Story of Abstract Ritual from Jeff Frost on Vimeo.

A behind the scenes preview of a new film by Jeff Frost, The Circle of Abstract Ritual (formerly Modern Ruin). Out Sunday, March 2nd, 2014.

In a sense this film is my own personal journal entry, documenting just one of many strange and wonderful shoots for Circle of Abstract Ritual.

Circle of Abstract Ritual from Jeff Frost on Vimeo.

This film took 300,000 photos, riots, wildfires, paintings in abandoned houses, two years and zero graphics to make. It changed my entire life.

Digital downloads available at |

Circle of Abstract Ritual began as an exploration of the idea that creation and destruction might be the same thing. The destruction end of that thought began in earnest when riots broke out in my neighborhood in Anaheim, California, 2012. I immediately climbed onto my landlord’s roof without asking and began recording the unfolding events. The news agencies I contacted had no idea what to do with time lapse footage of riots, which was okay with me because I had been thinking about recontextualizing news as art for some time. After that I got the bug. I chased down wildfires, walked down storm drains on the L.A. River and found abandoned houses where I could set up elaborate optical illusion paintings. The illusion part of the paintings are not an end in themselves in my work. They’re an intimation of things we can’t physically detect; a way to get an ever so slight edge on the unknowable.

Early in the process I mapped out a very interconnected narrative structure. It took a long time to fill that narrative structure in, and when I finished editing the film after seven solid weeks of being holed up in a dark room I had no idea if it was something anyone would want to watch. I almost cut the film into pieces before realizing that outside influences were pressuring me to make that decision, and that I was happy with it as it was.

It took a long time to come to the creation side of the original premise. It finally took form in a collaboration with sculptor, Steve Shigley, as well as 15 amazing volunteers who moved full sized tree sculptures 450 times over two nights to create the stop motion climax of the film (see the behind the scenes film, Story of Abstract Ritual for the tale of their monumental effort:

The idea I wanted to explore was the creation of culture as a conscious creative act, but without the trappings of dogma from institutions or even from ways of thinking. The circle of inverted trees became a small piece of the world with personal meaning where I could mark significant events, contemplate and reflect. That circle still stands, and I still visit it regularly. Several people who have been there have told me that it’s come to mean something special for them as well. They each have their own fascinating way of interpreting the power inherent in those trees.

This film is art for the sake of art. It was made with much generosity, from the people who let me crash on their couches to the people who backed the Kickstarter to people who just wanted to pitch in: thank you. This would not have been possible without your help.

Every spare cent I make goes back into creating art. If you’d like to see me keep doing what I’m doing please consider purchasing a download or a print at, or PayPal me at

Thanks for watching!

Dynamic Perception provided motion control gear for this project. They’re a great company run by an awesome dude (hi Jay!), and their product is rugged and reliable. Check them out

Beautiful Scotland from John Duncan on Vimeo.

Over the past 8 or so months I’ve travelled around Scotland usually getting up at offensively early times to get good light. I wanted to make a film which really shows what a beautiful country Scotland is. Living in Edinburgh we’re fortunate to have some truly magnificent sights on our doorstep.

Filming this has been incredible, most of the shots have involved some kind of adventure. From camping on top of Sgurr a’Mhaim as the sun sets, driving overnight to the Old man of Storr on Skye catching the sun rise and stomping through fields chasing the Jacobite Steam Train.

Shot on a DJI Phantom 2 with a Gopro 3+ (with FPV) this little Quadcopter is quite incredible. It allows you to get shots that a helicopter couldn’t even get into. By shooting 2.7k on the Gopro I was able to scale up the footage in a 1920p sequence to get tighter shots, this allowed me to stay within the CAA UAV regulations. The Gopro was shooting mosting on 2.7k Medium or Wide CAMRAW and was graded with speedgrade. Despite it’s size the camera is great as long as there is enough light! Hopefully over the next few months i’ll be upgrading to the DJI s900 which will take a GH4 camera.

I found a great website called Suncalc which projects a chart onto google maps which shows you the angle that the sun will rise from at specific times which was really helpful in planning where to be when. Fortunately the Met Office and MWIS forecasts were pretty spot on so there weren’t too many wasted trips. has been a great resource for researching routes

In the film there are shots from Skye – Quairang, Old man of Storr, Buachaille Etive Mor, Sgurr a’Mhaim – Devil’s Ridge, Ben Nevis, Forth Rail Bridge, Dunbar, Rannoch Moor, Wallace Monument, Edinburgh, Glenfinnan Viaduct, The Kelpies.

Miguel CHEVALIER “El Origen del Mundo 2013” México D.F. from Claude Mossessian on Vimeo.

Un film de Claude Mossessian 
© Claude Mossessian

El Origen del Mundo 2013, Miguel Chevalier
Installation de réalité virtuelle générative
Palacio de Bellas Artes, México D.F.
Filux, Festival International de las Luces México D.F.
Du 7 au 10 novembre 2013

Logiciel : Cyrille Henry et Antoine Villeret
Voxels Productions : 
Nicolas Gaudelet, 
Emilie Lesne

El Origen del Mundo s’inspire de la biologie, des automates cellulaires et des micro-organismes. Des cellules se multiplient en abondance, se divisent, fusionnent, prolifèrent dans un rythme tantôt lent, tantôt rapide. Nous sommes face à un monde organique vivant, intriguant, en perpétuel renouvellement qui se mêle parfois à un univers de pixels. Ce monde en noir et blanc instable glisse progressivement vers des couleurs vives et saturées qui tourbillonnent, et donne forme à l’informe.

Les courbes sinueuses qui ondulent sur la façade de Bellas Artes renoue avec les années 70 et créent des expériences visuelles inédites.

Cette installation rend hommage aux artistes du muralisme mexicain, tels que David Alfaro Siqueiros, Diego Rivera et José Clemente Orozco… dont les peintures murales réalisées dans l’espace public étaient visibles par le plus grand nombre.
Les différents tableaux graphiques colorés rappellent certains motifs décoratifs géométriques aztèques et les couleurs si présentes au Mexique, notamment avec les tissus, l’architecture, l’artisanat.

Cette création, tel un nouveau « baroque technologique », renoue enfin avec les volutes et les courbes de l’architecture baroque très présente à Mexico et plus particulièrement le baroque extrême qu’est le churrigueresque.

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