Unit 6 Video Production
This week in video planning, I collected further concepts for my music video and I feel that my ideas are beginning to solidify into something more tangible. I now have a rough idea of the story I’d like to tell, the tonality and who and what I’ll need to gather for filming.
Leaning on more of a tech noir concept at present, somewhere between Blade Runner and Continuum.
Celldweller’s “Frozen”. Lightplay - goggles and instruments lit.
Could possibly wire LEDs into goggles?
Rollercoaster motion shot from The Breeders “Saints”.
Nine Inch Nails 2014 live shots - in particular the first shot with its use of shadow.
Blade Runner - lighting, tech noir-esque.
A few of my favorite music videos of recent times falls within the “fanvid” category. Here’s a fanmade video for SyFy’s Battlestar Galactica [don’t watch if you haven’t seen the ending - spoilers ahoy].
The fanvid format involves taking a film or TV show and breaking it down and creating a tribute to it, set to music. While painfully time consuming, fanvids are an art of their own making. Many use “hitpoints” in the music to coincide with moments in the show or film, while the music itself is often chosen to provide atmosphere, sometimes different to the intent of the show, or to enhance it.
Many other TV and film fanvids are based around a particular romantic relationship in a show, whether it actually exists or not or other relationship, and some skilled fanvidders have gone to the extent of creating crossover videos, using footage in such a way that makes for example the pairing of Rick Deckard (Blade Runner) and Ellen Ripley (Alien) wholly believable.
Also of note is kashchei2003’s Doomsday fanfilm, bringing to life the DC Comics storyline “Death Of Superman”. The amalgamation, blending and editing is practically flawless. See part here.
Released in the dying years of the 90s, the video for Project Pitchfork’s “I Live Your Dream” centers upon a futuristic hall, with living mannequins representing facets of the singer, Peter Spilles, attempting to entertain an unimpressed, even scathing crowd of viewers (clad in delightful or perhaps cringeworthy 90s cyberpunk gear).
Lyrically, the song implies a stalemate in the expectations weighted upon the individual by others, whether it may be a spouse, parents or society as a whole and the video follows suit, a representation of sorts of “What do you want from me? Who am I supposed to be to keep you entertained?”
"I lose but win, here in my realm, like heroes in films, I live your dream.”
In the video, we meet four elements of Peter Spilles.
His true self - bare-chested, surrounded by white rabbits while white feathers blow around him - all symbolically could be seen to represent clear-sightedness and innocence.
His softer side - represented by himself as a female, dressed in conventional beauty and in shades of red, surrounded by a calm desert.
His “tough” side - represented by an angry cyberpunk of sorts, surrounded by flames and wielding light sticks as weapons, while a dust storm rages.
His logic/cynicism/rationale - a well-dressed gentleman in white, inferred intelligence. He stands in the rain.
We are first introduced to the woman in red, who moves in an elegant and graceful fashion as she sings. Rage, sat in his chair across the room, observes this and becomes restless, perhaps dissatisfied with her version of events. A call-and-response begins across the room. The viewers in the hall sneer at his softer side, moving on to the next facet.
We are then introduced to the man in white, who observes the situation, and as the video progresses becomes openly mocking of the other elements of his personality. It should be noted that the fourth wall is never broken with the viewers in the hall itself, rather the elements only seem to interact with and react to eachother.
For the last half of the video, the woman in red has faded out completely, as “rage” and “rationale” seem to be going toe-to-toe in light of the external situation. The viewers have become enraptured by the man in white, chanting along with him.