Pure Talent

Eddie Vedder
Live in Sydney 2011


Okay, so obviously it's been a very long time since I last blogged. Life is busy, what can I say? That's why it is so nice to step out of life's manic rush and do something that makes it all worth while.


Two weeks ago I was lucky enough to see Eddie Vedder's solo performance here in Sydney's State Theatre. I must say I was not sure what to expect on Friday night when I walked into the theatre. But as soon as the lights dimmed there was an electricity in the air that only people who've experienced a live gig (especially a Pearl Jam-related one) will understand. 


To my surprise, St Cecilia & Evil J, the opening act, was different than what I expected, until I realised the familiar voice, that of Eliza Jane Barnes. I saw Eliza Jane and Liam Finn open for Pearl Jam when they toured in '09. What an amazing voice! 


Though her new act is much less sporadic and less inviting than the songs she did with Liam Finn, it was nevertheless enjoyable and I found myself tapping my feet to the synthesized drums. One thing that really grabbed my attention was how they kept switching guitars throughout the gig. It was fascinating that worked so well in-sync. However this was nothing compared to what the evening still had to offer.

L: Seat Friday, 18th Mar; R: Seat Sunday 20th Mar 2011

Eddie Vedder entered the stage the crowd exploded! I wonder what it would be like to be on the receiving end of such a greeting? Anyway, Eddie waved and settled into his seat with grace and an ere that only Eddie can do.


Two songs stood out for me, 'Porch' and 'Keep on Rocking in the Free World.' Each night (I was lucky enough to see all 3 Sydney shows), Eddie would put on a performance like nothing I've seen before. Though he was one man on stage the vigor and passion to which he sang those songs would have made you think otherwise. Truly unbelievable. 


As the evening closed in and time wained on Eliza Jane came back on stage and joined Eddie for a hauntingly beautiful rendition of 'Golden State' by John Doe.  Two weeks on and the duet to that song still resonating  with me, like it was yesterday. When Eliza Jane pushes her voice it really is angelic and Eddie, what can you say the man can do not wrong. To quote one of the guys in the crowd that first night in Sydney: 'F&*$ me Eddie, I love you!' And it is easy to see why. 


In between his fast-paced guitar riffs, melodic ukulele-driven staples (of which I never thought I would enjoy, but did), and a few heart-felt messages about making a difference in this world, hearing Eddie talk about the love he has for his family and even the shout out he gave to a couple who had just gotten engaged (as I too got engaged about a week earlier it was quite surreal that he would even mention engagements). Eddie really did make everyone in that room feel like they could give, do and be more in their lives. 


Which bring me back to the beginning of this blog. Life is too short, and we get so busy with this thing we call 'the daily grind' it's nice to reminded that we're all human in the end.

Eddie Vedder Live Sydney State Theatre, 19th March 2011

Thank you Eddie, it was an absolute inspiration to see you perform acoustic gigs with such passion. I hope to say thank you in person one day, and maybe get to hear 'Golden State' one more time...

Point of View

Stone Temple Pilots - 'Between The Lines' (2010)

directed by Christopher Sims

For years the Stone Temple Pilots have been at the forefront of the music scene. Songs like Plush and Sour Girl are staples in any alternative music lovers black book. Their newest single 'Between The Lines' is far from their previous sound. Nevertheless their return to the music scene has brought a vibrant, fast-paced and edgy as ever music video by director Christopher Sims.

Utilising the fisheye lens, continual motion transitions and a POV camera technique Sims has created an ultimately back-to-basics music video for the Stone Temple Pilots. We'll look at these techniques and transitions in more detail below to examine what aspects of this video work and which ones don't.

Let's start by examining the videos colouring. Sims use of the two complementary colours orange and blue are evident throughout the video. Adding two complementary overtones creates that ying-yang balance that further accentuates time and place, yet cohesively threads the video together.

I recently produced and directed a music video that utilised orange overtones to create a retrospective look for one portion of the video. The addition of that colouring re-established the time and place.

Often colouring is an area that gets overlooked when it comes to music videos. But, if you can allocate a little extra time for colouring your video, which we all know is not always available, it can only add to your video. I highly recommend taking time to professionally colour your video.

One aspect that I don't really think worked in this video is the lighting used when they are at the pub. It's a bit cheesy, a bit low-budget disco feel, which I don't really think lends itself to the overall look of the video. The first time I watched this video the pub scene was the only part that stood out of place to me. I'm not sure if this scene was a last minute addition, so the lighting wasn't predetermined, but I think it's just a bit cheap looking.

I may be over stating my point here, but the execution of the lighting at the pub scene is poor, I don't really think there is any reason to sugar coat it. Keep in mind lighting at all times, at all locations. It can effect a videos outcome and is something that does need to be justified and thought out before executing regardless of how last-minute, on-the-go the production may be.

In saying all this Sims use of the continual motion transitions with the POV camera work and quick cuts is really intriguing. I found that the transitions worked so perfectly with the song itself; it keeps the audience moving, the pace of the continual motion, always pushing forward was well done.

I actually found myself getting drawn into the video through the clever POV shots and the interaction with the female and the POV. It made the video interactive in a sense. Movement, always moving forward, always pushing. By the end of the video I felt almost out of breathe and I find that in and of itself incredible intriguing. It's clever. I've just watched the video again to get in the head space and once again I am not disappointed by what I feel at the end. I love the pace of the video, the quickness of the edit, the handheld and POV work, the subtle fisheye lens, the interactions....it really does work on so many levels and so effectively.

Now the song itself is so left field from what the world knows as Stone Temple Pilots, but I think it's still got an edge to it which is reflected in the video. It is that edge that makes 'Between The Lines' a bit less poppy and more like the alternative edginess that is the Stone Temple Pilots.

Hit & Miss

Rihanna (feat. Justin Timberlake) - 'Rehab' (2008)

directed by Anthony Mandler

Some videos, though directed by highly talented and well-seasoned individuals, can still miss the mark. I recently came across a music video called ‘Rehab’ by Rihanna and Justin Timberlake. Although I am not a fan of either Rihanna or Justin Timberlake, I have seen director Anthony Mandler’s work before on other music videos for people like John Mayer, The Killers and Maroon 5 and I’ve always appreciated his use of lens flare and lighting effects to create feeling in a clip. However, I was very disappointed with his use of lighting in the ‘Rehab’ music video and thought it would be good to explore why this particular clip does not work.

For starters a lens flare, for those of you who don’t know is: ‘the scattering of light through a lens system through image formations, such as internal reflection’ – Wikipedia, 2010.

If you look at these photos you can note a few things, firstly the different colours of lens flares, the anamorphic streaks (horizontal streaks of light), the use of the basic glow and the contrast of light and dark (or day/night shots). Now the use of one or more of these, if combined the right way can convey or further push an emotion. However, if they are overused as evident in this video, they end up creating a sense of confusion and boredom. Like anything, too much of a good thing is not too good after all.

Let’s break this down further, the use of the anamorphic streaks are a favourite effect of Mandler’s and are present in many of the music videos he directs. There are other music videos where he has used lighting and lens flare techniques sparingly and it is greatly effective, such as on The Killers video, ‘A Dustland Fairytale’ (see below).

He manages to enhance the night scenes and create a good flow of the video with re-use of the streak when the band is performing. The light and dark portions of the video are balanced out, without the over use of lens flare and lighting effects.

The ‘Rehab’ video on the other hand is completely dowsed in lens flares, coloured lighting and streaking effects to the point that it overpowers any story or emotion the clip is trying to convey. I’ve watched this video a few times, once with the audio and a few times without and each time I tried to understand what emotion and purpose Mandler was trying to portray using the green coloured flares. The best I could come up with was something to do with alien abductions which I am sure, is far from his intentions. The green flares I think really bother me more than any of the other shortfalls of this video, it is too distracting and does nothing to enhance the song, does nothing to convey an emotion and is just too much that it becomes pointless.

Other areas that I think could have used a bit more thought are in the black and white, and day and night scenes. Once again this is an area where Mandler has proven time and time again that he can master, however this video lacks any melding or uniformity as a video. Though the cuts are quick and could work, the overall composition of the shots and over use of the lens flare leave everything to be desired.

There are plenty videos where a director chooses to go from day to night and full colour to black and white and there may be no special transition or gaudy effect. But, there is a thread in the video that makes it work as a whole from start to finish, even if it is not a storytelling video; so whether that means the composition of frames, the movement of the shots, a prop, or even a lighting effect. Something has to make the clip cohesive, even if being in-cohesive is the thread that makes it work, it has to be achieved on some level.

John Mayer’s video ‘Who Says,’ also directed by Mandler uses the day and night and black and white flawlessly. Though it is a storytelling video and the cuts are strong, the video works on a whole and it is Mandler’s expertise in both composition and use of lighting that attributes to the success of that video.

In summary, some things to keep in mind when making a video: lighting effects and lens flares can add just as much as they can subtract, so it is important to use them sparingly. Videos do not have to have a story or a point, but they do have to have a thread that makes them work as a whole. Audiences do want to see progressive videos that push the boundaries, but over using something you know that has been proven to work simply to be progressive or because you can, is not the way to the set a benchmark. Below is the music video 'Rehab' for you to judge for yourself.

The Storytelling Music Video

Michael Jackson - 'Thriller' (1982)

Hi all, well the tragic news over the past couple days is really just so sad. Michael Jackson, love him or hate him, he was a legend and will surely be missed.

For those who think of Michael Jackson as the skilled artist and driving force of the pop world, I have included a the link to the classic 'Thriller.' It is the ultimate Michael Jackson music video and worth revisiting, especially under the circumstances.

http://www.youtube.com/watch?v=AtyJbIOZjS8

Enjoy.

The Performance Video With A Twist

Red Hot Chili Peppers - 'Tell Me Baby' (2006)
directed by Jonathan Dayton and Valerie Faris

An important thing to keep in mind when making a music video is to enjoy it and the experience. When you can translate the real excitement, energy and all around good fun from actually making the video to a final product it produces an authenticity which is ultimately enjoyable to watch. A favourite example of a video that epitomises fun and enjoyment is the Red Hot Chili Peppers 'Tell Me Baby.'

A very simple set which looks like it could be a storage room in a university or a small rehearsal room in someones garage. Either way the set is basic; drum kit, black carpeting, white walls, just a crisp, clean, simple set and the filming style directly matches the set in its approach. With a basic locked off camera, there is nothing too fancy or flash about the way it is filmed. The focus is on the song and the party that breaks out around it.

When the music starts and you see people 'auditioning' obviously for a gig, it's an automatic tangible connection for the audience. The diversity of people shown as the 'auditioners' are also easy to relate to. Almost everyone knows someone who looks like or has a personality or characteristic similar to the people in the video; and don't think that's just a coincidence either. This part of the video matches the song to a tee, the chorus "Tell me baby what's your story, where you come from and where you wanna go...." That one line matched with the footage is a winning combination and I think helps to connect the video to the audience to the song to the band and everything in between. Really clever, I raise my glass to Jonathan Dayton and Valerie Faris.

This video is about connecting people, drawing the audience in and keeping them there and the best way to do that is with familiarity, with tangibility, with being able to relate. I mean who wouldn't want to rock out with the Chili Peppers?? And who hasn't used a hairbrush as a microphone and pretended to be the lead singer of a band....we've all done it. Granted girls more so than guys with the hairbrush, but, I nevertheless, it is a widespread connection that echoes across age groups, genders, beliefs, ideas, cultures...

You can tell that making this video would have been a lot of fun for the band, talent and crew alike. I imagine there would have been a lot of smiling and laughing on set. It is important to note that what happens off camera while filming a clip directly relates to the final product.

So lesson for today; happy crew, artist and talent equals a video that people will actively want to watch. Though it is not always able to be achieved as head to heads can often occur when co-ordinating so many people. It is really good to keep spirits up and energy flying.

Here is 'Tell Me Baby' by the Red Hot Chili Peppers, get out those hairbrushes and sing away!

The Layered Video

INXS - 'The Gift' (1993)
directed by Richard Lowenstein

There are few music videos that make you take a step back and say 'wow,' but I think 'The Gift' by INXS is just one of those videos. Made in the early ninties it is a video that displays a bit more of the edgy side to INXS. Although this clip is quite busy, there seems to be some sort of movement or image changing at all times, it doesn't take away from the song itself. Most importantly it housing something that is characteristically INXS, depth.

Depth

This element is something that always coinsides with INXS. It is an important element, because it keeps the audience coming back. Creating a film clip that does not bore you, that makes you want to watch it again is fanstastic, not necessarily easy, but fantastic nevertheless. What really makes this clip work is that it manages to find that subtle balance between being overwhelming and at the same time being subtle enough so as not to take anything away from the song itself.

Although this may sound easy to do, trying to create depth in a music video can backfire if you get too eager. There is that cliche that if a little is good, than a lot must be great. But knowing when to pull back is just as important as knowing when push the envelope.

In this instance, it is executed brilliantly because of the skills and techniques that Richard Lownstein has perfected throughout his career and is something that he does impecably well. He's done many INXS videos and they are all complex in their depth but are not overpowering. Whether that is a formula that clicked with working with the band or just Richard Lowenstein's ablility to communicate his ideas and concepts effective, I don't know. Either way, it is an impressive skill and is something that I personally strive to achieve in any of the work I do, because it is so unbelievable effective if you can pull it off and I think 'The Gift' is a great example of that.

The Colour Red

The colour red is a very attracting colour, which is why it is so often used in marketing campaigns, advertisements and in packaging. It attracts the eye and can provoke several meanings: love, hate and anger to name a few. With a colour that has so many meanings presenting it in a way that will stand out in a video, but depending on the usage, not overpower the video itself can be challenging. It is a bit of a confusing concept, but I refer you back to breakdown of Foo Fighters 'The Pretender.' The way red is used in 'The Pretender' is a sort of final take and this resistance, that completely fits the style of the video. Where as in 'The Gift' it evokes fire, it evokes mixed emotions it evokes a passionate expression of ideas/beliefs/concepts. No matter how many times I watch this video I do walk away with a different outlook on it, whether that be anger, freedom, frustration or pure excitement.

Movement

This is a favourite element of mine, whether it be used as a transition from one scene to another or a thread that ties a video together, it's effective. In this clip, everything images, the band, the graphics, everything is moving forward...once again another theme kept throughout several INXS videos, especially during the 'X' era. I guess you could express it as being a way for the artist to connect 'reach out' as such to the audience. Everything even the bands movements to the camera are always pushing forward. It is powerful when used in combination with the red colour and the layers of images...I love it. Enjoy.

The Storytelling Music Video

Rob Thomas - 'This Is How A Heart Breaks' (2005)
directed by Pedro Romhanyi

Hi all, I know it's been a while since my last blog. I've been wanting to do a breakdown of one video that I was having a lot of difficulties finding, until now. Enjoy!

I have not seen a video clip like this in ages and although it was made in 2005, I think it still holds strong as one of the great storytelling music clips. A combination of elements like camera movement, the evoking of emotion and anticipation, use of the location, the pace and energy and a simplistic idea work together almost flawlessly in this clip.

Setting the Scene

The first shots of an music video, TV show or movie sets the scene for the overall story. In this instance, the establishing shots move in time with the music. Establishing shots using this method, if executed well can really draw an audience in.

Note how the first shot is an extreme wide shot of NYC. It sets a place and time for the video, this is your basic establishing shot. Every shot there after brings you further into the story. Next you zoom into a section of the city skyline, then closer into the harbour, then you move to low angle street scape shots that build in time with the music. Just as the music get fuller and tempos start to build, the images correspond and the whole clip just reels you in. Have a look at the first few seconds of this clip (the instrumental intro) to better understand what I mean.

Keeping the Audience

After the establishing shot you see Rob Thomas walking down the somewhat empty NYC sidewalk doing a basic 'to camera' piece. Now if this type of shot was used for an entire video, without anything to keep the audience interested, then it would be unbelievable boring. However, when Rob cleverly looks up and stops singing and he has this look on his face, like 'what the?'. You can't help but keep watching to see what it is that makes him look like that. What the director has done here is quite smart, he shows Rob running away, but does not show us why. Right there you've got the audience hooked, they'll stay watching until they find out.

The fact that obstacles are put in front of Rob, the people at the restaurant, the elevator, the roof top and stairwell finally all leading up to this impressive crescendo of running up a parade of cars and a massive jump that eventually leads to a dead end and he is forced to face whatever the 'thing' is that he running away from. The instance that you see that he is running away from himself, you realise the magnitude of the lyrics in the song and the sheer ingenuity of the story as well. It's quite a retrospective moment that I think is the perfect 'cherry on top' if you will.

Although this type of story has been done before, it is not by any means a new idea, but the way the clip works as a whole is what really makes it so special. The setting of the scene - works, the build of suspense and intrigue - brilliant, the use of obstacles and challenges - smart, and the final moment when he jumps off the car and has to face his challenge head on - thank you and goodnight.

In summary, this video tells a story that you don't realise until after the fact, that you are right in the middle of. I really appreciate film clips that can evoke emotion and suspense and can tell maybe a well known story with a twist. This clip is enjoyable to watch and every time I see, regardless of the fact that I know what is going to happen I find myself getting enthralled with the chase scene, with the obstacles he faces. It is really well done, full stop.

Anyway I hope you've enjoyed my breakdown of Rob Thomas' - 'This Is How A Heart Breaks.' Enjoy.