“ANTENNA 3” EXPERIMENTAL BRITISH MUSIC VIDEOS

With ever-more mainstream music channels on digital TV, and endless new pop tarts only too willing to shake their thing at any fish-eye lens who’ll watch, it’s time somebody reminded the public that music videos can be more than just fuel for the egos of stars with already worryingly large heads. In fact, some of the most influential and creative exploration of film comes from the music video sector and Antenna was launched in London a couple of years ago to shine a light on those on the front line of the scene.
And indeed, there was an audience out there who appreciated the hard work and unabashed creativity of the directors behind the videos, as show after show sold out well in advance, and the public, the press and the music video industry itself rushed to support the events.
The UK has long held a reputation for great creativity in literature, art and music. These days, it also happens to be known as a hotbed for the music video directors who make work that rocks the world. After seeing Antenna shows in London, the British Council asked the Antenna team to produce special reels featuring the best work from British directors to take around the world.
In Estonia, the British Council has teamed up with Kumu Art Museum and the Black Nights Film Festival to screen the Antenna UK music videos. The third Antenna UK shown at the Sleepwalkers’ Student Film Festival, takes a look at some of the recent work by British directors, including the latest from established talents like Garth Jennings, director of ‘Hitchhikers Guide to the Galaxy’ and also newer faces like Ben Rollason, Karni+Saul and Chris Cairns. In the director profile we meet Daniel Levi who has been directing for only four years but has already established himself as one of the most exciting talents of the UK scene.




HOT CHIP: AND I WAS A BOY FROM SCHOOL

Director: Garth Jennings
Production Company: Hammer & Tongs, London
Editor: Dominic Leung
Post Production: Glassworks, London
Record Label: EMI, London

Hetkel on Garth hõivatud produktsioonifirma Hammer ja Tongs järgmise video Son of Rambo jaoks ettevalmistuste tegemisega (kui te ei ole veel näinud nende suurepärast veebilehte sonoframbo.com, siis tehke seda kohe). See on üke neist videotest, mis algab rahulikult ja kruvib siis pinge aeglaselt haripunkti. Video filmimine võttis aega kaks päeva, mille käigus tegi Garth koos oma meeskonnaga vanadest tekkidest, vaibatükkidest jms valmis hiiglasliku pildi, kasutades selleks joonise ja lae alla monteeritud kaamera abi. Videos võib näha ka Garth’i poega ja õetütart, kes on ametis tarretise laiali loopimisega.

Garth is currently neck-deep in preparations for Hammer & Tongs’ next feature outing, Son of Rambo (if you haven’t seen the marvellous site, sonoframbo.com, do so asap). It’s one of those videos that starts out gently and teases and teases until you see the final reveal. The video took two days to shoot and involved Garth and the team making the massive picture out of old duvets, bits of carpet and suchlike, using a grid plan and a camera rigged to the ceiling for guidance. You can also see Garth’s son and niece in there, having fun squashing up jelly. 



NIZLOPI: GIRLS

Director: Karni & Saul
Production Company: Flynn Productions, London
Editor: Karni & Saul
Post Production: Jo Apps, Flynn Productions, London
Record Label: FDM Records, Leamington Spa

Karni & Saul - naine fotograaf, mees animaator - on partnerid nii elus kui töös. Koos teevad nad ilusaid ja ebatavalisi videosid ning lühifilme. See video on järg Nizlopi ülipopulaarsele JCB videole, mis oli animatsioon väikesest poisist ja tema isast. Selles videos näeme me aga esmakordselt ka bändiliikmeid endid. Erilist tähelepanu võiks pöörata suurepärastele taustadetailidele.

Karni & Saul are a couple as well as a working partnership who combine their creative talents – she’s a photographer, he’s an animator – to produce beautiful and unusual videos and short films. This video was the follow up to Nizlopi’s hugely popular JCB Song video, an animation about a little boy and his father. This video however reveals the band for the first time and shows them camping out in their living room. Watch out for some amazing detail going on in the background.



PSAPP: ON SIDE

Director: Model Robot
Production Company: Model Robot, London
Editor: Model Robot
Post Production: Model Robot
Record Label: Leaf Records, London

See video sündis Londoni Kuninglikus Kunstiakadeemias tuttavaks saanud režissööridepaari Model Roboti ja bändi koostöös. Lähtepunktina videole, kus ämblikud rändavad läbi ohtliku territooriumi püüdes leida oma printsessi, kasutati bändi laulja Galia illustratsioone.

This video was the result of collaboration between the band, whose singer Galia loves to draw and provided illustrations for the directors, Model Robot, to work with as a starting point.  Then Model Robot, who met while studying at London’s famous Royal College of Art and have been working together since 2003, dreamed up the idea of following spiders trekking through dangerous territory trying to find their princess.



THE GUILLEMOTS: WE`RE HERE

Director: Chris Cairns
Production Company: Partizan, London
Post Production: Chris Cairns
Editor: Chris Cairns
Record Label: Polydor

Kui varasemalt tegi Chris stop-motion animatsioonil põhinevaid filme ja videosid, siis selle video juures kasutas ta time-lapse fotograafiat. Video on üles võetud Šotimaal detsembris kolm nädalat kestnud matka jooksul. Võtteperioodil oli üks meeskonna põhimuredest see, kuidas elektriseadmeid kuivana hoida. “See oli hullumeelne seiklus ning kui meil õnnestus jäädvustada kasvõi murdosa sellest kui tähtsusetuna me end loodusega võrreldes tundsime, siis võime lugeda asja kordaläinuks!” ütleb Chris.

After establishing himself as a director with a series of films and videos based on stop motion, Chris expanded his repertoire with this video, made using time-lapse photography. Shot over the course of three weeks camping in Scotland in December, one of the crew’s main concerns was figuring out how to keep all the electrical equipment dry. Chris says, “It was a crazy adventure and if we’ve managed to capture even a fracture of the insignificance against nature that we felt then I think it’s been a success!”



PSAPP: HI

Director: Trunk
Production Company: Trunk, London
Edit: Trunk
Post Production: Trunk
Record Label: Domino Records, London

Paljuski nii nagu lapsi huvitab, mida mänguasjad üksi jäädes teevad, tahtis bänd teha video, kus muusikariistade osad tühjas stuudios ellu ärkavad. Trunk võttis ülesande rõõmuga vastu, lõhkus instrumente ning lõi väiksed lõbusad ja üleannetud tegelased. Võtetele kulus kahel animaatoril kaheksa pikka päeva, kuid sellest hoolimata oli kogu protsess, ning eriti väikesele kondensaatorikutile seksika koreograafia loomine, ülimalt lõbus ettevõtmine.

Much in the same way as small children wonder what their toys get up to when nobody’s looking, the band wanted to make a video around the idea of having creatures made up of bits of musical instruments that come to life when everyone has left the studio.  Trunk took to the challenge with joy, smashing up stuff and making little characters who get up to general fun and mischief. The shoot took two animators eight long days, say Trunk, who seem to have thoroughly enjoyed the process, particularly choreographing the little capacitor guy’s “sexy dance moves”.



SUBTLE:THE LONG VEIN OF THE LAW

Director: SSSR 
Production Company: SSSR, London 
Editor: SSSR
Record Label: Lex, London 

SSSRi liikmed said tuttavaks Londoni Central St Martinsi Kunstikolledzis. Norrakad Kristian Hammerstad ja Marc Raisbig ning jaapanlane Yu Sato, kollektiivselt tuntud kui SSSR, on hetke üks kuumimaid loomeühendusi Suurbritannias. See video on üks osa videotriloogiast, mille SSSR Subtle’ile tegi. Nende videote eest said nad ka Briti Animatsiooni Auhindade jagamisel ihaldatud parima muusikavideo auhinna.

SSSR is a collective whose members met at London’s Central St Martins College of Art. Under their collective name, Norwegians Kristian Hammerstad and Marc Raisbig and Japanese Yu Sato, who graduated in Graphic Design in 2004, are now one of the hottest creative groups working on the UK scene. This video was part of a trilogy of videos they made for Subtle. The videos won them the coveted Best Music Video at the British Animation Awards.



CHEMICAL BROTHERS: BELIEVE

Director: dom&nic
Production Company: Factory Films, London
Editor & Company: Tony Kearns, UK
Post Production: Framestore CFC, London
Record Label: Virgin Records, London

Londoni tänavatel väikese võtegrupi ja DV-kaameraga üles võetud gerilja-stiilis video, milles on kasutatud Londoni ühe juhtiva eriefektide ettevõtte 3D arvutianimatsioone. Video peategelane on mees, kes näeb hallutsinatsioone ja põgeneb Londoni tänavatel kujuteldavate psühhorobotite eest. Režissöörid dom&nic on tunnustatud talendid, kes on ka varem Chemical Brothers’iga koostööd teinud. Video sai Londoni Music Vision Auhindade jagamisel võidu kolmes kategoorias: parim electronica video, parimad eriefektid ning aasta video.

A video shot ‘guerilla style’ on the streets of London with a small crew and a DV camera, this video also features slick 3D computer generated animation from one of London’s leading effects houses. We see a guy hallucinating and running scared from visions of psychotic robots through the streets of London. The directors, dom&nic, are well-established talents who have worked with the Chemical Brothers before on the video for The Test. Reuniting served them well in this instance – this video won Best Electronica Video, Best Special Effects and Video of the Year at this year’s Music Vision Awards in London.



THE WOOD FOR THE TREES: ALONE AMONGST FRIENDS

Director: John Shearlock
Production Company: Loose Moose Ltd, London
Editor: John Shearlock
Post Production: John Shearlock

Võtame tempot veidi maha. See video on John Shearlocki mõtlik animatsioon hetkel veel plaadilepinguta bändile Alone Amongst Friends. Johni jaoks on see julguse ja riski õppetund tema teine video. Ta töötab arvutianimaatorina produktsioonifirmas Loose Moose, mis sai Suurbritannias tuntuks oma Peperami vorsti reklaamikampaaniaga. Video tegemisel kasutati programme maya 6.5, After Effects 6.5 ja Photoshop 7.0, monteerimisel aga programmi Final Cut pro HD 4.5.

Slowing the pace for a bit, we have a chilled out, thoughtful animation from John Shearlock for Alone Amongst Friends, a band yet to find a record deal. A lesson in courage and risk-taking, the video is the second one John has made. He’s a senior computer animator at Loose Moose, famous in the UK for their work with the Peperami sausage ad campaigns, and in America for their Brisk campaign. The video was completed in maya 6.5, After Effects 6.5 and Photoshop 7.0 and edited using Final Cut Pro HD 4.5



ARCHIVE: SYSTEM

Director: Sam Brady
Production Company: Flynn Productions, London
Editor: Sam Brady
Post Production: Jan Urbanowski, Flynn Productions
Record Label: Warner Music, Paris

Archive’i laulu System videos näeme korteris ringi tantsivaid kritseldisi. Ja kui te mõtlete, kuidas täpselt see kritseldamine käib, siis kõigepealt on tarvis teha hunnik fotosid, mida siis kasutada korteri digitaalse 3D mudeli loomiseks. Nüüd võite kritseldada kuhu iganes, ilma et keegi teie peale pahandaks. Video loomisel kasutati ka kahe tantsija abi, kelle loodud koreograafia pidi edasi andma ühe paari suhte lugu.

The video for Archive’s System shows doodles dancing around a flat. And if you’re wondering exactly how you doodle on a flat, it turns out you need to take a load of photographs and then use them to rebuild the flat digitally, modelling all the furniture and fittings in 3D and computer generating all the camera moves. Then you can doodle as you like without getting into trouble with anyone. Or at least, that’s how Sam Brady did it. The video also involved a motion capture shoot with two dancers and choreography loosely designed to represent the story of a couple’s relationship.



MASSIVE ATTACK: FALSE FLAGS

Massive Attack: False Flags
Director: Paul Gore
Production Company: Flynn Productions, London
Editor: Mark Aarons, TVC Soho, London
DP: Robbie Ryan
Post Production: VTR, London
Record Label: Virgin Records, London

“See video on inspireeritud hiljutistest Pariisi tänavarahutustest ning keskendub noorele Prantsusmaa araabia-päritolu mehele, kes heideldes viha ja hirmu vahel, süütab petrooleumipommi.” Selline on režissöör Paul Gore’i kirjeldus antud videole. Iseenesest lihtne kontseptsioon, mille teostus on imetlusväärne. Salvestuskiirusega 1000 kaadrit sekundis on tabatud iga hetke tugev emotsioon ning vaatajale jääb mulje nagu näeks ta fotoseeriat. Video filmiti kurikuulsas Brixtoni vanglas Lõuna-Londonis.

“This video was inspired by the recent Parisian riots and focuses solely on a young French/Arabic man as he ignites and throws a petrol bomb, wrestling between his anger and fear.” That’s director Paul Gore’s description of this video, a very simple concept executed beautifully by the team. Shooting the film at 1000 frames per second, each shot captures the intense emotion and detail of the moment, almost as if it were a series of still photographs. It was shot in the grounds of the infamous Brixton Prison in South London.



JEREMY WARMSLEY: DIRTY BLUE JEANS

Director: Ben Rollason
Production Company: Draw Pictures, London
Editor: Ben Rollason
Post Production: Ben Rollason
Record Label: Transgressive Records, London

Äärmiselt nutikas video, mis põhineb varastel pildistamistehnikatel ja pika säriajaga kaameratele poseerimise ideel. Ben lasi näitlejatel seista piinavalt pika aja keerulistes poosides ja pildistas neid. Seejärel lõi ta “ajasulu”, milles kuni 700 kaadrit kombineeriti üheks kujutiseks loomaks efekti pingelisest heitlusest või stseeni illusiooni säilitamise raskusest.

A very clever video based on early photography techniques and the idea of posing for pictures taken by cameras with long shutter speeds. Ben made his actors hold tricky poses for achingly long periods of time and shot them with a moving camera. He then created “time brackets” in post in which as many as 700 frames were combined into a single image to give the feeling of struggle, or difficulty maintaining the scene’s illusion (because of course, the actors tended to want to fall over eventually).



DIRECTOR PROFILE: DANIEL LEVI

Daniel Levi sündis ja kasvas üles Lõuna-Aafrikas, kuid kolis kaheksa aasta eest tööalaste väljakutsete otsingul Londonisse. Danielil on kunstiharidus ning algselt töötas ta disaineri ja kunstnikuna, hiljem aga hakkas tundma huvi filmi vastu. Daniel alustas televisioonigraafikaga, kuid jätkas loomingulisema tööga tehes muusikavideosid ja reklaame. Täna on Danielil leping Londoni Independent Films’iga ning hetkel töötab Londoni üks kuumimaid noori režissööre oma esimese filmi kallal.

Daniel Levi was born and raised in South Africa but moved to London some eight years ago seeking the opportunities the UK offered in finding more sophisticated, creative work. Daniel trained at art college rather than film school and was initially a designer and painter but eventually he decided he’d like to get into film. Starting out by making TV graphics, movie titles, he eventually gravitated towards more creative work: music videos and commercials. Now signed to Independent Films in London he is firmly established as one of London’s most exciting young directors and is working on his first feature film. 



METRO: I AM BEAT

Director: Daniel Levi
Production Company: Terraplane, Johannesburg
Editor: Christian Iversen
Post Production: The Refinery, Johannesburg
Agency: Net#work BBDO, Johannesburg

See oli Danieli esimene laiemat tähelepanu pälvinud film, mis oli reklaamitööstuse siseselt vägagi edukas. Just seda videot saatnud edu võimaldas Danielil kolida Londonisse ja edendada oma karjääri. Kuna filmi tegemisel oli põhirõhk montaažil, pidasid paljud Danieli algselt selliseks režissööriks, kes saab kõige paremini hakkama just rohket monteerimist vajava materjaliga. Pärast Suurbritanniasse kolimist on Daniel teinud aga muusikavideosid ja mitmeid teist liiki projekte ning tal on õnnestunud see maine endalt maha raputada, tulemuseks mitmekesisemad tööpakkumised.

This piece was Daniel’s first high-profile film, it was very successful within the advertising industry and the attention it brought Daniel offered him the chance to move to London and develop his career further. The film involves a lot of post-production, which meant that initially Daniel was considered by many people to be a director who worked best on jobs involving heavy post production. Since moving to the UK and working on music videos and many other different styles of work, however, he has shaken off that reputation and is now offered work involving a much wider range of styles and ideas.



LFO: FREAK

Director: Daniel Levi
Production Company: Independent, London
Editor: Dayn Williams, Cut and Run, London
Post Production: Glassworks, London
Record Label: Warp Records, London

See video sai 2004. aastal prestiižse MVPA auhinna parima debüüdi kategoorias. Sobivalt veidraid tantsuliigutusi tegevad koolitüdrukud moonutuvad järk-järgult tänu elektroonilise muusika sürreaalsetele eriefektidele. Selle videoga jõudis Daniel muusikavideotööstuse tipptegijate hulka.

This video won the prestigious Music Video Production Association (MVPA) award for Directorial Debut in 2004. Brilliantly cast schoolgirls dancing with suitably freaky choreography and are gradually deformed thanks to some surreal special effects by the heavy electronic music. This video marked Daniel’s entry onto the top level of the video scene.



PLAN B: NO GOOD

Director: Daniel Levi
Production Company: Independent, London
Editor: Daniel Levi
Post Production: Glassworks, London
Record Label: 679/Warner, London

Daniel Levi suurepärane stoppkaader-video Plan B laulule “No good”. Videos teeb Plan B kodus igapäevaseid asju, ilma et peaks selleks vähimatki vaeva nägema – tekiäär kergitab end vabast tahtest, riided libistavad end talle ise selga jne. Eriti muljetavaldav on huulte liikumise ja hääle kooskõlastamise täpsus. Selleks filmis Levi Plan B esinemist DV-kaameraga ja printis välja 2800 kaadrist koosneva raamatu, millest sai nende huulte liigutamise piibel. “Näitasime talle iga filmitud kaadrit paberi peal ja siis ta püüdis vastavalt oma suu asendit järgi aimata,” ütles Daniel.

Daniel Levi’s brilliant stop frame video for Plan B was shot on a stills camera over seven days, five with the artist and two shooting ‘pick up’ shots. Plan B goes about his day at home but things happen for him without him having to make any effort – the duvet rolls off him of its own free will, his clothes creep over and slide helpfully onto his body, and so on. The accuracy of the lip-synch is particularly impressive, and was achieved by Levi shooting Plan B performing the track on a DV camera, then output the footage at 12 frames per second and printed a book of all 2,800 frames, which became their lip-synch bible. “Every frame we shot we showed him the relevant page of the book and he mimicked the shape of his mouth on that page for the shot,” says Daniel.



CONCERTS CHOSEN ONE

Director: Daniel Levi
Production Company: Independent Films, London
Post Production: Glassworks, London
Edit: Glassworks, London
Record Label: EMI, London

Selle video filmimine võttis aega kaks päeva. Esimene päev veedeti ühes Ida-Londonis asetsevas vanas majas, filmides, kuidas bändiliikmed vaatavad väikseid majamakette, kus seisavad nende endi minikoopiad. Teisel võttepäeval filmiti bändi esinemist ühes Lääne-Londoni stuudios. Üheksa pingelise päeva jooksul monteeriti kahe võttepäeva materjal kokku nii, et jääks mulje nagu vaataksid bändiliikmed enda minikoopiate esinemist. Danieli sõnul oli see üks keerukamaid montaaže, mis ta kunagi teinud on.

This video was shot over two shoot days, the first day on location in an old house in east London shooting the band in context, looking down at empty miniature models of buildings with tiny stand-in versions of themselves. The following day the team shot the band performing in a west London studio. Then over nine hard days of post production the two sets of footage were joined together so that the band could appear to be looking at tiny versions of themselves performing.  Daniel says this job was the trickiest post production he has ever worked on.



CONCERTS ON THE RADIO

Director: Daniel Levi
Production Company: Independent, London
Editor: Gareth McEwan, The Whitehouse, London
Post Production: Glassworks, London
Record Label: EMI, London

The Concretes on tuntud kui tõsine bänd ja uskuge või mitte, aga Daniel nägi kõvasti vaeva, et selle video jaoks nende esitust veidigi rõõmsamaks muuta. Video tantsustseenid pandi Londoni Urdangi Tantsuakadeemia koreograafi ja kaheksa tantsija kaasabil paika ühepäevase harjutamisega ning video filmimisele kulus vaid üks päev.

The Concretes are a famously straight-faced band, and believe it or not Daniel actually worked very hard to get them to cheer their performance in this video up a bit! Working with a choreographer from London’s Urdang Dance Academy, and eight of the school’s students, the dance sequences were worked out during one day’s rehearsal and then the whole video was shot in just one day.

 
   
prg. mart kalmo