Jonas Lindstroem
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ELEMENT
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Baby Keem "16" (2022)
director: Jonas Lindstroem
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Jonas Lindstroem for Zeit Magzin: Wo sind unsere Grenzen? from Bureau Borsche on Vimeo.
Regisseur: Jonas Lindstroem
Kamera: Nicolai Niermann
Styling: Klaus Stockhausen
Produktion: Iconoclast
Ausführender Produzent : Nils Schwemer
Produzent: Jannis Birsner
Casting-Direktoren: Affa Osman, Dominique Booker
Choreograf : Michael-John Harper
Co-Autorin : Eva Kelley
Make-up : Patrick Glatthaar
Musik: Silvio
Audio-Mastering: Rasmus Lauvring
Stimme: Eva Kelley
Schnitt : Jonas Lindstroem, Nicolai Niermann
Postproduktion : Studio Private
Postproduktions-Geschäftsführer: David Smith
Postproduzent: James Lowrey
Koloriererin : SAMANTHA DAY
Animation: Spellwork Pictures
BTS Photographer: Mark Othmer
Regie-Assistent : Maximilian Semlinger
Produktionsleiter: Justus Toussaint
Produktionskoordinator : Moritz Tibes
Produktionsassistent: Leyli Khatebzadeh
Gimbal Operator: Julian Hanschke
2. Kamera-Assistent: Sirinton Kaomanit
Licht-Assistenten: Raul Suciu, Mark Othmer
Make-up-Assistent : Patricia Heck
Styling-Assistenten: Annemarie Lahr-Eigen, Alexander Gabriel, Vincent Mank
Set-Runner: Bastian Faralisch, Assad Rajab
Models: Alexander Selzer, Amra Novak, Anton Wendel, Azama Bashir, Azza Bashir, Benny Opoku-Arthur, Christopher Cakmak, Christopher Rosenthal, Cissel Dubbick, Eliot Dupuis, Elvis Vos, Evans Yeboah, Ingo Rimpler, Joaquín Quintana, Jomkwan Emeli Phoonthong, Jörg Janzer, Julia Stöckemann, Julian Breuer, Justin Akitoye, Katrice Dustin, Leon Konrad Glitsch, Malik Bitko, Max Polaski, Michael-John Harper, Mirko Stübing, Nicolas Kowalski, Nisa-Maranda Jones, Paul Joyce Theresin, Philipp Rosenthal, Rayene Rezouani, Rhina Raths, Sophie Stöckemann, Stiven Nowak, Winnie Denis, Yeboah Evans
Besonderen Dank an:
UFO Filmgerät, ATR Motorsport, Reitclub am Olympiapark e. V., SoHo House – The Store, Stuntcrew Babelsberg, Sermed Darah
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Journal Prompt 2
Jonas Lindstroem's "TRUTH OR DARE is characterized by a dynamic use of cuts which play a significant role in shaping the viewer's experience. With a total of 32 cuts, the piece features a relatively high frequency of cuts, creating a visually engaging and fast-paced narrative.
The duration between the cuts varies, with the longest shot lasting 26 seconds and an average shot duration of 12 seconds. These rapid cuts transition the viewer through time and space, transporting them from one self-contained vignette to another. In this way Lindstroem simulates the experience of scrolling through social media where each cut acts as the ending of one story and the beginning of another fostering a sense of curiosity and anticipation.
Despite the sometimes dissimilar content between shots, the soundtrack plays a crucial role in maintaining a consistent mood throughout the piece. This consistency is also reinforced by uniform colour grading between shots. While the framing and motion in each shot may not be mirrored, they are complementary creating a seamless and comfortable transition from one shot to another.
Sound and imagery work in harmony with the soundtrack reinforcing the mood established in each shot. It both connects and guides the viewer through the various vignettes providing a sense of cohesion in an otherwise visually diverse piece. The hard cuts combined with these consistent elements help establish a rhythm and flow that engages the audience and makes for an aesthetically pleasing and thought-provoking video art experience.
The work demonstrates the power of the cut, using them to create a visually stimulating narrative that effectively communicates through both image and sound, while maintaining a sense of continuity and coherence despite the rapid transitions.
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Truth or Dare - Jonas Lindstroem
After looking into more documentary work and visual inspiration for my project I was recommended Element (the Kendrick Lamar music video). After watching this I dug deeper into the creator of it and started watching Lindstroem's other work. 'Truth or Dare' was the most outstanding piece of work id seen in a while. Being visually stunning and having an intense and unique pacing style it felt almost hypnotic. On first viewing I didn't even really know what to make of it. On second viewing I thought about themes of anxiety and social issues that are present throughout the world. Going onto read further and finding out that it's meant to represent the bombardment of information online. This really made sense to me, even though the film was made 6 years ago I think it's more relevant than it ever has been. With the amount of different information and entertainment platforms the cycle of information being loaded into everyone from technology is intense. Viewer retention is lower than ever as we've seen with content online becoming shorter and shorter to try and stop the viewer from swiping past. This film does a great job by acknowledging this technological factor by also addressing the type of social issues that people are being shown on a minute to minute basis.
Visually
I want to focus on the cinematography that stood out to me and the techniques that I recognised and will be keen to add and adapt towards my own style.
The majority of the film is stationary with the occasional motivated movement shot. This created a feeling of the viewer purely observing and taking in all information on screen. The action is there and we are simply sat taking it all in. The same way we would be when scrolling through TikTok. The stationary image creates a singular focus on what the image is and helps us relate the overall theme of the film together. The action in each shot of the sequence is unrelated, recreating this feeling of social media.
The composition of each shot varies but the frames that stood out to me were all centre framed. Straight away the viewer knows that this is what the filmmaker wants us to focus on to help explore his story. This technique is paired with colour theory - Lindstroem uses a discordant and analogous colour theme to portray his images. In shots where he wants us to be drawn away or pay particular focus to something he uses a discordant image that makes something stand out to the eye. Or he uses an analogous theme to soften and make the visual more widespread without a clear focus point. This helps with controlling the pacing of the film too as it creates the discordant coloured images powerful when combined with the editing pace.
This area of performative documentary that creates this feeling of an observatory style is interesting to me and something I would like to experiment with further.
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PEGGY GOU – STARRY NIGHT from Jonas Lindstroem on Vimeo.
Written and Directed by Jonas Lindstroem
Cinematography by Nicolai Niermann
Produced by Iconoclast
Executive Producer Nils Schwemer
Apple Music Alexa Dedlow
Producer Jacqueline Wilkinson
Production Coordinator Josephine Conen
Assistant to Director Dominique Booker
Choreographer Nina Mcneely
Editor Simon Colin
Grading Luke Morrison
Post Production ETC London
Post Producer Oliver Whitworth
Supported by Apple Music, Iconoclast
Korean Production Compass
Executive Producer Tony Choi
Producer Seounghui Kim
Production Manager Katie Kang
Production Coordinator Johana Seung
1st Assistant Director Sumi Kim
Shot entirely in and around Seoul, Korea.
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CALVIN KLEIN GLOBAL CAMPAIGN SUPERCUT from Jonas Lindstroem on Vimeo.
#MYCALVINS GLOBAL BRAND CAMPAIGN
A supercut of all individual films featuring Shawn Mendes, Billie Eilish, A$AP Rocky, Indya Moore, Bella Hadid, Chika, Noah Centineo, Troye Sivan, Kendall Jenner, Kevin Abstract and Yoo Ah-In.
Director Jonas Lindstroem
EVP Global Creative CK Cedric Murac
DOP Chayse Irvin
Styling Alastair McKimm
Set Design Jeffrey Higinbotham
Production Iconoclast
Executive Producer Jean Mougin
Producer Grace Bodie
VFX The Mill
Directors Assistant Dominique Booker
Edit Jamie Foord / Zoe Mougin @ RPS
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By Jonas Lindstroem for Metal Magazine
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jonas-lindstroem-for-zeit-magzin-wo-sind-unsere-grenzen by HENRY
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AN OPERA OF THE MOUNTAINS - for Moncler from Jonas Lindstroem on Vimeo.
Becoming the mountain. Helicopter rides on volcano peaks, 2 meters of snow per night, chasing the rare sun, fighting the Patagonian winds, waiting, waiting, fearing defeat, suddenly we feel so small against the highest of peaks. It feels good to have brought this film home, it’s feels good to be alive. An opera of the mountains for Moncler shot in July in Patagonia, Chile starring Richard Permin.
Cinematography Matias Boucard.
Ski Operator Alexander Ryden.
Drone House of FPV.
Production Iconoclast / Jean Pierre Gavini, Guillaume Le Gat
Service La Casa
Edit Max Paschke
Grade Sofie Friis Borup
VFX Mathematics
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RIMOWA & Roger Federer – The greatest legacies move us all. Directors Cut. from Jonas Lindstroem on Vimeo.
Director: Jonas Lindstroem
Client: @rimowa
starring @rogerfederer @loulampros
Agency: @anomaly Berlin
Agency Managing Director: @sosimonowen
Agency Executive Producer: Michael Macmillan
Creative Directors: @sebs19, @justinfly
Senior Account Director: @elizabethadasselin
Account Director: Lixia Zhang
Creative Project Manager: @ju.sms
Senior Business Affairs Manager: Mischa Hayter
Producer: @kimu
Production: @iconoclast_germany
Managing Director: @schwemer
Executive Producer: @nicolasblankenhorn
Production Coordinator: Swenja Jorden, @buttermiiiiandcallmeearolf
Postproducer Iconoclast: @jensmaierrothe, @mankenntsich
Editors: @carlaluff, @simon_colin_editor
DOP México/LA: @monikalenczewskadop
DOP Zürich: @rudh_mattias
Assistant Director: @dominique__booker
Production Designer: @nathanvonparker
Stylist México: @nayelidealba_
VFX & ONLINE: @millchannel
Creative Director: @gregatronix
DC Online Executive Producer: @imopai
MUSIC SUPERVISION: @dirtysoupmusic
Composer: Sam Karl Bohn
Sounddesign & Mix: @flanalog @fiftyfour.audio
Service production Switzerland: @rosas_and_co_films
Service MD Zürich: Nadia Rosasco
1st AD Zürich: Tony Fernandes
Service production México: @oriental_films
Service MD México: Mauri Clavijo
Service HOP México: @thegorch
Service Exec. Producer México: Alejandro Sparano
1st AD México: @rosellafragoso
Service production LA: @iconoclast.tv
MD LA: Charles - Marie Anthonioz
EP LA: Caroline Pham
Producer LA: @vermad
1st AD LA: Craig Owens
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Calvin Klein "Truths" from Rock Paper Scissors on Vimeo.
Video Title | Calvin Klein "Truths"
Editor | Jamie Foord
Assistant Editor | Thomas Rickert
Producer | Adam Parker
Production Company | Iconoclast
Director | Jonas Lindstroem
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REEBOK – Reconnect. This Is How We Walk On The Moon. from Jonas Lindstroem on Vimeo.
A 12 minute short film about two or three moments in life. Marking the beginning of the brands new chapter under Kerby Jean-Raymond and Jide Osifeso.
A film by Jonas Lindstroem & Jide Osifeso
Directed By Jonas Lindstroem
Creative Direction Jide Osifeso
Written by Jonas Lindstroem & Jide Osifeso
Cinematography James Laxton
Executive Producer Patrick Driscoll
Production Iconoclast
Executive Producer Charles-Marie Anthonioz, Jean Mougin
Line Producer Jacqueline Wilkinson
Production Design Carlos Laszlo
Styling Dianne Garcia
Copywriting Carissa Romain, Niall Power
Art Direction Jeremy Haunschild
Graphic Design Natalie Shields
Casting LaShawna
Casting Supervisor Dominique Booker
Editor Carla Luffe
Colorist Sofie Friis Borup
VFX Zero VFX
Music House Singing Serpent
Sound Designer Brian Heidebrecht
Featured Music GABRIELS - „In Loving Memory“ & „Loyalty“
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