Music Videos, Beats and More

Chriscol – ‘Shine de lite’ music video ft. Harry Harris

A music video I shot for Chriscol a week ago and finished editing the other day. I shot the video on my Canon S95 once again. I’m really liking this camera a lot 🙂 Anyone watching the video concerned about the really old tombstone that moved, he honestly didn’t expect that to move! I’m not sure what the deal was with the open tomb either… They’re all roughly 170 years old most of those graves.

A few tech details here. All the shots apart from a couple at the church were all hand held. The image stabilisation on the S95 works quite nicely. I usually just leave that turned on anyway. For the shot where Harry and Chriscol at the back were walking past the graves, I actually held the ghettoblaster playing the music and the camera at the same time, whilst walking backwards! A couple of my fingers and thumb were wrapped around the handle of the ghettoblaster, while the my thumb and other fingers held the camera above handle. Amazingly, it worked really well. The extra weight helped stabilise the camera.
For editing in Vegas 10, the videos were converted to 24P Cineform Avi files. I tweaked the exposure using Cineform First Light on a few of these so the exposure matched on all clips. The colour grading was then applied to the edited video track as a whole. Below you can see the chain of plugins I used in Sony Vegas 10.

Fill light -> Magic Bullet Mojo -> Newblue VE Film Tint -> Newblue V3 Gradient Tint -> Neat Video

I also used Boris FX’s BCC7 lens flare on a number of clips.

4 Responses to Chriscol – ‘Shine de lite’ music video ft. Harry Harris

  • Very nice work, but I think that some of the shots are in too high of a shutter speed for a somewhat relaxed song as this. Also, some shots would be nicer if you had zoomed in and used an ND filter to open the aperture for shallower DoF (e.g. the shot at 2:56 could look even nicer). I don’t mean to be negative, this is one of my fav music videos from you, but I think there’s an extra mile to be chased down. 🙂

  • Thanks!! I’ll give that a try once I get myself the filter adapter.

  • I have an s95 and also use Vegas 10. I’m admiring your work heavily. Curiously, why do you bother with the cineform conversion? The s95 shoots native 24fps and Vegas 10 handles them, right? What do you gain by using it? To test on my own, i got the demo version of neoscene and converted the video from my s95 shots. They don’t look any different to me on my PC using windows media player and the rendered clips didn’t look any different on the PC either.

    • Thanks for the comment and watching the video! There are a number of reasons I use Cineform Neo HD.

      Firstly, my fastest computer which is an older 2.4gh Quad core machine won’t let me edit the mov files straight from the camera in real time. It does play them, but any complex edits will cause dropped fropped frames.

      Being able to covert my files to 25P is another reason. Television in Austalia is PAL and some artists I’ve done videos for get them played on tv. That’s something you can’t do with Neoscene though.

      I also like having a high quality format I can render my final videos to. The h264 mov format would be a bit lossy.

      First Light, the program that comes with Neo HD is another reason. It enables a RAW style workflow much like what you can do with Red camera footage. So you can adjust all the colours, white balance, the exposure and other settings of the actual video files as meta data. All settings are non-destructive, but those settings will remain whatever program you load the files into. Essentially someone could be colouring the video files on one computer using First Light and someone else could be editing those files on another networked computer, and the colour of those files will update automatically in the edit as the other person colours them. The colour changes won’t affect performance either. I’ve used it to colour a few videos, but not this one.

      Another thing, Cineform converts the files to 10 bit 4:2:2 colour space. The files straight from the camera are only 8 bit 4:2:0. The difference won’t be that visible, but helps when colour grading and any chromakey work.

      Essentially it’s just more professional and reliable format to work with, and I’ve never had any real issues with it. Hope this answers your question!

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About Avene
Sydney based artist specialising in creating music videos, cinematography, music production & beat making, digital art, sound design & photography.