25.05.17 by Kimi

Fleet Foxes – “Fool’s Errand”

Gorgeous video for Fleet Foxes’ track “Fool’s Errand” by Los Angeles-based director Sean Pecknold (with choreography by Steven Reker). What a treat to shoot something like this on 35mm! As Sean explained to us over email:

“We shot the video in Montana De Oro State Park near San Louis Obisbo, CA on 35mm film. Was a crazy shoot trying to get all of those epic shots, hauling cameras over huge sand dunes. But I think it was worth it :)”

We couldn’t agree more! Check out some stills and Behind The Scenes video below.

 

Pecknold1

 

 

Pecknold2

 

 

Pecknold3

 

 

Pecknold4

 

 

Pecknold5

 

 

Pecknold6

 

 

Pecknold7

 

 

 

 

24.05.17 by Kimi

“Makin’ Moves” by Kouhei Nakama

A trippy motion graphics short by Tokyo-based art director Kouhei Nakama. Music by Broke For Free. Found via prosthetic knowledge.

24.05.17 by Kimi

“Peupleute” by Hippolyte Cupillard

A delightful hand-drawn animation about bad weather by Hippolyte Cupillard, an animation student at La Poudrière.

24.05.17 by Kimi

Three Elton John Classics Finally Get Music Videos

Iconic tracks “Rocket Man,” “Tiny Dancer” and “Bennie And The Jets” all came out before music videos were a thing. In celebration of Elton John and Bernie Taupin’s 50-year-long songwriting partnership, they launched a competition to give aspiring creatives a chance to make the official music videos for these classic songs!

Check out “Bennie And The Jets” by Jack Whiteley and Laura Brownhill above as well as the rest of the winners below. There’s also a short video at the end that sums up the project nicely.

 

 

“Tiny Dancer” by Max Weiland

 

 

“Rocket Man” by Majid Adin

 

Elton John: The Cut

 

 

24.05.17 by Kimi

Video Premiere: Slow Leaves – “How Do I Say”

Victoria, B.C.-based Ft. Langley (aka William Wilkinson and Oliver P.D. Brooks) create a surreal retro-future for Slow Leaves’ track “How Do I Say.”

Following the life of a man navigating a brightly coloured (although oppressively dystopian) world, the visuals delightfully play against expectation. As Wilkinson explains:

“We enjoy trying to find unusual themes for the songs we write for. A lot of the time music genres will have corresponding visuals themes that it gets paired up with, which gets boring. You don’t usually match up folk music with surreal sci-fi. It’s far more interesting to us to play against convention.”

Check out the full video above as well as some behind-the-scenes shots below!

 

Wilkinson4

 

 

Wilkinson1

 

 

Wilkinson3

 

 

Wilkinson6

 

 

Wilkinson2

 

Ft. Langley’s Website

Slow Leaves’ Website

 

23.05.17 by Kimi

MONYPETZJNKMN – “Up in Smoke”

Video for MONYPETZJNKMN’s track “Up In Smoke” by Tokyo-based director Hiroki Kato. Obviously inspired by the work of Ruffmercy!

23.05.17 by Kimi

Dan Auerbach – “Waiting On A Song”

Super fun video for Dan Auerbach’s nostalgic track “Waiting on a Song” by Brooklyn-based director Bryan Schlam!

23.05.17 by Kimi

Max Cooper – Organa

Cool animation for Max Cooper’s track “Organa” by London-based illustrator Sabine Volkert.

23.05.17 by Kimi

Rosalía – “De Plata”

Contemporary flamenco singer Rosalía wanders through the streets of LA in the video for “De Plata” by Spanish filmmaking collective Manson.

23.05.17 by Kimi

Video Premiere: Marias – “Little Bugs” / Interview with Ori Toor

A delightfully psychedelic animation by Tel-Aviv-based artist Ori Toor for the track “Little Bugs” by LA-based musician and painter Jeremy Daly (aka Marias). Set to release his debut album, Peace Sign, on June 9th, working with Ori for the video felt like the perfect fit. As Jeremy explained to us:

“I had been a fan of Ori’s for a while and felt there was a strange parallel between his world of moving creatures stranded or suspended in an unknown space and the way the Little Bugs voice comes from that same sort of interior dislocated space. In both Ori’s work and the song I felt a beauty, and expansiveness but also an unknown quality. I feel like the combination of the two brings a more symbolic, psychological reading to Ori’s work — as if this growing creature of the video is a manifestation of the psychological baggage of someone moving through their life or even a representation of the actual metastatic co-dependent relationship the song describes.”

Watch the video above and check out our interview with director Ori Toor below!

 

1

Early development of the animation.

 

Jeff Hamada: You’ve really developed a recognizable style, something uniquely you. Could you talk a bit about how your aesthetic has changed over the years? How have you arrived at what we’re seeing now?

Ori Toor: Thank you! I think It’s just something that happens when you’re in the habit of making art every day for such a long time. I think right now I’m juggling between about three different aesthetics that are all different from one another but still have something in common. The thing that usually forces change to happen is boredom and stress. I try on a style for a while — either get sick of it or maybe I get a feeling it’s not interesting enough for other people and I try something else.

JH: Do you have a strong sense of an Ori Toor universe now? Perhaps things that can exist in it and things can’t?

OT: I think my regular audience has a better grasp of my universe then I do. In a way, everything I do is the result of me trying to answer that question. It never gets clearer over the years. I would love to have a coherent universe, though.

 

2

Early development of the animation.

 

JH: Did you immediately imagine a character sort of plodding along when you first heard “Little Bugs”?

OT: Yes I did. When I heard the lyrics “I don’t know why / She’s walking away” I immediately wanted to do a literal interpretation and focus on a walk cycle.
Walk cycle’s are the hardest thing for me to do. I lack the know how to make a real professional walk. But I find it really fun to just improvise a walk and see what weird broken things my lack of animation skills can come up with (it’s also a good way to describe all of my art lately).

JH: If I had watched this video muted I would have assumed it was matched with some sort of electronic music, but somehow it really fits with this. Were you concerned about matching the overall feel of the music?

OT: The music that I usually use in projects is more beat oriented. When I first heard the song I got a little worried that It might not work. Luckily the human brain has a way of making any animation almost automatically work with music. After some testing I saw there’s no reason for concern. This is the first time I work with an acoustic tune and I’m really glad it fits. It’s such a great song. Been humming it along with my partner for months now.

 

ori-toor1

Early development of the animation.

 

JH: Yeah, it’s really catchy. What is the song about for you?

OT: For me this is about the meaninglessness of life and the constant process of trying to understand what it’s all about but never quite getting it. It could also be about how sometimes inspiration can be very elusive.

JH: What’s next? What things are you working on these days?

OT: I’m still doing almost daily loops for my Looopism tumblr and my Instagram. These are self contained little art pieces. Also doing some commercial work for money. There’s nothing ahead really. But I can say I dream of doing art for a video game.

 

 

Ori Toor’s Website

Ori Toor on Instagram

Ori Toor on Tumblr

Marias on Bandcamp

Marias on Instagram

 

23.05.17 by Kimi

Sorority Noise – “No Halo”

Some fantastic shots in this video for Sorority Noise’s track “No Halo” by Brooklyn-based director Kyle Thrash (one of our favourites).

21.05.17 by Kimi

Vince Staples – “Big Fish”

Video for Vince Staples’ track “Big Fish” by director David M. Helman. Check out more of Helman’s work here, if you haven’t already!






© Booooooom Design Inc.