#natasha mahtani

[montysworld]

Moses Boyd | Stranger Than Fiction (Director's Cut) from in/out on Vimeo.

Warning: video contains flashing images.

- Nomination - UKMVA 2020: Best Alternative Video UK - Winner - Bogoshorts 2020: Best International Music Video - Nomination - 1.4 Awards 2021- On The Cusp - Winner - Kinsale Awards 2021 - Best Editor - Silver - Creative Circle Awards: Best Achievement in Music Video Production - Silver - Creative Circle Awards: Best Editing - Silver - Creative Circle Awards: Best Cinematography

shots.net/news/view/moses-boyds-perpetual-strobe-motion-capture

onepointfour.co/2020/07/24/lurking-in-liminal-spaces/

The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers?

First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera.

Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space.

Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day.

We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little.

Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill

Cast: Joshua Craigie, Esop Evard

Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett

Production Company: Riff Raff Films

Thanks: Albedo 100 Cinelab Aarti Mahtani

Label: The Orchard

[rynweaverwriting]

acceptance by natasha mahtani

hit keep reading for a text version of the poem

As I walk through the halls of the house I grew up in,

a feeling of unsettling rushes through me.

Something feels off, different.

No matter how hard I try,

I can’t help but miss the life I had in Los Angeles.

Where I had the best years of my life,

whether in college or the year I spent after living in the heart of the city.

Where I made friends that would last me a lifetime,

and got to do what I could on my own terms.

Breaking into music is difficult,

and I never thought I’d have to move home after only a year post graduation. But, with the immigration and visa laws, it’s no surprise to anyone.

I come home to an ecstatic family,

who always wanted me to move home sooner rather than later.

To friends that I grew up with, and will always love dearly.

But something about me still feels like I belong back in LA,

and my work isn’t quite finished there.

I take a deep breath,

and try to make it through a day feeling normal.

It doesn’t work.

Weeks have passed, and the unsettling feeling hasn’t gone away. But,

I take another look around,

and finally start to accept it: the new normal.

[valerianite]

I'm incredibly proud and humbled to receive this award as one of the 10 recipients for the year. The work I get to do as a content marketer is rewarding, but it's also enlightening - I learn new things every day, I talk to different people all the time, I encounter new perspectives and fresh inspiration at every turn... It's truly a privilege to be a content marketer right now. And it is truly an honour to have my work recognised in this way - especially by this amazing panel of judges! What a powerhouse of amazing women, each of them an inspiration. Thank you all! Thank you to @cms_asia and RP Singh for running this event and for choosing to shine a light on the strong work that women do in this and other sectors. And a thank you to everyone at @2Stallionsdigital whose energy and motivation drives me to do better each time. Knowing that I'm part of a wonderful team makes all the difference, so a special shout out to Faye Katherine and Tasnim Zarrin and everyone else in our Agency! Finally, a big congratulations to all those who participated! And a warm congratulations to my fellow winners: Jennifer Ruchika Rana Malhotra, Tuhina Anand, Sita Kalluri, Trishna Mahtani, Yuko Tsukada, Meng (Cheryl) Wu, Natasha Puri, and Watson Tan! I hope we will have plenty of opportunities to celebrate and network and share our experiences! Thank you all! #contentmarketing #content #work #people #thankyou #network #awardwinning #awards2022 #cms #contentmarketingawards #femaleempowerment #inspirational https://www.instagram.com/p/CbFNDolpK6B/?utm_medium=tumblr

[hotfps]

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Warning: video contains flashing images. The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers? First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera. Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space. Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day. We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little. Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill Cast: Joshua Craigie, Esop Evard Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett Production Company: Riff Raff Films Thanks: Albedo 100 Cinelab Aarti Mahtani Label: The Orchard

[whileiamdying]

Warning: video contains flashing images. The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers? First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera. Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space. Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day. We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little. Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill Cast: Joshua Craigie, Esop Evard Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett Production Company: Riff Raff Films Thanks: Albedo 100 Cinelab Aarti Mahtani Label: The Orchard

[artwalktv]

Warning: video contains flashing images. The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers? First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera. Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space. Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day. We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little. Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill Cast: Joshua Craigie, Esop Evard Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett Production Company: Riff Raff Films Thanks: Albedo 100 Cinelab Aarti Mahtani Label: The Orchard

[placerdiario]

Moses Boyd | Stranger Than Fiction (Director's Cut) from in/out on Vimeo.

Warning: video contains flashing images.

The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers?

First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera.

Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space.

Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day.

We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little.

Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill

Cast: Joshua Craigie, Esop Evard

Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett

Production Company: Riff Raff Films

Thanks: Albedo 100 Cinelab Aarti Mahtani

Label: The Orchard

[motioncollector]

DCN Video Pick: Moses Boyd | Stranger Than Fiction (Director's Cut) by in/out // Warning: video contains flashing images. The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers? First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera. Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space. Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day. We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little. Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill Cast: Joshua Craigie, Esop Evard Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett Production Company: Riff Raff Films Thanks: Albedo 100 Cinelab Aarti Mahtani Label: The Orchard

[ozkamal]

Warning: video contains flashing images. The brief spoke of ‘hyper-musicality’. Outside of the obvious, this got us thinking about how might a sound ‘look’? What are our instruments, as filmmakers? First though, we had to set the mood and feel of the piece. Moses wanted something ‘sinister and mystic’ and in line with the album’s themes we anonymised the performers in a shroud of light. The use of a reflective spray and a singular spotlight achieved this look; haloing the band in this intense glow. All captured in-camera. Playing off this visual hook we then set about composing our own rhythm. The looping trajectories, the projected shapes and the strobing light source were all used to achieve that desired ‘musicality’. Plus, by tethering all the action to the track and dolly, we established a perpetual motion; mapping out the music as much as the space. Under the guidance of DP Spike Morris we pushed the in-camera capabilities of film to visually sculpt the music, etching out the track’s propulsive production wherever possible. The materiality of film meant we could really hack the medium to bend and manipulate the images around the music. Having the necessary ingredients in the edit was important to build an arc that does justice to the track, whilst also being true to the in-camera imagery captured on the day. We’d like to thank all our crew and a special mention to our producer Louisa Plumstead who did so much with so little. Director/Editor: in/out Producer: Louisa Plumstead DOP: Spike Morris Focus Puller: Rob Hawkin Loader: Bulman Arshehit Grip: Alex Kelleher Gaffer: Helio Riberio 1st AD: Tom Fraser-Ivens Runner: Anna Argiros Art Director: Charlotte Stuart-Gumbar Costume Designer: Amy Thompson Wardrobe Assistant: Patrick Lee Hair & Make-Up Artist: Natasha Livesy Film Developing: Cinelab Design Assistant: Emily Derrick Colourist: Thomas Mangham at The Mill Post Producer: Bruce Langfield at The Mill Cast: Joshua Craigie, Esop Evard Commissioner: Michael Lewin Directors Rep: Joceline Gabriel at Hands Head Of Music: Kate Brady Executive Producer: Natalie Arnett Production Company: Riff Raff Films Thanks: Albedo 100 Cinelab Aarti Mahtani Label: The Orchard

[rynweaverwriting]

memory by natasha mahtani

hit keep reading for a text version of the poem

All the days have blended into one,

and I’m having a hard time remembering what happened when.

I feel like it’s been no time since yesterday,

but a month since Friday.

Everything around me seems to be moving in slow motion,

but at the end of the day,

seeing everyone come together has been beautiful.

It’s been difficult to say I’m “happy” about anything lately,

but truthfully,

I think everyone is doing their best to find comfort in this trying time.

I instantly take myself to exactly a month ago

where I travelled an hour out of LA for the weekend with my closest friends.

While it may have been the drinks from the winery we visited,

or the fact that the car full of girls spent an hour screaming

“on the fourth of July I met a man Pierre,”

the happiness that I felt hasn’t come back since.

I don’t know when I’ll be able to do anything like that again,

or even go back to LA.

I take comfort in these small moments and do my best.

All I know is,

the memories will stay with me longer than this trying time will.