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Monthly Archives: August 2010

Nothing in the world is more flexible and yielding than water.

Procure multimedia production

Rider: Nic Burton Moore ( Junior World Champion 2004 )

Filmed: Wilhelm Rabie ( Procure multimedia )

Edited: Wilhelm Rabie  ( Procure Multimedia )

Water is life’s mater and matrix, mother and medium. There is no life without water.



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Filmed during nine journeys throughout Tibet, India and Nepal, this film brings audiences to the long-forbidden “rooftop of the world“… from rarely-seen rituals in remote monasteries, to horse races with Khamba warriors; from brothels and slums in the holy city of Lhasa, to magnificent Himalayan peaks still traveled by nomadic yak caravans. The dark secrets of Tibet’s recent past are chronicled through personal stories and interviews, and a collection of undercover and archival images. TIBET: CRY OF THE SNOW LION is an epic story of courage and compassion.

In 1949 the People’s Republic of China began invading, occupying, and colonizing Tibet. China entered into Tibet immediately after the communist victory over the Chinese Nationalists, imposed a treaty of “liberation” on the Tibetans, militarily occupied Tibet’s territory, and divided that territory into twelve administrative units. It forcibly repressed Tibetan resistance between 1956 and 1959 and annexed Tibet in 1965. Since then it has engaged in massive colonization of all parts of Tibet. For its part, China claims that Tibet has always been a part of China, that a Tibetan person is a type of Chinese person, and that, therefore, all of the above is an internal affair of the Chinese people. The Chinese government has thus sought to overcome the geographical difference with industrial technology, erase and rewrite Tibet’s history, destroy Tibet’s language, suppress the culture, eradicate the religion (a priority of communist ideology in general), and replace the Tibetan people with Chinese people.

In China itself, communist leader Mao Zedong’s policies caused the death of as many as 60 million Chinese people by war, famine, class struggle, and forced labor in thought-reform labor camps. As many as 1.2 million deaths in Tibet resulted from the same policies, as well as lethal agricultural mismanagement, collectivization, class struggle, cultural destruction, and forced sterilization. However, in the case of Tibet, the special long-term imperative of attempting to remove evidence against and provide justification for the Chinese claim of long-term ownership of the land, its resources, and its people gave these policies an additional edge.

The process of the Chinese takeover since 1949 unfolded in several stages. The first phase of invasion by military force, from 1949 to 1951, led to the imposition of a seventeen-point agreement for the liberation of Tibet and the military takeover of Lhasa. Second, the Chinese military rulers pretended to show support for the existing “local” Tibetan government and culture, from 1951 through 1959, but with gradual infiltration of greater numbers of troops and communist cadres into Tibet. A third phase from 1959 involved violent suppression of government and culture, mass arrests, and formation of a vast network of labor camps, with outright annexation of the whole country from 1959 through 1966. Fourth, violent cultural revolution, from 1966 through 1976, destroyed the remaining monasteries and monuments, killed those resisting the destruction of the “four olds,” and sought to eradicate all traces of Tibetan Buddhist culture. A fifth phase of temporary liberalization under Hu Yao Bang was quickly reversed by Chinese leader Deng Xiaoping and led to a mass influx of settlers beginning in the early 1980s. Martial law and renewed suppression took place between 1987 and 1993, with intensified population transfer of Chinese settlers. Finally, from 1993, direct orders of the aging Chinese leadership placed Tibet under the control of an aggressive administrator named Chen Kuei Yuan. Chen proclaimed that the Tibetan identity had to be eradicated in order for remaining Tibetans to develop a Chinese identity. Since Tibetan identity was tied up with Tibetan Buddhism, Tibetan Buddhist culture was in itself seditious, or “splittist,” as the Chinese call it.

Chen also was able to use China’s growing economic power to invest heavily in internal projects in Tibet, bring in millions more colonists, and he extracted unprecedented amounts of timber, herbs, and minerals from the land. He also toughened up the policies of the People’s Liberation Army and the Public Security Bureau.

In 1960 the nongovernmental International Commission of Jurists (ICJ) gave a report titledTibet and the Chinese People’s Republic to the United Nations. The report was prepared by the ICJ’s Legal Inquiry Committee, composed of eleven international lawyers from around the world. This report accused the Chinese of the crime of genocide in Tibet, after nine years of full occupation, six years before the devastation of the cultural revolution began. The Commission was careful to state that the “genocide” was directed against the Tibetans as a religious group, rather than a racial, “ethnical,” or national group.

The report’s conclusions reflect the uncertainty felt at that time about Tibetans being a distinct race, ethnicity, or nation. The Commission did state that it considered Tibet a de facto independent state at least from 1913 until 1950. However, the Chinese themselves perceive the Tibetans in terms of race, ethnicity, and even nation. In the Chinese constitution, “national minorities” have certain protections on paper, and smaller minorities living in areas where ethnic Chinese constitute the vast majority of the population receive some of these protections.

In the 2000s, many view the Chinese genocide in Tibet as the result of the territorial ambitions of the PRC leadership. It is seen as stemming from their systematic attempt to expand the traditional territory of China by annexing permanently the vast, approximately 900,000-square-mile territory of traditional Tibet. Tibet represents about 30 percent of China’s land surface, while the Tibetans represent .004 percent of China’s population. Tibetans were not a minority but an absolute majority in their own historical environment. Chinese government efforts can be seen as aiming at securing permanent control of the Tibetans’ land. For this reason, some observers see genocide in Tibet as not merely referring to the matter of religion, that is, of destroying Tibetan Buddhism. Chinese policies have involved the extermination of more than 1 million Tibetans, the forced relocation of millions of Tibetan villagers and nomads, the population transfer of millions of Chinese settlers, and systematic assimilation.

“Editing is what makes film a film.”

The Cutting Edge: The Magic of Movie Editing is a 2004 documentary film directed by filmmaker Wendy Apple. The film is about the art of film editing. Clips are shown from many groundbreaking films with innovative editing styles.

The Cutting Edge: The Magic of Editing teaches the viewer how editors compile strips of film in order to create memorable movie going experiences. In addition to interviews with a variety of respected and award-winning editors, the movie offers clips form some of the most memorable films in the history of the art form.

Directed by Wendy Apple
Produced by Wendy Apple
Written by Mark Jonathan Harris
Narrated by Kathy Bates
Starring:
Zach Staenberg
Jodie Foster
Michael Tronick
Anthony Minghella
Sean Penn
Martin Scorsese
Steven Spielberg
Quentin Tarantino

9 is a 2009 computer-animated science fantasy survival horror film directed by  Shane Acker and produced by  Tim Burton.

It is based on Acker’s Academy Award-nominated 2005 short film Acker made at UCLA School of the Arts and Architecture.

‘9’ takes place in a world parallel to our own, in which the very legacy of humanity is threaten. A group of sapient rag dolls, living a post-apocalyptic existence find one of their own, 9 (Elijah Wood), who displays leadership qualities that may help them to survive.

Shane Acker’s short:

Shane Acker studied at the UCLA School of the Arts and Architecture and originally set a goal of becoming an architect but instead chose a film career.

The short film took Acker four and a half years, on and off, to create. Originally, Acker wanted to make it as stop motion, but then went for CGI when realizing it would have turned out too expensive. He used Maya 1.5–5.5 for 3D modeling, Photoshop for the textures, After Effects for compositing, and Premiere for editing. There are homages to Acker’s influences like Brothers Quay and Pixar placed throughout. Most of it was rendered at 720×540 pixels on a three-computer dual-processor render farm. For distribution at film festivals like Sundance, Rhythm and Hues Studios offered to print the short film to 35mm using their film printer and image resizing techniques. The credits show that beyond Acker, there were five other animators and three other lighters that worked on the film. The music was provided by Eric Olsen and his band the Earganic.

Shane Acker is an inspiration to all artists film makers.


Eddie Rasta is another positive story in ‘ Stiek uit, jou bang ding! ‘. From the infamous ganglands of the Cape Flats, Procure multimedia brings you a Community uplifting TV show, that aims to help, promote and highlight the people making a difference in the less privileged communities of Cape Town South Africa.

Eddie Rasta is an inspiration to many kids in his community where he and his family has created a safe haven in the middle of the gang stricken Elsies Rivier. Eddie teaches kids about car mechanics and shows them there’s another way other than gangsterism.

“So sit stil en hou vas, en laat die show jou verras!”

Procure multimedia has a contract with CTV ( Cape Town Local Community TV channel) for prime time ( 19:00 – 19:30 ) Plus 2 reruns. ‘Stiek uit’ will also be aired on Soweto TV ( DSTV ) by next year.  We still have advertising and different sponsorship spots available before we can create our dream.            To be apart and market directly to this geographic market contact Euvrard Loubser at +27 (0)72 408 8000 or alternatively mail loubserdigital@gmail.com

To change the world all you need is a vision

Created by: Procure Multimedia
Concept: Wilhelm Rabie,  Simean February and Euvrard Loubser
Camera Operator: Euvrard Loubser, Wilhem Rabie
Editor: Wilhelm Rabie and Euvrard Loubser
Sound: Simean February , Mad Production
Graphic: Ismael Grant

Cosmos: A Personal Voyage is a thirteen-part television series written by Carl Sagan. The series is notable for its groundbreaking use of special effects, which allowed Sagan to apparently walk through environments that were actually models rather than full-sized sets. The soundtrack included pieces of music provided by Greek composer Vangelis.

Sagan was an American astronomer, astrophysicist, author, cosmologist, and highly successful popularizer of astronomy, astrophysics and other natural sciences. During his lifetime, he published more than 600 scientific papers and popular articles and was author, co-author, or editor of more than 20 books. In his works, he advocated skeptical inquiry and the scientific method. He pioneered exobiology and promoted the Search for Extra-Terrestrial Intelligence (SETI).

Sagan became world-famous for his popular science books and for the award-winning television series Cosmos: A Personal Voyage, which he narrated and co-wrote.  Sagan also wrote the novel Contact, the basis for the 1997 film of the same name.

People who’ve changed the minds of many. Sagans legacy will live on.

Directed by Michel Gondry, features what looks like a continuous shot filmed from the window of a speeding train passing through towns and countryside; however, the buildings and objects passing by appear exactly in time with the various beats and musical elements of the track. The video is based on DV footage Gondry shot while on vacation in France; the train ride between Nîmes and Valence was shot ten different times during the day to get different light gradients. The Pont du Robinet as well as Pierrelatte’s station can be seen. Gondry had experimented with a different version of the same effect in his video for Daft Punk‘s “Around the World“, where he had represented each element of the music with a dancer.

Gondry actually plotted out the synchronization of the song on graph paper before creating the video, eventually “modelling” the scenery with oranges, forks, tapes, books, glasses and tennis shoes.

Film by Ty Evans and Spike JonzeYeah Right! is notable for its soundtrack, length, and the extensive use of never-before-seen (in a skateboarding video) special effects.

The introduction credits for the video feature a unique series of shots in ultra-slow motion, filmed with Jonze’s personal camera that is capable of shooting 100 frames per second. The camera is low to the ground and very close to the skateboarder as various flip tricks are completed.

directed by Ty Evans and Spike JonzeYeah Right! is notable for its soundtrack, length, and the extensive use of never-before-seen (in a skateboarding video) special effects.

Spike Jonze is also part owner of skateboard company Girl Skateboards with riders Rick Howard and Mike Carroll.

He is best known for his collaborations with writer  Charlie Kaufman, which include the 1999 film  Being John Malkovich and the 2002 film Adaptation. , and for his work as director of the 2009 film  Where the Wild Things Ar  e. He is also credited as a co-creator of MTV‘s  Jackass

Naqoyqatsi focuses on society’s transition from a natural environment to a technology-based industrial environment. The name of the film is a Hopi word (written properly as naqö̀yqatsi) meaning “life as war”. In contrast to the first two parts, 80% of Naqoyqatsi was created from archive footage and stock images, manipulated and processed digitally on non-linear editing (non-sequential) workstations and intercut with specially-produced  CGI.

It is the third and final film of the 1983-2002  Qatsi trilogy written, directed, and produced by  Godfrey Reggio. The three films of the trilogy have musical scores by composer Philip Glass, but no commentary or speech. The music is more in the traditional orchestral tradition than much of Glass’s work as a familiar doorway to images so disconnected from the familiar world. One instrument, the cello played byYo-Yo Ma, plays a single line running through the entire piece. Some unconventional instruments are used in addition to traditional ones, including a didgeridoo and an electronically-created Jew’s harp.

Pay attention to the first image that opens the film; it’s a painting done in 1563 of The “Little” Tower of Babel, by Pieter Brueghel the Elder with a great significance in the narative sequence of the documentary.

ART OF CINEMATOGRAPHY

Powaqqatsi, or Powaqqatsi: Life in Transformation, is the 1988 sequel to the experimental 1982 documentary film Koyaanisqatsi, by  Godfrey Reggio. It is the second film in the Qatsi trilogy.

Powaqqatsi is a Hopi word meaning “parasitic way of life” or “life in transition”. While Koyaanisqatsi focused on modern life in industrial countries, Powaqqatsi, which similarly has no dialogue, focuses more on the conflict in third world countries between traditional ways of life and the new ways of life introduced with industrialization. As with Koyaanisqatsi and the third and final part of the ‘Qatsi’ trilogy, Naqoyqatsi, the film is strongly related to its soundtrack, written by Philip Glass. Here, human voices (especially children’s and mainly from South America and Africa) appear more than in Koyaanisqatsi, in harmony with the film’s message and images.


Godfrey Reggio : “It’s not that we use technology, we live technology. Technology has become as ubiquitous as the air we breathe, so we are no longer conscious of its presence. So what I decided to do in making these films is to rip out all the foreground of a traditional film—the foreground being the actors, the characterization, the plot, the story—I tried to take the background, all of that that’s just supported like wallpaper, move that up into the foreground, make that the subject, ennoble it with the virtues of portraiture, and make that the presence.”