28
Mar 16

Difficult costumes…

  
We’re about to lock off the edit for our clip for L-FRESH, so I thought I’d share one more behind the scenes shot.

The wardrobe that James, the actor playing the Figure, is wearing is both heavy and extremely hot. At the first fitting on a cool evening, he started sweating after wearing it for only a few minutes.

Can you imagine how horrible it was for him in the 34+ degree, humid desert location without any shade? Clambering over rocks of course. That costume was also very difficult to manage and kept going awry too. Looked amazing, but an utter pain to work. 

We were all battling heat fatigue that day. But James really did it tough. What a trooper! And as you’ll see in a week or so when we release the clip, he did an amazing job. (PS. the editor thinks we should have put the umbrella in the clip…. I think she’s bonkers)


11
Mar 16

The DOP and the director 

  
This wonderful shot is behind the scenes from our music video for L-FRESH The LION last week, shot by DOP Lucas Tomoana.

I thought I’d explore the relationship between a director (i.e. me) and their DOP – director of photography, aka cinematographer. 
The 3 critical relationships for a director are with their producer, editor and DOP. As film is perceived as a visual medium before all else, the DOP is the one who helps you realise it. 
He or she is your right hand, the one you rely on for feedback, usually before anyone else. Whether it’s a music video like last week, a commercial or drama, the DOP is your first point of call.
It’s vital to establish trust between the two of you. Without trust, or if that trust is lost, the whole thing can turn into a disaster.
When time gets crunched on set and you’re desperately trying to figure out if you have enough shots to make the scene work, your DOP is the one you turn to. When you have a half formed idea, your DOP will evolve it into a fully realised concept and approach. And when you find the right person, it often becomes a working relationship for life. 
Photographers might ask – why don’t you shoot it yourself? The simple answer is that you need to focus on so many separate elements as a director, the mechanics of shooting would interfere. Also, it’s a whole different skills set. That might sound weird considering both filmmaking and photography use cameras and lighting; but while both are very much the same, they are also vastly different with their approach.
Photography is the photographer’s medium, but we all know there’s also stylists and retouchers and talent and make up artists etc involved. Filmmaking is the filmmaker’s medium, and that starts with the DOP.


29
Feb 16

Crafting performance and the nature of music videos.

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Yesterday we started shooting the music video for L-FRESH The LION’s 1 in 100,000, which I’m directing.

The track is seriously awesome. If you haven’t heard it yet, I highly recommend you do! (It released everywhere last Friday.)

Anyway, yesterday was day one. Of four. Which is quite a long shoot for an Australian music video. The reason we’re doing it over 4 days is the scale of our narrative, which necessitates some relatively far flung locations that will need time to capture.

The narrative section will be shot later in the week. Yesterday was all about L and his performance.

Performing for clips is always a strange process. When you go to a gig and watch someone perform live, while they’re usually playing a rehearsed set, that set evolves as they react to the crowd and the conditions around them. That’s where the energy and power of gigs comes from.

Not so with clips. We have to create that energy from scratch.

The very nature of filmmaking also works against us – multiple takes, different shot set ups, the craft of where your marks are and how you can move, keeping time with the various speed changes needed to film it successfully etc – these can all take their toll and sap the energy of the artist. Thus you lose that vital connection.

It’s even harder when it was as paired back as was yesterday – just L by himself with a small crew. No extras, no set, no anything else really. Somehow I had to find a way to make his performance connect.

This is one of the most vital parts of being a director. My job is to make sure that his performance is as vital as any gig, fits both the overarching concept and the narrative, and perhaps most importantly, feels truthful.

I do this by setting a very specific tone on set, which is light-hearted and fun, but also focussed and very very determined. We do not leave until we have the performance needed in the can. So we play the track loudly. We cheer him on; give him an audience to react to, even if all he sees is a camera lens and some lights burning his retinas. I make sure to hold him to the boundaries set for the clip – narrative notes, guides to his character and the physical space within which he could move – so that his performance fits everything else. And then I just let him go. Do his thing.

An artist like L makes it easy. He is the consummate performer – ready for anything and able to adapt to everything. It is always a pleasure to work with L and I’m proud to call him a friend.