Rock Music Video (HPX500)

I've never heard of them. Your video is incredible. Inspiring. Great tune and excellent treatment in the video. Good work. I'll have to look out for them now.
 
Wow. I mean WOW!

Brilliant Lighting/Compositing/Editing.

Really nice use of green screen and VFX.

One of the best MV I've seen on this site thus far.

Any BTS shots?
 
yes please more info. This looks so clean. What did you do with the grain? What was the post process? Was this all shot in front of a green screen? Thanks
 
Excellent work guys. I saw RED open for Sevendust a while ago. Great band. What kind of budget were you working with? Was the compositing done in after effects or was there some CG work done as well?
 
Thank you very much for the good word!! My twin brother Matt and I wrote a treatment for the video and then a few weeks later EPIC Records let us know that we got the video. We only had six days for pre-production before we shot, it was way stressful. We shot all the performance on green screen and then all the narrative we shot on the set made into two rooms.

Our VFX guys are twins as well, they did all the VFX. They have a website, it's www.bentlight.com

They were on set with us the whole time, it's a priority for them and it's also very nice to turn to them and ask if a shot is going to work with greenscreen or if an effect shot is going to work.

Our DP was Andy Strahorn, he's a brilliant guy and knows what he's doing, he did an amazing job. we also had the video produced by the music video company we're signed with, the Vault LA. Wow, without them producing it would have never happened.

With post production I was really happy with how clean it came out too, although there are some grainy shots here and there, overall it came out wonderful. I edited it all and made a final approved cut with greenscreen and then took it over to the VFX guys. They used after effects and a couple other programs I can't name off the top of my head.

We spent a lot of time with the VFX guys going over shots and how we wanted everything to look and then let them go at it. The label and the Vault LA also helped out and added their ideas which I think was a huge benefit as well.

I have a non-VFX greenscreen cut of the video if you're interested in seeing it.

Here are some pics of the shoot

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Thank you so much!! Yeah my twin and I came up with the treatment and we were really crossing our fingers that Epic Records would like it. They took a chance on us and I was stoked to make a video for them.

We were worried how the final product would end up, but were now both very happy with the final result. The budget was under 40K but we really pulled a lot strings and got some people to work for free and got some great deals on equipment.

Hopefully we'll get to direct a few more videos, we'll still be crossing our fingers.

Nate
 
Oh that was fantastic. I mean really, just really floored me. Those vine animations took my ass to the curb. Props all around. And even the greenscreen performance footage, which I usually tend to dislike, didn't even look like greenscreen. It looked...well it looked like some awesomeness. So again, props to you two. Congrats.

Sidenote: It's funny, I just did a music video for the band Sounds Under Radio and they were just on tour with Red for a couple weeks. I do believe they said they were good folk. Interesting tidbit.

Anyway, you guys rock.

Jeff
 
Hey Guys,

I really liked the concept. Linking the house (green screen / ext) to the two rooms really made the video feel coherent. When he goes supersayan and blows a hole through the roof. :kali:

I have a few questions if you wouldn't mind:

@ 00:48 - Is this a 2.5D camera move or did you dolly on set?
@ 01:26 - Is this a real rack focus (guessing yes with the pro35) or post

*Just watched the non-vfx cut, that answers that thanks.


Only a comment:

@ 03:32 - Your lens height of the green screen and the background plate are noticably off

I've started making note of this with the green screen stuff I've been doing. Making note of the focal length, lens height, aperture and distance to subject for each take really helps the 3D/Compositing guys match the back ground plates. This is especially true with 3D match moving etc.

Andy did a great job controlling the green spill for the MS/CU. I always recommended shooting without and adapter but the DOF on the green screen shots seemed pretty clean overall.

Did you think about shooting the green sceen with an HD cine lense and the live action with the pro35? Or were you all Pro35 from the get go?

Do you have any BTS pics of the built sets and the lighting setups?

Best,

Matt
 
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