Michael Williams is a great photographer and DOP. Having worked with Michael on many projects over the years I can confirm he has the proverbial “good eye”.
He has an upcoming photographic exhibition at the Colour Factory Gallery in Fitzroy where we will have the opportunity to bathe in his Chromophobic fixation.
Click here for details…
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.
The Open House Melbourne program provides a wonderful opportunity for people to familiarise themselves with some of Melbourne’s most outstanding architecture.
This not-for-profit organisation showcases an abundance of buildings that run the gamut of time periods and uses, issuing an investigative and selective challenge to all interested parties.
At the request of Emma Telfer, I was asked to shoot several short interviews with Melbourne personalities as they spoke about their favourite Melbourne buildings, all of which feature in the Open House Melbourne program through 26-27 July, 2014.
The first video (top) was made with the ever ebullient Peter Maddison from Grand Designs Australia, who riffs eloquently on the architectural and historical value of the Mission to Seafarers in Melbourne, Australia.
The second video (below) features Peter Hitchener from Channel Nine News Melbourne, who speaks of his fondness for the National Gallery of Victoria.
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.
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.
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.
I discovered an entire universe under my car.
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!
Jeffrey Smart meets hard rock. Who would have thought?