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Archive for the ‘Music Video’ Category

Mantis and the Prayer

Posted on: April 15th, 2016 by Bart No Comments

I recently completed a colour grade in Resolve for Mantis and the Prayer’s new single, “Silver Dragon”.

The clip was shot on the Blackmagic Pocket Camera (exteriors) and a GoPro (underwater). Suffice to say the GoPro presented some challenges given we were going for a colourful, saturated look.

You can watch the clip here.

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Way Down Low

Posted on: February 16th, 2015 by Bart No Comments

So I’ve just completed a new clip for the Melbourne based band Number Station. The song is titled “Way Down Low” which features on their recently released 5 track EP, Back Seat.

The video was shot beautifully by my long time collaborator Matt Wood and graded by Marcus Smith at Blue Post, who also happens to be a member of Number Station. The “talent” in front of the camera is yours truly and I also handled the edit.

Great credit must go to Marcus for the quality of the grade. I enjoy pushing colours/saturation and we’ve really cranked it up on this occasion. Certainly times have changed when you end up virtually ignoring the $20,000 HD CRT in the telecine suite in order to use a Mac laptop as your main reference monitor.

Three person crew across pre, production and post. Amazing what you can accomplish these days.

Infinite Dead Ends

Posted on: August 20th, 2014 by Bart No Comments

There’s plenty of occasions when you put lots of work into a project only to find that for one reason or another, the job fails to take off.

It goes without saying this is extremely frustrating but you know, who’s to say that some of that work shouldn’t be made available for investigation and discussion?

I was recently working with Matt Wood DOP and Mike Gordon VFX guru on an idea to do a live action clip inspired by the Pink Floyd record cover for Ummagumma.

In the following statement, Mike Gordon eloquently details the planning behind such a tricky endeavour. If you are in any way allergic to “post talk”, best you step slowly away from your screen or else suffer the fate of “infinite tech regression”.

I’ll hand it over to Mike now…

“After many experiments, the infinite mirror corridor was created using the 3d camera tracker in Adobe After Effects.
The “mirror” on set was simply a frame with tracking marks that, when the camera move was solved, was cut-out, revealing footage of the “next room”, as though a reflection in a mirror.
This “next room” plate was positioned back in 3d space so that when the hand held camera travelled towards it, the cut-out frame revealed it in all its shifting parallaxical (sic) glory.
The next camera solve (travelling in the next room) had to match the last frame and velocity of the first one and that was pretty much done by eye and hand keyed.
To continue travelling, these steps were repeated, taking care not to get lost in the maze of nested pre-comps!
Lastly, to sell the fact there was a pane of glass between us and the next “room”, a transparent layer with water marks and dust was placed in the same plane as the wall. There’s no such thing as a perfectly clean mirror!
To sell this further I would have scaled up the dirty “mirror” surface as the camera moves through the frame to enhance the feeling that we are passing through these dirty marks…forever!”

Did you get all that? Here’s a short test we did to see if the idea would float.

Personal Song

Posted on: April 11th, 2014 by Bart No Comments

I recently completed a music video for the fantastic German band, The Boss Hoss. The track is titled, “Personal Song”. The guys toured Australia about a month ago for the Soundwave Festival and I was witness to a ripping live show in Melbourne. On their return to Germany they won the Echo Award for best rock band which is no surprise given how impressive they are live.

The Boss Hoss win The Echo Award for best rock band in Germany.

The video was shot in and around the Melbourne CBD and showcases a few well known haunts. Many thanks are due to the entire cast, crew and band but I would like to say thanks in particular to Sophie Kamman (manager) and Benjamin Wahlert from Universal Germany for their overall management of the project, David Leadbetter for producing, Matt Wood for the images, Ellie Daniel for the hair and makeup, Sophie Rose and Cloud of Unknowing for the art direction and costumes and Michael Gordon for the post FX. We had a number of actors involved in this piece and whilst I won’t mention them all by name it is fair to say they all made terrific contributions to the project. The Boss Hoss can be found here www.thebosshoss.com. Good old punk, rockabilly, western/country fusion. You can’t beat it. 

Put Your Curse On Me

Posted on: August 24th, 2013 by Bart No Comments

I’m very happy to announce the release of the new Stonefield video for the track, “Put Your Curse On Me”.

This one was co-directed with Michael Gordon, an FX afficianado and specialist in cosmic musings. Michael and I have collaborated dozens of times over the years and it was a delight to plough through the conceptual work and dense post-production with him.

Many thanks to all of the crew members for their contributions – Matt Wood for his considerable shooting and lighting skills, Lauren Dietze for her inspiring costumes which so brilliantly delineate the four sisters, Danielle Brustman for her complimentary art direction, Selena Pertzel for her speccy makeup, Anthony Rilocapro for the sharps and Thomas Honeyman for doing the work of five people.

Stonefield are a great bunch of girls and I hear they’re fantastic live. I hope they kill it.

Stonefield

Posted on: August 6th, 2013 by Bart No Comments

Pretending to be a gargoyle on the set of the new Stonefield video with Anthony Rilocapro (Camera Assistant) and Matt Wood (DOP).

So many green screens. So little time.

Live It Up

Posted on: April 18th, 2013 by Bart No Comments

The new video for the Airbourne track, “Live It Up” was unleashed upon the world yesterday, and I just wanted to say thanks to all of the cast and crew for their contributions to the work. There were a few of the “usual suspects’ involved, some of whom deserve a specific mention. Thanks to Stu Macqueen (Airbourne Management) at Wonderlick for teeing up the job, Suzi Akyuz and her crew at Roadrunner Records in New York for putting up with the time difference, David Leadbetter at IRL Shooter for producing this beast, Michael Williams and Matt Wood for the shots and Marcus Smith for the colours. Special mention must go to the members of the Full Metal Jacket Muscle Car Club who brought down an amazing array of vehicles, contributing car bling and some seriously crusty burnouts to the clip.

The clip was shot on the last hot day of Melbourne’s Indian Summer. We baked on the asphalt car park of the Docklands Studios for 12 hours, and it has to be said that the boys from Airbourne put in a Herculean effort. Take after take, they brought their extreme levels of energy to each shot, driving the clip onto that frenzied freeway of Oz Rock which they alone seem to traverse.

Rock on and live it up!

Hand Held

Posted on: March 31st, 2013 by Bart No Comments

Jeffrey Smart meets hard rock. Who would have thought?

Scout

Posted on: February 26th, 2013 by Bart No Comments

On a “recce” looking for the ultimate “Oz Rock” location. Photo courtesy of Michael Williams.

Everything old is new again.

Posted on: February 6th, 2013 by Bart No Comments

I was recently contacted by Tessa Elieff, who is a curator at the National Film and Sound Archive in Canberra. To my great suprise and delight, she has invited me to submit my film and video work to the archives so that in the distant future monkeys will be able to access and assess the cultural value of Australian music videos, TVC’s and short films generated at the turn of the 21st Century.

I am deep into the process of collecting the various masters, crew lists and treatments and must admit to rather enjoying this wistful stroll down memory lane. I should also say, I owe a debt of gratitude to James and Martin Gardener at digitAll for providing me with the tools to get the job done and to Simon Burton who applied maximum foresight when filing those call sheets back in the murky, early 00’s.