M2Film is Denmark’s leading provider of commercials and branded content for all platforms. We live and breathe motion pictures, and we all share the same passion for telling good stories – all day, every day. Our CGI team consists of more than 250 producers and artists, and the team is growing. With an international CGI animation set-up between London, Aarhus, Copenhagen and Bangkok we take a production through a full production cycle; directing, storyboarding, editing, modeling, rigging, layout, animation, lighting, compositing and grading; and we produce some of the highest-quality animation available. In our Motion Design department we are all about visual concept development and good design – no matter the medium or platform. Our art directors gladly take on the role as visual directors on all kinds of mixed media productions – from graphic spots and broadcast design to promos and music videos. Duckling is our full service Post Production house based in Copenhagen covering all areas of Grading, 3D, VFX, Motion Graphics, International Servicing and Post Production Project Management.
A wide range of inhouse facilities makes Duckling a fast and flexible collaboration partner for all clients. Our inhouse production is known as “BANG! Because this is no nonsense film production. From ideas and shooting to Post Production and graphics – these guys do it all, and they do it well! With a multitalented permanent staff BANG specializes in content for all platforms. Corporate movie, web movies, integrated projects or what ever you need – BANG! Over the past 8 years we have developed cost-effective, volume-based production facilities for TV versioning, adaptions and mastering. Focusing on scale, efficiency and economy - for our selves and especially for our clients - we can help you reduce the on-going costs of TV production, without compromising on quality, delivery and graphic standards.Where do you want to go? You can't choose your family, but you can try to change them In Theaters - Get Showtimes | He'll do anything for love...Even get between two drug lords
The true purpose of the Great Wall is far more terrifying than we thought Teaching gets a whole lot harder with a bully like this The Girl With All the Gifts Jay Weissberg, Chicago Tribune Why is it that good actors in career stasis so often wind up in zombie films? No one reading the outline for ... Katie Walsh, Chicago Tribune Though Gore Verbinski has made a name for himself with large Hollywood studio pictures like "Pirates of the Cari... Kenneth Turan, Chicago Tribune The opening title "Based on a true story" can cover a multitude of movie sins, but in &qu...Jan Vormann SVormann LegoLego GardenStarted PatchingDispatchwork LegoDispatchwork PatchingVenice DispatchworkMovement ArtArts And Crafts MovementForwardJan Vormann, 26, is a German artist who has spent the last three years travelling the world fixing crumbling walls and monuments using Lego. Vorman took his project from its humble beginnings at an art fair in Rome and brightened up thousands of people's days with his brightly colored plastic Lego bricks.
The requested page title contains invalid characters: "%C3". Return to Main Page.Videos SiteArt Class VideosArt Room VideosVideos OfVormann LegoJan VormannGuy LegoLego LegoCool Art VideoForwardJan Vormann restores crumbling architecture with what he calls dispatchwork with the emphasis on the patchwork. Instead of plaster or stucco,the German artist mends cracks,holes and fissures in buildings with Lego blocks. He's left his mark on the streets of Amsterdam,St. Petersburg and Tel Aviv,among other places.Indians In Aarhus shared their post.WE CAN'T WAIT FOR SATURDAY....We have received an overwhelming response for the food stalls at the Diwali Mela. This means that there is a great opportunity to taste different kinds of Indian Street Food on that day. If you are talented and would like to show off your singing/dancing skills at the Mela then come prepared. We will provide the stage and the audience Diwali Mela is an open event. So no pre-registration is required. We look forward to welcoming you, your families and friends at the Mela.
The IIA Team P.S. Even though credit cards have become very convenient, you won't have the possibility of using them at the Mela. Please bring cash!....not Rs.500 or Rs.1000 notes, please :-) Indians In AarhustoDiwali Mela - 2016Aarhus, DenmarkWE CAN'T WAIT FOR SATURDAY....This means that there is a great opport...unity to taste different kinds of Indian Street Food on that day. Please bring cash!....not Rs.500 or Rs.1000 notes, please :-) Kundeservice: 00800 5346 5555 Vær med til at bygge månedens minimodel i din LEGO® Store butik! Byg en LEGO® model af et Næbdyr den 2. Før musen hen over nyhedsbrev for at se oplysninger! ANMOD OM ET GRATISLEGO KATALOG HOLD DIG OPDATERETMED LEGO NYHEDEROn PLAYTrack: Cognitive Science on Play and Playfulness Recent years have radically changed (at least western) society´s views on play and playfulness. Rather than as the mere antithesis of work, play has now by many been accepted as the sort of creative and relaxing, progressive and ritualistic, freeing and binding activity that enables us to be “energetic, imaginative and confident in the face of an unpredictable, contestive, emergent world” (Kane, 2004, p. 63).
However, what it means in cognitive terms to be playful is still absolutely underexplored. Financed by the LEGO Foundation, PLAYtrack (see also own Webpage) is a five years Research Project of the Interacting Minds Centre dedicated to enhance our knowledge on this topic. From 2017, a large part of my research activity will focus on PLAYTrack and specifically a systematic exploration of "playfulness" as a cognitive state of mind. Currently, I am working on this mainly via three projects: 1) the creation of "PLAYCE" - an interactive datbase about play and playfulness research (realized via Python in interconnection with Mendeley) , with a graphical interface enabling easy overview and access to a steadily growing range of play and playfulness research also to a non accademic audience. 2) the research-project "Ducks in a box" - exploring the "features of playfulness" in adults via a range of quantitative and qualitative measures (interview, questionnaires, secondary RT-tasks, ECK, GSR - more in planning)
3) a research cooperation with the Southafrican NGO TREE about changes in concepts and experiences of playfulness in pre-school educators using microphenomenological interviews. For all of these studies and more ventures of PLAYTrack we are looking for cooperations with other researchers and interested scholars. We are also open for students interested in a traineeship. On Neurocinematics: Brain and Cognitive Studies of Moving Images We are living in a technologically fast advancing world offering for purposes as science and knowledge transfer but also advertisement and amusement strongly immersive environments such as virtual reality. Nevertheless, film, even in the non 3-D version - has seemingly not lost its attractiveness. One reason for this lasting value might be that film has developed a refined repertoire of ways to create a) strong immersion (we can live other lives and realities, deeply engaging with these worlds cognitively as well as emotionally) while at the same time allowing
b) a distanced stance towards these new perspectives, granting reflection and learning. Both effects in their combination and integration are likely to contribute to film’s reach out to our lives “off-screen”: films can change our opinions, beliefs, possibly even our perceptual habits (see below), and by all of that will have an effect on our actions in world, making it an obvious need to study film. Obviously, this all is depending on the skilled usage of films specific narrative means such as camera, montage, special effects and more – which over the last decades have been multiplied and refined by countless technological and creative innovations. Luckily, film theory has tried to catch up with these innovations, offering a large amount of works on “film language”, in which the single elements (such as different camera and montage techniques etc.) are often described explicitly with respect to their different effects on spectators’ engagement with the movie.
This represents a particular attractiveness for neuroscience raising the hope that – by exploring the neural correlates of the single elements of film language – it might be possible to on the one hand learn more about film or spectator’s experiences of film (by learning about their causes in neural and physiological processes and having more sensitive measures to detect changes), on the other hand of the brain (by getting to know the correlates of specific neural markers in spectators experience, thus getting closer to the role of those neural markers (possibly also involved in other processes) for behavior and experience ). This hypothesis got my research started. In my PhD, I conducted 3 studies looking for distinct neural correlates of different camera uses (zoom, dolly and steadicam) and editing techniques (cuts across the line versus continuity edits). Results reveal significant differences that indeed support some hypotheses of film theory with regard to these stimuli:
- Camera movements that are judged as producing pictures more similar to those humans see during own bodily movement are correlated to a stronger activation of the human motor cortex during activation, possibly indicating a simulative “embodiment” of the camera(man) by the spectator - Edits that are judged as more realistically representing a scene (continuity edits) are correlated to neural markers (ERP components) indicating remapping processes possibly making up for the structural violation detected when the cut appears. Cuts across the line on the other hand elicit components known from change blindness experiments as those only appearing when a change is detected. Furthermore motor cortex activations during action observation across continuity edits show regular hemispheric biases (reflecting the hand with which the observed action is executed) while motor cortex activations across cuts across the line do not show this bias but an equal activations of both hemispheres possibly reflecting the spatial orientation problem caused by the left and right reversing cut across the line.
Taken together these studies support that different uses of narrative devices of film (camera and montage) cause different experiences in spectators, and especially changes their mode of engagement with the movie (being either rather emerged or in a distance stance towards the movie) In my future research I would like to a) further explore this field by - conducting a number of control and new experiments similarly looking for neural markers of different film language elements (including also camera angles etc.) - adding physiological techniques (heart beat, skin conductance, FACS) and eyetracking to better assess the whole body state of subjects. - adding behavioral measures (for example from body illusion experiments see work of Andrea Serrino) and interviewing techniques (micro phenomenological interviews, trained by Claire Petitmengin) to better assess subjective experiences of subjects - conducting a number of experiments exploring the malleability of the markers as well as experiences due to expertise and training (in cooperation with Joerg Fingerhut, Berlin)