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Danish music video

Anders Holck

Anders Holck

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Just wanted to share this music video I shot recently.

It's dark and uh...rainy, shot over 2 nights.

Watch it...

DIR: Dennis Holck and Thomas J. Mikkelsen
DoP/Steadicam: Anders Holck
POST: Thomas J. Mikkelsen and Jakob Eriksen at POSTROOM.DK
 
Very cool, I really liked the camera movement and speed ramping.
It's funny but it was almost to clean! That kind of material I expect
to see some gritty grain! LOL
 
This is extremely professional looking. It looks like film, but with the cleanest scan ever. The girl rising out of the tub was my favorite shot.

Can you tell us more about the shoot, the budget, lenses & equipment, the post, etc? Any behind-the-scenes stills?

Rock on.
 
Well, the audience for danish language rap music is pretty limited (Our total population is 5.4 mil) So the budgets for these videos are pretty small, below $10000 is this case. So you have to think creatively to make it work.

The location was a training facility for firefighters, and everything was shot on-site. Nothing was build or dressed.

I used Ultraprime lenses in the range 20-85mm, a 135mm, and a few shots were done with the Lensbaby 3 PL.

My lighting scheme was to use mainly 5600k for the background and 3200 for the talents. This way there was better separation later when in post.
I used a 80c filter throughout to balance the camera channels better. So skin tones were a little warmer than neutral and background a little colder.

The main performance on the roof was shot on steadicam. 2 large kinoflos on a boom above and in front. Two 4k HMI's illuminates the background and a third one pointed directly at the camera from behind makes the flares.

The sequence in the tunnel, was also shot on the steadicam. The 360°s worked out fine although it was pretty tough to execute as you operate in blindness for around 200°. Lightning was simply an onboard kamio kinoflo ringlight, and the backlight was my car parked at the rear end of the tube with the headlights shooting straight at the camera.

The crazy models was lighted using a handheld Light panel, and a bounced Pocket par 200 as fill.

They cut in FCP, and much to my objection, used RedCine to process the footage. RedCine behaved nicely, on their machine, and then compositing and final grade was done in AE, into a 720p master.
This was then downscaled to 576i for mastering to Digibeta.

There is a few stills here: http://www.cafc.dk/uyvideo/
 
Super great footage. Exactly my style.
We have the same budget problems here in Switzerland.
We do musicvideos just for our portfolios. You cant earn money from it.

Great work man. Looks more like 80K than 10.
Congrats.

Tim
 
Just lovely! (love the lighting)

All this and all it cost was less than 10K US$

Anders is probably wearing a t-shit right now that says "I shot this million dollar looking music video and all I got was this lousy t-shirt"....

(Sidestory: I was in Copenhagen back in late April this year, went into a store that had all these gadgets (Simpsons stuff etc) wearing my RED shirt, they guy at the counter said, "I love your T-shirt, do you know Anders Holck?", I replied I "knew" him from the forums, and that I remembered Anders´hotel room from IBC last year (posted here), turned out he was involved in a musicvideo shoot invloving Anders RED ONE)
Small world!

Another sidenote, shot a musicvideo today (as cinematographer) had a good 12 hours on set, RED ONE #476 impressed everyone... AGAIN! Love this cam!
 
Anders just seriously upped his street cred here.
 
Thanks!

Eirik, thats a cool story :-) And Fortunately I have reserved a better room this year :-)

BTW. I have a RED-Steadicam Power cable from Panatech (Yes, it has 90° connectors :-)) which makes the rig very light as you can ditch the camera batteries completely and feed everything from the steadicam. On the U2 you can also hotswap (Just switch the battery mount to 12v parallel), and the meter on the rig shows the voltage. Very nice :)
 
deepc0re said:
How was the lightning and sky effects done?
Click to expand...
For the Sky, I believe they first tracked the shots with a 3d tracker, then put the plates behind the talents using manual rotoscoping. Ouch.
They managed to blend it well with the rain and flares of the original footage, which must have been hard work.
 
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