MICHAEL ROSEN YouTube/360

This post is about a studio shoot I did with Michael Rosen performing poems from A Great Big Cuddle published by Walker Books for our YouTube channel.

 

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Click to play

We had been wanting to make some more Michael Rosen videos for a while, the previous videos have had over 24 million views Bear Hunt, Chocolate Cake and No Breathing are the most popular at well over a million each. Subscribers are now up above 110K and growing.

I also took the opportunity to shoot some footage for a  360 proof of concept film for youtube, Google Cardboard and Occulus Rift.

 

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We took the studio footage of Michael and placed it in a 3d environment in post along with some animated illustrations from the book.

This post lets you know a little bit about how we did it.

With some funding from Walker Books we set up the shoot at FLETCHERWILSON where they have a studio that is big enough to roll out a Colorama and get some lights up. You can see from the photo we used a mixture of tungsten lights. Phil Barnett who DoP’d on the day used a Rifa for key light and Dedo’s for the rest he also used some generic redheads for the background.

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Framing head to toe on the white backdrop was no problem.

 

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We shot  the content from the new book framed in a loose head and shoulders so we would catch the performance in a way we’ve found works.

Here is an ungraded screen grab from the final films.

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I cut the films in Adobe Premier Pro CC2015 and I was really impressed by the new colour grading features.

My friend and DoP Don McVey @donmcvey sent me this quick summary of how to use those colour correction features. The video he is correcting in the clip is for the another Michael Rosen  project I’m working on to publicise Uncle Gobb and the Dredd Shed published by Bloomsbury .

Here is a slide from one of the final films where you can see the colour correction, text overlay and a slight grad on the left and right to focus the point of interest on the subject.

For comparison.

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Always fun to work together but “I think there might be a problem with this button.”

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Links to the final films will be attached shortly and the book A Great Big Cuddle will be available soon too.

Fashion films for FLETCHERWILSON

I directed this at FLETCHERWILSON for their friends at TBA, whose client Clarks, wanted a set of five concept films to be shown at the launch event of a new season of  footwear.

Brief

Create five beautiful, poetic live action films which will serve as the backdrop for a new season catwalk show. The films should evoke the spirit of each of the five the collections, have a loose narrative flow and cohesive feel.

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Creative Approach

We will capture a sense of life, dynamism and humanity by using people in their environments but without featuring recognisable faces. Using macro photography these films will have a sense of drama through the juxtaposition of intricate details and the large scale of the presentation image.  We would see soft focus movements in the background with hands, objects or bodies moving through the frame and the focus. This way we will create moving and overlapping abstracts from the details, tones and textures of each scenario.

Each of the vignettes will follow a loose narrative arc that picks out key atmospheric moments, colours, objects and forms on a journey that epitomises the range and look stunning. The shots within each vignette will be long, slow and considered allowing the images, colours, tone, mood and atmosphere to work for the audience complimenting the light, sound and staged layers of the live production.

 

Creative Approach Technical

By using hand-held, tracking-shots and obscure angles as well as shooting in close ups, extreme close ups and almost abstract macro we will create a strong feeling of understanding, intimacy and affinity for the audience with the mood and tone of each range.

Another layer of texture we will add in the shoot is using rare uncoated vintage lenses. These lenses have a strong analog look that includes interesting visual artifacts like lense flares and atmospheric aberrations but keep luscious, warm skin tones, smooth contrast and combine beautiful blend of sharpness and softness.

The editing style will follow the considered and measured approach and use composed dissolves that marry shot into shot in a dream like fashion that makes use of the super wide screen.

No small task.

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I was really excited to be working with FW and TBA again for this prestigious brand. I think these pictures show the creative fun we had making films that would evoke the mood, tone and feeling of each footwear collection.

Here are some photos that document the job

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We used an uncoated prime set from Genesis hire for lovely flares, artefacts and optical aberrations.

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D.O.P Don McVey working some magic with the very effective 100mm macro lens on the Sony FS700. Kat from FW officially had the best handwriting.

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“But what about some snow Rob?”

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“No problem

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Trick of the trade: I find the inside of a cheap duvet has a really convincing look of fresh snow when used in the background. (Kat was not convinced)

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I’ve been sliding around London for some time, with a macro lens. We got some amazing footage on this desk.

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Tip 2: We used a strong backlight on this set up to highlight  talc particles in the atmosphere.

Amongst other places, we went to Baba’s forest for some authentic woodland texture.

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It was a great location that offered so many shots. I could have been there all day.

Last shot of the day. Cordial and tap water

TBA HD FULLSCREEN (1)We cut and graded all five films in Adobe Creative Cloud at a 5:1 aspect ratio… But that’s another story.

Final presentation with motorbike for scale.