Single-shot, time-ramped icon of Brisbane Suburbia. I don’t think director Dan Graetz and the rest of the crew realised how much of a Thing this video was going to be when we spent a day shooting in 39º heat at bass player Luke Henery’s house.
It totally became a Thing, nominated for a 2014 Aria Award, and over a million plays on Youtube.
I sorted out the time-changing of the music, set up stage lighting, and came up with the quintessential “Jaymis” suggestion – “set the hills hoist on fire” – when we couldn’t figure out how to finish off the clip.
For the shoot day I had it easier than most, spending most of the clip hidden upstairs watching the video remotely and pulling focus. More sweat came out of Dan’s body than I thought was possible for a human body to contain, but the look of the piece, and the “teleporting” band members required that we produce a Behind The Scenes video to prove it was a real single-shot clip.
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.
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.
I called Rowley Cowper up on Sunday morning with “bring your tools over, you need to make me a device to set off 200 party poppers at once”. Ben and I bought the local shopping centres out of poppers, Billy Hyde’s out of ukuleles, and we made it to The Edge in time for nightfall.