Things are reaching breaking point. People are saying one thing and doing another. We have less than a skeleton crew for the weekend, as people are pulling out all over the place. It’s stress central here at the moment.
You start out with the best intentions and do everything to the book, and yet things still manage to unravel. I suppose that’s the nature of the beast. It doesn’t help when one producer seems to be on a completely different page to the rest of us.
Wake me up when it’s all over.
You start out with the best intentions and do everything to the book, and yet things still manage to unravel. I suppose that’s the nature of the beast. It doesn’t help when one producer seems to be on a completely different page to the rest of us.
Wake me up when it’s all over.
The 1970s: No style, but plenty of substance
0 Comments Published by Mazz on Wednesday, May 2, 2007 at 11:30 PM.
Sorry about the lack of updates – life got in the way there for a while. Well, a state of being forced to stare at the ceiling, but that’s another story. It’s given me a decent amount of time to have a think about the other major component of the film clip – the GTK style studio clip – which I’m not sure has been mentioned here previously. For those who don't know of GTK, it was a music television show on the ABC in the early 70's (before Countdown existed), in which popular rock acts of the time would play a song or two for the cameras, with a number of bands performing on the program each week.
Usually there’s not a great deal of thought that goes in to these things – band sets up, band plays, TV crew shoot it, band buggers off. Easy. Except when you’re transporting your viewer into another era. For someone of my age, it can be difficult not to get too cliché about the 70s… let’s face it, we weren’t alive, and as far as we’re concerned, ‘flower power’ and disco could have been going on at the same time. Alright, maybe not to that extent, but there were certainly a lot of fashion statements happening in the early 70s, and it can be confusing figuring which way to tread. Hope the Art Dept. have found something suitable. Will be meeting with them tomorrow, so we’ll find out then.
In this down time I’ve been raiding my GTK videos, and whilst there are very few clips in the collection (most of them are Billy Thorpe … t’grand master as far as I’m concerned) they are all very telling. If you were to compare them with Countdown for example, Countdown has a very glossy feel to it where it’s not so much about the music, but a document of the performance and whatever the hell they happened to be wearing. Lots of wide shots of the band and close ups of the singer. Sometimes you’d be wondering if the band actually had a drummer – they only really focused on the ‘marketable’ parts of the band (eg, the singer). GTK on the other hand really complements the music. More often than not it’s a really simple set, but the Director concentrates on getting visually interesting shots of the band. Things got a bit weird sometimes. Either the Director was wildly inexperienced, or smoked something heavy before the show, but it added an interesting edge to the clip. Not that I’m aiming for that edge, but it’d be nice to shoot something that complemented the song.
Storyboarding is something I've never liked...
0 Comments Published by Mazz on Tuesday, April 17, 2007 at 4:43 AM.
There are just not enough hours in the day anymore. Between Comedy Festival gigs, producing a TV show, working, and seeing America in concert in the evening (not bad!), Kim and I managed to squeeze in a storyboarding meeting on Sunday morning. It went far better than our initial storyboarding session, as we actually got some storyboarding done. Ideas were flowing, and now the whole sci-fi idea for the clip seems to have fleshed itself out, which is fantastic considering three days prior the blank page was mocking me in its pristine white pretentiousness. So whilst I wrote down ideas and played Police records, Kim storyboarded them out in that wonderful graphic style she has. All we got done was the Sci-fi part of the clip, which is about a third, so there is still a lot to do. For some odd reason I said I’d complete the storyboard for the rest of the clip, despite the fact that drawing is anything but my forte (yeah, that pic is my pathetic effort). So here I am, 4:43am on Tuesday morning still finishing it. It’s a much greater effort than some people appreciate, but it has to be done. Almost there now…
Once again, Kim has directed me to a video clip to add to the scrap book. She was wondering what kind of stylistic approach I'd envisioned for the animation and so tossed up the names of a few clips for comparison. The clip below pretty much sums up what I had in mind (except we won't be so detailed).
Megalomaniac - Incubus
Ooh, can't wait!
There was an art department meeting this morning, and of course everyone wanted details about the clip. It’s so frustrating that one can’t offer any real answers apart from being particularly vague. Things are moving far too quickly. People want things done yesterday, and the concept has had no time to flesh itself out and become something other than a fledgling idea with no substance. It’s all just a big fat mess in my head. The concept is lacking, and one is completely uninspired. People keep telling me what to do and, foolishly, I listen. There’s a huge creative output expected in such a short amount of time, which is made even shorter by my ludicrous schedule. There's a great sense of guilt that I’m lagging behind as a show producer, and getting completely lost in the clip – which is realistically what should be happening, but the guilt just keeps on coming. A chat this evening has certainly made me rethink things, and was guiding me to become firm and forceful about cutting out the shit – as a Director should be. It’s a sad state of affairs when you can’t take your own advice and knowledge to make things right in the first place. Keep it simple. That’s all there is to it.
How to change things is the challenging bit. Divine intervention would be nice. The odd light bulb wouldn’t go astray. Just keep hacking at it I suppose, until it makes some sense. Maybe going back to the original concept when ideas were fresh and interesting is a good place to start. Sunday is the day the storyboard has to be somewhat complete. So I have until then to revise. Shit.
Sorry about all this self-indulgence, I just really needed to get that off my chest…
-EDIT- 11/04/07 - 11:52PM
It's amazing what a couple of hours and a rant can do. Not only are the ideas flowing, but the clip makes some sense. Thank goodness for that! There were ideas that made the clip far too congested, and it was no longer focusing on the song. The whole story of the Rocket Girl somehow went missing, but now it's back with a vengeance. In our inital storyboarding mission on Monday, Kim and I had a great deal of difficulty coming up with ideas for the sci-fi side of the film clip. It all seems to become blatantly obvious when you strip everything back and look at the song for what it is. We listened to the song for many an hour and brainstormed feelings, what we visualised, etc, and while that's all well and good, we were completely missing the story of the song. A desperate phonecall to Mike later, and we were still pretty lost. Every idea just didn't seem to do the song the justice it deserved. The only breakthrough came when I was putting my copy of the Milesago album away at the end of the meeting, and Kim said she loved the cover. I said, "wait 'til you see the back cover!" and then boom! Brainwave! The initial idea for the filmclip was a group of stills to the beat of the song, and taking this idea, I thought it could still be used in the sci-fi side of things as a sort of animated scrap book setup. If you've seen the back of the Milesago album, you might catch my drift, if not, here it is for you...
Note: this image was taken off the net... the right side seems a little out of whack and I have no idea why there's a crease. But you get the gist.
How to change things is the challenging bit. Divine intervention would be nice. The odd light bulb wouldn’t go astray. Just keep hacking at it I suppose, until it makes some sense. Maybe going back to the original concept when ideas were fresh and interesting is a good place to start. Sunday is the day the storyboard has to be somewhat complete. So I have until then to revise. Shit.
Sorry about all this self-indulgence, I just really needed to get that off my chest…
-EDIT- 11/04/07 - 11:52PM
It's amazing what a couple of hours and a rant can do. Not only are the ideas flowing, but the clip makes some sense. Thank goodness for that! There were ideas that made the clip far too congested, and it was no longer focusing on the song. The whole story of the Rocket Girl somehow went missing, but now it's back with a vengeance. In our inital storyboarding mission on Monday, Kim and I had a great deal of difficulty coming up with ideas for the sci-fi side of the film clip. It all seems to become blatantly obvious when you strip everything back and look at the song for what it is. We listened to the song for many an hour and brainstormed feelings, what we visualised, etc, and while that's all well and good, we were completely missing the story of the song. A desperate phonecall to Mike later, and we were still pretty lost. Every idea just didn't seem to do the song the justice it deserved. The only breakthrough came when I was putting my copy of the Milesago album away at the end of the meeting, and Kim said she loved the cover. I said, "wait 'til you see the back cover!" and then boom! Brainwave! The initial idea for the filmclip was a group of stills to the beat of the song, and taking this idea, I thought it could still be used in the sci-fi side of things as a sort of animated scrap book setup. If you've seen the back of the Milesago album, you might catch my drift, if not, here it is for you...
Note: this image was taken off the net... the right side seems a little out of whack and I have no idea why there's a crease. But you get the gist.
Don't Tell Tom interview with Mike Rudd
0 Comments Published by Mazz on Saturday, April 7, 2007 at 12:13 AM.
I'm really not sure if we'll end up using the interview we conducted with Mike at the Don't Tell Tom gig, as we really should have put a light up or something. There's documentary footage, and then there's documentary footage. This interview footage falls in to the category of "they didn't know what they were doing" or the "they had no money" category. Unfortunately (or fortunately, depending on how you look at it), for us it was the latter. It was probably the most well-lit spot at the venue! But the interview is too interesting just to throw away, so here's the obligatory transcript for you. Our interviewer was Aidan, our camera man. Not a bad job for his first interview!
____________________________
Aidan:This must be just one of many gigs for you over the years, do you still get nervous before you go on?
Mike: Before a gig like this no, but if you’re in a different situation, that’s when you’re likely to get nervous and, while this is different, there’s nobody here! So I’m not nervous, just disappointed – shattered!
Do you think in a new environment you get a certain buzz, if not nerves? Or would nerves spur you on to do different things on stage?
Nerves can be counter-productive, but I think… yeah, I find nerves mostly counter-productive in fact. I actually prefer to be in a routine situation and being able to muck around with that, and get enjoyment that way – mucking around with a standard situation.
How many gigs do you think you have done over all the years, if you could possibly put a number on it?
No, I couldn’t possibly! But it would be thousands. We don’t work as much as we used to, but we used to work… well in the seventies we’d be working half a dozen times a week on average, and now we’re lucky if we do one or two gigs a week. So it’s a completely different kind of ratio.
Why do you feel that writing is your thing to do?
It’s hard for me to say, because I haven’t done a lot of writing recently (which is a bit of a problem, really). Although, when I say I haven’t written – I haven’t written any lyrics lately. It’s mostly… I can’t actually stop. If I pick up a guitar, at the end of half an hour or so of noodling, or doodling, or whatever, I’ve usually come up with something. What I’m looking for in that situation is kind of a unique combination of chords or something that spurs my interest, and stick them together and I’ve got a fragment of music. Now I’ve got, I would say I’ve got thousands of fragments of music sitting around waiting for me to put them together. And what generally tends to happen is that you write them in a series, so you get a particular idea and then you’ll get a series of ideas that are based around that idea. So, possibly in a week or so, you’d come up with a whole bunch of ideas that you later have to come back and address, and find out which is the best of them.
So does that mean that you would write the music before you go with the lyrics?
Yeah, I’m afraid so. That makes it pretty hard. It’s much better if I can come up with a lyrical idea, and to do that really I have to be moved, and I’m not often moved!
Do you care though, if you were just to write a purely melodic piece and not worry about having any lyrics?
Well, we do! Bill and I between us write quite a few instrumentals, and that’s quite nice. But ultimately it’s better if you can come up with a song that says something. And I guess I have standards in the sense that I don’t just write a song for a song’s sake – it has to actually say something if you’re writing it for yourself. It’d be great to be commissioned, and I have been commissioned a few times to write songs, and that’s a challenge. But it’s kind of good because you don’t have to live up to your own high standards, you know, somebody else’s standards that may or may not be as high. Or they may be just something different, but they’re providing a subject.
So those times when you were commercial, was that because other people (well, the public) liked what you were doing, or were you trying to be commercial?
I think it’s very hard to be commercial. Really, what the sixties musician replaced was a bunch of writers getting together and trying to hammer out pop songs, and we changed that. But, in a sense, Spectrum were lucky in that I wrote a song that was immediately appealing for my first song, so we kind of never looked back, really. But it’s still my biggest hit, but I didn’t really try to write it as a hit song. Having said that, it did evolve from a song without harmonica to a song with harmonica, and the harmonica proved to be the hook that captured everybody’s imagination at the time. So I guess you are looking for the best way for the song to work.
What would you say is Spectrum’s hook that draws the attention of people – that people enjoy?
Now?
Not necessarily now, but over the course of the years.
It’s hard to know. I mean, we still appeal to that same group of people that we appealed to in the first place, so that’s kind of grown with us. And they understand, probably better than we do, where we’re coming from. And Spectrum is a clunky sort of old name, but it actually is quite apt because we tend to cover quite a bit of musical ground within our own abilities, and we don’t feel restricted by genre, in particular. So we’ll go from blues to – which we do a bunch of blues covers, which I enjoy doing – but we’ll do that and we’ll do songs that are maybe a hint of reggae, and a hint of this, and a hint of that; eclectic, you know. So we don’t feel bounded by any particular restrictions of style and that’s what our audience has come to expect – is us to be doing something different, and something that’s probably uniquely us, because it’s translated through our musical ability (or lack of it).
So what is it that’s brought you here tonight to Don’t Tell Tom?
Well this is really speculative in a sense, but it’s serving a purpose because we have some releases coming up. We’ve got a new Spectrum album coming up and we’ve got a couple of our original albums – when I say original, the ones that came out in the seventies being reissued on CD – and so there’s going to be some launches coming up and I wanted to work in a whole bunch of different things and one of them was Hugh McSpedden’s light show. It takes about three months for Hugh to grind into action, so this is our first night with Hugh, and I expect it will develop from here until it becomes some kind of show. At the moment it will probably be fairly disjointed and that sort of stuff, but we have to start somewhere.
What is the significance of Hugh’s light show?
Well Hugh was famous for the giant Edison Screw back in the TF Much Ballroom days, and as well as being in the Leaping McSpedden Brothers and The Human Alphabet, and so forth, but Hugh’s show, he uniquely adapted a projection show based on oils and his knowledge of the songs. So he would have… we wouldn’t actually be aware of what was going on behind us, so we would really get half the show. We would just concentrate on the music, and there was all this other show going on in the background which we weren’t a party to. But everybody told us it was fantastic, you know, and knowing Hugh, I mean he is a really original guy.
Why did you choose to do it here?
Well, there’s not many gigs that we do that have got the elevation to put on a light show. So, as I said, it’s a speculative gig. I’m not sure how the sound will be, but it should be great for the projections!
Well we’ll probably finish up shortly because you need to be on…
Yeah, yeah…
But just to finish up… Obviously you love music – that seems to be your purpose…
In existing? Yeah…
Why do you feel that is? What is it about it that you love so much that keeps you here?
Well that’s an interesting question and I can only provide probably a pretty clichéd answer. It’s a permanent challenge. Music is a kind of something you’re always looking for perfection in, and I never seem to get there. But I’m enjoying it more now than I used to. I don’t know what that means; it maybe means that I’m relaxing a little bit, as I get older. But I still think there’s a lot of challenges there, and I don’t know where I fit in the overall scheme of things but if I’m given time (please God, give me time!) I might eventually find it, you know. So it’s a search – a search and a challenge.
____________________________
Many thanks to Mike for taking time out to chat with us before the gig. Hopefully we'll get some well-lit interesting tid-bits soon!
____________________________
Aidan:This must be just one of many gigs for you over the years, do you still get nervous before you go on?
Mike: Before a gig like this no, but if you’re in a different situation, that’s when you’re likely to get nervous and, while this is different, there’s nobody here! So I’m not nervous, just disappointed – shattered!
Do you think in a new environment you get a certain buzz, if not nerves? Or would nerves spur you on to do different things on stage?
Nerves can be counter-productive, but I think… yeah, I find nerves mostly counter-productive in fact. I actually prefer to be in a routine situation and being able to muck around with that, and get enjoyment that way – mucking around with a standard situation.
How many gigs do you think you have done over all the years, if you could possibly put a number on it?
No, I couldn’t possibly! But it would be thousands. We don’t work as much as we used to, but we used to work… well in the seventies we’d be working half a dozen times a week on average, and now we’re lucky if we do one or two gigs a week. So it’s a completely different kind of ratio.
Why do you feel that writing is your thing to do?
It’s hard for me to say, because I haven’t done a lot of writing recently (which is a bit of a problem, really). Although, when I say I haven’t written – I haven’t written any lyrics lately. It’s mostly… I can’t actually stop. If I pick up a guitar, at the end of half an hour or so of noodling, or doodling, or whatever, I’ve usually come up with something. What I’m looking for in that situation is kind of a unique combination of chords or something that spurs my interest, and stick them together and I’ve got a fragment of music. Now I’ve got, I would say I’ve got thousands of fragments of music sitting around waiting for me to put them together. And what generally tends to happen is that you write them in a series, so you get a particular idea and then you’ll get a series of ideas that are based around that idea. So, possibly in a week or so, you’d come up with a whole bunch of ideas that you later have to come back and address, and find out which is the best of them.
So does that mean that you would write the music before you go with the lyrics?
Yeah, I’m afraid so. That makes it pretty hard. It’s much better if I can come up with a lyrical idea, and to do that really I have to be moved, and I’m not often moved!
Do you care though, if you were just to write a purely melodic piece and not worry about having any lyrics?
Well, we do! Bill and I between us write quite a few instrumentals, and that’s quite nice. But ultimately it’s better if you can come up with a song that says something. And I guess I have standards in the sense that I don’t just write a song for a song’s sake – it has to actually say something if you’re writing it for yourself. It’d be great to be commissioned, and I have been commissioned a few times to write songs, and that’s a challenge. But it’s kind of good because you don’t have to live up to your own high standards, you know, somebody else’s standards that may or may not be as high. Or they may be just something different, but they’re providing a subject.
So those times when you were commercial, was that because other people (well, the public) liked what you were doing, or were you trying to be commercial?
I think it’s very hard to be commercial. Really, what the sixties musician replaced was a bunch of writers getting together and trying to hammer out pop songs, and we changed that. But, in a sense, Spectrum were lucky in that I wrote a song that was immediately appealing for my first song, so we kind of never looked back, really. But it’s still my biggest hit, but I didn’t really try to write it as a hit song. Having said that, it did evolve from a song without harmonica to a song with harmonica, and the harmonica proved to be the hook that captured everybody’s imagination at the time. So I guess you are looking for the best way for the song to work.
What would you say is Spectrum’s hook that draws the attention of people – that people enjoy?
Now?
Not necessarily now, but over the course of the years.
It’s hard to know. I mean, we still appeal to that same group of people that we appealed to in the first place, so that’s kind of grown with us. And they understand, probably better than we do, where we’re coming from. And Spectrum is a clunky sort of old name, but it actually is quite apt because we tend to cover quite a bit of musical ground within our own abilities, and we don’t feel restricted by genre, in particular. So we’ll go from blues to – which we do a bunch of blues covers, which I enjoy doing – but we’ll do that and we’ll do songs that are maybe a hint of reggae, and a hint of this, and a hint of that; eclectic, you know. So we don’t feel bounded by any particular restrictions of style and that’s what our audience has come to expect – is us to be doing something different, and something that’s probably uniquely us, because it’s translated through our musical ability (or lack of it).
So what is it that’s brought you here tonight to Don’t Tell Tom?
Well this is really speculative in a sense, but it’s serving a purpose because we have some releases coming up. We’ve got a new Spectrum album coming up and we’ve got a couple of our original albums – when I say original, the ones that came out in the seventies being reissued on CD – and so there’s going to be some launches coming up and I wanted to work in a whole bunch of different things and one of them was Hugh McSpedden’s light show. It takes about three months for Hugh to grind into action, so this is our first night with Hugh, and I expect it will develop from here until it becomes some kind of show. At the moment it will probably be fairly disjointed and that sort of stuff, but we have to start somewhere.
What is the significance of Hugh’s light show?
Well Hugh was famous for the giant Edison Screw back in the TF Much Ballroom days, and as well as being in the Leaping McSpedden Brothers and The Human Alphabet, and so forth, but Hugh’s show, he uniquely adapted a projection show based on oils and his knowledge of the songs. So he would have… we wouldn’t actually be aware of what was going on behind us, so we would really get half the show. We would just concentrate on the music, and there was all this other show going on in the background which we weren’t a party to. But everybody told us it was fantastic, you know, and knowing Hugh, I mean he is a really original guy.
Why did you choose to do it here?
Well, there’s not many gigs that we do that have got the elevation to put on a light show. So, as I said, it’s a speculative gig. I’m not sure how the sound will be, but it should be great for the projections!
Well we’ll probably finish up shortly because you need to be on…
Yeah, yeah…
But just to finish up… Obviously you love music – that seems to be your purpose…
In existing? Yeah…
Why do you feel that is? What is it about it that you love so much that keeps you here?
Well that’s an interesting question and I can only provide probably a pretty clichéd answer. It’s a permanent challenge. Music is a kind of something you’re always looking for perfection in, and I never seem to get there. But I’m enjoying it more now than I used to. I don’t know what that means; it maybe means that I’m relaxing a little bit, as I get older. But I still think there’s a lot of challenges there, and I don’t know where I fit in the overall scheme of things but if I’m given time (please God, give me time!) I might eventually find it, you know. So it’s a search – a search and a challenge.
____________________________
Many thanks to Mike for taking time out to chat with us before the gig. Hopefully we'll get some well-lit interesting tid-bits soon!
Today we had our first meeting with Mike and Bill from Spectrum where we shoved a camera in front of their faces and asked them a few questions. I was a bit apprehensive at first as to how the whole situation would unfold, with us doing very quick interviews with the guys about their thoughts on the song/film clip, etc, and the filming of a meeting. Thankfully the guys seemed quite relaxed and in the mood for a good time, and so the cameras being there didn’t really impinge on their demeanour. It really didn’t help that I’d only had 3 hours sleep and had to contend with Bill’s quirky asides (AWKWARD), but all in all the footage and interview turned out well. The small interview with Mike and Bill is a ripper – there’s talk of sexy women and gay bars – what more could you ask for?!
It was also our first time working with Stefan (our host) after auditioning him in late January. He was a little confused about the whole concept in the beginning, but by the end understood exactly what was going on. I really look forward to working with him further, because he was the only guy we auditioned that had that little spark that made you light up and want to interact with him. Once he's more informed about the show and the band, he'll be brilliant.
Anyway, the whole point of the meeting was to discuss the concept we had for the film clip for “Rocket Girl”, a rather sexually explicit space song (due to be released on Spectrum’s new album Breathing Space). I don’t think I’ll release any details here (otherwise you won’t watch the show!), but it was good to have ideas validated and expanded upon. Just speaking with Garth, the Art Department head, five minutes before we sat down with the guys, he was brimming with really clever ideas that just made the concept gel a lot better. So now Kim and I will get together on the weekend, chuck on a record, light some incense and get inspired to draw up a storyboard. If you behave, I’ll post up some pics. But here are some pics from the shoot anyway:
Mike & Bill debating over single and gay bars...
Mike, Bill, Miranda, Kim and Garth get comfy on the couch
Stefan, our host with the most
Jarryd and his alien-looking camera friend - they're expecting in July
A post-meeting meeting. How wanky...
Overall, the day went better than thought -well, the footage turned out to be a lot more interesting than I thought it would. So now we're off to find locations, props, costumes, and develop ideas further. We're still trying to figure out exactly how we're going to shoot the documentary side of things, but I think most of it will be shoot-it-and-see. There's going to be a whole lotta editing and camping out on the couch in shifts at my place very very soon...
It was also our first time working with Stefan (our host) after auditioning him in late January. He was a little confused about the whole concept in the beginning, but by the end understood exactly what was going on. I really look forward to working with him further, because he was the only guy we auditioned that had that little spark that made you light up and want to interact with him. Once he's more informed about the show and the band, he'll be brilliant.
Anyway, the whole point of the meeting was to discuss the concept we had for the film clip for “Rocket Girl”, a rather sexually explicit space song (due to be released on Spectrum’s new album Breathing Space). I don’t think I’ll release any details here (otherwise you won’t watch the show!), but it was good to have ideas validated and expanded upon. Just speaking with Garth, the Art Department head, five minutes before we sat down with the guys, he was brimming with really clever ideas that just made the concept gel a lot better. So now Kim and I will get together on the weekend, chuck on a record, light some incense and get inspired to draw up a storyboard. If you behave, I’ll post up some pics. But here are some pics from the shoot anyway:
Overall, the day went better than thought -well, the footage turned out to be a lot more interesting than I thought it would. So now we're off to find locations, props, costumes, and develop ideas further. We're still trying to figure out exactly how we're going to shoot the documentary side of things, but I think most of it will be shoot-it-and-see. There's going to be a whole lotta editing and camping out on the couch in shifts at my place very very soon...
Rage, the classic ABC program for insomniacs and Uni-students alike, is the catalyst for this post. There was a clip on a few weeks ago that just blew my mind - it was so intense. It was done in a black space with one-point lighting, all in one shot. Not enough can be said for simple cinematography. The more lights you add, the more difficult it gets. Anyway, I finally saw the clip again on Rage this evening so I thought I'd post it...
You Are A Casino - Snowman
Not really hot on the music, but lovin' the clip. Are there any film clips out there that really do something for you? Leave a comment and let us know!
-EDIT-
Yeah, I couldn’t be bothered making a whole new post, as this one is along the same lines. It’s another clip for you. Today (27/03/07) we were discussing blue/green screen techniques, and Kim piped up about this clip. It sounds like something I’d have listened to in the early 90s, but could be mistaken for late 70s New-wave, with video clip techniques from the 80s with a modern animation technique. All kind of ironic, really. Anyway, it’s kind of like every other clip at the moment, but it is edited VERY well. Basically the whole clip is in the editing – the complete opposite of the Snowman clip. One thing about music clips is to always edit to the beat of the music, unless you want a pile of steaming dog poo at the end of it all...
Decent Days and Nights - The Futureheads
Not really hot on the music, but lovin' the clip. Are there any film clips out there that really do something for you? Leave a comment and let us know!
-EDIT-
Yeah, I couldn’t be bothered making a whole new post, as this one is along the same lines. It’s another clip for you. Today (27/03/07) we were discussing blue/green screen techniques, and Kim piped up about this clip. It sounds like something I’d have listened to in the early 90s, but could be mistaken for late 70s New-wave, with video clip techniques from the 80s with a modern animation technique. All kind of ironic, really. Anyway, it’s kind of like every other clip at the moment, but it is edited VERY well. Basically the whole clip is in the editing – the complete opposite of the Snowman clip. One thing about music clips is to always edit to the beat of the music, unless you want a pile of steaming dog poo at the end of it all...
