I LOVE the way the colours have separated slightly, just like one of my older vids:
The Creative Media Course Advert from Hayden Martin on Vimeo.
Friday, 30 October 2009
Idea
My final idea: I want to film off a screen similar to Aphex Twin/Chris Cunningham videos OR like this unintentional vid of Del Tha Funkee Homosapien with Heiroglyphics:
I LOVE the way the colours have separated slightly, just like one of my older vids:
I LOVE the way the colours have separated slightly, just like one of my older vids:
Before and After Stock Footage Mash-up.
ALL my footage has either been filmed or ripped using Keepvid.com. After ripping from Keepvid, I combine the footage with many other sources, altering backdrops, landscapes, props and colours, as well as applying effects on top, to create an entirely new peice of footage comprised of around 5 sources each.
An example would be my fake-hendheld volcanic eruption footage. I found the initial eruption footage on Youtube (http://www.youtube.com/watch?v=OowFvnlWI90). I then luma + colour keyed elements of the volcano off with softened edges (the actual crater fire) then placed many duplicates back onto itself, making the volcano appear as if it has many vents (like my concept artwork). I then keyed out a bunch of explosion + spark clips legally downloaded off Detonationfilms.com to create a faster and more violent eruption. I colour corrected the whole thing to give it a sillouhette that is eventually lit up by the explosion making it seem like "auto-exposure" on a handycam. I then layered on the noise and REC sybol to make it seem handheld. SIMPLE.
I've been inspired to work like this because of a video artist called Daniel Swan - he works in the same way, using clips off youtube to create new ones. http://www.youtube.com/user/Arstar
The scene with the multiple tornadoes whirling was taken from a National Geographic film on lightning (http://www.youtube.com/watch?v=2wY_t7zVIXY). I duplicated the actual tornadoe a few times via luma-key, then laid them onto a jpeg image of a field from google images (http://www.canada-photos.com/data/media/4/canola-field_752.jpg) which i cropped and distorted to fit the screen. The upper half with the clouds was another jpeg image which I cannot now find, I used these in front and behind the foot that steps on the area to add dimensions.
Some of the lightning footage was also taken from this footage as it was filmed in slow motion, allowing me to alter the speed as much as i wanted. It was also against near black allowing me key it off easily for other clips like the erupting volcano and explosion transitions.
To keep it all pretty different I also applied colour correctors and blurs - this also helped make some of the scenes needing dimensionality nice - it gave them a sense of focus.
Again, like all of the rest of the explosions - the footage was legally downloaded off Detonationfilms.com
When my foot treads on the city creating a massive tidal wave I used a jpeg of a toronto skyline panorama (http://www.realhoundfiles.com/images/cityscape.png). Then footage of an underwater detonation (http://www.youtube.com/watch?v=wCepZE4JR-0). This was tricky to do. It was all pretty monochromatic, making keying tough but in the end I managed to do it pretty well - bare in mind, colour correcting and glow are still to be applied to the final meaning that some of the imperfections you'd spot otherwise will not be visible.
I took the step from earlier on in the field shot. It saved time because I could just copy and paste the timeline segments into this shot. So essentially, the step is the same but the background and effects are different.
The footage of the army choreography was taken from someones handheld footage off Youtube - it has now been removed from Youtube so I can't give a link. It is the least edited footage except it's speed is slower as well as a minor colour correction.
The footage of the guns firing were ripped off Youtube (http://www.youtube.com/watch?v=AMae8-vOrBU) from an unofficial, uncopyright source (no logos or copyright notes - just like most of my other sources. Ones with have been drastically altered beyond recognition). Besides, letting students use Keepvid for other projects cant be too legal anyway right?
I wanted to use this with the marching armies to give a sense of the planets defences trying to stop the giant crushing their planet.
The footage of the house being crushed was from Youtube, again it's source has been deleted BUT I remember it was like STOCK demolition footage. I altered this loads with pyro and debrie effects clouding the screen to create the illusion that the giants foot was crushing buildings beneath him.
The rotating planet was kindly rendered for me by Ash Atherton after i told him what i needed, knowing his skills with 3DS MAX software. I made sure he gave me loops of X, Y and Z rotations for different angled shots.
The planet zoom I did myself by filming Google Earth with Copernicus (a screen recording app).
The space zoom was nicked from contact but I'm yet to edit the hell out of it, changing it's appearance A LOT via altering speed, rotation, motion blur, glow, contrast and many others.... I may even reverse it.
An example would be my fake-hendheld volcanic eruption footage. I found the initial eruption footage on Youtube (http://www.youtube.com/watch?v=OowFvnlWI90). I then luma + colour keyed elements of the volcano off with softened edges (the actual crater fire) then placed many duplicates back onto itself, making the volcano appear as if it has many vents (like my concept artwork). I then keyed out a bunch of explosion + spark clips legally downloaded off Detonationfilms.com to create a faster and more violent eruption. I colour corrected the whole thing to give it a sillouhette that is eventually lit up by the explosion making it seem like "auto-exposure" on a handycam. I then layered on the noise and REC sybol to make it seem handheld. SIMPLE.
I've been inspired to work like this because of a video artist called Daniel Swan - he works in the same way, using clips off youtube to create new ones. http://www.youtube.com/user/Arstar
The scene with the multiple tornadoes whirling was taken from a National Geographic film on lightning (http://www.youtube.com/watch?v=2wY_t7zVIXY). I duplicated the actual tornadoe a few times via luma-key, then laid them onto a jpeg image of a field from google images (http://www.canada-photos.com/data/media/4/canola-field_752.jpg) which i cropped and distorted to fit the screen. The upper half with the clouds was another jpeg image which I cannot now find, I used these in front and behind the foot that steps on the area to add dimensions.
Some of the lightning footage was also taken from this footage as it was filmed in slow motion, allowing me to alter the speed as much as i wanted. It was also against near black allowing me key it off easily for other clips like the erupting volcano and explosion transitions.
To keep it all pretty different I also applied colour correctors and blurs - this also helped make some of the scenes needing dimensionality nice - it gave them a sense of focus.
Again, like all of the rest of the explosions - the footage was legally downloaded off Detonationfilms.com
When my foot treads on the city creating a massive tidal wave I used a jpeg of a toronto skyline panorama (http://www.realhoundfiles.com/images/cityscape.png). Then footage of an underwater detonation (http://www.youtube.com/watch?v=wCepZE4JR-0). This was tricky to do. It was all pretty monochromatic, making keying tough but in the end I managed to do it pretty well - bare in mind, colour correcting and glow are still to be applied to the final meaning that some of the imperfections you'd spot otherwise will not be visible.
I took the step from earlier on in the field shot. It saved time because I could just copy and paste the timeline segments into this shot. So essentially, the step is the same but the background and effects are different.
The footage of the army choreography was taken from someones handheld footage off Youtube - it has now been removed from Youtube so I can't give a link. It is the least edited footage except it's speed is slower as well as a minor colour correction.
The footage of the guns firing were ripped off Youtube (http://www.youtube.com/watch?v=AMae8-vOrBU) from an unofficial, uncopyright source (no logos or copyright notes - just like most of my other sources. Ones with have been drastically altered beyond recognition). Besides, letting students use Keepvid for other projects cant be too legal anyway right?
I wanted to use this with the marching armies to give a sense of the planets defences trying to stop the giant crushing their planet.
The footage of the house being crushed was from Youtube, again it's source has been deleted BUT I remember it was like STOCK demolition footage. I altered this loads with pyro and debrie effects clouding the screen to create the illusion that the giants foot was crushing buildings beneath him.
The rotating planet was kindly rendered for me by Ash Atherton after i told him what i needed, knowing his skills with 3DS MAX software. I made sure he gave me loops of X, Y and Z rotations for different angled shots.
The planet zoom I did myself by filming Google Earth with Copernicus (a screen recording app).
The space zoom was nicked from contact but I'm yet to edit the hell out of it, changing it's appearance A LOT via altering speed, rotation, motion blur, glow, contrast and many others.... I may even reverse it.
Progress
My progress so far is looking good - I'm pretty optimistic. 1:30 out of a shortened down track (2:30ish) is done. Final touches will be reapplying the soon to be reshot green screen footage. I've set it up in my living room which is just long enough to film in. The lighting is also pretty even - I'll try and improve the luminance of the screen with a few well aimed lamps (out of shot/cropped out).
The structure of the MV is good thought - Basically it starts with me walking and crushing tuff - shockwaves creating natural disastrous phenomenons (volcanic eruptions, tornadoes, tsunamis, meteor showers, etc) but as it gets worse, Earth's armies begin to try and stop me - cuts of ammunition being fired and empty shells flying fade in and out, alongside footage of armies moving in coordinated parades (like they're heading in clusters to my destination, chasing and intercepting). Their efforts are feeble though as I just keep going, marching on everything, intensifying the natural disasters until eventually the only things left to symbolise the plateau of the track is explosions and lightning.
What I've impressed myself with is the fact that a lot of the green screened footage that looked bad has been vastly improved, removing a hell of a lot of green "flicker" and noise created by filming at a frame-rate that allowed small bits of motion blur (ideally, you'd want high frame rates so everything stays sharp against the green, keying off nicely).
However the bits that still need to be reshot are the side shots of me walking and the frontal shots. everything else is acceptable, and will be retouched even more when i colour correct the whole project - thinking of adding a subtle spacey glow (this makes it look a lot softer to view, but also hides nasty, scraggly edges). I will also alter white, mid and black levels to clean it up a bit too - Glow + intense black looks great as well as clean and retouched, suiting my un-lo-fi target done completely through final cut.
To hide the naive look of some footage, I decide to add noise, camera shake and altered contrasts as well as a REC symbol, making it seem like a handheld camera - a good excuse for poor quality.
The pyro effects are looking very nice. I will apply extras to a rendered final then re-render so it has a far more dimensional feel and motion to it. I am also contemplating adding a slight amount of motion blur to accentuate speed in which the giant would be traveling (he is walking right across the planet remember). It would neeten up the explosions if I applied the blur to just the highlights too - I'd simply duplicate the footage over itself, luma-key out all the blacks and mid leaving only whites to be motion blurred - similar to long exposure photography.
The structure of the MV is good thought - Basically it starts with me walking and crushing tuff - shockwaves creating natural disastrous phenomenons (volcanic eruptions, tornadoes, tsunamis, meteor showers, etc) but as it gets worse, Earth's armies begin to try and stop me - cuts of ammunition being fired and empty shells flying fade in and out, alongside footage of armies moving in coordinated parades (like they're heading in clusters to my destination, chasing and intercepting). Their efforts are feeble though as I just keep going, marching on everything, intensifying the natural disasters until eventually the only things left to symbolise the plateau of the track is explosions and lightning.
What I've impressed myself with is the fact that a lot of the green screened footage that looked bad has been vastly improved, removing a hell of a lot of green "flicker" and noise created by filming at a frame-rate that allowed small bits of motion blur (ideally, you'd want high frame rates so everything stays sharp against the green, keying off nicely).
However the bits that still need to be reshot are the side shots of me walking and the frontal shots. everything else is acceptable, and will be retouched even more when i colour correct the whole project - thinking of adding a subtle spacey glow (this makes it look a lot softer to view, but also hides nasty, scraggly edges). I will also alter white, mid and black levels to clean it up a bit too - Glow + intense black looks great as well as clean and retouched, suiting my un-lo-fi target done completely through final cut.
To hide the naive look of some footage, I decide to add noise, camera shake and altered contrasts as well as a REC symbol, making it seem like a handheld camera - a good excuse for poor quality.
The pyro effects are looking very nice. I will apply extras to a rendered final then re-render so it has a far more dimensional feel and motion to it. I am also contemplating adding a slight amount of motion blur to accentuate speed in which the giant would be traveling (he is walking right across the planet remember). It would neeten up the explosions if I applied the blur to just the highlights too - I'd simply duplicate the footage over itself, luma-key out all the blacks and mid leaving only whites to be motion blurred - similar to long exposure photography.
Wednesday, 21 October 2009
Things Needed at The Junction
1. Longer stage. Long enough to get around 4/6 steps in - to be looped.
2. Blue screen. They hey blue screen risers/platform things to help get a better filming area - must be good and taught.
3. Lighting (MUST be evenly lit) otherwise I'll have time consuming keying issues. A pulsating red light for every other beat needs to be illuminating my feet as they step about - explosions will look better when laid on top of the steps.
4. More time. Last time I was last and only got 15 minutes - I need around 45
5. The screen will need to be moved about for side shots, as well as lighting.
Sunday, 18 October 2009
Friday, 16 October 2009
Rough Cut
Walking to be smoothed by re-shooting, green screen to be lit better, globe animations altered, more pyro effects needed, sound wave from steps needs re-designing.
Failed Attempt at Green Screening
This effect was meant to film me walking up to the camera but keep me the same size as the first frame - making it seem as if I'm walking on the spot. Unfortunately the stage I had to walk along was FAR too short - I need a good 6 steps to blend them together evenly - the stage I was on only gave me 2 and a half.
http://www.youtube.com/watch?v=-EgeghrQMu4
http://www.youtube.com/watch?v=-EgeghrQMu4
Wednesday, 14 October 2009
Tuesday, 13 October 2009
Monday, 12 October 2009
Reply Back to Sean Holland 3
All seems to be going well over here. We're just about to started booking out a studio to start green screening and stuff. I now have a full rundown of what I'm going for with the video - It has ties with Godzilla and big-robot movies, involving giant scale beings crushing everything beneath them. So basically with that idea in mind i had this idea of a giant person (in a pseudo-futuristic suit) landing on earth but literally being so big that when it walks, the earth spins beneath their feet, to the beat of the music. From each step, quick cuts to natural disaster e.g. volcanic eruptions, twisters and lightning come up (also in time with the beat). Now and then I wanted to have shots of army artillery and soldiers firing to stop the giant but then just being stepped over completely - a lot of the footage used is royalty-free stock footage allowing access to high quality, professionally filmed clips to insert in for effect. When the army fires rounds, i wanted like strobing flashing effect full of explosions against black, literally happening in time with the music, then zooming out to see actually that the weapons have no effect and are being repelled by a glowing force-field. It all seems far fetched but I'll link you to some concept art I've been working on to give you a brief of the aesthetics i'm after: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheeb6MLo0zZ3TUz8fa2WSM38ZVAuE1CfVP6b6KyDoXXdY48we_aOQdREHgZdHFVSjDTPfuU0drDB2YzG3dzu4egBEJukXmZkfHbzsQnmC-cxnRdSDz3JSgZyNO1ujlr6SpG1xn9XVrN911/s1600-h/volcano.jpg https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfn__Hb0H1dKrj1fCOqt-oJ1cB2nKc28pX2IM63gchdyzwVh82Lly7Cm7Y-Sh1HmJkIxjSLq3cdHFgjwBJS-XZEbhmY3AskKwr2-JoIhbNPSQPrYN9Heve84cRNUpa0gualbwCJbhwFylO/s1600-h/montage+scene.jpg http://www.youtube.com/watch?v=-PUz3zIONy8&feature=player_embedded ^^^^The video above is an "animatic" and is just a brief look into motion and timing. It is essentially what I've been trying to describe (just remember that the one shot with a squiggly line and a circle above is meant to be a top down shot of london - as if to demonstrate the giants height. When it starts moving, it's as if to demonstrate a first person top-down view of the world spinning beneath his feet). Thanks!
Tuesday, 6 October 2009
Friday, 2 October 2009
Planning and Organising
I am to film in 2 weeks time. Running up to that, I'm going to film material that can be done at home or in town and applying effects too - this way, i'll have minimum fiddling about to do during the actual shooting/editing time, allowing better time management and organisation. The shots to be done before are very simple but editing them can be time consuming (luckily I've planned out how each one will be done - sources A LOT of royalty free footage).
I'll need to film at The Junction just for a few shots, using the green/blue screen after a couple of other groups as mine may be the least demanding - a stage may be necessary with a grid taped on with duck-tape, allowing perspectives to be correctly matched to sourced footage that would otherwise impossible to film. The stage would also be a good way of keeping the actors feet totally flat to the bottom of the screen via perspectives crteated through camera elevation and angle.
There wouldnt be props. none would be needed as all props featured are found in sourced material. But to be honest not many would be neccasary as the tsory has no proper plot.
For clothing I was mainly thinking of a good suit for the main character, coupled with an eye patch - creating a Bond villain look.
Another idea was just to have casual, strylish clothes mostly in white or grey - similar sterile + sleek bond-esque feel about it just with more understandable clothing.
I even considered doing something as mad as the Voodoo Cowboy's outfit, combining intense patterns and colours with jewelery and nice jackets/trousers/boots - for this music video though i was thinking more of a chavvy edge... Like joggers, trainers, hoodie, diamonds, "go faster lines" and Egyptian bits n bobs.
My back-ups for all of these are simple - bring/make extras (meaning: if I dont have the correct clothes for the mood, I'll have spares to mess about with. If I dont have the right effects/backgrounds/footage, I'd already have collected tonnes to choose from. To stop myself running out of time I'll have many of the scenes already compiled and in quicktime to import into the film when needed).
I'll need to film at The Junction just for a few shots, using the green/blue screen after a couple of other groups as mine may be the least demanding - a stage may be necessary with a grid taped on with duck-tape, allowing perspectives to be correctly matched to sourced footage that would otherwise impossible to film. The stage would also be a good way of keeping the actors feet totally flat to the bottom of the screen via perspectives crteated through camera elevation and angle.
There wouldnt be props. none would be needed as all props featured are found in sourced material. But to be honest not many would be neccasary as the tsory has no proper plot.
For clothing I was mainly thinking of a good suit for the main character, coupled with an eye patch - creating a Bond villain look.
Another idea was just to have casual, strylish clothes mostly in white or grey - similar sterile + sleek bond-esque feel about it just with more understandable clothing.
I even considered doing something as mad as the Voodoo Cowboy's outfit, combining intense patterns and colours with jewelery and nice jackets/trousers/boots - for this music video though i was thinking more of a chavvy edge... Like joggers, trainers, hoodie, diamonds, "go faster lines" and Egyptian bits n bobs.
My back-ups for all of these are simple - bring/make extras (meaning: if I dont have the correct clothes for the mood, I'll have spares to mess about with. If I dont have the right effects/backgrounds/footage, I'd already have collected tonnes to choose from. To stop myself running out of time I'll have many of the scenes already compiled and in quicktime to import into the film when needed).
Monday, 21 September 2009
Similar Artists:
The Bloody Beetroots - Cornelius
Steve Aoki - Warp
Simian Mobile Disco - Synthesise
L-Vis 1990 - United Groove
Takkyu Ishino - Anna Letmein Letmeout
Steve Aoki - Warp
Simian Mobile Disco - Synthesise
L-Vis 1990 - United Groove
Takkyu Ishino - Anna Letmein Letmeout
Reply From Sean Holland 2
actually, secong though
fukkk offf main mix is best
Sean Holland
www.cocomachete.com
fukkk offf main mix is best
Sean Holland
www.cocomachete.com
Reply Back From Sean Holland 1
Hi,
I like the Markus Lange mix best for a video if you can as it's the most commercial remix...very pop
I am on facebook & twitter but e.mail is best for day to day...only use those for promotions really
looking forard to whatcha got
very cool
Sean Holland
www.cocomachete.com
www.cocomachete.com
Sunday, 20 September 2009
My Reply Back to Sean Holland
Excellent, the Dub Remix sounds the most suiting, beat-wise that is, allowing a nice rhythm and pace to cut to.. Earlier I was wondering if there is any trivia or corporate visual identity that you want featured in the video? I have a storyboard in the works right now and i'll email a pic as soon as possible ( : By the way, are you on Twitter or Facebook? It could be a good way of keeping updated with progress. Hayden
Another Reply from Sean Holland at Coco Machete
Hi,
I can manage most of everything here...let me know what you need
I would use More Than Friends, the Markus Lange Mix
here you go
Sean Holland
www.cocomachete.com
www.cocomachete.com
Saturday, 19 September 2009
Video Backgrounds Sources - to be Ripped by Keepvid.com
http://www.youtube.com/watch?v=6Yp_2noZPjg&feature=related
http://www.youtube.com/watch?v=UrGcd6PN7EE
http://www.youtube.com/watch?v=EOi0xA9GvX8
http://www.youtube.com/watch?v=qK6j-enEHZo
http://www.youtube.com/watch?v=gib2i3_KW5Y
http://www.youtube.com/watch?v=GzvRohPRR-8
http://www.youtube.com/watch?v=PLQF-4uyD4Y
http://www.youtube.com/watch?v=W-n1sDRsgas
http://www.youtube.com/watch?v=UrGcd6PN7EE
http://www.youtube.com/watch?v=EOi0xA9GvX8
http://www.youtube.com/watch?v=qK6j-enEHZo
http://www.youtube.com/watch?v=gib2i3_KW5Y
http://www.youtube.com/watch?v=GzvRohPRR-8
http://www.youtube.com/watch?v=PLQF-4uyD4Y
http://www.youtube.com/watch?v=W-n1sDRsgas
Working With Overlaid Footage
These videos are from M.I.A's video artist, Daniel Swan - he has a thing for hunting down beautiful videos of youtube and the combining them:
He also applies video effects, or homemade overlays:
My favourite film by him is this one, called, Travelling:
He simply keys out luma or chroma (light + colour) then places it on top of another piece of footage.
I liked the Travelling one as it has this whole 3D small world thing going on which I'm interested in emulating.
In this video, he utilizes explosions instead of strobing for M.I.A's stage video feed:
Wednesday, 16 September 2009
Motion Keying Tests
These were done in AE, using combinations of color keying, luma keying, color extraction and color range..
In the next video, I'd refined the way I do it a little:
"Mokey" is a piece of software that removes motion from it's original background and then places it into it's own layer for tampering or re-insertion into something else.
Another is "The Foundry"s Toolset - one of the plug-ins is called "Furnace" and is very similar to the above.
Test Warping - Only person, not background... from Hayden Martin on Vimeo.
In the next video, I'd refined the way I do it a little:
Test Warping - Only person, not background... 2 from Hayden Martin on Vimeo.
Price : £1,996.77
Another is "The Foundry"s Toolset - one of the plug-ins is called "Furnace" and is very similar to the above.
Price: £300
Demonstration-wise, Mokey looks superior. But to a poor, amateur film maker like me, Furnace looks like a miracle.
Monday, 14 September 2009
Motion Tracking
I think they must've used a static shot with zero movement right before motion came in, this way they'd have the same background but be able to key the motion and edit it - allowing the actors to warp but still strangely walk in and sit in their seats...
also, these links are exactly what I'm looking for:
http://www.thefoundry.co.uk/pkg_overview.aspx?ui=FA1927C8-65AB-4463-8997-4F10921B66DA
http://www.mokey.com/products/mokey/
Only problem is they cost a hell of a lot of money... File sharing anyone?
Sunday, 13 September 2009
My Reply Back to Cocomachete
Hiya
Yeah, bit confused by the email - "How about Fukkk Offf" hahaha!
But yes that sounds great, was really hoping Bastian would be up for that..
If you get him to email me as soon as possible I'll get started. Here's a list of the kinds of equipment at my disposal:
Semi-Pro Sony HDR-FX1 HD Cam - This is used a lot by many film makers, versatile and a great spec.
Tripods (with/w.out wheels)
Photography lighting equipment
Semi-Pro Nikon Cameras - Good for Photography (stills/backdrops etc.)
The Junction music venue's open space - it has plenty of room for blue-screen and lighting
http://www.junction.co.uk/
You can check out some of these links for an insight into my current thoughts for this projects aesthetics:
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidmRNVidcMTd1_REEwxV80e9D-BlNHu6vm3YQ2xSspv9JAkUAgtY4gCxT50xCemyMKhbYoElw89FrJfI6AacKokkiIF2GiG7DA9ihjXnRkaByCfg89UzIEc6402ElpOMBg6tUc9jE5Z7k6/s1600-h/Image0002.jpg
http://www.youtube.com/watch?v=Fk8qcGOtBFw
http://www.youtube.com/watch?v=-3ODe9mqoDE
http://www.youtube.com/watch?v=iwWWkgx2Stc
Thanks very much, I'll keep you updated on my thoughts for the video
Yeah, bit confused by the email - "How about Fukkk Offf" hahaha!
But yes that sounds great, was really hoping Bastian would be up for that..
If you get him to email me as soon as possible I'll get started. Here's a list of the kinds of equipment at my disposal:
Semi-Pro Sony HDR-FX1 HD Cam - This is used a lot by many film makers, versatile and a great spec.
Tripods (with/w.out wheels)
Photography lighting equipment
Semi-Pro Nikon Cameras - Good for Photography (stills/backdrops etc.)
The Junction music venue's open space - it has plenty of room for blue-screen and lighting
http://www.junction.co.uk/
You can check out some of these links for an insight into my current thoughts for this projects aesthetics:
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidmRNVidcMTd1_REEwxV80e9D-BlNHu6vm3YQ2xSspv9JAkUAgtY4gCxT50xCemyMKhbYoElw89FrJfI6AacKokkiIF2GiG7DA9ihjXnRkaByCfg89UzIEc6402ElpOMBg6tUc9jE5Z7k6/s1600-h/Image0002.jpg
http://www.youtube.com/watch?v=Fk8qcGOtBFw
http://www.youtube.com/watch?v=-3ODe9mqoDE
http://www.youtube.com/watch?v=iwWWkgx2Stc
Thanks very much, I'll keep you updated on my thoughts for the video
Idea 1: SPORT (Inspired by New Power Studio + Christopher Shannon)
After watching a promo video for the upcoming clothing sportswear company, New Power Studio, I have been thinking very much about Olympic and F1 themes for a video (in terms of aesthetics that is).
As well as this I also looked at Christopher Shannon's new clothing line, based heavily on a combination of early 90's and circa millenium sport/luxury clothing designs - his whole imagery is very synthetic and ironically chavvy, but in a very beautiful way.
The Animatrix episode "World Record" has played a huge inspiration too - I loved it's slow motion and cel-shaded appearance, bringing out every sinew, muscle and contortion of the athletes.
As well as this I also looked at Christopher Shannon's new clothing line, based heavily on a combination of early 90's and circa millenium sport/luxury clothing designs - his whole imagery is very synthetic and ironically chavvy, but in a very beautiful way.
The Animatrix episode "World Record" has played a huge inspiration too - I loved it's slow motion and cel-shaded appearance, bringing out every sinew, muscle and contortion of the athletes.
Thursday, 10 September 2009
Artist's I'd Most Like to do a Video for
Major Lazer
L-VIS 1990
Bonde de Role
The Proxy
Busy P
Bobmo
The Bloody Beetroots
Fischerspooner
Shadow Dancer
Mixhell
L-VIS 1990
Bonde de Role
The Proxy
Busy P
Bobmo
The Bloody Beetroots
Fischerspooner
Shadow Dancer
Mixhell
Wednesday, 9 September 2009
Idea for Filming
The technology for atomic level invisibility might be closer than you’d think! Russian professor Oleg Gadomsky has patented a new method of optical camouflage. The professor, versed in both quantum and optical electronics, uses gold nanoparticles arranged in a stratum that cloaks the image of an object to the other side of the stratum.
Gadomsky’s technology is completely different than existing methods of optical camouflage that exist today. In 2003, the TACHI laboratory of the University of Tokyo demonstrated an “invisibility cloak” — which was actually no more than a projection of the image behind the cloak projected back onto the cloak. Gadomsky plans to actually disrupt the radiation in such a manner to “bend” light around the stealthed object behind the nanoparticle wall.
Gadomsky’s technology is completely different than existing methods of optical camouflage that exist today. In 2003, the TACHI laboratory of the University of Tokyo demonstrated an “invisibility cloak” — which was actually no more than a projection of the image behind the cloak projected back onto the cloak. Gadomsky plans to actually disrupt the radiation in such a manner to “bend” light around the stealthed object behind the nanoparticle wall.
Analysis of Romain Gavras' Directing of Music Videos as well as their Effect
Romain Gavras is 27 year old French film director who began rising to fame in the early 2000’s. He started making Video8 films at age 14 using his family's two VCRs as an editing deck.
He is a co-founder of Kourtrajmé, an elite graphic and filmmaking group that utilize hip-hop culture and disciplines in often socially conscious documentaries, short films and music videos.
His music videos for artists like Simian Mobile Disco, and DJ Mehdi show a taste for aggression and loneliness, industrial landscapes and burdened personas.
The film that propelled him out most, was his most recent music video for Justice’s “Stress” – a very Clockwork Orange-esque piece of work, although personally it’s themes reminded me more of Mathieu Kassovitz’s La Haine (who himself is involved in Kourtrajmé), revolving mainly around the lifestyles of Morrocan-Parisian hoodlums living on the outskirts or “banlieues” of Paris. It was gritty, violent and very shocking which when mixed with it’s mindlessness created a large stir of controversy, similar to Prodigy’s “Smack my Bitch up” video.
Dj Mehdi
“Signatune”
Directed by Romain Gavras
http://www.youtube.com/watch?v=5sbTmLvL7fQ
This video was directed by Gavras in 2007 fore the electronica/hip hop artist, DJ Mehdi. It has a shallow and naïve approach making it seem immature in it’s design but when analysed it seems far deeper. It takes on the seemingly typical Kourtrajmé motto of simplistic comedy blended into humourless sincerity – demonstrating the French, working class youth’s idea of fun and respect.
The story (if there is much of one) appears to be about a late teenage boy in France going to an unofficial street racer gathering, were everyone there shows of his/her tuned up cars in order to gain respect from their peers as well as outsiders. He turns up meeting his friends but is quickly threatened by a rival. They challenge each other to a duel, whereby they have to see who can pass 150db with their sound-system. The boy reigns triumphant, claiming his respect and putting his rival to shame, returning home happy knowing he’s the best. You could call this a feel-good music video, but it’s bleakness makes it a gaze into reality.
Simian Mobile Disco
“I Beleive”
Directed by Romain Gavras
http://www.youtube.com/watch?v=lwnhICmxzcw
This intriguing video is shot in a manner reminiscent of Grant Wood’s famous American Gothic painting in the sense of the camera’s very “full on” approach to characters featured. It rarely pans or tilts to emote or even connote, instead it zooms – sometimes giving it an even more effective feel, making these characters seem even more two-dimensional, adding to it’s blunt and very realistic “Gavras” approach. Typical rapid cuts and motion common in music videos don’t exist as much in this – it is pretty much all filmed in slow-motion, although when the camera tracks across the place or zooms it happens in a more real time, adding an interesting time dynamic which makes you realize the camera in real life must have been moving fairly fast. This effect was interesting to ponder over during the video as the concept of speed put into slow motion was reminiscent of, The Matrix’s use of “bullet time” or overcranking/time stretching.
Justice
“Stress”
Directed by Romain Gavras
http://www.youtube.com/watch?v=h9NvJfwF9bI
The projects or “banlieues” of Paris are mainly on it’s outskirts – their crime rates are sky-high and currently being kept there by the practically feral youths who reside there. In this video, Gavras has captured the chaotic craziness of these kids in a documentary-esque short film set throughout a day in their lives. It’s kinetic feel propelling it along is all bought across by Gavras’ ways with the camera – the handheld edge, the choppy zooms and the compact framing (reminiscent of Kourtrajmé’s signature fisheye usage). I feel his editing skills are pretty present here too – he has a great gift were he seems to be able visualise sounds, appropriately using the perfect imagery and cuts for the track, making and even more enjoyable (although terrifying) experience. I presume like many music video directors, he probably composed a timeline where spikes and plateaus in the song’s intensity were highlighted for a harmonically fitting piece of footage to go alongside them.
I feel Gavras chose a mindless and impromptu plot as it’s open ends could allow for many variables in the attempts of imagining a story – I personally feel as though it could be moralistic in some way, maybe to do with boredom creating inner-turmoil that is expelled by releasing it on the world. A common problem with unimaginative or run down estates/parts of town.
The Last Shadow Puppets
“The Age of the Understatement”
Directed by Romain Gavras
http://www.youtube.com/watch?v=XGV8xCkpXjEThe video
“The Age of the Understatement” was shot in Moscow and features Alex Turner and Miles Kane walking through the Russian capital. This one stands out a lot for me – even though Gavras has taken a step away from electronica and hip-hop to work on this alternative rock song – the influences still remain, in camera work, editing and theme.
I noticed Gavras’ political input that he’s often known for as soon as the tanks appeared in what looks like some sort of Russian tundra. He captures the mood of some sort of Post-revolt dystopia as if it’s some kind of recollection of the soviet era. I realized similarities in the shot styling where Gavras’ “American Gothic” framed zooms on characters were used, similar to “I Believe” and “Signatune”. It is again similar with his pleasantly placed slow motion use.
Gavras’ hip-hop roots show through when the low angle footage of what appears to be a low riding limo passes by, illuminated by neon casino signs – it’s very bling, somehow like a gansta rap video or even the mock OTT style of Ali G: In da House’s introductory scene.
The sweeping shots of Moscow’s snow covered square, towering iconic onion-domed Russian architecture, ice-rinks, Orthodox priests and a rousing chorus of Russian soldiers all somehow gives yet another spontaneous music video without much of a foundation, seemingly revolving more around aesthetics just like most of Gavras’ other videos but yet again, one way or another a moralistic message can be interpreted.
He is a co-founder of Kourtrajmé, an elite graphic and filmmaking group that utilize hip-hop culture and disciplines in often socially conscious documentaries, short films and music videos.
His music videos for artists like Simian Mobile Disco, and DJ Mehdi show a taste for aggression and loneliness, industrial landscapes and burdened personas.
The film that propelled him out most, was his most recent music video for Justice’s “Stress” – a very Clockwork Orange-esque piece of work, although personally it’s themes reminded me more of Mathieu Kassovitz’s La Haine (who himself is involved in Kourtrajmé), revolving mainly around the lifestyles of Morrocan-Parisian hoodlums living on the outskirts or “banlieues” of Paris. It was gritty, violent and very shocking which when mixed with it’s mindlessness created a large stir of controversy, similar to Prodigy’s “Smack my Bitch up” video.
Dj Mehdi
“Signatune”
Directed by Romain Gavras
http://www.youtube.com/watch?v=5sbTmLvL7fQ
This video was directed by Gavras in 2007 fore the electronica/hip hop artist, DJ Mehdi. It has a shallow and naïve approach making it seem immature in it’s design but when analysed it seems far deeper. It takes on the seemingly typical Kourtrajmé motto of simplistic comedy blended into humourless sincerity – demonstrating the French, working class youth’s idea of fun and respect.
The story (if there is much of one) appears to be about a late teenage boy in France going to an unofficial street racer gathering, were everyone there shows of his/her tuned up cars in order to gain respect from their peers as well as outsiders. He turns up meeting his friends but is quickly threatened by a rival. They challenge each other to a duel, whereby they have to see who can pass 150db with their sound-system. The boy reigns triumphant, claiming his respect and putting his rival to shame, returning home happy knowing he’s the best. You could call this a feel-good music video, but it’s bleakness makes it a gaze into reality.
Simian Mobile Disco
“I Beleive”
Directed by Romain Gavras
http://www.youtube.com/watch?v=lwnhICmxzcw
This intriguing video is shot in a manner reminiscent of Grant Wood’s famous American Gothic painting in the sense of the camera’s very “full on” approach to characters featured. It rarely pans or tilts to emote or even connote, instead it zooms – sometimes giving it an even more effective feel, making these characters seem even more two-dimensional, adding to it’s blunt and very realistic “Gavras” approach. Typical rapid cuts and motion common in music videos don’t exist as much in this – it is pretty much all filmed in slow-motion, although when the camera tracks across the place or zooms it happens in a more real time, adding an interesting time dynamic which makes you realize the camera in real life must have been moving fairly fast. This effect was interesting to ponder over during the video as the concept of speed put into slow motion was reminiscent of, The Matrix’s use of “bullet time” or overcranking/time stretching.
Justice
“Stress”
Directed by Romain Gavras
http://www.youtube.com/watch?v=h9NvJfwF9bI
The projects or “banlieues” of Paris are mainly on it’s outskirts – their crime rates are sky-high and currently being kept there by the practically feral youths who reside there. In this video, Gavras has captured the chaotic craziness of these kids in a documentary-esque short film set throughout a day in their lives. It’s kinetic feel propelling it along is all bought across by Gavras’ ways with the camera – the handheld edge, the choppy zooms and the compact framing (reminiscent of Kourtrajmé’s signature fisheye usage). I feel his editing skills are pretty present here too – he has a great gift were he seems to be able visualise sounds, appropriately using the perfect imagery and cuts for the track, making and even more enjoyable (although terrifying) experience. I presume like many music video directors, he probably composed a timeline where spikes and plateaus in the song’s intensity were highlighted for a harmonically fitting piece of footage to go alongside them.
I feel Gavras chose a mindless and impromptu plot as it’s open ends could allow for many variables in the attempts of imagining a story – I personally feel as though it could be moralistic in some way, maybe to do with boredom creating inner-turmoil that is expelled by releasing it on the world. A common problem with unimaginative or run down estates/parts of town.
The Last Shadow Puppets
“The Age of the Understatement”
Directed by Romain Gavras
http://www.youtube.com/watch?v=XGV8xCkpXjEThe video
“The Age of the Understatement” was shot in Moscow and features Alex Turner and Miles Kane walking through the Russian capital. This one stands out a lot for me – even though Gavras has taken a step away from electronica and hip-hop to work on this alternative rock song – the influences still remain, in camera work, editing and theme.
I noticed Gavras’ political input that he’s often known for as soon as the tanks appeared in what looks like some sort of Russian tundra. He captures the mood of some sort of Post-revolt dystopia as if it’s some kind of recollection of the soviet era. I realized similarities in the shot styling where Gavras’ “American Gothic” framed zooms on characters were used, similar to “I Believe” and “Signatune”. It is again similar with his pleasantly placed slow motion use.
Gavras’ hip-hop roots show through when the low angle footage of what appears to be a low riding limo passes by, illuminated by neon casino signs – it’s very bling, somehow like a gansta rap video or even the mock OTT style of Ali G: In da House’s introductory scene.
The sweeping shots of Moscow’s snow covered square, towering iconic onion-domed Russian architecture, ice-rinks, Orthodox priests and a rousing chorus of Russian soldiers all somehow gives yet another spontaneous music video without much of a foundation, seemingly revolving more around aesthetics just like most of Gavras’ other videos but yet again, one way or another a moralistic message can be interpreted.
Goodwin's 6 Points
1. Music videos demonstrate genre characteristics
(e.g. stage performance in metal video, dance routine for boy/girl band).
2. There is a relationship between lyrics and visuals
(either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals
(either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
6. There is often intertextual reference (to films, tv programmes, other music videos etc).
(e.g. stage performance in metal video, dance routine for boy/girl band).
2. There is a relationship between lyrics and visuals
(either illustrative, amplifying, contradicting).
3. There is a relationship between music and visuals
(either illustrative, amplifying, contradicting).
4. The demands of the record label will include the need for lots of close ups of the artist and the artist may develop motifs which recur across their work (a visual style).
5. There is frequently reference to notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.
6. There is often intertextual reference (to films, tv programmes, other music videos etc).
Email Sent to all Labels Below:
Hi, my name is Hayden Martin, I'm currently taking a new film-making course at Long Road Sixth Form College in Cambridge. Recently we've been assigned the task of each individually creating a music promo for an artist/label of our choice.
I'm sure you'll be glad to know that you (and a few others) came to my mind first, being a huge fan of the current electronic music scene and knowing how successful you've been!
I'm personally very developed in cinematography and editing with digital cameras and would love to apply these skills to produce a promo for any act you may have who are up for a music video.
I currently haven't got a fully completed and up-to-date show-reel but here is an example on Youtube (you'll have to excuse the picture, effects and cutting quality as it was early on in learning to use the software and there were many time constraints):
http://www.youtube.com/watch?v=09QWsJ3FJZY
This project was my first experiment with SFX and shows quite a few shortfalls. Now though, I have far more experience, often experimenting and further advancing.
Examples of my music cutting skills can be found at Vimeo, which I'll constantly update:
http://www.vimeo.com/6484142
http://www.vimeo.com/6484091
http://www.vimeo.com/6484000
Ideally I'd love to make a music video for any on of your lesser known bands to popularize them - funding wouldn't be necessary, only a brief or a source of inspiration from the band.
If anybody you know is interested do please get back to me or send contact details as I need to have this video completed in November.
Thanks very much and hope to speak soon
Add me on Facebook:
http://www.facebook.com/home.php#/hayden.martin1?ref=profile
Call me:
M. 07817281488
H. 07974901263
I'm sure you'll be glad to know that you (and a few others) came to my mind first, being a huge fan of the current electronic music scene and knowing how successful you've been!
I'm personally very developed in cinematography and editing with digital cameras and would love to apply these skills to produce a promo for any act you may have who are up for a music video.
I currently haven't got a fully completed and up-to-date show-reel but here is an example on Youtube (you'll have to excuse the picture, effects and cutting quality as it was early on in learning to use the software and there were many time constraints):
http://www.youtube.com/watch?v=09QWsJ3FJZY
This project was my first experiment with SFX and shows quite a few shortfalls. Now though, I have far more experience, often experimenting and further advancing.
Examples of my music cutting skills can be found at Vimeo, which I'll constantly update:
http://www.vimeo.com/6484142
http://www.vimeo.com/6484091
http://www.vimeo.com/6484000
Ideally I'd love to make a music video for any on of your lesser known bands to popularize them - funding wouldn't be necessary, only a brief or a source of inspiration from the band.
If anybody you know is interested do please get back to me or send contact details as I need to have this video completed in November.
Thanks very much and hope to speak soon
Add me on Facebook:
http://www.facebook.com/home.php#/hayden.martin1?ref=profile
Call me:
M. 07817281488
H. 07974901263
Labels With Bands I'd Like to do a Video for:
Mad Decent - Major Lazer, Diplo, L-vis 1990
Domino Records - Sinden, Tricky, Bonde de Role
Turbo Recordings - Tiga, Proxy, D.I.M
Ed Banger Records - Uffie, DJ Mehdi, Busy P
Institubes - Surkin, Bobmo, Das Glow
Dim Mak - Bloody Beetroots, Steve Aoki, Armand van Halen
Kitsune - Digitalism, Fischerspooner, A-Track
BNR Records - Boys Noize, Shadow Dancer, Djejotronic
New Judas - Mixhell, Houratron, Downtown
Cocomachete - Fukkk Offf, Azzido da Bass, Disco Doom
Domino Records - Sinden, Tricky, Bonde de Role
Turbo Recordings - Tiga, Proxy, D.I.M
Ed Banger Records - Uffie, DJ Mehdi, Busy P
Institubes - Surkin, Bobmo, Das Glow
Dim Mak - Bloody Beetroots, Steve Aoki, Armand van Halen
Kitsune - Digitalism, Fischerspooner, A-Track
BNR Records - Boys Noize, Shadow Dancer, Djejotronic
New Judas - Mixhell, Houratron, Downtown
Cocomachete - Fukkk Offf, Azzido da Bass, Disco Doom
Tuesday, 7 July 2009
tutorials for MV
http://www.computerarts.co.uk/__data/assets/pdf_file/648078/cap88_tut_video.pdf
Music promos are designed to grab your at tention, capture the imagination and keep you entertained with each and every frame. Sequence Post-Production shows you how to create a dramatic and energetic piece of video work…
Monday, 6 July 2009
The mock britney vid
recently we were assigned the immensely tedious task of remaking shot by shot the Britney Spears Oops I Did it Again MV. we watched it through a couple of times and counted the shots. after that i used keepvid to hijack the video from youtub into quicktime and then on into final cut. after every cut in the MV i used the razor blade tool to separate them. this way, when the animatic was drawn i could use the snapping mode to fit the images in exactly in time with the original MV.
the next stage was actually filming - we did this by watching the clip off my laptop and mimicking it as we went along. we had location scouts who found everywhere as similar to the video as possible. then we also had choreographers practicing the dances. as we shot dance sequences or lip-syncing parts we'd often play the track so we could hear it in the edit and sync it all up.
our director was good at telling people what to do and most of the time they did what was said. unfortunately our assistant director couldnt make it that day, so as well as cinematographer i also had to semi take on that role too. being the cinematographer was similar in a way anyway as i had to position actors and props and have locations in the right place at the right time.
it was all hard work though as it was such a hot, humid day + indoors. we got through it though and ploughed through even though the morale was low.
if we did this again i'd suggest we do it earlier in the day and straight away so we dont get exhausted so quickly. also, more time on choreography would be great, especially if scenes involve both lip syncing and dance moves. editing this thing was easy so no problems there really.
people couldve been more cooperative (naming no name(s) beggining with M...) as a lot of the time people were just sitting about chatting - really they couldve even been involved in the acting, or asking if anybody actually doin stuff needed help.
the next stage was actually filming - we did this by watching the clip off my laptop and mimicking it as we went along. we had location scouts who found everywhere as similar to the video as possible. then we also had choreographers practicing the dances. as we shot dance sequences or lip-syncing parts we'd often play the track so we could hear it in the edit and sync it all up.
our director was good at telling people what to do and most of the time they did what was said. unfortunately our assistant director couldnt make it that day, so as well as cinematographer i also had to semi take on that role too. being the cinematographer was similar in a way anyway as i had to position actors and props and have locations in the right place at the right time.
it was all hard work though as it was such a hot, humid day + indoors. we got through it though and ploughed through even though the morale was low.
if we did this again i'd suggest we do it earlier in the day and straight away so we dont get exhausted so quickly. also, more time on choreography would be great, especially if scenes involve both lip syncing and dance moves. editing this thing was easy so no problems there really.
people couldve been more cooperative (naming no name(s) beggining with M...) as a lot of the time people were just sitting about chatting - really they couldve even been involved in the acting, or asking if anybody actually doin stuff needed help.
Thursday, 25 June 2009
research: spike jonze
Being John Malkovich (1999)
Where the Wild Things Are (2009)
Adaptation. (2002)
Amarillo by Morning (1998)
"Heaven" by UNKLE (2009)
"The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" by Weezer
Jonze was an avid BMX freestyle rider in his youth. As part of the famous Rockville BMX crew he was known for making fast friends with touring BMX teams that came to town, befriending riders and often touring with them for short periods afterwards. we can see this in some of his movies - especially Heaven (which is amazing).
Where the Wild Things Are (2009)
Adaptation. (2002)
Amarillo by Morning (1998)
"Heaven" by UNKLE (2009)
"The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" by Weezer
Jonze was an avid BMX freestyle rider in his youth. As part of the famous Rockville BMX crew he was known for making fast friends with touring BMX teams that came to town, befriending riders and often touring with them for short periods afterwards. we can see this in some of his movies - especially Heaven (which is amazing).
Since 2007, he has been the creative director at VBS.tv, an online television network supplied by Vice and funded by MTV.
research: michel gondry
He has directed these feature films:
And also these music videos:
- "Declare Independence" - Björk
- "The Denial Twist" - The White Stripes
- "Heard 'Em Say" - Kanye West
- "Star Guitar" - The Chemical Brothers
again with his video for Kanye West as he used a combination of boil-ey animation alongside real footage in b/w, creating a purposeful amateur effect, seeming ironic and therefore enthusing.
Syncing excersise 3
our third was our most labour intensive. we were assigned a random track (in our case, "the clash" with "i fought the law") and were then told to film to it.
we did this by playing the track while we acted against bluescreen. after the footage was digitized we took the audio from the upload and synced it with a high quality mp3. once they were both in time we then had to cut it up and edit just like the previous 2 excersises.
our plan was to have us running with images of a zooming police chase in the background, accomplished via our bluescreen.
we did this by playing the track while we acted against bluescreen. after the footage was digitized we took the audio from the upload and synced it with a high quality mp3. once they were both in time we then had to cut it up and edit just like the previous 2 excersises.
our plan was to have us running with images of a zooming police chase in the background, accomplished via our bluescreen.
Syncing excersise 2
in our second excersise, we were given more substantial amounts of video to work with as well as a collection of possible tracks to use.
the clips used were from a video by DJ Format but their audio was cut off, allowing us to re-edit what was there to a different selection of tracks.
it all proved pretty easy really - it was a good chance to showcase our individual editing skillzones.
Syncing excersise 1
in our first excercise, we needed to sync the lip movements of one video's characters to a separate peice of audio - pete showed us how and it was all fairly easy. we used markers and a master track that we'd sync all of the individual clips to and then "link" them in place with it, allowing them to be cut and bought back in still synced up.
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