Today saw the release of a music video I’ve been working on (and writing about recently..) for Chris Catalyst and his new track ‘The Ride’.
In the previous post I talked about some of the creative decisions being made on the shoot, as well as some practical aspects to filming like the RED camera and lights etc
Well, HERE is the video.
Please enjoy, take it in, and I’d love to know what you HIVE lot make of it 😁
It’s freshly released today and has racked up some healthy views in its first 12 hours which is ace to see.
Chris (Eureka Machines/Sisters of Mercy/Ginger Wildheart Band) is a good pal and we have collaborated on at-least 12 music videos over the years for his various musical projects. Might even be more than 12... I’m not sure actually.
His new track is absolutely cracking - slamming heavy riffs, hooky melody and an industrial crunch/synth. Very cool stuff.
Go check him out on Spotify - just search The Ride by Chris Catalyst. Can’t wait for his album!
The video was a fairly quick turn around from shoot to delivery.
I found working with the RED footage to be flexible but very very taxing on my poor old editing system.
We shot in 6K, and the flexibility over ISO, aperture and colour balance in post production is insane. Colour grading was a little tricky but I got the desired look eventually.
During shooting I wanted to capture 4/5 sets of shots, these were:
The kaleidoscopic fractured shots
The multi-mic performance in which we used a jib-gimbal combo
The 360 spinning/rotation shots
The lens-whacking side angle performances
And finally the 360 barrel shots
Each shot for each section turned out pretty much how I wanted them to. We achieved a heck of a lot over the course of one day!
In addition to those planned scenes, we also got the bonus ‘probe lens’ shot, which happens at the end of the middle 8.
Where the camera slowly tracks out between the microphones in a weird effect.
This was done with a probe lens and slider...
See the weird needle like thing at the front? Well, that’s the lens. It’s odd looking but gives very unique results where the camera seems to travel seamlessly in super small spaces (I.e between microphones)
The RED camera, lenses and lighting was provided by Tom Hunter and Lucy Forrester, who were fantastic crew/camera guys. I couldn’t have done this without them! (They’re not on HIVE)
I hope you guys enjoy watching the video and a big shout out to @edprivat who has been active on my comments recently over filming etc - so I wanted to give him a shout out thanks as well as tagging him so he’s gets to see my post about the camera we’ve been talking about :)
Take care guys, cheers for reading, @ashtv.