Sweet.

This is a fresh idea on how to use this new fangled augmented reality technology, called Augmented Reality Cinema. The plan is to take locations and match movie clips to them through augmented reality; check out the teaser video below.

Though seems more appropriate for events and teasers as opposed to outright daily consumption. Though for entertainment companies, bands, and the right marketing/advertising minds this could be a really cool set up. I could even see a History Channel app using this.

To quote Frank Ocean’s “Novacane” – “Some visionary shit”. This video is fresh as hell. Great concept and executed perfectly to an amazing track that marries obsession, sex, lust, and young love into a comedic and ultimately haunting video.

Picked up from the man @johngotty
Follow for more visionary shit @social8gency

I caught with one of the young guns in music video directing, SMKA affiliated Dustin Chambers, and all around top notch dude.  One of the guys that I’m expecting to see a lot from this guy in the future so good to drop into Dustin Chambers & The SMKA Experience.

Was directing always where you felt you wanted to be?

Yes and no. When I was a kid, I really wanted to be a director, then in college I wanted to be a documentary photographer, and at this point I do about 50% video and 50% photojournalism. They’re two very different types of storytelling, though I find that my documentary photo style seeps into my music videos quite often. I’ve always connected less with directing narratives and more about creating rhythmic visuals.

Where are you originally from?

Atlanta, GA.

Has your hometown/how you grew up affected your outlook on filmmaking at all?

I grew up in a very visually literate family; my mom is a painter and my dad is an advertising photographer, so I was always around it. As I got older we would pick apart commercials and photos as we saw them in passing, so I really learned what a successful visual was, what an unsuccessful visual was, and most importantly, what elements made them each that way.

Who inspired you to get into the field?

It’s hard to say. I of course have my favorite directors, but in terms of music video, I really got into it when I got iMovie in Junior High or maybe even earlier. My first video was some stuff I filmed at a July 4 parade in a friend’s neighborhood; I cut it to Born In The U.S.A. by Bruce Springsteen, and it was really magical to discover the power of making a cut as a beat in the song hit. Great editing is still the most important thing to me. Also, a huge inspiration in music video editing is a little movie called Interstella 5555, an anime set to Daft Punk’s album Discovery. It’s unbelievable. Every single movement, flash, cut, blink, etc. syncs with the beats of the album.

What has been your greatest tragedy and triumph in the business thus far?

Hmm, tragedy? I generally avoid tragedy at all cost. I guess as I still feel like I’m starting out, budgets are very low, and there’s no money to rent lighting equipment. This is fine, fortunately cameras these days allow to shoot in very low light while still looking pretty damn great, but it’s definitely a crutch. Directors, including myself, aren’t learning to light their scenes, and I feel that’s really crucial to the next level. So. That’s relative tragedy.

Triumph. I guess being lucky enough to be affiliated with and respected by SMKA. They’ve definitely got a huge movement going on in Atlanta and I wouldn’t be anywhere near it without them. If you’re trying to learn how to come up in the game as an artist, producer, or manager, watch them, they’re smart and tasteful.

I’m also very thankful that Aleon Craft was the first artist I got to work with extensively.  It meant a lot to fall in with someone who was willing to have fun, be weird, and try stuff that most rappers wouldn’t.  Don’t get me wrong, Craft has got swag, but he’s not afraid to let his guard down and be human.  I’m tired of rappers trying to fit into that tired old bling mold.  It’s not about that anymore.

Favorite 5 movies & why?

This is always tough. Excuse most of these answers being based on the visual aspect of movies:

City of God – For all reasons good movies are good. Cinematography is gorgeous, but the kicker is the editing. Just watching the opening scene, from the sharpening of the knife to chasing the chicken in the alley, it’s all perfectly executed.

Indiana Jones and The Raiders of the Lost Ark – Childhood favorite. Like all older Spielberg, the cinematography is epic and unlike most movies today, it’s all real! No shitty green screen and CGI backdrops.

Barton Fink – I’m a Coen Brother fanatic. This is a weirder one, but all the performances are great.

Chicago – What? A musical? Yes, a musical. I love this every time I see it. Great actors, great music, great choreography. I like most anything that feels like a really long music video.

Spirited Away – Hayao Miyazaki is in another world.

Favorite 5 albums/songs & why?

“Babylon” – OutKast – Ultimately my favorite OutKast song. The humming on the beat. Big Boi’s coming-of-age verse. Incredibly relaxing.

Grizzly Bear – Yellow House – A great album to put on and tune out. One summer I listened to this and played Earthbound, my favorite SNES game as a child, a whole lot. Now when I hear it I see little flashes of the 16-bit characters walking about. Maybe that’s bad?

Pixies – Doolittle – Nonstop jams.

The Roots – Phrenology – This was my first Roots album, lots of high school memories attached to it.

The Beatles – Rubber Soul – My childhood jam. I listened to a lot of Elton John, Bruce Springsteen, and Beatles when I was little thanks to my pops.

Where do you believe your strengths are in this game?

My strengths…I’d say my strengths in terms of video is editing. I can polish a turd pretty well. In terms of “the game”, probably just practicing good business. Communicating well with others.

To up and coming directors what advice can you give them about focus, how to get into the industry, etc?

I’d say practice like hell. I know I keep going back to the editing bit, but it’s so important. Filmmaking is relatively very very cheap these days; you can be a one-man studio. It’s what I do. To be able to edit in Final Cut efficiently, so you can translate what you have in your head to your sequence as easily as possible, is imperative. This will also teach what works in terms of flow and what doesn’t. Find people to make free videos for so you can keep practicing. Setup a website with WordPress or whatever you want that showcases only your content. Be a nice guy, people like nice people. Call people back, respond to emails quickly. Reach out to people you want to work with, more likely than not, they’ll be down for at least a beer.

What are the craziest moments you’ve had on set?

I can’t say there have been really crazy moments on set. Shooting Aleon Craft’s video for “Sunday” was just a crazy two days of driving around in a Bronco. We would find ourselves in someone’s neighborhood, pick them up, drive around for a take or two, then move on. It was a blast. There was a moment when I was like, wait, is this my career I’m carrying out right now?

Where do you see your future leading you?  What is the endgame for Dustin Chambers?

I honestly have no idea. I have a lot of very different things going on. I’ve come to the realization that I’ll eventually have to choose a path and stick with it, but for now I’m just working really hard and having a lot of fun.

You’ve had a diverse clientele (Nat Geo, Adult Swim, @SMKA, etc) what do each of them bring to the table for you which made them appealing and vice versa?

I mean, they’re all really great companies. Most importantly they bring new experience from which I learn a whole lot. I feel like I’m generally winging it and hoping for the best.

You’ve done a lot of work with SMKA, how’d that relationship come together?

I was in high school with all three original member of SMKA(shout out to Paideia), though they were all a couple years older than me, so I never really knew them well. When they dropped SMKA Experiment Vol. 1 during my senior year of college, I was amazed by it. I couldn’t believe I semi-knew the people involved with it. I decided they’d be great to work with once I got out of school, so I shot Mike an email saying that I’d like to do photo or video with them and nearly a year later he called about doing the first Aleon Craft viral, “Strange“. It’s been love ever since.

How would you describe your style?

My video style is colorful and clean I think. A little heavy handed on the editing. They look like they were made on the spot, but are executed well. I’ve found myself using whip cutaways a lot, you can see a lot of them in Kyle Lucas’ Funeral video. Something about handholding the 5D makes it such an easy and effective camera move, especially when you do it at the right time.

What’s the equipment you most cherish?

I gotta say the Canon 5D Mark II. I just wouldn’t be able to make anything without it. No photos, no videos. It’s an expensive little box that my career depends on.

When I linked up with Kenneth Price earlier this year for the Behind The Video Series, he made mention of “The Wonder Year” soon to hopefully see the light of day, and below is the trailer for Ken Price’s year chronicling the great Grammy Award Winning Super Producer 9th Wonder.

If you love hip hop, click through to 9th Wonder’s Official Page, and request to have it screened in your city.

Found @pricefilms & @9thwondermusic.

We released part 1 -3 of our series this week and now Social8gency is happy to present Part 4 of our Behind the Video Series with Kenneth Price.  In this edition Kenneth and 9th Wonder break down the Rapsody’s video for “Every”.

After checking out the video read Part 1, our interview with Kenneth Price and check out Part 2, Kenneth & 9th discuss Actual Proof‘s video for “Genius” & Part 3, where they discuss Big Remo’s “Go Ladies” shot at Howard University’s famous Homecoming.

We released part one and two of our series yesterday and now Social8gency is happy to present Part 3 of our Behind the Video Series with Kenneth Price.  In this portion Kenneth and 9th Wonder break down the scene for Big Remo’s “Go Ladies” shot at Howard University’s Homecoming.

After checking out the video read Part 1, our interview with Kenneth Price and check out Part 2, Kenneth & 9th discuss Actual Proof‘s video for “Genius”.

We released part one of our series this morning and now Social8gency is happy to present Part 2 of our Behind the Video Series with Kenneth Price.  On this portion Kenneth enlists a special guest 9th Wonder to take us through the video for Its A Wonderful World Music Group artist Actual Proof and their video “Genius”.

After checking out the video read Part 1, our interview with Kenneth Price.

A few months ago I was linked up with Kenneth Price via email.  This was particularly the genesis for the upcoming MV Director Series here at Social8gency.  I’d seen that there were a number of videos being produced for 9th Wonder’s IWWMG and it came to me to contact the guys behind the camera.

We decided on a format of interview then a breakdown of a selection of 3 – 4 videos by the directors.  These are the guys saddled with bringing the musical vision or the theme of a track to life.  The first edition of the Social8gency Presents: Behind The Video; we highlight director Kenneth Price.

Was directing always where you felt you wanted to be?

Not necessarily, I can’t point to a particular point growing up where I knew it was what I was going to do my life but I ended up going to film school after nearly failing out of business school and something clicked. I enjoyed everything about the filmmaking process and was instantly fascinated with how everything came together. I’ve been pursuing it constantly for the past ten years or so.

Where are you originally from?

Raleigh, NC

Has your hometown/how you grew up affected your outlook on filmmaking at all?

Raleigh isn’t much of a filmmaking town. However, Wilmington, NC where I got my undergraduate degree is referred to as Hollywood East. Hundreds of films and television shows have been filmed there. So while I was in school I was able to work on indy films as well as big budget projects like Outkast’s Idlewild and Dawson’s Creek.

Who inspired you to get into the field?

Really just people around me who were making films. Hollywood filmmaking always seemed so unattainable it was more friends of mine and people like David Gordon Green who inspired me.

What has been the greatest tragedy and triumph in the business thus far?

That’s really hard to say, it’s always a series of peaks and valleys so I know if something incredible happens something tragic is on its way and vice versa. The greatest triumph is just being able to watch things from years ago and remember the times that went into creating the film.

How’d you link up with 9th Wonder the IWWMG movement?

About 2 years ago a mutual friend of 9th and I got me in touch with him so I could pitch the idea for “The Wonder Year” documentary. Ever since then I’ve kinda become part of that world, it just so happened it somewhat coincided with the creation of IWWMG so I started doing a lot of music video work.

Top 5 movies?

In no particular order… Rushmore, 8 ½, Bottle Rocket, Do the Right Thing, Lost in Translation.

Top 5 albums/songs?

In no particular order… The Beach Boys – “Pet Sounds”, Little Brother “ The Listening” ,  D’Angelo “Voodoo” A Tribe Called Quest – “Midnight Marauders” Steely Dan “Citizen Steely Dan” Boxset…yeah I’m cheating.

Where do you believe your strengths are in this game?

I’m kind of a one-man band, 95% of the time I’m doing everything from treatment to editing. I think its rare in any creative endeavor to have the ability to see something through from beginning to end.

To up and coming directors what advice can you give them about focus, how to get into the industry, etc?

I don’t know anything about how to “get on” or “break into the industry” or any of that, I just wanted to make a film about an artist I was a fan of and everything else kinda fell into place. As dumbed down as it sounds I guess my advice based on the past 2 years is just to never settle for something you don’t love doing. I could have made a whole lot more money working as a bank teller or an insurance salesmen or something over the past few years but you only live once so you might as well do what you love and have faith you’ll have enough money at the end of the month to get by on.

What’s the craziest moments you’ve had on set?

Nothing really crazy, we tend to keep a pretty closed set when we shoot. For pure spectacle, nothing beats the Big Remo “Go Ladies” shoot at Howard Homecoming.

Your style is seemingly rather documentary style, with your camera primarily just capturing the world around you, is that your preferred style or more a matter of what is currently being asked of you?

That’s 100% indicative of my background. I started doing music videos because of wanting to do a documentary and because of the cameras most of us are using these days its easier to capture reality because most people think you are just taking still photographs. No one has ever specifically requested the whole “just shoot this raw, documentary style” I’ve just always felt the most natural doing that. I’ve done some club videos and stuff but it always felt a little more outside of my comfort zone.

Where do you see your future leading you?  What is the endgame for Kenneth Price?

I don’t know, two years ago I never really thought about doing music videos. I’d be surprised if two years from now I’d still be actively doing as many music videos as a I am currently but it’s been a lot of fun. I get my master’s in a month, chances are I’ll end up a film professor in the future.

So for the past week or so I’ve pretty much done nothing but indulge my geek side.  I will not apologize.

Found @GeektTyrant

The artist has probably one of the coolest names going; Coran Kizer bases his work off of reinterpretations of popular characters across the animated & comic landscape.  Pretty dope stuff if you ask me, hopefully he’ll start selling them on the sly.

For the full look at his work check out Coran @ DeviantArt.