Created entirely with infrared converted cameras, Invisible Oregon is a study of light across time and space. As the sun rises over the State of Oregon infrared light travels across the earth revealing the subtleties of new growth and the dramatic intersection of sky and earth. Witness for the first time this diverse and interconnected landscape rendered from light we can’t see with our own eyes.

Filmed and Produced By Sam Forencich

Sound Design By Travis Forencich

Executive Producer: Jeff Frost

Advising Producer: Michelle Lanier

Ever since my youthful days of “experimentation” I’ve often wondered about the nature of reality. Those of you that still believe in science understand the limitations of our perceptions, and it’s no secret that many creatures exceed our abilities to interpret the world around us. The idea that we have to process the sensory data coming into our brains makes it seem like we are already a step removed from the real world.

So what exactly are we missing? What do animals experience that we can’t, and how do our human perceptions vary from person to person? While this film does nothing to answer these questions, time-lapse and infrared photography do, in a metaphorical sort of way, extend our sensory abilities so we can imagine a world beyond ours. Ultimately I think this is what draws us to these forms, not to solve the mystery, but to flirt with it’s boundaries.

Sam Forencich

Invisible Oregon was filmed with an infrared converted Nikon D750, and a Canon 5D MarkII

Conversions by: Kolari Vision:

Motion control rig by Dynamic Perception:

Post production: LRTimelapse: , Adobe Lightroom 6, Adobe CS6: After Effects, Photoshop, and Premiere Pro

Cast: Sam Forencich, Jeff Frost, Travis Forencich and Michelle Lanier



Moving Images & Music: Kent Tate. “Nautilus” is part of a new series of movies that can be viewed as individual scenes in a multiple channel installation, or as cinematic sequences in a single channel movie. Underlying the structure of these movies is a concept that I consider essential to my art practice: To infuse beauty as an act of defiance, and to challenge while satiating perception with a passionate purposeful gaze.

I began this project during an Artist residency in Blairmore, Alberta with a particular focus on the Crowsnest Pass. This was the originating step towards creating a video/sculptural project that interconnects my lifelong fascination with the prairies, the mountains, and the ocean.

The next step took place on the east coast of Vancouver Island near Nanaimo where I documented and filmed reference points that both connects and contradicts the subtle and the obscure, the self evident along with that which is not easily apparent. The third step was the exploration and filming of the light defining properties of the Cypress hills region in Saskatchewan.

The fourth step is the surveying and filming of the extraordinary complexities of shadow, light, and form in the Interior Plateau of British Columbia. One of the goals of the completed project is to build a large outdoor sculpture (film projection chamber) at a remote location that has yet to be determined.

Cast: Kent Tate



Spontaneous adventures through Portugal. Absolute ripper of a time, loosely veiled as a surfing trip.

See more. Follow the journey.


Sony A7s, Canon 50mm 1.2, Canon 28mm 2.8 IS
Graded in DaVinci Resolve with ImpulZ LUTs, and VSCO extrapolations


Raleigh Ritchie – On Fire

© 2017 Chris Arnold

Cast: Chris Arnold

From Below

From Below

A snack-sized horror short about the dire consequences of investigating strange noises in the attic.
Not for the faint of heart.

Starring: Grace Song and Ben Sottak

Directed and Edited by Ben Sottak
Cinematography by Steven Russell
Production Design by Courtney Porter
Creature Effects Provided by Composite Effects, LLC.
Production Sound by Kat Jirles
Lighting Design by Shaun Weber
Sound Design and Mix by Hunter Berk
Color Grade by Oliver Eid

Cast: ben sottak, Courtney Porter, Steven Russell and Grace Song

Max Cooper & Tom Hodge – Symmetry

Max Cooper & Tom Hodge – Symmetry

Max Cooper

Symmetry is one of the most fundamental principles of nature, and also forms the basis of music. So this music video is an important early chapter in the Emergence audio-visual project, which starts with visualisations of the basic building blocks of nature, setting the stage for the physical universe to come into being, and later planets, life, civilisation, and technology (the whole story and project is explained at:

Symmetry is the idea that one aspect of a system can change while another remains constant. The idea of natural laws themselves, rely on the forms of symmetry that mean the same forces will apply to you as they do to me, independently of our position in space or time. And scientists searches for natures symmetries lie at the heart of much of our best models of reality (see Noether’s Theorem or more recent uses of symmetries in things like the ‘amplituhedron’!).

The principle is also responsible for music, in that our enjoyment of tonality, melody, harmony and rhythm comes from our subconscious appreciation of different types of patterns (i.e. symmetries) in sound waves.

The idea of Symmetry was explored in the video by Kevin McGloughlin, using simple symmetrical forms (primarily the circle), and symmetrical operations applied to them – rotations, translations and reflections. The animation demonstrates the beauty of this simple concept when applied in an iterative journey towards ever increasing complexity, both visually and musically.

The audio track originally came from preparations for a live piano and electronics show with Tom Hodge. I had some chords and glitches we were playing with in combination with a simple piano motif. We decided to try some live Fender Rhodes with it during practice and it all came to life.

Luckily we recorded the whole session so I had a load of stock content to play with when it came to turning the project into the album intro. My reasoning was that the intro should be about symmetry because of it’s basic role in nature, and the development and form of the track, going so glitchy from a simple melodic motif starting point, should work with applications of ever more complex symmetrical manipulation – emergence from symmetry, just as Kevin delivered.

Amazingly, Kevin didn’t use automated sync points from the stems of the audio project – or to put it another way, Kevin painstakingly set up all of those edits by hand, hats off to him for his perseverance on that!

Thanks for having a read, watch and a listen! – max
When I first heard Symmetry I was blown away by its impact and it really struck a chord with me… On hearing the concept for the track, this feeling was empowered tenfold. After much discussion with Max, we arrived at a conclusive concept for the visual.

I represented conservation laws by the use of a simple circle repetition. This circle form took on many new characteristics and evolved in complexity throughout the course of it’s journey, though every new form is an evolution / adaptation of the initial circle. I used a variety of techniques in an attempt to convey the idea of this ever evolving complexity within symmetry.

Starting with minimal moire patterns, moving into 3d depth and finally ending up with massive distortions and adaptations using a technique I developed ‘Digi-Cut’, displaying various moments in time offset by tiny fractions. This was an effort to demonstrate pre-universe ideas and the introduction of organic matter in relation to symmetry.

It was an absolute honour to work on this project with Max, in particular on ‘Symmetry’, which is my personal favourite piece on Emergence.

Kevin McGloughlin

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Cast: Kevin McGloughlin and Max Cooper