The Armed, a punk band from Detroit, Michigan continues to iron out their raw sound. Nowhere to be Found, from their 2018 album Only Love. If you’re searching for a melodramatic modern punk take — Only Love is it.
What seemingly begins as a familiar Underworld homage, it quickly devolves expectations. There’s a minor reprieve from a formulaic build-up, but director (and drummer for The Armed) Tony Wolski has something else in mind. He breaks the fourth-wall mid-video, revealing the film set (the band, a table, lights, equipment, but no PAs to be found). At the height of the reprieve, they deliver a chaotic noisy turn — a symbolic mosh pit and demolishes the scene in a violent wash of hardcore drums and screamo.
Stu Maschwitz is an absolute madman. He’s a veteran filmmaker, photographer, ex-Industrial Light & Magic, and co-founder of the now-defunct effects studio The Orphanage. He’s currently the Chief Creative Officer of Red Giant, video editing and effects software I use regularly. You’ve’re probably familiar with his work.
In short, Tank is an animated short film… made entirely in After Effects. It’s nuts. Make sure to watch the entire film and the behind-the-scenes. It’s a work of fucking art, and you can tell Stu really sunk his heart into this film. It’s absolutely wonderful.
“[Facebook video] hasn’t been beneficial,” said Neil Katz, global head of content and engagement at The Weather Channel, during a speech at the Digiday Video Summit in Scottsdale, Arizona. “It has been good for Facebook, but it hasn’t been good for us.”
“We went along for the ride every single step of the way,” Katz said. “But we noticed, over the course of two years, that we were being paid in all types of currencies — followers, shares, views — that did not feel like money.”
The Weather Channel was part of Facebook’s funding program for live and on-demand news feed videos and also produced three shows for Facebook Watch last fall. The Weather Channel’s deal to produce live and on-demand news feed videos for Facebook, for which Katz said it received a seven-figure fee, shined a light on how difficult it is to make money on Facebook. Paid to produce a predetermined number of minutes per month, The Weather Channel found it was only making $28 per minute of video produced. For comparison, Katz pointed out how the CBS reality show “Survivor” cost $45,000 per minute to make in 2009.
Not surprised. Facebook is a one-sided business. It’s closed-off, full of trolls, your mom and dad, an echo-chamber of bad ideas, and where content goes to die. While IBM clearly isn’t as brash as Elon Musk it leaves me wondering, “how much longer until Facebook has a user-exodus crisis on its hands?”
Sentimentality is a tricky thing. For those of us who possess it, experiencing “all the feels” can provide a deep well of emotion to draw from, enhancing our response to — or remembrance of — any given person, place or thing. However, like any well, it’s deep, dark and you can fall down it if you’re not careful. When it comes to our physical creations and possessions, sentimentality means the difference between tossing something in the waste bin and keeping it on a bookshelf for time eternal. Take an inanimate object that has been imbued with a life and identity of its own, like a stuffed animal, and you can begin to understand how one starts down the path of becoming a hoarder. Ainslie Henderson is to sentimentalists what Willy Wonka is to chocoholics. Since releasing his BAFTA-nominated directorial debut, “I Am Tom Moody” in 2012, Henderson has established himself as one of today’s preeminent stop-motion animators, lauded for his uncanny ability to breathe life into any manner of puppet, anthropomorphic or not. Henderson’s newest film, “Stems,” is an empathic ode to the artist’s puppets and today’s Staff Pick Premiere.
Despite the final film’s modest runtime, production took the better part of six months, a testament to the painstaking work inherent to stop-motion and central to Henderson’s ability to bring his characters to life. “I take my time,” says Henderson, who is then quick to point out that the design of the puppets is every bit as important as the way in which they’re ultimately animated. “They should have a kind of ‘aliveness’ even before they move, that way you don’t have to do terribly much in the animating to bring them to life.” When asked if he ever gets attached to his creations, Henderson’s response is perhaps unsurprising: “I cherish them. Even the ugly, or half-finished ones get a place on the shelf in my studio. They’re like this weird, constantly growing little family who stare out at me from the windowsill as I’m working.”
Wonderful camerawork, stop-motion and sound design.
These are cool. Simple concepts, fast iteration. These are really really effective. I’d like to see local news reporting pickup on these kinds of graphics. Those whimsical non-representational, 3D texturized motion graphics we’re familiar with in local news are just so shitty.
A lovely, light-hearted piece from Giant Ant. A great spot, for a great cause. As if battling cancer isn’t hard enough, imagine being a kid with a cancer diagnosis. If you want to help the IFS, donate your imaginary friends here
That being said, leather isn’t for everyone, and ethical debate aside — The Saddleback Leather Co. knows how to make a truly remarkable bag. Properly. No bullshit. It’s a lovely video production, and Dave is a really good dude:
If you don’t believe me, read his Saddleback story. It’s really, truly something else. He had some tough times. Also, Dave is one hell of a writer. I enjoy coming across these stories, because there’s always a silver-lining, for example:
In 2003, Blue and I ended up living in Juarez, Mexico in a not so nice neighborhood and rented a $100/month apartment with no hot water. I saved so much money living there that I was able to send a little money for 5 more bags, then 8, then even a dozen at a time.
Where’s this headed…
So, in 2006, just after a trip through Costa Rica and Panama, I moved to El Paso, Texas, met my super funny and hot wife, Suzette, on MySpace.com and got married 6 months later.
This looks so great. I’m glad to see Vignelli is in the documentary as well. He (and the infamous Helvetica documentary) were huge inspirations to me in high school. May he forever rest in peace.
I’m also a huge rail-nerd. So seeing Vignelli critique the 1969 CN logo is going to be mind-blowing for me. You can read more about the Allan Fleming re-branding here, and more about CN’s history, here.