Behind the Scenes of Neon Magazine

When Bosley initially approached me about shooting the Neon Magazine video I was thrilled. I was excited to be working with such an Imaginative talent who also had a very clear idea of what he wanted. My excitement grew as he explained what he had dreamed up and it evolved into one of the most visually creative, technically challenging, and complex creations i’ve been a part of. Every detail was elaborate. Locations, sets, extravagant costumes, lots of talent, dance numbers, dolly track than ran the length of the set, light gags, topless dancers, Bentley limo’s, pink albino elephants, on-the-fly wardrobe changes, a brass band, bears in tutu’s, off speed lip syncing, time lapses and of course it all had to look like one continuous shot. We met several times just flushing out the concept and reworking the choreography to make it more production friendly. Once things started to take shape we enlisted Matt Riggieri from Digital Cave Media to sort through the mess we had made and tell us about all of the things we had forgotten. It was a great collaboration and we’re currently developing 2 more video’s.

We shot the bulk of the video in one day. It comprised of the 2 sets. We shot one before lunch and one after lunch. The two shots were later merged together on post. The only other piece was the the ending that happens before the video starts. We shot this weeks later and seamed it in with the rest of the video.

One of the most interesting parts of filming this video was jumping between the 60 Frames per second off speed lip syncing to the 1 frame every 2 sec time elapse. The 60 frame lip sync was a challenge for Bosley and I think he pulled off pretty well, only missing a beat or two throughout. It was interesting for the crew that was listening to the song at double speed and watching him lip sync at double speed. Most of us had no idea what he was saying or if he nailed the lip sync or not, but luckily Bosley knew when he hit it.

We Used a Canon 7d dslr so that we could easily switch between the 60fps 1080 hd video to stills mode for the time elapse without having to move the camera. The 7D was also light enough that we could mount a kessler cine-slider on the fisher dolly and leave it mounted to roll right into the motion control time elapses seamlessly. Here’s a few of my favorite frames from the time elapses’.

This video was made possible by the generous donations of many talented people’s time and energy. Check the last post for a full crew list
Behind the scenes still images courtesy of Clark Vandergrift

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