Short Film: Seth Scott™ – elxr_Track3_v2.3, 3min., UK, Music Video

9fd22b73a9 poster

Experimental holistic visual accompaniment to 1/5th of Seth Scott’s release ‘Cathedral Ruins of the Old You’ on the independent London record label PLZ Make It Ruins. The Fader called it a ‘half surreal art installation and half BTS footage from Avatar.’

News & Reviews



Director Biography – Leigh Bloomfield (STARLIGHT)

319882 10152482116345473 794303377 n

Leigh Bloomfield is a writer, director, visual artist and a co-owner of Leap Productions based in London, England.

Leigh recently filmed and edited the BBC2 TV series “The Retreat with Nick Knowles”. The show was received with great reviews and high ratings, and will later this year be having it’s second run on Netflix.

Commercially Leigh has worked as editor on the UK Nintendo Switch campaign. It consists of adds showing the console being used by anyone, anywhere and at anytime.

Leigh’s other credits as camera man and producer include the short film “Box Therapy”, this won Best National Short’ at the Making Waves film festival.

With a strong background in painting and photography, Leigh uses mixed media, to tell stories.

Leigh grew up in the south west of England in Torbay, where he attended South Devon College of Art and Design. Then went onto higher education at Wolverhampton university where he studied BA in Electronic Media and a Masters in Media and Animation.

Short Film: STARLIGHT, 4min., UK, Experimental


A story of the beauty of nature.

Project Links
  • Film Type:
    Experimental, Short, Other
  • Runtime:
    3 minutes 53 seconds
  • Production Budget:
    2,000 USD
  • Country of Origin:
    United Kingdom
  • Country of Filming:
  • Shooting Format:
    Canon 5K raw stills
  • Aspect Ratio:
  • Film Color:

Short Film: DESERTED EYES, 3min., Greece, Animation

Dc8f0a6e70 poster

Deserted Eyes is a song, animated music video and WebGL project by the Greek multi-instrumentalist Oh. (Olivia Hadjiioannou).

The song takes the listener beyond the vicissitudes of relationship and love – beyond the criteria of reciprocity and togetherness.

It casts a light on the individual within the relationship rather then the relationship itself. Expressing how one’s state of mind — if left unchecked and allowed to settle too long in dark and despondent moods —eventually wears away at the soul of the other — casting an immutable spell unwittingly upon the one you love.

The video was filmed during the late summer of 2017 in Greece where a tragic oil spill occurred causing an ecological disaster in the waters of the Saronikos and irreparable damage to the interpersonal relationships of the coastal community.

During post-production, we could not ignore the correlation that tragic event had to the song and so incorporated the visuals into the final clips.

The music video was created with traditional hand-drawn, 2D, 3D and motion graphics. The project also includes an innovative online WebGL experience embedding YouTube video, music players and animated elements to create a 3D web experiences using three,js.


News & Reviews

Short Film: AMOR TI VIETA, 2min., Canada, Animation

7ae16d2ebc poster

AMOR TI VIETA, taken from act II of the Italian opera Fedora. This piece was first performed back in 1898 in Milan, Italy. Fedora is an opera in three acts by Umberto Giordano to an Italian libretto by Arturo Colautti, based on the play Fédora by Victorien Sardou.

This music video is a stop motion animation portraying the story of this beautiful opera. KAJART and Shahrad Fredotti decided to focus on the most dramatic part of the story, portraying it in a very notable and artistic manner. In this scene Ipanov (the singer) declares his love for Fedora. He confesses to Fedora that it was he who had killed her husband, Count Vladimir.

Project Links

Short Film: TIENAS, 18TH DEC, 3min., USA, Music Vide

D59b64bdf9 poster

Debut music visuals for angst-ridden, urban track ’18th Dec’ by Mumbai-based rapper Tienas, aka Bobby Boucher — self named on account of a speech impediment he was born with, which incredibly disappears whenever he raps.

News & Reviews


Director Biography – Martin Ponferrada (EVERYTHING IS UPSTREAM)

Dbc5d17d9a headshot

Born in the provinces of Central Philippines, Martin Ponferrada was brought to Australia in the early 90s by his parents. While studying, he worked as a red carpet cameraman and upon graduation wrote and directed several spec scripts and self-financed indies which have been screened at festivals all over the world. Accomplishments include a first place genre prize at the StoryPros Awards, the Grand Prize at the California Film Awards, second runner-up at the Domani Visionfest and more. “Upstream” represents Martin‘s first creative endeavour into animated filmmaking.


Director Statement

I should start this director’s statement by giving you, those who are about to watch this strange film, a sense of what you are about to see. It is a film about dreams that also holds the inverse: a dream about film – and not only that, but sketch and newsreel too. For me, there has always been something oddly dreamlike about flickering newsreels on old projection screens. But whatever this is, it means the world to me. It is a sincere exercise of light and movement, which, like most art, takes as its concomitant the exposure of some kind of truth through the depiction of some kind of lie. Though in Buddhism, I quickly learned that the absence of truth does not make a lie. The absence of truth makes a dream – one we all live in and call truth. But we do not know we are in this dream for the same reason fish do not know they are in water. Awareness of the essential, no matter how obvious, is not so easily attained when perception is inevitably reduced by one’s various doings. Or something like that. Basically, we can no longer distinguish life from the tasks we present ourselves while living; but these tasks are no more life than they are attempts at grasping, and so we get stuck evaluating life by how well we grasp, attaching happiness on a measure of things grasped against things ungrasped. But this is not living. This is grasping. And if the grasp does not matter, then what of the things we grasp? They are formless. Like apparitions, they are without essence. They are empty and emptier still in our attempts to grasp them, and yet grasp we still do, and we call this grasp life.
So concrete is this state that to be aware of it is often said to be like waking from a dream… All the more alarming, then, that this is the air monks breathe. Studies have shown that Buddhist monks presented with optical illusions reacted with a higher level of clarity and were able to control the speed at which information entered their thoughts. This made them adept at sifting the reality from the illusory, that is, the living from the grasping. Learning this, I came to wonder what visuals would emerge were such monks to aim this clarity on themselves. Four interviews later, I had listened to four elegant dreams. Elegant not in their composition but in their spiritual review, their capacity for reflection, their lack of nonsense as would otherwise be expected from more cluttered minds (like my own). But there was also darkness. An undeniable bleakness that did not fit in with the idealized magic I originally set out to depict. Drownings, fallings, deaths – all dark and terrifying, yet the frankness with which this terror was communicated lent itself an air of stark balancing, like there was no difference between the dreams we experience in sleep and the state of perennial grasping we call life – and to be woken from each is to leave behind a world of highs and lows, the grasped and the ungrasped, and realize that none of it was ever really there. Mind blown. This is the engine of our film. “Upstream” comes upon us in a burst of flame and is wiped from view with the dropping of blinds. It begins with “My parents tell me not to worry”, and ends with, “It’s a dream”.