MUSIC VIDEO

How hard can it be?

	Up on the roof. Glen Matlock and the Philistines in Sad Meal For One.

Gary Szabo has worked as a colourist for eleven years on award-winning commercials and dramas. He's used every combination of Telecine and colour corrector available, alongside every known editing and compositing tool. He knows all about the world of post-production so, naturally, when invited to direct a music video, Sad Meal For One, Gary and his Technical Director, Simon Leppington, thought, "Great, how hard can it be?"

Gary also knows about low budget projects - and real and false economies. "I knew we had to shoot on film to get the best images," he said. "We'd need a sumptuous-looking live performance to cut in and out of. We'd spend the entire budget on the shoot, giving our time free. We'd shoot Super-16mm and transfer on our Spirit DataCine^TM at Red Post Productions.

"I know what causes most problems in post-production; that's why I know a good DP is essential. So I call my old friend Geoff Boyle. He is happy to help and eventually we meet and I explain the plan. We are shooting Glen Matlock's band (Glen Matlock and the Philistines) outdoors, against a panoramic view of London. Geoff suggests involving his assistant, Justin, who owns an ARRI 16mm camera. I begin to realise that I am a very small fish in a vast ocean. Still, as I said, 'How hard can it be?'

"Justin agrees to help; but he has sold his ARRI. Never mind, he has a 35mm camera and a MoCo head! Geoff has nine rolls of various 35mm stocks we can use. We're ready to roll. We will shoot daytime on a Soho rooftop. We will film the band on the new Kodak Vision Expression 500T 5284 colour negative film, and the lead singer on Kodak EXR 50D 5245 colour negative film, compositing both performances. The distinction between the lower contrast, slightly desaturated band and the richer colour and higher contrast of the vocalist should be visually stunning.

"Shoot day arrives; I'm nervous and the adrenalin is in full flow. Justin has an experimental MoCo head but it doesn't work - Hell, we'll fix it in post! Even finding the rooftop had been painted silver didn't deter us. Geoff just shrugged and said, 'Great, this makes it more fun.' I get the impression Geoff is not even up to his ankles while I'm treading water in the mid-Atlantic!

"The shoot goes fantastically well. The weather alternates between miserable gloom and piercing, low sunshine. This Vision Expression stock is supposed to have great latitude but I've never encountered it in Telecine before. I begin to wonder if it can cope with such extremes. I notice Geoff is still smiling so I take it as a good sign. The band's performance is great and the whole crew is happy and encouraging.

"Finally, after nine long hours on set, we wrap. I am totally exhausted, mentally and physically. This amuses Geoff and Justin - 'How would you be after a full days shoot?'

"The film goes off to the lab; I wait nervously in my Telecine suite. Now I realise why my clients are so nervous before a session. What if nothing comes out? Was that camera really running?

"Eventually the film arrives in its full, beautiful, pristine 35mm gorgeousness. 'Wow!' is all I can say. It looks stunning - and it's our work! The 5284 has captured every single ounce of shadow and highlight detail. And this time I know it has, because I was there! It was a gloomy day but I can stretch the neg to look bright and punchy without losing the sky. The lead singer is in a dark-blue velvet suit and I can give the shot contrast while still holding detail in his jacket. When the sun is out it's even better. By combining the strengths of the Spirit DataCine^TM with the stock's phenomenal latitude, I don't lose any highlight or lowlight detail in what, Geoff assures me, is a ten-stop range! In fact, the 5284 performs so well that we ditch many of the comp shots in favour of just those scenes we shot on 5284. Then I used power windows to colour saturate the lead performer and to desaturate the rest of the band slightly. The 5245 looks just as I imagined - rich contrast and lovely warm flesh tones. Elated, I transfer at 2k and load directly into our Fire, which makes for simply stunning pictures as well as beautiful keys.

"We are very proud of our work. However, the learning curve was my steepest ever. I now know the huge problems filmmakers face; the stress of a shoot is enormous. As a colourist, I can only be as good as what I'm given - and this 5284 stock is excellent. With it, I could create several different looks without compromising detail. I learnt more on that one-day shoot than in a whole year of grading. DPs and Directors everywhere - I am not worthy!"

Data File

Sad Meal For One

Production Company - Red Post Productions
Producer - Carl Grinter
Director - Gary Szabo
Director of Photography - Geoff Boyle FBKSTS
Technical Director - Simon Leppington
Camera Operator - Justin Pentecost
Telecine Operator - Gary Szabo