Videoclipuri & Milimetraje Cul

[Ambra Blu]

Lasa ca iti explic practic altadata. Aburii au fost de iefect .

Electronic Performers de la Air. Cu puncte spermatozoizi care zburda spre comoara.

1. Au fost de efect, ca au fost centrati dintr-un bong spiritual, unde ardea frunze djin-ul din sticla de gin.

2. Comoara??? Pai ei nu zburda spre comoara, ca le sapa altu groapa si mor de vii, carati in sicriul lui Pj Harvey din clipul lui Tricky, Broken Homes.

[Airlight]

Mon, nu m-as fi deranjat sa scriu dac-ar fi fost vorba de o trupa.

Aia sunt regizorii.

Rili, cate trupe stii tu ca-si fac treatment pe clip ?

[Ambra Blu]

Mon, nu m-as fi deranjat sa scriu dac-ar fi fost vorba de o trupa.

Aia sunt regizorii.

Rili, cate trupe stii tu ca-si fac treatment pe clip ?

Nu am auzit de regizorii aia. :oops: Totusi, ca mi-e lene sa bag Google, zi de ei. Si, hai, fie, baga aici si treatmentu', sa cream un antecedent sa bag si eu la Cunningham. Hai, Ctrl + V.

[Airlight]

www.lynnfox.co.uk

stai sa vad pe unde-am salvat -acum niste luni bune- treatmentul..

[Airlight]

Nu-l gasesc pe cel original, am sa caut pe cd-uri,
Uite un fragment, tot ce-am mai gasit intr-un site.

Hayling - FC Kahuna

The video is an attempt to translate the unfolding of a classical love-story into an abstract succession of sensuous atmospheres. We gradually follow the courtship process, from the initial shy and fragile glance, to the careful establishment of bodily contact. Over the duration of the track we watch the invigorating stimulus of a giant and versatile organism as it is coupling with a cosmic epicurean light source. It is Romeo and Juliet’s moment of attraction transferred into an abstract Eden of epic proportions.


Era mai mult, si foarte misto; scris de manutele lor..

[Ambra Blu]

www.lynnfox.co.uk

stai sa vad pe unde-am salvat -acum niste luni bune- treatmentul..

Misto site.

[Airlight]

Iata-l, asa cum l-am promis:


LynnFox: FC Kahuna Hayling promo

Director LynnFox
Record Company City Rockers, London
Comisssioner John Hassay
Contact John Hassay
E [email protected]

Treatment
The video is an attempt to translate the unfolding of a classical love story into an abstract succession of sensuous atmospheres. We follow the courtship process, from the initial shy and fragile glange, to the careful establishment of bodily contact. Over the duration of the track we watch the invigorating stimulus of a giant and versatile organism as it is coupling with a cosmic epicurean light source. It is Romeo and Juliet's moment of attraction transferred into an abstract Eden of epic proportions.
She stirs. Flicking her wingtips and peening a velvet flank. The long graceful arc of her body disappears into the salty dusk light, a distant blue glow picking up her silhouette. Sparkling luminescence dances about her, playing in the grooves and shallows, fizzing on the shifting tendrils.
She is a breathtaking creature.
This is how he finds her. Efortlessly melting into her environment, yet impossible to miss. He never saw true beauty till this night. At once she senses his presence and freezes. Their eyes meet.
Then slowly at first, he approaches, his shilver armour casting fligkering light onto her skin. The rays caress her warmly causing her to blush, but she unfolds and allows him closer. They are captivated, held in each other's gaze, paying no attention to the devils and astronauts whirling around them.
As his courage increases his advances become more daring, shining bright like magnesium. She struts peacock-style, basking in the warm light rays filtering from his headlamp. He probes and she recolis like seaweed caught in the tide. They dance back and forth. His touch would burn holes in cellulose fabric but she doesn't care, not while his lens flares dilate the iris. "You kiss by the book" she replies.
This close encounter can only end in bloodshed. Its danger is the key to its appeal and the temptation could be all-consuming. It is a fleeting embrace on a beach far from the withering routine of civilised life. This is something to remember but not to repeat.
LynnFox

Eu zic ca e misto.


Si nu e cu paste, l-am retastat dupa un print mai vechi.
Care to comment ?[/i]

[Ambra Blu]

1. Am avut nevoie de Webster.
2. Prea literar pentru un treatment.
3. Prea SF pentru gustul meu.
4. Nu am vazut clipul in realitate (if any) dar l-am vazut cu ochii mintii, eficient deci tretmentul dpdv vizual (il vad ca un anime cu ceva imagini translucide si constelatii a la Bjork).

[Airlight]

sper ca 1, 2 si 3 sunt doar neputinte temporare

4: http://www.colonelblimp.com/directors/lynnfox/ , desi hayling e la o rezolutie mai buna la lynnfox pe site, trebuie doar sa-l cauti.

hint: dupa ce-l vezi, n-ai sa mai poti sa f** niciodata la fel

hai ca inchei aici cu baietii astia.
Ziceai ca dai un treatment in contrapartida ?

[Ambra Blu]

sper ca 1, 2 si 3 sunt doar neputinte temporare



hint: dupa ce-l vezi, n-ai sa mai poti sa f** niciodata la fel

Ziceai ca dai un treatment in contrapartida ?

1, da. 2, 3 - nu.
acum tocmai l-am vazut pe site-ul indicat de tine: da, delicato-evanescent, exact cum ma asteptam. ori sint eu prea bun, ori. e misto clipul, dar eu tot la fel o sa fut in continuare, nu asa asexuat ca ei.
treatmentul lui cunningham pt 'all is full of love'

Against black we hear the faint sound of electricity gently surging.
All around us, banks of fluorescent lights, behind Plexiglas flicker to life at random, illuminating an elegant, pristine white environment.
It has a Japanese feel to it, a simplicity in its design.
As we track forwards we are dwarfed on either side by two enormous medical/industrial robots. In unison they sweep around towards a workspace littered with eggshell white plastic parts.
As we get closer the parts become more visible and reveal an organic nature, their shapes resemble humanoid forms.
From above we see clearly a female form in a fetal position completely abstracted and disassembled. Although it is artificial it is beautiful and elegant.
The machines set to work in extreme slow motion. Their arms gracefully engaging with the incomplete human form, removing and adding parts to the partially hollow plastic shell and its matt black complex inner workings.
Although only the front portion is in place its features are clearly those of Bjork’s, albeit the smoothed panels of a Japanese motorbike.
The eyes open as the robotic arms construct consciousness. Warm orange sparks fly against the cold blue white plastic.
It feels like we are watching the last stages of an artificial intelligence's birth.
As it starts to sing, the elegance of the song and the imagery is contrasted by the abstractions caused by this incomplete form. It never quite becomes whole.
As the track unfolds so too does the imagery developing in stages.
The figure, still incomplete is upright now. Its hand reaching up to touch its own face. We reveal more of the scene.
Gently white fluid, like milk starts to was[h] over the forms and eventually engulfs it (this would be achieved by submerging the forms in a vat of milk and draining it off, filmed in reverse).
When the form emerges from the vat we reveal that it is number two in a series. Still with Björk's features, the two ARTIFICIAL INTELLIGENCES begin to engage with one another.
Locked together in a surreal embrace, parts intertwined and fused, we concentrate now on details, kissing, slow motion white fluid, fluorescent light.
The imagery is slowly becoming more sexual but way to [sic] surreal and abstract to be offensive.
We see the plastic bodies begin to unfold like strange flowers.
The last sequence of shots as we pull back very wide reveal an indescribably abstract life form made from the two unfolded, artificial, humanoid forms.
It's like Karma Sutra meets Industrial Robotics.
The shots in this video will not be as difficult as you might imagine.
The main performance aspect of the video would involve attaching blue panels to Björk's body and replacing these areas with model parts filmed against the same background.
This will give the illusion of her being hollow, completely artificial. We would shoot everything as a lock off.
As we approach the finale, the shots would possibly start to include a mixture of computer graphics and live action, used seamlessly to depict these robots unfolding.
A lot of preparatory work would be needed and some compositing but the shot would be very simple.
I am convinced that this would make an extroadinary surreal performance video.
The imagery would be majestic and we could be sexually suggestive as we like and get away with it.

[Airlight]

'all is full of love':
acum 3-4 ani de zile ma uitam ca prostul la quicktime-ul cu clipul asta in loop, cel putin cateva ore bune.
treatmentul e de fapt shooting script, baiatul ala stie uimitor de bine ce face. abia ultimele randuri au gust de pitch, de parca i-ar fi fost frica ca n-o sa-l primeasca.

io zic ca-i bine sa dam din astea, pen'ca nene astia chiar au inteles ce vrea sa zica clipul si ne explica ca si cum ar trebui sa le dam banii

e de fapt exact genul de chestii care ma motiveaza sa fac ce fac.

ura, hai vorbim

[Ambra Blu]

'all is full of love':

treatmentul e de fapt shooting script, baiatul ala stie uimitor de bine ce face. abia ultimele randuri au gust de pitch, de parca i-ar fi fost frica ca n-o sa-l primeasca.

corect, asta vreau de la un treatment, sa arate a shooting script, ca de-aia sintem la film si putem vorbi de clipuri, si nu de scenarii literare :sick: . asta am observat si eu, cu teama de pitch din final. :lol:

[Airlight]

Dan Gordon, destul de nou pentru Faithless "I want more".
Nu e artsy, prieteni, dar are tone de imagine buna. Un proiect unlikely to happen daca Rollo de la F. n-ar fi vazut, cica, documentarul lui Gordon "A state of mind" si n-ar fi facut, smartly enough, legatura.

Ca rezultat DG a dus numitul documentar plus piesa la final cut londra, unde un mester vechi ca Joe Guest a luat tot zvacul de pe imagini si l-a crosetat gros si trainic de a iesit ce o sa vedeti, daca o sa vedeti.

Eu zic ca merita.

[Ambra Blu]

Sour Times, un clip Portishead facut din footage din scurt metrajul 'To Kill a Dead Man', un omagiu adus filmelor cu spioni din anii '70. Filmul - pentru care a fost compusa piesa Theme From To Kill a Dead Man si in care au jucat si Gibbons si Barrow - si clipul au fost concepute, normal, sa serveasca drept suport pentru muzica celor de la Portishead, o modalitate de a-si imbraca sunetele fara ca ei insisi sa fie nevoiti sa-si confectioneze un look trendy, dupa cum spunea unul din membrii trupei. Clipul nu mi-a placut deloc. Mai multe informatii la
http://kotinetti.suomi.net/heikki.hi...lladeadman.htm

[Ambra Blu]

'Squarepusher - Come on my selector' regizat de C. Cunningham, cu un look de film japonez, cu actori si subtitluri asiatice; in mare, e povestea unui gardian prins si torturat de copiii handicapati mental dintr-un azil. Imagine crystal clear, montaj pe breakbeaturi, scirtiieturi si alte noise-uri care compun muzica Squarepusher, arte martiale si multa, multa voie buna. Se poate trai lejer fara.

[Ambra Blu]

Primul clip de la Anonim ft Parazitii, regizat de Andreea Paduraru. Cred ca apare luni pe posturile TV. Cu imagine de filme de anii '20-30, casete circulare, noise-uri, scratchuri, si sound de anii 2000. Glumite cu albine care polenizeaza peretii la colt, cu solistii care calca intr-un wc reprezentind industria muzicala romaneasca, ceva sado-maso, sticla care scuipa omul in gura si multa voie buna.

[WraIth]

Sour Times, un clip Portishead facut din footage din scurt metrajul 'To Kill a Dead Man', un omagiu adus filmelor cu spioni din anii '70. Filmul - pentru care a fost compusa piesa Theme From To Kill a Dead Man si in care au jucat si Gibbons si Barrow - si clipul au fost concepute, normal, sa serveasca drept suport pentru muzica celor de la Portishead, o modalitate de a-si imbraca sunetele fara ca ei insisi sa fie nevoiti sa-si confectioneze un look trendy, dupa cum spunea unul din membrii trupei. Clipul nu mi-a placut deloc. Mai multe informatii la
http://kotinetti.suomi.net/heikki.hi...lladeadman.htm

povestea mi-a placut,chiar daca ii una mai tipica shi des intalnita, eu sunt un mare adept al filmelor care au la baza un misslead de acest gen;shi nu numai,maj filmelor care au o nota de psihologie,sau sa fie pur shi simplu incurcate in firul lor epic.
clipul inca nu l-am vazut,dar despre melodie nu am cuvinte.mi-a fost recomandata shi de o prietena.f frumoasa.mie cel putin imi place.

[Airlight]

http://www.submarinechannel.com/chan...sicVideos.html


ca sa linistim un pic lucrurile

[Ambra Blu]

Stim linkul, multumim. Noi nu de acolo vedem clipele.

[Ambra Blu]

DJ Krush - Aun Movie (1996) un documentar avind-ul in epicentru pe DJ Krush. Imagini din concert asociate cu voice-overuri in engleza si subtitrate in japoneza, piesaje urbane si inregistrari din studio, totul intr-o maniera freestyle. Printre cei atinsi de valul seismic pornind din platane: Jazzy Upper Cut, Mos Def, Rino, DJ Cam, DJ Kensei, Stash, Tragedy, Futurama 2000. Lectura suplimentara la 'Scratch' si 'Arakimentari'. Filmul se termina cu Eri Ohno cintind in studio Mind Games a lui J.L., pe loopurile lui DJ Krush. Un film de Junji Yasuda.