Nora Raza’ai, Aaron Strader, Kevin Scanlon Thanks to everyone involved in making this music video happen. I won’t spoil the ending… but let’s just say it’s a bit unconventional and has lots to do with dreams, gargoyles and the magical possibilities that exist spiritually in life and death. We used a combination of Magic Bullet Looks and a cool Instagram look plugin from Cineblur. Photo by Sean Meehanįinally once in post production we decided to give the film a warm and slightly desaturated look for the color grade in keeping with the scenes we shot in the forest and in the studio. We lit the studio set with some CTO gels on nice rim and back light to give the band an orange glow that would emulate the sunset from the projected image behind them.ĭave’s studio crane shot.
PHILIP BLOOM VBAG 1080P
So I checked online at B&H and found an awesome Vivitek D950 1080p HD projector with a 3,000:1 contrast ratio for short change. That image was too small when projected on the wall to fit the entire band in front of it and the projector didn’t output enough brightness and contrast for the job, which gave the image a washed out look. Jeff and I did a test at his studio using my old 4×3 SD projector mounted up in the lighting grid. I decided I’d use a timelapse of that as a backdrop behind the band to give it a similar look and feel of the scene we had shot of the string section at Harold Parker. That’s when I remembered I had that long sunset clip I shot at Harold Parker. So I asked Dave’s brother Jeff Munro, who runs the studio at Arlington Community Media, if we could shoot the band segments there.
And now that we were into mid January in New England and the dead of winter, it made no sense to use a cornfield in the middle of nowhere now for those shots. The final piece to this cinematography puzzle was to find a location in which to shoot the actual band segments. That would have been better than perfect!ĬU of Dave Munro and Casey Sullivan with projected studio backdrop and warm light I wish we had a bean bag or the new Philip Bloom VBag to rest the C300 on. Again we were driving very slow but the reflection of the autumn colored leaves and tree limbs playing on the windshield made it look like Eddie was driving faster than he actually was.
I used my Tokina 11-16mm f2.8 with a polarizing filter to cut the glare off the windshield so we could see Eddie clearly inside the car. It actually fit into the recessed area quite nicely. So Sean Meehan, who was shooting the BTS along with Adam Kerchman, suggested I try resting the camera in the recessed area where the wiper blades retract and walk along next to the car holding the camera in place. But for this stunt we were using a sedan with no hooks or secure bumper. We had absolutely no budget for this video so I decided to try a hood shot like I had accomplished in my 3 minute short film challenge “ Anniversary Day,” where I rode on the hood of a Jeep while holding on to some hooks and securely placing my feet on the large front bumper. We did the shots from the hood of the car without using suction mounts. The shot held just long enough to make it look realistic and the sudden moving imagery and sound fit into the the musical break very nicely. I added a bit of wing flapping foley and it did the trick. He found a fantastic clip of birds in flight in silhouette that I could effectively key over Addie’s silhouette just as she looks over her shoulder. But then Don’s brother Dan Berube, who runs the BOSCPUG events in Boston, sent me a link to POND5 HD stock footage. So when we did the scene, I shot a GS plate of the room with the fog machine going in case we could get someone later to release their birds outside in front of a green screen. I contacted them but nobody wanted to release their pigeons indoors, especially in an attic where they could freak out and possibly get hurt. Don Berube gave me the names of some local guys from Greater Boston Homing Pigeon Concourse. There’s a natural break in the song where I wanted pigeons to suddenly fly in front of the lens when Addie first sneaks into the attic.
Some tricks were incorporated into the music video. Pigeon silhouette screen grab from POND5 stock footage
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