The Lost in Atlantis Music Video. Please Watch, Like, Share, Comment and Follow! :) Also check the labels group on the right --> for the "Lost in Atlantis" label to find more content, like production stills and other info.
We finally finished it! I suppose there is always more we could do, and we may touch it up some more before the SIGGRAPH deadline but we managed to finally get it done. Thank you for watching and please do leave a comment, share, and spread the video. If you want more project updates on future works, you can follow me on blogger or the other various social media applications by clicking their icon on the top right of the page.
Friday, February 24, 2012
Monday, February 20, 2012
Lost in Atlantis: Making of and Production Stills
Here are a bunch of stills we took during and around the production of the Lost in Atlantis (LIA) "Tek No" music video. HUGE thanks to Paul Hudson, and Lizette McCorquodale at Lizardland Video for the equipment rentals and support on set when we were shooting.
We ran some tests using my Canon 7D and an LED ring, but quickly realized that for this particular type of project, we needed as minimal spill and frontal light as possible. So we opted to film on a separately lit blue screen and white backdrop.
The concept was relatively simple, we wanted to create a video using an awesome technique we witnessed on a vimeo video called Eye of the Storm. The filmmakers used black lights and florescent reactive tape to control patterned colors and silhouettes in post for a very illustrated quality. Since our budget was pretty small, and we didn't have any locations other than the studio, we thought this was the perfect platform to base our shoot off of.
You can see the great music video here:
EYE OF THE STORM | Lovett from Lovett on Vimeo.
So using this base, we bought a bunch of black light tubes and filmed using 4-bank Kinos blasted onto our actors, with the background being lit by regular 4-bank Kinos. The result allowed us to put patterns on the costumes and control the patterns with things like audio waveforms, color, etc... You can see some of the setup below. We also wanted the max resolution at the time so we shot on the RED ONE. We also used a secondary AF100 as a backup/alternate camera.
The post production process was also interesting. We filmed each band member separately, compositing each one of them into the shots when needed. We knew that we wanted them to be in silhouettes during the "space" portion of the video, so lighting them this way made it feel relatively consistent.
Conceptually, the we wanted to give the video a loose narrative. After discussing with the band we came to the conclusion that the song is mostly about perseverance. The band had a space theme to their branding, so we created a kind of chase in space feeling to the video. The band would go through an asteroid field, take a beating, but eventually rise from it and blow through all the obstacles.
This was actually not too different from the actual production of the video. We had major changes and obstacles that took place immediately following and during the videos production. Frankie Mendoza, the video's original Director, had to leave to work in Floyd County on the FX show Archer. He left right when production got heavy, so the reigns of the project were put in my hands as Director, and we all had to make adjustments. Post production was scattered between 3 different cities, with Kevin Rich in Tucson, me in Tempe, AZ, and Frankie Mendoza in Atlanta, Georgia. Although this put a big strain on communication, we did finally make it work and ended up with a very collaborative project that I feel is just as much the bands as it is ours.
Serving as a wonderful testing ground for new ideas and techniques, the LIA "Tek No" music video was a blast to make and experience. I hope to work again with Lost in Atlantis and other bands to direct and create entertaining and high quality music videos in the future. Thanks for reading/viewing! :) Follow my blog for more updates on projects!
Paul Hudson and I are talking about the next set of shots. Paul and Lizette were AWESOME to say the least.
No fun shoot would be complete without some goofy images.
This shoot was my first real experience working directly with the RED ONE camera. It was a great learning experience.
The LED ring we tested on my 7D.
We had some very helpful Interns on the shoot. Thanks to Tallcat Productions.
Rebecca Martos was an outstanding Producer for the video. She gave us the flexibility we needed to make the video but also put her best foot forward in keeping things moving and simply put, producing the video. She was invaluable in making this project.
More of the wonderful interns.
Kevin Rich was our 2nd Camera Operator, as well as a G&E and other things on set. He was also responsible for all the interior 3D background elements, pre-visualization, and a Co-Editor on the video.
Liz on Set.
Audrey, Kevin's dog, kept things interesting late at night when we were building the costumes.
An example of the costumes. We used black fabric and the florescent reactive tape to create interesting silhouettes with the blacklight.
On the hunt for various supplies for the shoot.
We always have a little fun after all the shooting is done and we are leaving for the day or packing up.
Say hello to my little friend!
Next up. The video!
We ran some tests using my Canon 7D and an LED ring, but quickly realized that for this particular type of project, we needed as minimal spill and frontal light as possible. So we opted to film on a separately lit blue screen and white backdrop.
The concept was relatively simple, we wanted to create a video using an awesome technique we witnessed on a vimeo video called Eye of the Storm. The filmmakers used black lights and florescent reactive tape to control patterned colors and silhouettes in post for a very illustrated quality. Since our budget was pretty small, and we didn't have any locations other than the studio, we thought this was the perfect platform to base our shoot off of.
You can see the great music video here:
EYE OF THE STORM | Lovett from Lovett on Vimeo.
So using this base, we bought a bunch of black light tubes and filmed using 4-bank Kinos blasted onto our actors, with the background being lit by regular 4-bank Kinos. The result allowed us to put patterns on the costumes and control the patterns with things like audio waveforms, color, etc... You can see some of the setup below. We also wanted the max resolution at the time so we shot on the RED ONE. We also used a secondary AF100 as a backup/alternate camera.
The post production process was also interesting. We filmed each band member separately, compositing each one of them into the shots when needed. We knew that we wanted them to be in silhouettes during the "space" portion of the video, so lighting them this way made it feel relatively consistent.
Conceptually, the we wanted to give the video a loose narrative. After discussing with the band we came to the conclusion that the song is mostly about perseverance. The band had a space theme to their branding, so we created a kind of chase in space feeling to the video. The band would go through an asteroid field, take a beating, but eventually rise from it and blow through all the obstacles.
This was actually not too different from the actual production of the video. We had major changes and obstacles that took place immediately following and during the videos production. Frankie Mendoza, the video's original Director, had to leave to work in Floyd County on the FX show Archer. He left right when production got heavy, so the reigns of the project were put in my hands as Director, and we all had to make adjustments. Post production was scattered between 3 different cities, with Kevin Rich in Tucson, me in Tempe, AZ, and Frankie Mendoza in Atlanta, Georgia. Although this put a big strain on communication, we did finally make it work and ended up with a very collaborative project that I feel is just as much the bands as it is ours.
Serving as a wonderful testing ground for new ideas and techniques, the LIA "Tek No" music video was a blast to make and experience. I hope to work again with Lost in Atlantis and other bands to direct and create entertaining and high quality music videos in the future. Thanks for reading/viewing! :) Follow my blog for more updates on projects!
Paul Hudson and I are talking about the next set of shots. Paul and Lizette were AWESOME to say the least.
No fun shoot would be complete without some goofy images.
This shoot was my first real experience working directly with the RED ONE camera. It was a great learning experience.
The LED ring we tested on my 7D.
We had some very helpful Interns on the shoot. Thanks to Tallcat Productions.
Rebecca Martos was an outstanding Producer for the video. She gave us the flexibility we needed to make the video but also put her best foot forward in keeping things moving and simply put, producing the video. She was invaluable in making this project.
More of the wonderful interns.
Kevin Rich was our 2nd Camera Operator, as well as a G&E and other things on set. He was also responsible for all the interior 3D background elements, pre-visualization, and a Co-Editor on the video.
Liz on Set.
Audrey, Kevin's dog, kept things interesting late at night when we were building the costumes.
An example of the costumes. We used black fabric and the florescent reactive tape to create interesting silhouettes with the blacklight.
On the hunt for various supplies for the shoot.
We always have a little fun after all the shooting is done and we are leaving for the day or packing up.
Say hello to my little friend!
Next up. The video!
Sunday, February 19, 2012
"ZOMBROS" - Production Stills
"ZOMBROS" is a short film about 2 best friend zombies living in the wilderness. Their friendship is put to the test when they must outsmart a crazed zombie hunter. Written and Directed by Frankie Mendoza and myself, and Produced by Lanly Le. We wanted to do something fun with the idea of zombies and thought it would be interesting to tell a comedic story from their point of view. We made the film initially for Campus Movie Fest (CMF) for their 3D competition. We ended up filming 2 versions. One version using their very crappy Panasonic 3D camcorder, and a second version on my Canon 7D. We are currently in Post Production for the 7D version of the film, (it looks 1000 times better) which we plan to send to festivals and just have fun with. These are the production stills from the shoot. We shot quite a bit in just 2 days, over rugged terrain and other major physical setbacks. HUGE thanks to Mr. Ken Keene and his family for letting us stay and use his cabin to store our crew and equipment. We couldn't have done any of this without them. We had a lot of fun working with everyone on this and I can't wait to get the final version out there so we can send it to everyone. Thanks for viewing! :)
Frankie and Kim. They had to work their tails off to get our actors zombified. It definitely took its toll on the first day. We were exhausted.
Kevin Rich. He was our 7D camera operator. He was basically on his own, collecting all the shots as we moved forward with the alternate camera. We knew the footage wasn't going to be good coming from the Panasonic 3D cam, so we made sure to get a backup of every shot with the 7D.
The Keene family. I could say a home away from home. I have known them since high school when I took a media class with Ken. He quickly became one of my favorite mentors and a close friend.(below) In addition to being totally awesome and letting us crash at their cabin, Ken was also our "hunter" character.
Frankie and Kim pulled all-nighters on that first day, getting the actors prepped for the shoot. Time was against us, because in the canyon you don't get direct sunlight for the whole day. Once it goes behind the mountain, it gets dark fast.
We used a coated latex resin that we peeled and painted to look like flesh.
Lanly was very busy up to the shoot. Acting as our Producer, she filled many hats, making sure we had snacks, keeping things together, and helping piece together the project. She was also our camera operator for the Panasonic 3D version of the film. It is too bad too, because she is a wonderful photographer, but that camcorder just doesn't help at all.
Much of the story took place in this beautiful open meadow near the creek. Watch out though, the place is littered with spider nests.
A group picture with some of our cast and crew. We had some good fun, despite the busy day!
Frankie and I had a discussion about whether or not to muck up the eyes and teeth of the "Zombie" characters. It might have been an interesting idea, but we decided not to because we didn't want to lose their human quality.
Mo and Xavier - Our zombie best friends.
Frankie - immediately after we got back from day one. He passed out and started snoring right way!
I'm discussing camera position with Lanly and Kevin.
Easily the hardest part of the shoot was lugging equipment up and down this hill, in high elevation. I know I was sore for a few days after the shoot.
Removing all the latex fake skin was both satisfying and painful.
We created a couple custom squibs for shots that needed blood spurts. We had some fun.
Frankie and I discussing the next sequence.
Frankie and Kim. They had to work their tails off to get our actors zombified. It definitely took its toll on the first day. We were exhausted.
Kevin Rich. He was our 7D camera operator. He was basically on his own, collecting all the shots as we moved forward with the alternate camera. We knew the footage wasn't going to be good coming from the Panasonic 3D cam, so we made sure to get a backup of every shot with the 7D.
The Keene family. I could say a home away from home. I have known them since high school when I took a media class with Ken. He quickly became one of my favorite mentors and a close friend.(below) In addition to being totally awesome and letting us crash at their cabin, Ken was also our "hunter" character.
Frankie and Kim pulled all-nighters on that first day, getting the actors prepped for the shoot. Time was against us, because in the canyon you don't get direct sunlight for the whole day. Once it goes behind the mountain, it gets dark fast.
We used a coated latex resin that we peeled and painted to look like flesh.
Lanly was very busy up to the shoot. Acting as our Producer, she filled many hats, making sure we had snacks, keeping things together, and helping piece together the project. She was also our camera operator for the Panasonic 3D version of the film. It is too bad too, because she is a wonderful photographer, but that camcorder just doesn't help at all.
Much of the story took place in this beautiful open meadow near the creek. Watch out though, the place is littered with spider nests.
A group picture with some of our cast and crew. We had some good fun, despite the busy day!
Frankie and I had a discussion about whether or not to muck up the eyes and teeth of the "Zombie" characters. It might have been an interesting idea, but we decided not to because we didn't want to lose their human quality.
Mo and Xavier - Our zombie best friends.
Frankie - immediately after we got back from day one. He passed out and started snoring right way!
I'm discussing camera position with Lanly and Kevin.
Easily the hardest part of the shoot was lugging equipment up and down this hill, in high elevation. I know I was sore for a few days after the shoot.
Removing all the latex fake skin was both satisfying and painful.
We created a couple custom squibs for shots that needed blood spurts. We had some fun.
Frankie and I discussing the next sequence.
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