Panic Cell: "Save Me" Video
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Panic Cell decided to re-release "Away From Here" as a follow up to Thousand Words. As the band's look had changed they needed a new video for this re-mixed version. Set in a club during Panic Cell's performance, the narrative follows a girl as she meets her apparent assailant. We had an industrial niteclub location in mind when writing the script but decided to recreate the club in a studio which was logistically beneficial and kept costs down. We hired the loading bay at Black Island Studios. The set for the narrative was built adjacent to the bay where the band were performing, enabling crew to jump between sets so the band's performance could be shot while the actors were going through make up changes. We achieved the look for the club by using long lenses and low key lighting, shooting on an Arri 435 from Panavision so we could easily adjust the shutter angle between shots. Robin Brigham had lit the original version and has a great gift for getting creative under pressure, managing to keep up with our tight shooting schedule. Our two production dynamos Carolyn and Isy sourced actors Jennifer Glyn and Danny George who's parts were pre-blocked and rehearsed enabling efficient shooting. The whole shoot was storyboarded and planned down to the last detail in order to accommodate the amount of set ups. We used Panic Cell's fans as extras to add to the realism of the club. A free bar as part of the set was unfortunately derogatory to their behaviour but despite alcohol induced issues the extras did a great job and we shot as planned with long lenses to create the illusion of a larger crowd. For practical reasons all the scenes with the extras were shot first. The flashbacks of Jennifer getting ready were filmed in a house in Wimbledon. Danny wasn't available so Yan body doubled during the exterior attack scenes which were shot in the back garden. Finally we dragged poor shivering Jennifer into a nearby alley to shoot her post attack scenes, covering her in a blanket between takes. Robin lit this sequence with one sungun maintaining the high contrast look of the club interiors, shooting everything wide open on the lens which gave us a very shallow depth of field. Dave at Framestore provided us with another superb grade and once we finished the cut, the final stage was the subtle CG sequence as Jen turns into a vampire. Chris Shaw created a rough transition, tracking vampire eyes and teeth onto Jen's face. He had planned to do a more detailed version but the first one worked really well as the sequence only lasts for a second, so we used this in the final cut. More information is available at www.visualabuse.com
Second Sun: "Through Each Kinder Day"
We began by shooting the band against black over four hours in the lighting company AFM's test studio. Tim hung Kinoflow tubes from the ceiling and exposed only for the lamp so as to give the appearance of floating strips of light. The initial idea was to then film the band in a dense wood and dissolve between the two, however when we got to the location the next day the fields around it had turned into a lake, so we abandoned that idea and moved to a nearby service bridge over the A3. We set the band up on the bridge and drove our three cars backwards and forwards past the band at break neck speed through an eight foot gap between them and the camera and with a 30 ft stopping distance, otherwise they'd be in the hedge. I then cut it to try and give the the illusion of the band playing on a motorway. Originally the promo was to be more story lead showing the relationship between a man and a woman breaking down. We filmed this in Battersea Park and on the North bank of the Thames on a 16mm Bolex but had serious light leak issue. So, being on a budget of zero pounds, reshooting was out of the question. We salvaged the best of the footage and cut it in around the performance.
The Southern Electrics: "Save You - Promo Video"
"Sounds like a bunch of dirty, psychedelic, messed up crazies from 'Planet Give-A-F**k'." - Clint Boon, DJ / Inspiral Carpets "Coruscating sounds from South London's psych sucessors to The Creation" - The Guardian "A new hero and sound to supersede Radiohead and Muse" - Glasswerk "Save You" is the second single from The Southern Electrics critically well-received debut album "Electric Superhighway". They've built a formidable reputation and following, playing regularly at top UK venues including Cargo, The Barfly, 93 Feet East, The Metro Club, South Club (Manchester), along with a headline slot at Beached Festival 2005 and recent dates in Ireland and Germany. Having already received extensive radio airplay, including BBC Radio, RTE2 FM (Ireland), Today FM (Ireland), Totalrock and XFM, in April they recorded a live BBC Television Session with BBC Live Music Director David Amphlett, recording the tracks "Save You" and "Media Coke Whore" (see the footage at www.thesouthernelectrics.com). The Promo Video to the last single "Electric Superhighway" was extensively played on Sky and Cable Television. The b-side to "Save You", "Barcelona Burnout" was written for the documentary film "Barcelona Burnout". TSE provided the music to the film, a road trip documentary film about the 100th Anniversary of the Harley Davidson, produced and directed by Vincent Lewis with Executive Producer Andrew Mark Sewell as an Ignite/B7 Co-Production. "Barcelona Burnout" can currently be seen on digital and satellite TV channel Men and Motors. A special showing of "Barcelona Burnout" with The Southern Electrics Unplugged performing music from the film is taking place at the Greenwich Picturehouse. TSE are recording "Electric Love" at the legendary Battery Studios (Robbie Williams, Joe Strummer, Radiohead) with producer Jaimie Carter (credits include Craig David, The Datsuns, AC/DC, Good Charlotte. A&R and producer for Rondor), the first single from The Southern Electrics' second album. The single is receiving its debut UK airing on Princess Productions' Jimmy Carr's "The Friday Night Project" on C4.
The White Stripes: "Blue Orchid"
get behind me satan -is the white stripes? fifth album -produced by grammy award winning producer jack white -recorded in Detroit at third man studios, mixed in Memphis at ardent studios, mastered in new york city at masterdisk -album contains thirteen original songs -songs were written on piano, acoustic guitar, and marimba -songs are deceivingly orchestrated, some sounding as if they were recorded with a full orchestra when they only have piano and bass on them -none of the songs had been played live before the recording of the album -none of the songs were completely written before the recording of the album -contains the white stripes shortest song to date -only three songs are electric guitar based -the band used their live sound engineer to engineer the recording -their fourth album, elephant was released one year after completion. the first single from get behind me satan, ?blue orchid,? was released two weeks after completion -jack white has described the record as an exploration of ?characters and the ideal of truth? -the band will tour prior to, and continue after, the album?s release but are only playing countries and cities that they?ve never been to before. The band plan to tour the u.s. and Europe afterwards. -a vinyl version of the record will be put on hold pending a unique release. -produced by jack white, engineered by matthew kettle, mixed by jack white, mix engineer john hampton, mastered by howie weinberg, photos by ewen spencer all songs written by jack white album artwork design by the third man artwork layout by arthole graphics
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Today in Tech History: April 21, 2008
Rifles, a dearth of traffic lights, and cheating marathoners.
?Ladies and gentlemen, please welcome The Catheters! Though the words may have you hoping your caregiver is scrubbed and sober, these Catheters are nothing like a cheerful nurse with a plastic tube. They are, in fact, more like a garbage truck crashing into a burger joint: drums stomping like the footfalls of helpless diners running for their lives, guitars all stinky and full of chunks, bass a diesel rumble, and a guy in the cab of the truck hollering about how pissed he is that somebody put a burger joint in his way. Add some kids wiping out on banana peels beneath a hail of flying beef and you?ve got the basic idea. It?s what the young folks call the Rock and Roll, dig? Being relatively young folks themselves, The Catheters bring real energy to a genre that's too often about going through the motions.? (Courtesy Matt Wright ? Gas Huffer) Formed back when they were just toddlers (1995), and taking a band name completely at random (??cause it sounded punk?), and generally creeping into the consciousness of a very tired rock & roll community, these bratty, young wonderpunks present a powerful punk & rock synthesis as filtered through the sensibilities of kids that don't know any better.
Once again the performance was shot at Shepperton on one of the model stages which had interestingly recessed walls that suited the mood of the lighting. We had originally planned to shoot the exteriors in the city over a weekend but couldn't afford the necessary insurance, so we ended up shooting in an industrial park in kent where two of the band worked. We used an Arri 3 for this one and managed to get it onto 1500ft of stock. Fortunately the bands know their songs inside out and usually nail each take in one. Which is just as well. The telecine was done by Kye at the Mill, who gave the exteriors a very nice European feel. More informatioa is available at www.visualabuse.com
Though not great choices for low-light shooting, the Canon PowerShot A630 and A640 are solid, feature-rich digital cameras.
The Canon PowerShot A720 IS makes a solid, affordable camera that produces great-looking pictures, unless you plan to shoot primarily in low light.
