thinfilms
thinfilms shoots and edits using state-of-the-art industry standard tools, including HDDSLR technology, Canon L lenses, Zacuto, Red Rock Micro, Final Cut Studio, Creative Suite, and more. Click to view the demo reel.
Wednesday, November 9th, 2011 at 21:13
This kid gets a tape recorder for his seventh birthday and begins documenting the world around him: the sounds of chairs, refrigerators, birds, trains, doors, pups, people, wind, you name it, he recorded it. He liked it so much he managed to get another one and figured out how to bounce tracks between them, mixing music, foley, and conversations into skits, radio shows, and man-on-the-street interviews. He continues tinkering with tools and methods of greater complexity as they became available to him.
Years later, in Alaska he is fortuitously tasked with capturing the oral histories of Native Alaskan Tribal Elders over multiple years for a project run by the DOE, SERRC, and the University of Alaska. How could he have known then how such masters of storytelling would influence him?
After working in technology for a few more years, bending it to the will of many, he stopped one day and asked himself, “Huh. What would I do with all this stuff?” Next thing he knew, he had built a massive art installation, a meditation on the historical and social implications of public video surveillance in the United States. He had used sound, video feeds, data visualization, projection, print, viral – every tool at his disposal to tow a line between the safe and the shackled poles of perception in the science and art of being watched. That experiment opened a door from technology into creative pursuits. Instead of working only on the complex systems behind clients like Anhueser-Busch, Cargill, Revlon, and more, he now had insider’s eyes into a very different kind of storytelling culture, though one no less exciting.
That experience led to the birth of thinfilms, LLC, a platform that enables the combination of ancient and cutting-edge storytelling cultures, crafting them into new and unique experiences for audiences primarily on mobile devices and the Web.
Contact thinfilms
View the demoreel
Read how thinfilms is committed to media, technical, and visual literacies in education

Sunday, November 6th, 2011 at 10:41
thinfilms has traveled around the world shooting and editing for a broad range of clients in public, private, government and academic sectors.
Thursday, November 3rd, 2011 at 11:11
By Lisa Akhmetova
“Africa? You’re going to get malaria. And AIDS.”
“You’re going to Senegal? ”
“Didn’t some Catalans working with a NGO get kidnapped near Senegal?”
Fueled by common misconceptions we’d heard from friends and family, we set off to Dakar, Senegal.
Contrary to common belief, Senegal has one of the most stable governments in all of Africa and we were treated with great interest and respect by all of the people we met there. Apart from a few typical cases of traveler’s stomach, none of us became sick during our stay. We, and all of the people who heard about our trip, seemed to have worried enough about all the harm that might come to us in Senegal. What we had not anticipated, however, was just how much our perspective would shift during the trip, not only of Africa, but of ourselves and the world we live in.
What did we do, exactly? We (fourteen students, a photographer, a filmmaker and two teachers) worked with Habitat for Humanity, a non-profit global organization that builds houses for families in need. We also joined with five students from the International School of Dakar and some of their staff, who helped us build houses in the area of Keur Mbaye Fall. We helped build six houses, collectively (with three or four people per house).
We shoveled; we mixed cement; we built and plastered walls. Though our arms and backs ached because of it, we had very little time to notice. The people from the community of Keur Mbaye Fall seemed to find us even more interesting than we found them, if that is even possible. Many of the children had never seen white people before. They would surround you, touch you, take hold of your hand. We would play with them at the end of every workday. The next day, we’d find that people we’d never seen before knew our names.
Apart from the houses, we also visited (and donated money to) two schools and one hospital. There was a minimum of fifty children per classroom in the elementary school, and all of the students were sharing desks. The middle school had no running water. As for the hospital we visited, their medicine supply fit into one cupboard – most of us have more in our own homes.
Its maternity centre was comprised of three rooms, which often got overcrowded, so women would have to give birth on the floor. It was difficult to see the scarcity – scarcity we’d only heard of – with our own eyes, but we left with different eyes because of it. It seemed there was a shortage of something everywhere we went.
Despite this, the people in the schools and the hospital weren’t any less friendly – which provided all of us, who have so much, with an important lesson. In fact, the people of Keur Mbaye Fall welcomed us with open arms in a way that people in the western world never would.
We had come to Senegal to help – but in the end, Senegal helped us. We came to Dakar with a mixture of excitement and apprehension, not knowing which we felt more. We left with new appreciation for what we have, and also new appreciation for what we can give, for this journey was far more gratifying than anything we could have bought for ourselves. Few trips could have taught us that much about a country and its people, and have us come away with such a different view of the world.
Sunday, April 4th, 2010 at 17:42
projects,
thinfilms,
video |
africa,
dakar,
Keur Mbaye Fall,
Lisa Akhmetova,
media,
perspective,
production,
projects,
Sengal,
services,
thinfilms,
video
Here’s what happens when you show silent films that are nearly 100 years old to some 7-year-olds: they roll on the floor laughing. Chaplin and Keaton. All you need.
Once they catch their breath, give them some toys to use as characters in their own stories with little or no input from outsiders ie “grown-ups”.
The goal was to let them work out their own creative differences, while only gently assisting them with making their own silent movies that made sense to them. Perhaps, to them alone.
Then, we made simple storyboards, title pages and backdrops for their first silent movies.
Each production team of 3 or so rehearsed at least once in front of the camera before we called out “Camera Rolling…” and “ACTION!”
The results are fascinating in each their own way, perhaps even more so as collections, though some do stand on their own quite well [click the image above to watch]
Conrad Praetzel made the wonderful music.
Tuesday, April 21st, 2009 at 14:00
projects,
silent films,
thinfilms,
video |
bfis,
conrad praetzel,
media,
production,
projects,
services,
silent film,
thinfilms,
video