kottke.org posts about video
In this beautifully shot video, four skateboarders discover the joys of skating on the frozen sand of a Norwegian beach.
Ice, driftwood, foamy waves and … skateboards? Four skaters head north to the cold Norwegian coast, applying their urban skills to a wild canvas of beach flotsam, frozen sand and pastel skies. The result is a beautiful mashup — biting winds and short days, ollies and a frozen miniramp.
The result is a lot more contemplative than a lot of other skateboarding videos. The emphasis is not on cool tricks (which were difficult to do in the cold weather) but on the vibe of skating on a frozen Norwegian shoreline with only a few hours of sunlight a day. A longer version is available to rent or buy on Vimeo (and more info here).
Citizen Jane: The Battle for the City is a documentary films about Jane Jacobs and her legendary battle against Robert Moses for the soul of New York City.
People have to insist on government trying things their way.
The film will be available in theaters and on-demand on April 21.
I’m a bit more than halfway through the audiobook of The Power Broker and Robert Moses is approaching the height of his influence. The power that Moses possessed in NYC almost cannot be overstated — I can’t think of any other single person who affected the “look and feel” of the city more than he did. I have heard the story many times, but I can’t wait to get the part with Jacobs, to hear in Caro’s words how this infinitely powerful man lost his grip on the city because of this remarkable woman and a group of concerned citizens. (via @daveg)
Update: Astoundingly, Jacobs is not in The Power Broker. Her chapter was cut for length. (thx, alec)
This is perhaps the most interesting and engaging 14-minute video about an indoor fire ant colony that you’ll ever see. (The narration merits special mention; it’s somewhere between that of a nature documentary and a trailer for a Michael Bay movie.) This colony has been very successful and is bursting at the seams with worker ants, so a massive new space full of organic soil has been arranged for them.
What happens when you introduce a massive, ravenous fire ant colony to a bin full of soil? Pure awesomeness! In this video, we watch as our favourite Fire Ant colony “The Fire Nation” moves into a bin full of soil called “The Fire Palace”. We observe the amazing tunnel work and constructions they make and witness what makes ants the best architects and designs Mother Nature has to offer.
It’s amazing how quickly and completely the ants transform their habitat into something that suits their needs…they moved almost the entire colony into the new space in only 2 days. I…I kinda want to build my own ant colony now? Looks like I need to start by reading this.
The ending of Rogue One — spoilers! — shows an unconvincing CG clone of Princess Leia receiving the plans for the Death Star just before her ship jumps into hyperspace. The beginning of Star Wars takes place just a few minutes (or hours?) after the final scene in Rogue One. Vader’s ship has caught the Rebel ship. He boards it and captures Leia, but not before she hands off the plans to R2-D2, who escapes to Tatooine with C-3PO. Watching them cut together like this, the whole narrative makes a lot more sense. BTW, on March 24, you’ll be able to watch both movies back-to-back in the comfort of your home when Rogue One is available for digital download.
In the second episode of the 6th season of Mad Men, ad man Don Draper of Sterling Cooper Draper Pryce pitches Heinz on a campaign where you never actually see the product. The ads show French fries, steak, and a hamburger with the tagline “Pass the Heinz” and your mind fills in the missing ketchup bit. Here’s the pitch (which doesn’t exactly land w/ the Heinz folks):
Now, in the real universe, the actual Heinz is running Draper’s ads.
Partly a PR stunt, partly just solid on-brand communications, the campaign is sure to delight fans of the AMC show, which in July will celebrate the 10th anniversary of its premiere. And in a nice touch, the ads are officially being credited to Heinz’s current agency, David Miami, and to Don’s fictional 1960s firm, Sterling Cooper Draper Pryce. (Draper and Mad Men creator Matthew Weiner, who approved the idea, are both listed in the credits.)
Heinz tells AdFreak that each one will get its own billboard in NYC. All three ads will also run in the New York Post, and the fries execution will run in Variety too. The ads will get support across Heinz’s social media channels as well.
See also Malcolm Gladwell on The Ketchup Conundrum.
The contemporary internet is full to the brim with videos shot from above showing how different foods and crafty things are made. Like this one. Everything is orderly, precise, and moves along at a brisk pace. And then, there’s this:
Cutting tomatoes with a dull knife, folding paper not exactly in half, excruciatingly peeling a hard boiled egg…that sort of thing. Probably not good for folks who have any kind of OCD tendency.
See also this video of the most unsatisfying things in the world. Same general idea but more clever. (via deadspin)
This is a stunning time lapse video of the cells in a tadpole egg dividing over a period of 33 hours. The filmmaker, Francis Chee, built a custom microscope and lighting system to capture the action.
I can say that it was done with a custom designed microscope based on the “infinity optical design” It is not available by any manufacturer. I built it. I used LEDs and relevant optics to light the egg. They too were custom designed by me. The whole microscope sits on anti-vibration table. I have to say that it doesn’t matter too much what microscope people use to perform this. There are countless other variables involved in performing this tricky shot, such as for example: the ambient temperature during shooting; the time at which the eggs were collected; the handling skills of the operator; the type of water used; lenses; quality of camera etc etc.
Chee says in the comments that he’s perfecting his technique and hopes to capture a complete egg-to-tadpole video in the near future. His other videos are worth a look too, like this mushroom time lapse and this gruesome video of a praying mantis eating a fly alive. (via colossal)
Cinefix lists the best movie dialogue of all time. This is an unorthodox list…not sure many would rate Aaron Sorkin’s movie about Steve Jobs so highly. I enjoyed the shout out to Primer for its realistic-seeming dialogue of the cofounders of a small startup dealing with terrific success.
Admission: I eat lunch at my desk pretty much every day. So do a lot of people. Some think desk lunches are sad, but many people trade lunch at their desks for family or leisure time at some other point in the day.
A Chinese YouTuber, Little Ye, has taken the desk lunch to a whole new level. In this video, she makes noodles from scratch, scavenges soda cans out of garbage to turn into DIY Bunsen burners & food graters, and cooks a hotpot meal right at her desk.
Little Ye, you are my new hero. In this one, she takes apart her computer so she can use the case to fry a breakfast crepe.
She and the Primitive Technology guy should definitely meet. (thx, claire)
How much money does an airline make on a typical flight in the various classes of service? On some flights, revenue from first & business class seats can be up to 5 times that of economy seats. This video explores the economics of airline classes and looks at how we got to the present moment, where the people and companies buying business class and first class tickets are subsidizing those of us who fly economy.
Pixar’s next movie, Coco, is coming out in November and here’s the first trailer.
Despite his family’s baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events.
Lee Unkrich (Finding Nemo, Toy Story 3) directs and the movie is out on November 22.
Artist & writer James Bridle has shared a video and photos of his new work-in-progress, Autonomous Trap 001. It’s a trap for self-driving cars.
Looooooovvve this. (via @robinsloan)
When the first train rolls into the station after a big snowstorm, you’d best stand well clear. This was the Rhinecliff Amtrak station in New York.
Using real images of Mars taken by the HiRISE camera on the Mars Reconnaissance Orbiter, Jan Fröjdman created a 3D-rendered flyover of several areas of the planet’s surface.
In this film I have chosen some locations and processed the images into panning video clips. There is a feeling that you are flying above Mars looking down watching interesting locations on the planet. And there are really great places on Mars! I would love to see images taken by a landscape photographer on Mars, especially from the polar regions. But I’m afraid I won’t see that kind of images during my lifetime.
It has really been time-consuming making these panning clips. In my 3D-process I have manually hand-picked reference points on the anaglyph image pairs. For this film I have chosen more than 33.000 reference points! It took me 3 months of calendar time working with the project every now and then.
Watch this in the highest def you can muster…gorgeous.
This interactive map shows where the 79 million people who have immigrated to the US from 1820 to 2013 came from. In the past, incoming residents from Canada, Italy, Germany, and Ireland were prevalent, but more recently Mexico, China, and the Philippines have led the way.
What I think is particularly interesting about immigration to the U.S. is that each “wave” coming in from a particular country has a story behind it — usually escaping persecution (e.g. Jews escaping Russia after the May Laws were enacted, the Cuban Revolution) or major economic troubles (e.g. the Irish Potato Famine, the collapse of southern Italy after the Italian Unification).
There are plenty of dark spots on United States’ history, but the role it has played as a sanctuary for troubled people across the world is a history I feel very proud to be a part of.
The graph of incoming immigrants as a percentage of the total US population is especially instructive. Though higher than it was in the 60s and 70s, relative immigration rates are still far below what the country saw in the 1920s and before.
In 2012, Francois De La Taille posted a video of himself racing a Paris Metro train from one station to the next, on foot. He exited the train, dashed out of the station, sprinted down the street (after pausing for a bus crossing the road), ran into the next station (after falling on the stairs), and hopped back onto the same train he’d just gotten off of.
Two years later, James Heptonstall did the same thing on the London Tube and, after a slow start, it went viral. Soon, people from all over the world were racing their hometown subway trains: Taiwan, Stockholm, Hong Kong, etc. If you’re wondering whether such a thing would be possible in NYC, the answer is yes, even if you pick the wrong door to start with:
In a recording session in 1985, David Bowie casually did a number of impressions of other singers in-between takes. Among others, he sang as Lou Reed, Bruce Springsteen, Neil Young, and Iggy Pop. These impersonations were recorded by producer Mark Saunders and were only released after Bowie’s death last year. Sanders recalls that the song Bowie sings appears to have been written quickly that day:
I think that Bowie probably wrote these lyrics quickly for the Springsteen impersonation which is first. I have no memory of us sitting around waiting for him to rewrite so it was probably done very quickly. If so, that’s pretty impressive! The imagery is definitely very Bruce.
The accompanying piece by Saunders is worth a read as well. During one of several sessions with Bowie, Mick Jagger showed up to record their Dancing in the Street cover for Live Aid; they did the whole thing, start to finish, in three hours.
The band was still working on different sections of the song, so there was a lot of stopping and starting, and it was as if Mick was wired to the sound because he could be in the middle of a serious conversation and when the band started playing he’d immediately start dancing and when the band stopped, he would, too. Not a full-blown Mick Jagger-on-stage kinda dance, but an on-the-spot dance that would enable him to continue his serious conversation. I thought this was awesome — like, he’s the real deal; music is in his blood and he just can’t even help himself!
A heist film featuring a getaway driver named Baby — B. A. B. Y. Baby? — directed by Edgar Wright of Hot Fuzz fame? Take. My. Money. This is like the comedy version of Drive. In making the film, Wright himself was influenced by the “holy trinity” of heist films from the 90s: Point Break, Reservoir Dogs, and Heat.
See also Tony Zhou’s video tribute to Wright: How to Do Visual Comedy.
Update: Well, that was the international trailer (which is good!) and this is the American trailer (which perhaps is not as good).
Is it me or does the American trailer aim about 15 IQ points lower than the other one? (thx, david)
The events and highly intricate plot lines of Breaking Bad take place over 62 episodes spanning 5 seasons, a true megamovie. Is it possible to edit all that down into a feature-length film that makes any sense? This fan-edit aims to answer that question.
What if Breaking Bad was a movie?
After two years of sleepless nights of endless editing, we bring you the answer to that very question. A study project that became an all-consuming passion.
It’s not a fan-film, hitting the highlights of show in a home-made homage, but rather a re-imagining of the underlying concept itself, lending itself to full feature-length treatment.
An alternative Breaking Bad, to be viewed with fresh eyes.
I haven’t had a chance to watch it yet — perhaps tonight — but am curious if it’s any good.
Update: Aaaaand it got taken down. Fun while it lasted! I’ve updated the embed to this copy on YouTube but that probably won’t last that long either.
Update: If you missed it yesterday before it got taken down, it seems to be back in its original home on Vimeo. *shrug* (Hahaha, it was up for about 10 minutes. Gone again!)
Maria Guadalupe, an economics and political science professor, and Joe Salvatore, a professor of educational theater, recently put on a pair of performances that restaged the three Presidential debates between Donald Trump and Hillary Clinton. But this time, they had a woman play the Trump role (as “Brenda King”) and a man play the Clinton role (as “Jonathan Gordon”), with each attempting to portray the precise mannerisms, styles, and speech of the respective candidates. How would audiences react to the gender-switched candidates?
Salvatore says he and Guadalupe began the project assuming that the gender inversion would confirm what they’d each suspected watching the real-life debates: that Trump’s aggression — his tendency to interrupt and attack — would never be tolerated in a woman, and that Clinton’s competence and preparedness would seem even more convincing coming from a man.
But the lessons about gender that emerged in rehearsal turned out to be much less tidy. What was Jonathan Gordon smiling about all the time? And didn’t he seem a little stiff, tethered to rehearsed statements at the podium, while Brenda King, plainspoken and confident, freely roamed the stage? Which one would audiences find more likeable?
The audience’s reaction to the performances was surprising.
We heard a lot of “now I understand how this happened” — meaning how Trump won the election. People got upset. There was a guy two rows in front of me who was literally holding his head in his hands, and the person with him was rubbing his back. The simplicity of Trump’s message became easier for people to hear when it was coming from a woman — that was a theme. One person said, “I’m just so struck by how precise Trump’s technique is.” Another — a musical theater composer, actually — said that Trump created “hummable lyrics,” while Clinton talked a lot, and everything she was was true and factual, but there was no “hook” to it. Another theme was about not liking either candidate — you know, “I wouldn’t vote for either one.”
Here’s a clip from one of the rehearsals:
I think it’s important not to take away too much from this experiment (and perhaps the same should be said of televised political debates in general) but after watching that short clip and hearing about the audience’s reaction, I couldn’t help but think of Al Gore. In the lead-up to the election, I’d never thought of Clinton that way — meaning very smart, compassionate, and supremely qualified but ultimately a bit dull and uninspiring a la Gore — but maybe she did lack a critical charisma compared to Trump.
Since the Kennedy/Nixon debates, we’ve known that how candidates handle themselves on television — in debates, interviews, televised speeches, etc. — is critical to the voters’ perceptions of them. Gore, Jimmy Carter, Michael Dukakis, Mitt Romney, Bob Dole, Walter Mondale, John Kerry…they all were bested by more charismatic candidates (Reagan, Obama, Bill Clinton) that were in some cases not as qualified on paper. Even the Bushes (especially Dubya) had an aw shucks-y folksiness that could charm people sympathetic to their message. Perhaps Hillary Clinton belongs on that list as well. (via mr)
Filmmaker Jennifer Crandall has spent the past two years travelling all around Alabama, collecting short video vignettes of people’s lives — “Might we pull out our cameras to capture a few tiny moments from your life?” — and now she’s posting the videos on the Whitman, Alabama site.
I believe in listening and I believe in creating spaces intimate enough for voices to be heard. I believe in Alabama and her people. So I wanted to try to amplify her voices. To do this, a patchwork team of us set out and began to make a 52-part documentary film.
We crisscrossed the state, made acquaintances with strangers and asked: “Might we pull out our cameras to capture a few tiny moments from your life?”
And people said yes! (This still surprises me every time.)
And then we said: “There’s a catch. Can we do it while you read some poetry?”
I have to say, you Alabamians stepped up to the plate. You said, “Yes, I believe that’d still be all right.”
Each of her 52 subjects recites a verse from Walt Whitman’s poem Song of Myself. Why Whitman and not a poem by a southern poet?
I like the idea of cheekily co-opting the work of a dead white Yankee and re-envisioning it through contemporary Southern voices. I think we’ve found a neat way of mixing DNA here by joining these voices with Whitman’s. We’ve taken Whitman up on his offer to be co-creators, co-authors, of “Song of Myself.”
The Sullivan family read verse 16:
Some people just hit you in the heart. I was at Yen Restaurant in Mobile, looking for a hit of comfort food—Vietnamese food — and Cathy, Samantha and Brandon walked in.
Samantha reminded me of myself — half-Asian, half-white, sort of a tomboy. I approached them. Immediately they were open and warm. I asked Cathy if they might want to read for the project.
She said sure. No hesitation. She appreciated art and music. Samantha did, too. Cathy stenciled boats for a living. Samantha wanted to be an illustrator or graphic designer someday.
Sometimes if people think something isn’t going to look good to other people, they won’t let you see it, let alone film it. But Cathy threw open the doors in full welcome.
Spend some time with the project, meet some of your fellow Americans you might not know that well. (via @alainabrowne)
Update: Jia Tolentino interviewed Crandall about the project for the New Yorker.
The first time Crandall read “Song of Myself,” it was 1990, and she was sixteen, standing in a bookstore in McLean, Virginia, having just moved back to the United States. Because of her father’s job, with U.S.A.I.D., she had spent most of her childhood in Bangladesh, Haiti, and Pakistan. “My mom is Chinese, from Vietnam, and my dad’s a white dude from Denver, and at that moment I just felt that I did not understand America,” she said. She pulled a paperback anthology of poetry off the shelf, and Whitman stuck out right away. “Though I wouldn’t have articulated it then, what I responded to was this idea that everyone embodies diversity, not just the country. That many people are negotiating multiple social contracts, the way I’d been doing since I was born.”
Oh, this is just a little brilliant. Steve Reich is a composer famous for his experimentation with musical looping and phasing. His 1967 piece Piano Phase featured a pair of pianists repetitively performing the same piece at two slightly different tempos, forming a continually evolving musical round. Seth Kranzler took this idea and made a Reich-like piece with two iPhones ringing at slightly different tempos. Here’s a video of the effect in action:
Man, this is nerdy on so many levels and I am here for it.
In 1970, Duke Ellington and his orchestra played a medley of songs by The Beatles on the Ed Sullivan Show. The set list was:
She Loves You
All My Loving
She’s Leaving Home
Ticket To Ride
See also The Beatles singing I Want to Hold Your Hand on their very first Ed Sullivan appearance, which kicked off the British Invasion in earnest.
Because many people have trouble with very large numbers, what if you reimagined the billions of humans on Earth as a slightly more manageable number? Say, 100? If 100 people represented the current population of the Earth:
25 people would be 0-14 years old
31 would be Christian
23 would be Muslim
15 would be Hindu
6 would speak Spanish
5 would speak English
54 would be urban dwellers
11 would live on less than $1.90 USD per day
95 live in an area with a mobile-cellular network
And some that are not on that page:
1 person would die every 15 months
2 people would be born every 6 months
1350 people would have died, all-time
When you perfectly match a video camera’s frame rate to the rotation of a helicopter’s rotors as it takes off, it looks like it’s magically floating away on the breeze. Here’s an older video of the same effect that I probably posted back in the day. Here’s an explanation of the effect:
Since each frame has to ensure the blade is in the same position as the last it therefore needs to be in sync with the rpm of the rotar blades. Shutter speed then needs to be fast enough to freeze the blade without too much motion blur within each frame.
Here the rotor has five blades, now lets say the rpm of the rotor is 300. That means, per rotation, a blade is in a specific spot on five counts. That gives us an effective rpm of 1500. 1500rpm / 60secs = 25.
Therefore shooting at 25fps will ensure the rotor blades are shot in the same position every frame. Each frame then has to be shot at a fast enough shutter speed to freeze the blade for minimal motion blur.
This is basically the same technique used by John Edmark for his strobe light sculptures.
Wired recently challenged neuroscientist Bobby Kasthuri to explain what a connectome is to people with five different levels of potential understanding: a 5-year-old, a 13-year-old, a college student, a neuroscience grad student, and an expert neuroscientist. His goal: “every person here can leave with understanding it at some level”.
Watching this, I kept thinking of Richard Feynman, who was particularly adept at describing concepts to non-experts without sacrificing truth or even nuance. See him explain fire, rubber bands, how trains go around curves, and magnets.
To The Right is a collection of left-to-right tracking shots from movies assembled by Candice Drouet. Included are films like Jackie Brown, Fight Club, Little Miss Sunshine, Psycho, The Shining, and The Grand Budapest Hotel.
Ezra Edelman’s fantastic documentary OJ: Made in America won the Oscar for best documentary this year. In a video for Fandor, Joel Bocko explains while the film’s focus is on Simpson, it also explores seven broader themes about contemporary America: sports, the media, Los Angeles, class, domestic abuse, policing, and race.
OJ: Made in America emerges not simply as a brilliant biography, it’s also a stunning social portrait that can stand beside any novel, epic film, or piece of longform journalism.
And in this video for The Atlantic, Edelman explains how, before murdering his ex-wife, Simpson was an advertising pioneer, the first black athlete to become a nationally known product pitchman, appearing in commercials for Hertz, Chevy, and Schick.
One of the most interesting aspects of Edelman’s film is how Simpson’s feelings about being black shifted after his arrest. For most of his life, he distanced himself from the black community, famously declaring “I’m not black, I’m OJ.” He didn’t get involved in the politics of the day or speak out like Muhammed Ali and other prominent black athletes did. He enjoyed preferential treatment by the LAPD, who help him keep his abuse of women under wraps. Black America had nothing to offer a man who enjoyed being rich and famous in white America. But then the trial happened and he hired Johnny Cochran, who made race into the central issue of the case, deftly aligning Simpson with a black community who had endured decades of racism and brutality in LA at the hands of society and the police.
Every time I watch or read something about how Rogue One was made, I come away more intrigued. And it’s not about how they made the film…it’s about the tools they built to help them make the film. A few weeks ago, I posted about the full-length story reel they made from bits of old movies so that director Gareth Edwards could determine the pacing:
There was no screenplay, there was just a story breakdown at that point, scene by scene. He got me to rip hundreds of movies and basically make ‘Rogue One’ using other films so that they could work out how much dialogue they actually needed in the film.
It’s very simple to have a line [in the script] that reads “Krennic’s shuttle descends to the planet”, now that takes maybe 2-3 seconds in other films, but if you look at any other ‘Star Wars’ film you realise that takes 45 seconds or a minute of screen time. So by making the whole film that way — I used a lot of the ‘Star Wars’ films — but also hundreds of other films too, it gave us a good idea of the timing.
In this video, we see a couple more tools the team used to facilitate the making of the film. The first is a VR video game of sorts that ILM built so that Edwards could move a virtual camera around in a virtual set to find just the right camera angles to capture the action, resulting in a process that was more flexible than traditional storyboarding.
The second tool jumped around a virtual set — a complete digital model of Jedha City — and rendered hundreds of street views from it at random. Then the filmmakers would look through the scenes for interesting shots and found scenes that looked more “natural” than something a digital effects artist might have come up with on purpose — basically massively parallel location scouting.
Both are attempts to introduce more serendipity and possibility into a digital filmmaking process that sometimes feels a little stilted. I think animation studios like Pixar have been using these techniques for years, but it’s interesting to see them applied to live-action films like Rogue One.
Martin Luther King’s I Have a Dream speech is one of the greatest examples of American oratory. In this video, Evan Puschak looks at how King’s speech was constructed and delivered, examining King’s references to Lincoln’s Gettysburg Address & Shakespeare, his use of lyrical techniques like alliteration and anaphora (the repetition of a word or phrase at the beginning of successive clauses), and the mixture of plain and poetic language throughout the speech. Spoiler: King was a rhetorical genius and there’s a lot going on in that speech.
(Fair warning: Trump comes in abruptly at the 6:00 mark. I get the point he’s trying to make with the contrast, but I wish Puschak would have done without it.)