[waldocapote]

Arlo Parks - Softly (Live) from Douglas Ratzlaff Bernardt on Vimeo.

Live session for The Late Show with Stephan Colbert.

Director: Douglas Bernardt Production Company: Stink Films 

Global Head of Stink Rising & Music Videos / EP: Hannah Bellil EP: Dom McKiernan 

Co-Director: Filipe Zapelini DOP: Jon Chema  Colorist: Joseph Bicknell - Company 3

Typography: Bruno Oppido Motion: Daniel Fierro Post producer: Victor Cohen

PA: Thomas Bergmann Service Company: Shot Clock Service Co Producer: Harrison Corwin Service Co Producer: Louis Moreschi AD: Nick Sossi Romano 1st AC: James Teninty 2nd AC: Donovan Loew Steadi: Paulius Kontjevas VTR: Jose Segura Gaffer: Ronnie Bhardwaj KG: Jesus Sanchez Production Assistant: Christian Eatman Production Assistant: Tyrese Schultz Management: Beatnik Creative Label: Transgressive / [PIAS] America Sound team: Chris Parker FOH Engineer, Chris Miller Monitor Engineer TM: Adam Williams, Riverjuke

[dailykehlani]

@kehlani: up at night feat. justin bieber (solo version)

Director: Nono & Rodrigo @nonoayuso @t0s_k4

Video Commissioner: Shadeh Smith @shadehsmith

Executive Producers: Sara Nix @saranix, Thomas Amoedo @thomasamoedo, Marina Blanco @marinayma

Production Company: Partizan x Landia @wearepartizan @landiagram

Cinematographer: Konstantin Mazov @konstantin_mazov

Choreographers: Yani @yaniimami

Kassidy Bright @kassbright

Soraya Lundi @solundy

Stylist: Lorena Maza @lorenamazastyling

Hair: César DeLeön Ram Ramîrez @cesar4styles

Makeup: Troye Batiste @mannequinskin

Videographer: Gabe Phoenix @gc_phoenix

Photographer: Bri Acgaolli @brialysse

Photographer BTS: Mia Andre @miaandrephotography

Dancers: Yani @yaniimami, Feliz Green @feliz.green, Kassidy Bright @kassbright, Emily Imagna @emily_imagna, Messiah Butler @siahhelise, Karina Celis @karicelis, Paulina Vargas @paulinaavargas

Editor: Mah Ferraz @mahferraz

Cut&Run @cutandrunedit

Colorist: Joseph Bicknell @josephbicknell

Company 3 @company_3

VFX: Madnomad @madnomad.vfx, Yelaman Buralkiev @yelaman, Anuar Bazargeldi @bazanonami

Production Designer: Luís (Luino) Rojas @luino_luino

#kehlani #social #instagram #video #up at night

[remixinc]

Google // Athens: the city is the museum 2023 from Danny&Loco on Vimeo.

Our latest film for Google Greece.

Google - The city is the museum visit: athens.withgoogle.com

Creative Agency: Cream+Rascal Executive Creative Director: Christos Koutsoukos Senior Creative & Stills Photographer: Yiannis Pallis Senior Motion Designer: Marinos Kaklamanis Agency Producer: Aggeliki Batheka

Production House: Picky Productions

Directing Duo: Danny&Loco Executive Producer: Veta Chatzioannou Director of Photography: Evan Maragkoudakis Production Manager: Yannis Karachalios Production coordinator: Olga Tsilimpi AD, location manager, Location scouter: Christos Loupis Production Designer: Michalis Samiotis Assistant Production Designer: Myrto Daskaroli Styling: Anna Zotou Styling: Evelyna Dartzenta Casting Director: Ready2Cast Casting Director for Featured Extras: Filippos Papazoglou Production Team: Christoforos Papanagiotou, Thodoris Chatziioannou Focus Puller: Nick Tempos Camera Assistant: Vangelis Kolokithas Grips: Kostas tsitouras, Kostas Meridis, Lefteris Stefanidis Drone operator: Tassos Fytros Editor: Yiannis Chalkiadakis Grading: Company3 Color Producer: Liza Kerlin Colorist: Joseph Bicknell Post production: Imagine Pictures Original Music: Ted Regklis Sound Design & Mixing: One-Two Music Voice over artist: Vassiliki Vaikousi

[mirandamckenni1]

Cannons - Hurricane (Official Video) Official Video for “Hurricane” by Cannons   Listen & Download “Hurricane” now! https://ift.tt/5AZEGUu   Amazon Music: https://ift.tt/pTFkZm4 Apple Music: https://ift.tt/0dfkbSn iTunes: https://ift.tt/NygFvJw Pandora: https://ift.tt/UWBHkcl Soundcloud: https://ift.tt/y8fdVwF Spotify: https://ift.tt/S3Cg58l YouTube Music: https://ift.tt/Ug5pqRo YouTube: https://ift.tt/nfbv62Z   Fever Dream out March 25th : https://ift.tt/xyqiugh   Follow Cannons:  Instagram: https://ift.tt/xudb2kE TikTok: https://ift.tt/wrkeFhM Facebook: https://ift.tt/YydWvgF Twitter: https://www.youtube.com/c/cannonstheband YouTube: https://www.youtube.com/c/cannonstheband Website: https://ift.tt/KWLv7ne    Crew: Director & Editor - Ryan Rundle Producer - Benjamin Del Guercio  Executive Producer - Frank Borin Executive Producer - Ivanna Borin Director of Photography - Corey Jennings 1st AC - Dima Shorin Techno Lead Tech - Robert Warwick Techno Head Tech - James De La Torre CLT - Emilio Marcelino ACLT - Silver Hernandez SLT - Antonio Marasco Key Grip - Jake Reeder Best Boy Grip - Charlie McGlinsky Choreographer - Wendell Phipps Art Director - Alexandra Heine Leadman - Walter Morales Art Assistant - Angel Pinzon Wardrobe - Lyn Alyson Wardrobe Assistant - Alex Levey Hair - Sara Tintari Makeup - Kandi Hernandez Makeup Assistant - Nelly Santiago HMU Intern - Dulce Moran 1st AD - Tim Deal Production Manager - Kalid Hussein BTS Videographer - Antonio Reid BTS Photo - Mariah Lewis BTS Photo - Meredyth Lewis AD PA - Lynn Millspaugh Set PA - Natalie Stockwell   Colorist - Joseph Bicknell Color House - Company 3 Additional VFX - Sunset Edit VFX Artist - Mark Miko Camera & Lenses - Old Fast Glass Technocrane - Elite Camera Support Shot at One Big Stage   Commissioner - Bryan Younce Digital Marketing - Sarah Flanagan & Drew Schieffelin Band Manager - Jon Siebels   Cast: Michelle Joy Ryan Clapham Paul Davis Studio Director - Adam Brooks Studio Camera A Op - Harper Carney Studio Camera B Op - Romello Nelson Usher - Mark Gargnier Usher - Ben Hilzinger Choir Singer - Wendell Phipps Choir Singer - Chris Greenwell Choir Singer - Tricia Plinzke Choir Singer - Maryah "Jules" Handy Choir Singer - Victoria Estrada Choir Singer - Alicia Reason Healed - London Gargnier Healed - Topher Vibar Healed - Mike Scocozza Healed - Mariah Lewis Healed - Amber Clapham Healed - Drew Schieffelin Healed - Oliver Martin Lyrics: I can bring a change, I can bring the thunder and the rain Everything around me, everything will rearrange   I'm coming back like a hurricane I'm gonna take you higher On a cloud of silver haze I wanna take you higher Away, away, away   We can blow them over  We can take them out if you stay This is just a warning  Nothings standing in my way I told you before    Coming back like a hurricane I'm gonna take you higher  On a cloud of silver haze I wanna take you higher  Away, away, away   Take you somewhere far away  Take you somewhere far away  Away, Away, Away   I’m coming back like a hurricane I'm gonna take you higher On a cloud of silver haze  I wanna take you higher Away, away, away   #Cannons #Hurricane #FeverDream via YouTube https://www.youtube.com/watch?v=LZ2kSbSrDLs

#IFTTT #YouTube #Youtube

[wallacephotobiz]

The Sentence of Michael Thompson (Interactive) from Kyle Thrash on Vimeo.

The Sentence of Michael Thompson is a winner of the 2022 Best of the Year award. To explore the full list of winners, check out vimeo.com/bestoftheyear

Sentenced to 42 to 60 years in prison due to charges stemming from a low-level 1994 cannabis sale, Michael Thompson remains in prison even as the state where he was arrested legalizes marijuana use.

Please look into the work over at LastPrisonerProject.org on how to get involved. All the love and gratitude to Michael, Rashawnda, and Kim and all the activists, researchers, and crew that helped in making this meaningful project.

Official Selections + Accolades: 44th Emmy Awards - 'Best Short Documentary' nomination 95th Academy Awards Qualified Vimeo Best of The Year Short of the Week - Jury Award Winner "Short of the Year" World Premiere • • • SXSW 2022 - Audience Award Winner + Jury Special Mention Official Selection • • • Palm Springs Shortfest - Jury & Audience Award Winner Official Selection • • • Hamptons International - Special Mention + Audience Award Winner Official Selection • • • River Run - Jury Award Winner Official Selection • • • Chicago Film Critics - Audience Award Winner Official Selection • • • Traverse City Official Selection • • • Santa Barbra Official Selection • • • Doc NYC Official Selection • • • Indy Official Selection • • • Rhode Island Official Selection • • • Calgary Official Selection • • • Nashvile Official Selection • • • Hollyshorts Official Selection • • • Atlanta Official Selection • • • Athens Official Selection • • • Rooftop Official Selection • • • Freep Directors Library Feature Hollywood Reporter Best Shorts of the Year

Director: Kyle Thrash + Haley Elizabeth Anderson Executive Producer: Bryn Mooser, Just Lacob, Kathryn Everett, Lydia Kives Executive Producer: Rashida Jones, Amanda Spain Executive Producer: William Crouse Production: Synonymous Pictures With Support from: Last Prisoner Project, MSNBC Films, XTR, Documentary+ Producer: Kyle Thrash, W. Ian Ross Cinematographer: Logan Triplett Editor: Matt Schaff Composer: Malcolm Parson Musicians: Jon Key, Dwayne Dugger II, Malcolm Parson Post sound: Calvin Pia Color: Joseph Bicknell Color Producer: Kristopher Young Titles: Eduardo Palma Production Sound Mixer: Nik Dranksoaki, Mark Haygen Assistant Camera: Kameron Donald, Hannah Noel B Camera: Noah Elliot Morrison G+E Specialty: Gavin Smith Production Manager: Jake Sharpless, Kathryna Postema Production Assistant: Andrew Diolio, Jose Marrero, Andre Rowlett, Arielle Mock Production Consultant: Robert Kandle Music Supervisor: Joe O'Riordan Archivist: Dorian Stern Researchers: Mira Edmonds, Emma Siskin

[vm4vm0]

James Blake - 'Can't Believe The Way We Flow' from Frank Lebon on Vimeo.

Crew

Director - Frank Lebon Production Company - Camera Club Executive Producer - Anastasia Ehrich Producer - Nat Baring, Jill Ferraro Production Coordinator - George Young, Celeste Doig Production Assistant - Maria Grierson, Ed Sullivan Location Manager - Celeste Doig

Dir of Photography - Molly Manning Walker Gaffer - Rory Cole 1st AC - Rory McLean Focus Puller - Benji Kirknan Loader - Saskia Dixie, James Wicks Grip - Tom North Grip Assistant - Brendan Senden BTS - Toby Haygarth

Colour Grade - Joseph Bicknell at Company3 Sound Design - Will Berger Film development - Cinelab UK

Costume Designer - Edie Ashley Costume Assistant - sashadavai, Kenya Lendo Cupid Jewellery Designer - Claire Barrow Make-up Artist - Andrea Gomez Anzola, Riona O'Sullivan, Natasha Lawes Hair & Make-Up - Elaine Lewanski

Executive Casting Director - Camilla Arthur Casting - Maxine Lankitus, Sarah Small, Charlotte Roberts, Rae Elliman

Moral Support - Uncle C

Cast

Bed - Alfie & Lucy Moving In - Narx & Cece First Time Sex - Issy & Sam Deathbed - Kenny & Nivashni Pregnant - Niamh,Bellamy & Tim Smokers - Joel & Edie Cooking - Nat & Bex Young & Old - Sophie & Declan Mirror - Geroge & Jill Illness - Calvin & Mia Babymum - Alicia & Mickey Roller Bladers - Lex & Teta Bus Stop - Carolynne & David Swimmers - Adam & Allie Gimp - Miss Ivy & Bobette Magicians - Rachel & Benjy Wedding - Nancy & Alex Chess - Bafic & Claire Nun & Preist - Jess & Josh Kids - Bonnie & Jack Teacher - Camilla Teenagers - Theo, Phoebe & Poppy Homeless - Zane & Florie James Blake - James Blake Falling Kiss - Dan & Eleanor Moving In - Ben & Kush Prison - Tristan & Phil Tall & Small - Karen & David Partygoers - Suren & Erinn Karate - Jeska & Harrison Dentist - Frank & Carmen Oligarch & Wife - Andrew & Madeline Stripper - Lauren & Shem Airport - Daphne & Valentine Cupid - Mark Lebon Animator - Orfeo & Phoebe Off To Work - Ben & Dudley

Special Thanks

Gimme5 Tyrone Lebon Mary Jane Michael Koperman Dinny Hall

[montysworld]

ORVILLE PECK from Alfred Marroquin on Vimeo.

the man behind the mask.

director: Alfred Marroquin dp: Logan Triplett producers: Veronica Leon, Yamel Thompson, Dana Droppo and Kwasi Boadi ad: Cassandra Laymon underwater operator: Cynthia Hatfield 1st AC: Mike Lemnitzer 2nd AC: Nick Hightower loader: Chastin Noblett steadi: Renard Cheren gaffer: Joshua Atkin bbe’s: Eric Munk key grip: Shun Goldin grip: Oscar Matute sound op: Bree Chankn sound engineer: Zackary Shreves sound design: Raphael Ajuëlos process trailer driver: Christopher Lee Layton swing: Eddie Zamora photo: Driely Carter production design: Jake Kuykendall art director: Thomas Obed leadman: Joseph Wagoner set dresser: W. Elliott production coordinator: pa’s: Jazz, Janine, Tempest, Gabriela Perez, Victor Hernandez edit: Henry Busby color: Joseph Bicknell @company_3 vfx: Vadim Konov titles: Jump Jirak

[inspirationinbadthings]

ADIDAS "REMEMBER THE WHY" from Norm Li, csc on Vimeo.

Client: Adidas @adidas @adidasbasketball Prod Co: Love Song @lovesongfilms Agency: Johannes Leonardo @wearejl Dir: Illimitéworld @illimiteworldtv EP: Kelly Bayett @kellybayett EP: Daniel Wolfe @Judedanielwolfe EP: Deannie O’Nell @deannieo Head of Prod: Paige Kauffman @thatgirlpk Producer: Elise Tyler @snackelise Talent: Mekhi Kimble @mekhi_kimble Music: Flying Lotus @flyinglotus DP: Norm Li, csc @norm_li PD: Andrew Clarke 1st AC: Nico Martin @cleofilms Gaffer: Drew Valenti @drewvalenti Key Grip: Nick Kirsten @babytuna_can Drone: Lightcraft @lightcraft.tv Scripty: Edye Rice Editor: Matt Carter @matt_carter Editorial: Final Cut @finalcutedit Colorist: Joseph Bicknell @josephbicknell VFX: Mathematic LA @mathematic_us VFX EP: Hadi Dahrouge @hadiwd VFX Producers: Spencer Patzman & Matthew Allen @spencerpatzman @matthewallenfilm Post Supervisor & On Set Supervisor: Vincent Blin @blincestagram Sound & Mix: Barking Owl @barkingowlsound Sound Designer: Gus Koven @guskoven Rental House: Camtec @camtec_official Film: Kodak @kodak_shootfilm

[artwalktv]

Synopsis Beau, an emerging artist is about to unveil her latest installation. Her lover Paloma, is a devoted supporter and her closet confidante. Her final breakthrough hinges on the success of Beau's newest piece and soon this pressure causes a rife in the two women's relationship. Their devotion to each other is uncovered and soon life imitates art. CAST Paloma - Spencer Grammer Beau - Chase Sui Wonders Marion - Amelia Workman Arnaud - Bart Ackerman  CREW Directed by Constance Tsang Produced by Tony Yang Written by Constance Tsang & Tony Yang Cinematography by Norm Li, CSC Executive Producer Michael Pogarian Co-Producer Marta Cruanas-Compes Editor - Stephen Lee Production Designer - Colleen Dodge 1st Assistant Director TJ Choi Composer - Chase Deso Colorist - Joseph Bicknell Sound Designer - David Forshee

#Videos & Films

[dliilb]

Puma Football x AC Milan from JOSEPH BICKNELL on Vimeo.

[theo900]

JAGERMEISTER - SAVE THE NIGHT from WARD on Vimeo.

a tribute to the night.

DC for Jagermeister

Production : Stink Films Producer : Isabel Kast Executive Producer : Martina Luelsdorf Director : Paul Ward Dop : Cezary Zacharewicz Trinity op : Benjamin Treplin Gaffer : Albrecht Silberberger Grip : Glenn König Production design : Sven Gessner Stylist : Lorena Maza Editor : Xander Vander Sound & Music : Staub Audio Colour : Joseph Bicknell Online & CGI : Katalyst

[yeyshonan]

VUB 'Revers' from JOSEPH BICKNELL on Vimeo.

Dir Maroš Milčík DP Anna Smoroňová

[remixinc]

færy - ‘blyth’ from Anchous on Vimeo.

Creative Produced and Written by Liana Cornell - @lianacornell Directed by Tom Dream - @tomdream A Dream-Co Production Produced by Ghandi El-Chamaa - @ghandiec Cinematography by Diana Olifirova - @dianaolifirovadop

Chris Charles Park @chrischarlespark Darcy Wallace - @darcyjwallace Federica Somma - @trichio Grace Akinbode Hannah Rachel Sharp Jim Main Jodie Carothers @scott_twin_jod Joshua Hubbard - @joshua__hubbard Laura Crobu @lauracrobu_ Le Fil - @iamlefil Maren Fidje Bjørneseth - @marenulv Matisse Ciel Pagès - @insideamagneticplanet Maya Williams - @high_priestexx Max Cookward - @maxcookward Michelle Rudd-Scott @scott_twin_mickey Munya Versace - @munya99 Sanna Kelly @sanna.kelly Production Manager: Heba Elgamal - @hebs__eee 1st AD: Philips Nortey - @philips_nortey 2nd AD: Miles Lacey 3rd AD: Edward Ellis-Smith Focus Puller: Chris Hayden - @lightboxcatcher Clapper Loader: Ross Dixon - @ross_dixon Cam Trainee: Ellie Woodward - @elliewoodwardfilm Gaffer: Jack Lilley - @jacklilley Spark: Luke Ripley - @lukeripley_ Spark: Mike Sides Grip: Nikolay Georgiev Steadicam: Junior Agyeman Owusu - @mrjunioragyeman Director’s Assistant/ Second Camera: Katya Ganfeld - @katyaganfeld Stunt Coordinator: Austin Spangler - @spanglerartist Movement Director: Ted Rogers - @artpornblog Location Manager: Emma Griffiths Production Designer: Abi Ford - @zizi______allure Art Assistant: Daniel Munro Art Assistant: Alfie Frost Lead Stylist: Aldene Johnson On Set Stylist: Kamellia McKayed - @kamelliasara Styling Assistant: Bethany Lloyd Styling Assistant: Layan Nourouz Styling Assistant: Imogen Bennett Costume Designer: Curtis Oland - @curtisoland MUA: Coco Hirani - @coco.hirani Hair Stylist: Narad Kutowaroo - @naradkutowaroo MUA assist: Chirico Antonino Luca - @lucachirico_hmua Hair assist: Anna Randall Head Runner: Elijah Dobson Full Film Editor: Beth Roberts - @betheditslondon Editor: Arsenii Pronkin - @arspronkin @anchous_editing Post House: Company 3 - @company_3 Colourist: Joseph Bicknell - @josephbicknell VFX: ArtistBuilding - @artistbuilding Titles: Vanök Regular - @vanok.regular