Thirty years ago, aliens made first contact with Earth. Humans waited for the hostile attack, or the giant advances in technology. Neither came. Instead, the aliens were refugees, the last survivors of their home world. The creatures were set up in a makeshift home in South Africas District 9 as the worlds nations argued over what to do with them. Now, patience over the alien situation has run out. Control over the aliens has been contracted out to Multi-National United, a private company uninterested in the aliens welfare they will receive tremendous profits if they can make the aliens awesome weaponry work. So far, they have failed; activation of the weaponry requires alien DNA. The tension between the aliens and the humans comes to a head when an MNU field operative, Wikus van der Merwe, contracts a mysterious virus that begins changing his DNA. Wikus quickly becomes the most hunted man in the world, as well as the most valuable he is the key to unlocking the secrets of alien technology. Ostracized and friendless, there is only one place left for him to hide: District 9.

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http://www.music.pbtone.com/f2 7/michael-jackson-you-rock-my- world-video-punjabi-tone-marsh al-3451/
downloaded from www.music.pbtone.com

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A vid of Bladerunner.
Music by Amon Tobin
A Warner Bros Film
Directed by Ridley Scott,Starring Harrison Ford & Rutger Hauer

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Submissions are now open for the Aniboom-Fox Holiday Animation Challenge. For more details go to
http://www.aniboom.com/Competi tion/Fox/

Check out more at http://www.aniboom.com . An alien is in search of a human specimen.
Animation by grzegorz jonkajtys

http://www.aniboom.com/animato r-portfolio/jonkajtys

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Stephen Hawking A Brief History of Time

http://www.youtube.com/view_pl ay_list?p=6A7C1BB47A58FB36

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Think this is good?!?
Wait until you see http://www.bidray.com/Star-War s

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La primera referencia a dichas figuras pertenece al conquistador Cieza de León en 1547.

La matemática María Reiche influyó en Paul Kosok aventurando la hipótesis de que dichos dibujos tenían un significado astronómico.
El primer estudio de campo serio sobre estos dibujos se debe, tras cinco temporadas de trabajo de campo, al equipo de Reindel e Isla. Dichos arqueólogos han documentado y excavado más de 650 yacimientos y han conseguido trazar la historia de la cultura que generó estos dibujos, además de darles un sentido.

El aprovisionamiento de agua jugó un importante papel en la región. Las excavaciones han sacado a la luz pequeñas cavidades en los geoglifos en las que se han encontrado ofrendas religiosas de productos agrícolas y animales, sobre todo marinos. Los dibujos formaban un paisaje ritual cuyo fin debió ser propiciar la invocación del agua. Además se han encontrado estacas, cordeles y ensayos de figuras. De estos elementos tan simples se sirvieron los antiguos pobladores de Nazca para trazar los dibujos. Además hay que recordar que es una de las zonas más secas del mundo lo que favorece la conservación de los dibujos.

Vistas de cerca, estas líneas se convierten en simples surcos en el suelo. Las características geológicas de la pampa propician que no sea necesario mucho más para obtener un resultado visible. La superficie está compuesta por una capa de guijarros de un color rojizo oscuro causado por la oxidación, que cubre otra de un color amarillento claro. Los nazcas se limitaron a retirar las piedras superiores siguiendo un trazado que previamente habían señalado con estacas, unidas por cordeles, a partir de un modelo a escala menor y unas dosis de geometría. Las piedras eliminadas eran acumuladas en pequeños túmulos que todavía se conservan. El método de trabajo ha sido completamente reconstruido a partir de las pruebas recogidas por las expediciones arqueológicas.

Lo asombroso es que estas líneas solamente pueden ser observadas en toda su inmensidad desde el aire, al sobrevolar el desierto. Estas líneas también son testimonio de un gran conocimiento geométrico de los antiguos peruanos.

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Now Playing in the YouTube Screening Room:
http://youtube.com/ytscreening room


http://www.nfb.ca/ryan

2005 OSCARS for Best Short Animation

Ryan is based on the life of Ryan Larkin, a Canadian animator who, 30 years ago, produced some of the most influential animated films of his time. In the film, we hear the voices of prominent animators and artists discussing Ryan's work, and from waitresses, mission-house caretakers and homeless people who make up Ryan's life. These voices speak through strange, twisted, and disembodied, computer-generated characters--which combine to reflect the film's creator, Chris Landreth. In the words of Anais Nin, "We don't see things as they are. We see things as we are."

Some strong language. Viewer discretion is advised.

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The original video.

Another version that is worth watching and listening to as well : http://www.youtube.com/watch?v =u3Cl6iZF0ZE (thank you, aLisH1912).

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Released: April 2009
Avertiser: PHILIPS
Agency: Tribal DDB Amsterdam
Country: Holland
Category: Home electronics & audio-visual
Credits:
Created for Tribal DDB, Amsterdam, the interactive campaign -- which launches today at www.cinema.philips.com -- promotes Philips latest entrant into the television market, the CINEMA 21:9. Since the televisions 21:9 frame lends itself so readily to film, Tribal DDB, Amsterdam commissioned Stink Digital to create a piece of filmed content that could hold its own with Hollywoods best. Stink Digital director Adam Berg responded with an idea for an epic frozen moment cops and robbers shootout sequence that included clowns, explosions, a decimated hospital, and plenty of broken glass, bullet casings and money.

The film, titled Carousel, is the centrepiece of the project. On its own, it clocks in at a (totally coincidental) two minutes and 19 seconds, but Berg conceived it to work as an endless loop. Visitors to the microsite therefore have the option to spin through the films single take shot repeatedly, to stop on a specific frame, or to watch it at the preordained speed. The film also contains embedded hotspots, which, when triggered, transport the viewer seamlessly from the heavily posted film to a behind-the-scenes version of the same shot. This constant moving between two layers of reality proved one of the projects biggest and most ambitious production challenges. Other details of the online execution play off the cinematic theme; the microsites loader doubles as a credit sequence, while rich media takeover banners drive traffic to the site by teasing viewers with an original Carousel trailer.

All aspects of the production, from the film shoot to web design and development, were conducted by Stink Digital and Tribal DDB Amsterdam.

Agency: Tribal DDB Amsterdam
Global Creative Director: Neil Dawson
Creative Director: Chris Baylis
Art Director: Mariota Essery, Andrew Ferguson
Copywriter: Carla Madden, Chris Baylis
Agency Producers: Jeroen Jedeloo, Iwona Echt

Production Company: Stink Digital London
Director: Adam Berg
Executive Producers: Mark Pytlik, Daniel Bergmann, Stephen Brierley
Producer: Simon Eakhurst, Stephen Brierley
DP: Fredrik Backar

Production Service Company: Stillking, Prague
Stillking Line Producer: Zuzana de Pagter
1st AD: Jiri Ostry
Production Designer: Petr Kunc
Czech Production Manager : Jiri Kotlas
Stunt Co-Ordinator: Lada Lahoda @ Filmca

Editor: Paul Hardcastle @ Trim
VFX: Redrum, Stockholm
Post Production Supervisor: Richard Lyons
Music & Sound Design: Michael Fakesch
Additional Sound Design: Tim Davis
Colorist: Jean-Clement Soret @ MPC London
UK Production Manager: Jemma Daniel
Philips Carousel название
via advertolog.com

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exelente cancion

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In the 1980s horror writer Garth Marenghi wrote, produced, directed and starred in Darkplace, a groundbreaking series set in a hospital and exploring the depths of the author's imagination. At least that's what Marenghi and his publicist/co-star, Dean Learner, claim in modern-day interviews which both bookend and interrupt the episodes. In fact the show is cheap, chiché'd, full of gaping plot holes and startlingly misogynist. Garth Marenghi is a creation of comedian Matthew Holness, who won a Perrier award with the character at the 2001 Edinburgh festival.

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