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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Freaky motion-controlled music video for electronic music star Polina

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jimhare said:
Any behind the scenes and can you talk us through the process you used?
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There will be a behind the scenes, but really it's all about making 3d animatics, so you know exactly positions, and can do things like lining up fingers just so, without actually seeing anything like a final result on set. We worked carefully with Polina, getting moves rehearsed for every bit so that her characters each had their own personality, yet felt aware of each other, and visually coordinated. I must say she is very hard working and a joy to collaborate with, with a less ideal artist the complexity of the whole thing might have not have been possible or might have failed.

We also did a pre-edit of sorts - we knew almost exactly where the composited scenes would go in the song, so we could perfect a programmed move for just that part, that matched the mood and motion in the music. Otherwise it would have taken days to shoot. As it is we had a rather ludicrous number of lights in the church - which had no useable house lights - so after setting up we had to shoot very fast to keep under a 12 hour day.

You also have to be very careful about placing greenscreens where there will be intersection of passes, but not too much so as to block things like character reflection on wood, shadows, etc - otherwise it feels composited - things have to inter-act with each other to feel integral - and we were very careful not to have lights that would have cast a shadow on other instances of her that we could not re-create - yet another planning challenge.

Then there is the fact that the actors (here Polina) have to adapt to a fixed camera path - usually the camera operator compensates for actor movement, but in Moco once the cam path is set that's it, it has to be exactly the same each time, so it is the performer who must adapt to it. We played back the moves a few times for her so she could know where it would be. She also always knew where the other instances of her had been and what they did, so she could play to them.

So all this to say the real trick to moco is lots and lots of planning and previs. It's not an easy form of filmmaking, and about as inorganic and non "in the moment intuitive" as it gets. if you're the kind of director who shows up with no shotlist and just goes by vibe, you will not have fun with it. If you are the type to storyboard every shot it is an amazing way to shoot with all kinds of potential.
 
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Damn, I had to read your last post to see what was going on. I didn't even notice the multiple copies of the vocalist. You had me scratching my head here for a solid 10 mins as I watched the video three times wondering what I'm supposed to see.
 
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Shane De Hoog said:
Damn, I had to read your last post to see what was going on. I didn't even notice the multiple copies of the vocalist. You had me scratching my head here for a solid 10 mins as I watched the video three times wondering what I'm supposed to see.
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i think many people are having that problem, this comes as a surprise to me and the label.
 
Yeah, took me until about half way to realize it was the same person, and probably only then because of your post about motion control.

With the statuesque makeup and wardrobe I was watching more in a "Addicted To Love" approach where similar women are styled to look the same.

I instantly liked the idea of statues in the church-like setting!

I think it's a situation of "when it's mentioned it becomes obvious" but due to the makeup/style, it doesn't jump out on its own.
 
jimhare said:
Yeah, took me until about half way to realize it was the same person, and probably only then because of your post about motion control.

With the statuesque makeup and wardrobe I was watching more in a "Addicted To Love" approach where similar women are styled to look the same.

I instantly liked the idea of statues in the church-like setting!

I think it's a situation of "when it's mentioned it becomes obvious" but due to the makeup/style, it doesn't jump out on its own.
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Thanks for the kind words. I think a challenge, always, is putting yourself in the shoes of the spectator. I mean, I know what Polina looks like, to me it was always obvious, but I see how maybe it's not as clear as we would have liked.
 
Robert Ruffo New said:
Thanks for the kind words. I think a challenge, always, is putting yourself in the shoes of the spectator. I mean, I know what Polina looks like, to me it was always obvious, but I see how maybe it's not as clear as we would have liked.
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Anytime, great job, it looks amazing. For me you already won with the art design and gorgeous execution so take it as a compliment I wasn't looking for tricks. Plus her main image always pulled focus, which is obviously a good thing.

I'm sure her fans will notice.

I think we're all in the same boat at the end. Sometimes I want to scream "open your eyes the greatness is right in front of you!" :mad2:
 
jimhare said:


Anytime, great job, it looks amazing. For me you already won with the art design and gorgeous execution so take it as a compliment I wasn't looking for tricks. Plus her main image always pulled focus, which is obviously a good thing.

I'm sure her fans will notice.

I think we're all in the same boat at the end. Sometimes I want to scream "open your eyes the greatness is right in front of you!" :mad2:
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this is a very tough business, and kind words mean a lot. Please let me know if there is anything of yours you would like me to look at.
 
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