A gray lizard with yellow spots sits quietly on a tree stump, as digital cameras revolve around it. Click, click, click—the lizard is captured from every angle. Our Ark begins with a company that is making 3D copies of every animal on Earth—starting with the endangered species. A kind of virtual Noah’s ark. 　　Filmmakers Deniz Tortum and Kathryn Hamilton use this digital recording process as the starting point for a visual essay. Now that we have the technological capabilities, we’re trying make a sort of back-up of the entire world—forests are being digitally archived, as are monuments, and even everyday objects like garbage bags. 　　Shots of natural objects alternate with their 3D duplicates; the commentary offers explanation, but at the same time leaves room for us to ask our own questions. Who are all these digital archives for? What purpose is served by our urge to record everything? Do we hope to be able to bring this world back to life? And what happens to our notion of the real world if we think we can reduce it to ones and zeros?

A gray lizard with yellow spots sits quietly on a tree stump, as digital cameras revolve around it. Click, click, click—the lizard is captured from every angle. Our Ark begins with a company that is making 3D copies of every animal on Earth—starting with the endangered species. A kind of virtual Noah’s ark. 　　Filmmakers Deniz Tortum and Kathryn Hamilton use this digital recording process as the starting point for a visual essay. Now that we have the technological capabilities, we’re trying make a sort of back-up of the entire world—forests are being digitally archived, as are monuments, and even everyday objects like garbage bags. 　　Shots of natural objects alternate with their 3D duplicates; the commentary offers explanation, but at the same time leaves room for us to ask our own questions. Who are all these digital archives for? What purpose is served by our urge to record everything? Do we hope to be able to bring this world back to life? And what happens to our notion of the real world if we think we can reduce it to ones and zeros?

在泰拉的大地上，各地不规则地发生着原因不明的天灾。因此，大多数人为了逃避天灾生活在长年累月以来开发的移动城邦。留在天灾旧址上的拥有巨大能量的源石，一方面有助于文明的飞跃性进步，另一方面也会制造不治之症——矿石病。矿石病的感染者身体逐渐结晶，死亡时会成为新的感染源，各国都建立了隔离和强制劳动的体制使得感染者成为迫害对象。受压迫的感染者们举起了反旗，研究矿石病治疗方法的制药公司“罗德岛”，为了从疾病中拯救所有人，拿起武器，走上了属于自己的生存之道。

矿石病——那是会让人体逐渐结晶化直至死亡的不治之症。 罗德岛制药公司为研制出治疗矿石病的特效药物，并为解决天灾与矿石病带来的各种问题与争端、改善感染者的处境而不断采取着行动。为阻止感染者组织整合运动的暴行，罗德岛与炎国城市龙门签订协议，为实现各自的目标而共同行动着。 在经历了与米莎和碎骨的战斗之后，阿米娅无法接受现实，独自消沉着。 而在另一边，罗德岛向分城废墟派遣的侦察小队，注意到了废城中出现的特异现象……

时尚广告剧组来到海边拍摄，却发现提前搭建的装置因海水涨潮消失不见。在一名美术助理的努力下，剧组的无人机飞向海面搜寻装置，同时将她带入未知的境地。

时尚广告剧组来到海边拍摄，却发现提前搭建的装置因海水涨潮消失不见。在一名美术助理的努力下，剧组的无人机飞向海面搜寻装置，同时将她带入未知的境地。

黑道車手阿仁喝慣的茶餐廳例湯向來沒加紅蘿蔔，是日碗中竟意外有兩大塊，難道要來的始終還是會來？平日揸車搵食不問江湖是非，這夜看不過眼，為救妙女郎做一晚英雄，卻觸犯了自己的忌諱，是命運使然還是因果報應？邱傲然首部劇情短片，即挑戰港產類型片最精熟的範疇，黑幫世界、埋身肉搏、飛車追逐，拍出鮮浪潮短片少有的面貌，選材和風格，教人想起冷峻暴烈的《極速罪駕》（2011），動作處理和宿命感也滲透「銀河映像」的味道，落足心機炮製一道視覺濃湯，五味雜陳。

酷熱的球場上，兩名女球僮正猶豫是否說出口時，想不到怪事真的發生了。

黑道車手阿仁喝慣的茶餐廳例湯向來沒加紅蘿蔔，是日碗中竟意外有兩大塊，難道要來的始終還是會來？平日揸車搵食不問江湖是非，這夜看不過眼，為救妙女郎做一晚英雄，卻觸犯了自己的忌諱，是命運使然還是因果報應？邱傲然首部劇情短片，即挑戰港產類型片最精熟的範疇，黑幫世界、埋身肉搏、飛車追逐，拍出鮮浪潮短片少有的面貌，選材和風格，教人想起冷峻暴烈的《極速罪駕》（2011），動作處理和宿命感也滲透「銀河映像」的味道，落足心機炮製一道視覺濃湯，五味雜陳。

【TVアニメ】 　　アークナイツ【焔燼曙明/RISE FROM EMBER】制作決定！ 　　ドクター。また会えて…うれしいです。