This is a pretty incredible music video directed by UK’s Shynola, for Coldplay’s latest release, Strawberry Swing. It looks even better in High Def.

(Thanks, William Skaleski)

Francis Thompson (1908-2003) made this striking work, NY, NY: A Day in New York, in 1957. Trained as a painter, he was interested in finding a way to capture the effects of Surrealism and Cubism in photography. He achieved that through a variety of lenses, reflectors, optical effects and editing tricks. The film works both in the abstract and narrative sense, and while it’s not animated, Thompson’s creative use of the cinema medium is fresher and more emotionally engaging than many of today’s artificial worlds created through motion graphics and digital means. Thompson was secretive about how he made the film, describing the production simply as, “a magic, secret process of bending, twisting, and turning inside out. It was a self-funded project that involved my roaming about New York City with a camera over my shoulder.”

Aldous Huxley once wrote about this film:

“And then there is what may be called the Distorted Documentary a new form of visionary art, admirably exemplified by Mr. Francis Thompson’s film, NY, NY. In this very strange and beautiful picture we see the city of New York as it appears when photographed through multiplying prisms, or reflected in the backs of spoons, polished hub caps, spherical and parabolic mirrors. We still recognize houses, people, shop fronts, taxicabs, but recognize them as elements in one of those living geometries which are so characteristic of the visionary experience. The invention of this new cinematographic art seems to presage (thank heaven!) the supersession and early demise of non-representational painting. It used to be said by the non-representationalists that colored photography had reduced the old-fashioned portrait and the old-fashioned landscape to the rank of otiose absurdities. This, of course, is completely untrue. Colored photography merely records and preserves, in an easily reproducible form, the raw materials with which portraitists and landscape painters work. Used as Mr. Thompson has used it, colored cinematography does much more than merely record and preserve the raw materials of non-representational art; it actually turns out the finished product. Looking at NY, NY, I was amazed to see that virtually every pictorial device invented by the old masters of non-representational art and reproduced ad nauseam by the academicians and mannerists of the school, for the last forty years or more, makes its appearance, alive, glowing, intensely significant, in the sequences of Mr. Thompson’s film.

One of the most interesting animated-related pieces I’ve read in a while: David OReilly discusses his technical and aesthetic approach to the short Please Say Something. His ideas are a polar opposite of mainstream computer animation:

My central idea in constructing the world of the film was to prove that something totally artificial and unreal could still communicate emotion and hold cinematic truth. The film makes no effort to cover up the fact that it is a computer animation, it holds an array of artifacts which distance it from reality, which tie it closer to the software it came from. This idea is in direct opposition to all current trends in animation, which take the route of desperately trying to look real, usually by realistic lighting and rendering, or by forcing a hand-made or naive appearance. At the time of writing, this trend shows no apparent signs of ceasing.

Nature is an experimental animator. This is a video of long-exposure photos of bugs moving under a street light. While the process is not animation, the results evoke scratch-on-film techniques, not to mention the more obvious comparison to PikaPika.

(via Kottke)

Filmmaker Gavin Freitas found this notice on Craigslist:

Cartoon Network seeks Teens (12-18) for new competition show! (Los Angeles)

CASTING TEENAGERS AGES 12-18 FOR HIGH ENERGY/POP CULTURE SHOW THAT CHALLENGES YOUR MIND AND YOUR BODY!!!!

THIS IS NOT ABOUT ANY ONE SKILL, BUT YOUR DESIRE TO WIN!!

Are you fast on your toes and quick on your trivia knowledge?
The Cartoon Network is looking for FUN & ENERGETIC teens to show us what they know in a fast paced competition show that’s big on thrills!!!

CASH PRIZES!!

Shoot Dates (MUST BE AVAILABLE ALL 3 or 4 DAYS):
TBD MID SEPTEMBER

Contestants will be paid a participation fee + a chance for CASH PRIZES!!

Participants MUST have or obtain an entertainment work permits. If you do not have a work permit we can provide you with the paperwork, but your legal guardian and school will need to approve ASAP.

Parent or Legal Guardian must accompany teens under 18 to shoot.
MUST provide age verification at audition (Birth Certificate and School ID) and a copy of current work permit if available.

If interested, please email cartoonnetworkincasting@gmail.com with a recent PHOTO, your age/birthdate, and a quick couple lines to introduce yourself

Location: Los Angeles
Compensation: daily participation fee + cash prizes

We haven’t plugged any podcasts in a while. Here’s one that’s worth your time: Todd Dolce runs an animation/cartooning webcast that should be of interest to many Brew readers. Recently, Dolce has done terrific interviews with Gene Deitch (Tom Terrific), Don Bluth (Secret of Nimh), Dan Thompson (Rip Haywire), Joe Harris (Underdog), cartoonist Bob Scott, and illustrator Lowell Hess. All deserve a listen. It’s officially called the Boing Podcast and here is the link.