Thomas Koveleskie wrote:Thanks for sharing Tristan. Brilliant and flawless work Tristan. Beautiful images and I dig this band! Great tune!
I'd like to know your production method on this video. How many song takes to get all the footage and how you synced it all up so nice. Did they actually do the song in the desert and play along with a playback? Curios to know the process because I may be doing a band in the near future.
Thanks for your positive feedback.
It was quite simple, and primitive; we had a loud rechargeable, bluetooth speaker paired with an iPhone. The band played along to the recording, and this was manually synced on the timeline.
The concept Jay had was to give the feeling he's on a journey - constantly moving back towards his home, Tjuntjuntjara. So we decided all verses and choruses would have their own locations - verses solo, choruses with full band. This meant I could be more conservative with shooting ratios.
Typically I would go to a location and record the band playing to FULL track with multiple passes. Eg. wide, singer (MS, CU), guitar, bass, drums, and alternative. Using that method, it doesn't take long to amass vast quantities of data - especially shooting RAW. You could easily end up with a shooting ratio of 40-50:1
But this time we only shot what we needed; chorus one = band at salt pan; chorus two = band at sandunes etc, etc, so the shooting ratios where much smaller, closer to 10:1.
Brad Hurley wrote:I'll echo the compliments, Tristan. And it was nice to see one music video that did NOT do the now-clichéd trick of having the singer sing at a faster speed (to a speeded-up recording) while filming at a higher frame rate so you have a slow-mo clip where the singer's body is moving slowly but the lip-sync is in time to the music. It's a clever trick, but used so frequently that it's now actually refreshing to see a video that doesn't do it.
Yeah, over/under cranking is a stylistic choice I always consider carefully. I rarely use it, and wasn't sure whether I wanted to use it for this clip. I deliver at 25fps, so rather than shoot 60fps, I decided to shoot at 50fps (or 200%). That way, if we felt the effect was too much, I could simply re-sync the footage back to realtime without frame interpolation errors.
We decided to keep the "journey" in slow motion - which showcases the beautiful locations - and sync footage in realtime, which has a different energy. It think it moves quite smoothly between those two spaces.