After designing and 3D-printing modifications to convert our 3-axis camBLOCK motion control system into a monster 5-axis crane rig, I needed a project to test out the system. Fortunately my buddies Little Scout were about to release their new single, and the aesthetic perfectly fit the multi-pass, audio-reactive ideas in my head.
Motion control gave me some delightfully crane-y multi-pass camera moves, and audio reactive lighting made the band members magically appear only when their instruments made noise.
Another collaboration between Graetzmedia and the amazing humans of Ball Park Music.
The “house” and “science lab” scenes of this piece were all shot at my home, I invented the ejector-pants, and shot B-cam angles for the performance scenes. (Also: Sneaky bus stop cameo, so I could be on hand to reset the ejector pants between takes.)
I’m the visualist/networking/game-master member of bitpop band 7bit Hero. When introducing our weird hybrid gaming/live music project to people, we had trouble explaining how it all works. The band actually wants people to be messing with their phones at our shows?
Perhaps a music video might get the concept across, with BEEEEZ!!!
The first public use of the audio-reactive lighting system I developed for Ableton Live. The lighting of this clip was controlled entirely via the sounds of the music. The individual audio “stems” – vocals, synths, kick drum, snare etc. – were routed to different lighting channels to create a perfectly synced yet organic looking lighting show.
As soon as my producer friend Matt Redlich moved his recording studio into the spectacularly beautiful wooden building he dubbed Grandma’s Place, I wanted to film a music video there. Matt had just finished recording Ball Park Music’s new album, so I organised a meeting between the band and the Graetzmedia crew to see what would come.
The challenge: Reinvigorate an old-style “random stuff happening in various places” music video concept with some next-level VFX and motion control.
In collaboration with director Dan Graetz, I did a bunch of science, taught the Motion Control robot to pull perfect Hitchcock Zooms time after time, shot some crazy multi-pass performance shots to create virtual choirs, and came up with a plant-growing timelapse/realtime “seed charmer” shot which blows minds on the reg. Continue reading Ball Park Music – Surrender: Music Video
Remember when I made a toaster remotely explode on cue and shoot flaming bread into the air?
For this Graetzmedia production I created an animatronic, pyrotechnic toaster, animated the closing logo and motion control camera moves, and did general Shoot Things for a couple of days of silliness around Brisbane. Silliness I was able to immortalise by editing a Behind The Scenes clip:
Both video and audio for this clip were recorded in a single session at the flood-destroyed Graetzmedia studios in West End, Queensland, Australia.
To achieve a perfect focus pull over the 4-minute staring contest, I modified the camBLOCK moco system to control a follow focus whip. This clip was the first shoot to utilise this technique. Several months later, camBLOCK shipped their official focus/zoom motors.
There is no trickery in the single-shot nature of this piece. Cowper really can keep his eyes open for that long. In the dozen or so takes we shot, I think he blinked in two of them.