I know. I said I’d never do it, but then again I’ve also said “never say never” more than once in my life. I’ve known the bride for a couple of years (we used to work in a bakery together way back when) and when she asked me to film her wedding, I said I’d do it. So about three weeks back, I stood there, gear in hand. Weddings are not my strong side unless I’m having a drink there as a guest, so I was kind of covering new, somewhat uncomfortable ground here; especially since the weddingvideo-biz has skyrocketed these last few years (and everybody has a DSLR ready to go). I think I captured the essence of the day though, and learned a thing or two along the way. Big thanks Pauline and Marcus for having me! Here goes…
This is a promo-video I shot together with local six person band Chunky Funk a few weeks back. I really fell for the 90’s MTV vibe with all the colors mixed with a slick “larger than life” rooftop-session. The band can be booked both in parts or in its full form and that’s something we tried to convey in the video. And I’m always up for cheezy transitions so when the singer Gustav pitched the idea of going “hole to hole” (mouth to sax), I was sold.
I’m back in Malmö studying Visual communication again. I took a break for a year (6 months at home with kids, 6 months studying Experimental mediaproduction). One of our startup assignments was to create a loopable 5 – 10 sec animation which can be used as a digital businesscard, or as a creative element in your E-mail signature.
I filmes myself on a rotation chair going around full circle with, and without a rabbits mask. I used a dissolvetransition between the takes and ended up with a loopable video. After that, I simply (actually this is the tedious part), sketched around my face in After Effects with my Wacom Intuos board.
24 frames per second, using the brushtool. On export i ticked the box “paint on transparent” in the Effects panel and job done. I could have easily used 12 FPS instead to save some time but since I painted every frame of the video I got som really nice organic details.
I’m currently taking a six month long course at Malmö Univerity called Experimental Mediaproduction. A week ago me and my group performed the outcome of two weeks hard work. This documentary about the project explains it way better than I do, and I’m sure watching beats reading in this case. I must add that this probably is my favourite project I’ve been involved in since starting my studies in Malmö. If you make it to the end – let me know!
This summer I will be documenting two festivals, the ArtstreetHBG graffitifestival, and the Passage street theatre festival. I was lucky to have the same job last summer so I’m really excited about the possibilities for great and unique footage. These last few weeks I’ve been busy creating the PR-videos for the festivals using the material I shot last year. Two of the six videos even made it to the cinema (Röda Kvarn, Helsingborg). This is why I had the chance to play around a bit with the trailerformat for both festivals.
Passagefestival takes place during the 27th July and 4th of August in both Helsingborg and Helsingör and I’ll be responsible for the documentation both here at home and in Denmark. You can view the cinematic Passage-trailer below.
A few days ago I handed over three versions of a video I produced for Helsingborg’s Stad. I guess you could call it a trailer of some sort for the upcoming street art festival ArtstreetHBG. The original seed which sparked the idea for this video was the tagline; “Be there when dead walls come back to life”. After weeks of planning, pitching scripts and drawing up a storyboard the idea was given the green light. While my colleagues were busy hunting actors, clearing permits and making sure we had a casket for the shoot, I started creating props and shooting the VFX-footage.
The plot is quite simple. Mourning humans carrying a casket. All black. Spray cans, which are alive, are watching, wondering if the sorrow will ever end. One of the cans chooses to act. The can gets hurt (looses cap), and causes an accident. The cascet falls, out comes the body. But the body is actually a dead wall (mono-coloured bricks). The spray can brings the wall back to life by giving it colour back. Everyone happy.
I created black flags for drama and a dynamic image. Black smoke to up the drama some more. I chose bamboo-sticks for the flags so that I could hide the smokecharges inside the sticks. I had two sets of bricks, 16 “boring ones”, and 16 “happy ones”, which I painted one afternoon while my kid was asleep. I had some old spray cans in the studio which I banged up quite a bit to make them look really worn and broken. It’s always nice when the hero has some flaws in your story. The stakes are higher that way. I went and got this spinning breakfast-tray from IKEA which I painted green. After that, I started shooting my cans. I wanted them to be able to bend and spin at the same time in my video to make them look as “real” as possible. I could have used a photo of a can, and the PIN-tool in After Effects to get them to bend, but I think the rotating effects really worked well and gave it that extra nudge.
After the casket falls we reach a peak in the video. All hope seems lost but of course, it’s not. It never is. The bricks you see during the fall are the normal, unpainted ones. After getting my “misery-shots”, the pile of “dead” bricks was replaced with the coloured ones. All I had to do in post was to duplicate the layer (I made sure to shoot with a tripod of course), mask out the stones and de-saturate the masked out top layer. After this, I could simply keyframe the saturation back (by changing the opacity of my top layer from 100% to 0%), and voila, boring stones are no more. Add a touch of the 80’s and we’re golden.
I really enjoy using real, on-set effects where you get the result straight away. I’ve done reverseshots before and this was my go-to plan for the end, when the bricks come to life. I hade the actors throw the bricks into frame twice – so that the shot could be reversed later. I had my multitalented friend Christian walking backwards in frame to sell the effects a bit more.For the final shot things got a bit more complex. Here I had to shoot a backplate (a clean background of the wall which is blocked by rope and actor in my used shot), and mask out the rope and actor afterwards. It’s not that hard in theory, but on set, with time pressure, it occasionally happens that you forget the backplate. So I made sure to really get that down on the storyboard and shotlist. Here is the original footage for the scenes mentioned before they are reversed and masked. Just look at Christian! Walking like a pro even following the bricks in reverse with his gaze.
I’m so happy with the final production and I had a blast shooting it. We shot the whole thing in about two hours (!) and got everything we needed pretty much straight away. Of course I couldn’t have done it without the help of an amazing crew that day (and the days leading up to the shoot). There is a massive credits-list in the end of the video and it shows how much work everyone put in just to create this little bizarre, but lovely video.
The video will be playing before screenings at cinema Röda Kvarn in Helsingborg, on the big screen at the central station, all over the web and with a little bit of luck, on busses and trains. I’m so excited to see how it will be received now that it’s out after one stressful week of editing. Here it is – enjoy.
More than once I’ve been planning a shoot (both film and photography) and stumbled upon a big problem. No electricity. If you’re documenting your urban explorations, or shooting a scene at night in the woods, a flashlight isn’t always going to cut it. This has bugged me for quite some time and I’ve been wanting a battery-powered LED-panel for ages. But as you know, these come with a pretty juicy price tag. I’ve been checking out tutorials where people build their own panels using LED-strips which are cut up and soldered back together with wires. Soldering is a thing I have yet to master, so I started to think about alternative solutions. This is what I came up with.
I built this lamp using 10 meters of (5050) RGB LED-strip which I got dirt cheap from eBay. RGB-strips come with a remote, which lets you mix your own colours so the possibility to get various coloured lights, from the same lamp, without filters really got me going. Soldering RGB’s would be even harder for me since there are more connectors (four instead of two) so I started to think about how to line up the strips without cutting them apart.
I live nearby an IKEA, and I really like to walk around the shop to see if there are things which can be modified into filmgear. Cue the wonderful TROFAST box. This box is cheap, lightweight and comes with a lid in frosted plastic. Perfect if you want to soften your light. The edges are rounded so I figured I could just loop the strip (folding is a big no-no) around the inside walls of the box. But looping them on the sides probably weakens the output a bit since it’s not shining directly out of the box. I thought of it for a bit, and realized a reflective surface could give me an extra needed push. So I went to the hardware store (Hornbach is my home away from home).
Here I found aluminiumtape (my new spiritanimal). I roughened up the walls of my box with P120 sandpaper to make sure the tape would really stick. I found a nice place at the top where I could put the beginning of my strip (a small box-reciever for the IR-controller with a DC input). The alutape was fun and easy to work with and the LED-strip stuck to it perfectly as i began looping it around the walls.
I attached an adjustable flagpoleholder made out of metal to the box. These are easy to find online and most of them will fit onto a C-stand. On the back of the box I put some industrial strength velcro so that I can attach my Anker Astro Pro II powerbank (12v output) and fire the lamp up wherever I may end up shooting.
As I mentioned before, the lid for the box is frosted plastic so it works like a diffuser. To make sure the lid doesn’t fall of when the light is angled, I drilled four holes in the box so that the hooks of the elastic SKÅDIS straps from IKEA would stay put.
The lamp lit up beautifully when I tested it in a pitch black room, and I’m really happy with the way this build turned out. I can store all the cables and the remote inside the lamp, (since it’s a box), and there are no delicate parts on the outside of the lamp which could become damaged when transported.
I hope you found this useful and that you’ll have your DIY-eyes with you the next time you set foot inside an IKEA. The place is packed with objects just waiting to be transformed. If you have any questions about this build, let me know.
By the way! What is your best IKEA-based build when it comes to creating filmgear?