Sunday, 16 September 2012




random shots when hopie has shoots and able to capture something distinctive on set

matthew herbert bbc radiophonic workshop and everything it stands for
matthew dear video
ninja tune - hextatic coldcut
postal service
convergence culture
paths crossing theory and practice...

grant nelson vs bicep vs hypercolour video vs move d


Thursday, 26 April 2012

the score

The Score

Video killed the radio star, apparently. But with (find stat - more people tuning in to radio than ever) this is not true. And as music soundtracks* our life from radio or any other source, so to it soundtracks the video now ubiquitous in our multimedia world.

*we aren't pitching a 'soundtrack' show

Celebrating the music that

Re-creating the vibes of particular storyworlds. Painting aural portraits of directors and their characters

Music, like a scent, is a sensory shortcut for memory.

The Legend of Chris Cunningham
Harold Faltermayer
David Lynch's Greatest Musical Moments - last track of every show.
Quinten Tarenteno's Gold Dig
Vangelis - blade runner etc

Gespar Noe
Irreversible's soundtrack composed by Thomas Bangalter"Outrun" and "Ventura" were previously released on Bangalter's Trax on da Rocks EP while "Extra Dry" had appeared in Trax on da Rocks Vol.2The film uses extremely low frequency sound during the opening 20 to 30 minutes to create a state of disorientation and unease in the audience, including during the nine-minute rape scene.

Enter the Void
Noé initially asked the Daft Punk member Thomas Bangalter, who had composed the music for Irréversible, to create an original soundtrack for Enter the Void. Bangalter was occupied with work on Tron: Legacy and had to decline. As a compromise, he provided Noé with an arrangement of ambient sounds and samples from existing experimental music, from which Noé compiled what he envisioned as "a maelstrom of sounds."[25] One of the sources of inspiration was "Revolution 9" by The Beatles, a sound collage which Noé describes as a work "where you catch the beginning of a note, or of a melody and then it's already somewhere else."[25] The two main musical themes of the film are "Freak" by the British electro artist LFO, which is played during the opening credits, and a recording by Delia Derbyshire of Johann Sebastian Bach's "Air on the G String", which serves as the theme for Oscar's childhood and his relationship with Linda. The beginning of "ANS" by the British band Coil is heard during Oscar's first DMT trip. The Throbbing Gristle song "Hamburger Lady" plays as Oscar tries to deliver drugs to Victor at the bar. Other songs on the soundtrack include Toshiya Tsunoda's "Music for Baby", Alvin Lucier's "Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers", and works by Denis SmalleyLullatone, and Zbigniew Karkowski.[25]

opening sequence LFO 'Freak'

Delia Derbyshire 'Air'
From the BBC radiophonic workshop, music geeks jizz over this woman. Having looked through NTS's programming they jizz over the sort of people who jizz over this woman. This tune is repeated throughout the film and so it could be used in this section to underlay general chat about Noe. Serves a purpose AND looks good on the tracklist!

Music Videos

SebastiAn 'Love in Motion'
Begins as a traditional Ed Banger using SebastiAn's 'Mean Games' but then flips to an totally cool head nodding electro groover!
In typical Noe style the video is controversial. It depicts a scantily clad pre-teen girl seductively dancing around her bedroom. Is it paedophilia? Or is it just a young girl doing what many do in their room mimicking super-sexualized performances of pop stars? Sexual deviance or social commentary on the  art form of music videos themselves?

SebastiAn = Worked as a producer for artists Kavinsky, as a film-music composer, and as a remix artist for bands such as Daft Punk. (Kavinsky obvs featured in Drive OST and Daft Punk did Tron.) In 2007, SebastiAn composed the soundtrack for label-mate Mr. Oizo's feature film Steak alongside Sebastien Tellier and Mr. Oizo himself. SebastiAn also acted in the film, playing the role of Félix. (Discogs tracklist for Mr Oizo's 'Steak' film)

Bone Fiction 'Insanely Cheerful'

Arielle 'Je suis si...'


Sebastien Tellier
the music videos of...
total hero.

Daft Punk
visual components and image

Intersteller 5555
music by them, Romanthony, Todd Edwards, DJ Sneak
The film is the visual realization of Discovery, an album by Daft Punk. Each track from the album has been animated as an episode in the story of the abduction and rescue of an interstellar pop band. The film has no dialogue[nb 1] and minimal sound effects.


Tron Legacy
the first film score by French music duo Daft Punk.

The original Tron


Air fall into this French electronic artists late 90s early 2000s
Air have often collaborated with American film director Sofia Coppola. They composed the music to her debut film The Virgin Suicides in 2000. Air drummer and former Redd Kross member Brian Reitzell put together the soundtrack to 2003's Lost in Translation, including one original contribution by Air titled "Alone In Kyoto". The soundtrack for Coppola's October 2006 film Marie Antoinette featured a track by Air ("Il Secondo Giorno").
Air wrote and played the music of the album 5:55 by French actress and singer Charlotte Gainsbourg, which was released in August 2006.

Lost in translation
The film's soundtrack, supervised by Brian Reitzell, was released by Emperor Norton Records on September 9, 2003. It includes five songs by Kevin Shields, including one from his group My Bloody ValentineAllmusic gave the soundtrack 4/5 stars (four out of five stars), saying "Coppola's impressionistic romance Lost in Translation features an equally impressionistic and romantic soundtrack that plays almost as big a role in the film as Bill Murray and Scarlett Johansson do."[21]

Virgin Suicides
score by air
soundtrack a lot of 70s stuff


Cerrone continued using pieces of photographic and audio erotica when he released his second album, Cerrone's Paradise. It was recorded with Raymond Donnez, also known as "Don Ray", as part of his arrangement entourage after parting company with Costandinos. The original French album cover featured a naked model draped over the top of a fridge with a jar of white powder spilled in front of it. The U.S. release featured a photo of Cerrone wearing a Hawaiian shirt.
His third album, Supernature (Cerrone III) sold over eight million albums worldwide.[citation needed] A departure from the lush orchestration with electronic instrumentation added to the mix, it was co-written by Alain Wisniak. The lyrics to "Supernature", written by Lene Lovich, have a sci-fi theme: it's about the rebellion of mutant creatures – created by scientists to end starvation among mankind – against the humans. The album also featured "Sweet Drums", a three-minute-and-ten-second drum breakdown. The original French album cover was again different, having a gatefold opening with nudes in the centre. The music itself was the same.
"Supernature" was used as the theme music to Thames TV's The Kenny Everett Video Show (as well as being danced to by Hot Gossip in the same show), which was shown across the UK.
--The Kenny Everett video show itself was a tv programme presenting music and comedy.

Cerrone then ventured into movie scoring, supplying the music score for Brigade Mondaine, a French film. Alternate mixes of his hits were made, such as "Give Me Love", "Phonic" (originally released as a 12" single on the Crocos label), and "Striptease". The latter was an underground hit, introduced to international audiences through the Disconet subscription service for DJs. It was a key inclusion on "Cerrone by Bob Sinclar".

Brigade Mondaine
Soundtrack - discogs

Ill Manors
The Hip Hop Show
first half - original late 70s/early 80s NYC hip hop
2nd half - 2000s UK urban

also look into socially conscious hip hop from through the ages

wild style + soundtrack / beat street + soundtrack / breakin 2 electric boogaloo / breakin / hip hop films + top 10

ill manorskidulthood + soundtrack / adulthood + soundtrack / attack of the block / find more

Guest = Dizzee Rascal

UK hip hop really matured with grime in the 2000s... nearly 30years after the original hip hop.

as always = ads / tv / music videos / documentary / interview

in the mainstream commercial world Hip Hop is demeaned (see car ads bottom of page)

MTV Europe Music Video Awards
Music video special

If the show had been running in the past typical features:
Drive - OST inspired special
Tron - OST inspired special
Lost in Translation - OST special

Send them a playgiarised version of the website with our picture etc making up an existing show. Also send soundcloud link from the PDF to pilot show.

Just moved from shacklewell lane to bethnal green will always be connected to the dalston community.

- Stoke Newington
- Spent 4years writing about music for Yorkshire's version of Time Out - The Leeds Guide (joining the editorial team shortly after NTS presenter Ruth Saxelby left her Club's Editor post to move to London).
- At the post house working with commercials all day I hear the audio over and over and the tunes stick in my head. Licensing is a vital source of income for musicians and advertisers choose their music very carefully as part of a highly contrived commercial. They are effective in quickly creating an immediate response. They can sometimes annoyingly stick in your head. They can be used to latch on to trendy. The Toyota ads are an abomination of Hip Hop

Saatchi & Saatchi don't have a fucking clue and why advertising agencies make me want to vom:

100 greatest dance songs:

Sunday, 11 March 2012


Matthew Dear

MVI 1935 from BASASS


Matthew Dear

Friday, 9 March 2012

Bokeh Shade

Have the story told through light shapes.

Action on screen is minimal, well set up shots with scenes stringing the narrative together.

Within each shot is the lights whose shape depicts the sensibility of each moment.

Monday, 6 February 2012

Near death experience


Arnold Mindell
(the dreambody near death)

Friday, 3 February 2012


Working with the established and recognizable UNIT branding, the cubic logo provide inspiration for structure and aesthetic.

The UNIT cube implies a three-dimensional, multi-faceted, well-rounded company providing total solution from which ever angle a client comes from. The film’s rubix structure acts as metaphor for a dynamic, interchangeable and interlinked workflow opposing the linear production-line approach which connotes a static, one-size-fits working process.

We begin exterior with the rubix floating mid-air within a non-descript black universe, like a satellite slowly drifting in space. A pod of some description flies into into a hatch of the top corner cube making up the UNIT rubix much like a small spacecraft may dock with a mothership. Cut to interior plain white cube room we see this pod enter through the hatch and 

a pixilated entity flowing

with a floating digital spectre of plain white pixels. This moves from one chamber to another in which an offline editor resides and effectively brings together the pixels into a coherent form. Although the shape and details of this new form are legible, they are not defined. This is the rough cut. Guide audio is laid which for the viewer is depicted by a stripped down demo version of a music track which plays with the bass filtered down.

When this process is complete there is unsteady movement earthquake type thing. We pull out to long shot exterior to see the rubix twisting. Back to INT we see the end of the movement which creates a door hole as two holes line up. The entity moves through the door into the next chamber as the movement happens again. (the movement could be a sharp slick-and-click).

Move through the process

The puzzle is a metaphor for the solution we strive to find for clients which we solve by gradually working through the process with them.

But one with a nicer colour palate incorporating the UNIT pink with each side also having the UNIT letters embossed one letter per side:

A clinically white aesthetic for interior - clean lines, shiny metal (as below) but maybe with a low hum of warm colour:

Friday, 20 January 2012

guilty simpson

Kim In Sook

black and white it and let the colour through on automation


from far lower right dock

have the sky as a layer. make it dramatic as fuck. change the sky for each scene.

move the camera through the gaps in buildings to reveal more city / or another city.

copy lighted windows/sections and replace those that are dark???
------------------------------------------------------------------------------------------------------------------------------------------------------ and all the related 2D to 3D videos

interesting but maybe not for this

Night Photography

Light Art

Stills. Night-time. City street shots. Architecture. 

Animate around the images using different speed ramps. Make wireframes for 3D effect.

When closed in on an element of the image play image sequence of lots of versions of that subject until the final one is the element from the new image which we animate out from.

Map text on to surfaces to show the word play of first verse especially.

Try to use long exposure light art. Highlight subjects within frame. Create new characters etc (maybe narrative).

Find buildings with coloured lights or interesting artificial lighting. Traffic lights, streetlights. Take torches to 'flash paint' and highlight certain subjects.

lights flash around image in time to bleeps.

dynamic text... only use text to emphasise the wordplay... do it dynamically while embedding it into the environment 

windows as keys

he isn't performing so what is the main focus??? do we get press shots and put him in? do we just use pete? introduce Guilty simpson with a press shot.
Use Pete. get him to bring BIG headphones and his fisher price or some piece of equipment. maybe my 1210. if using turntable then get him to bring a copy of record if he has one for sleeve to be in it. few outfit choices. comb, hairspray. 

this is Pete moving out from behind the decks, behind the beats, to be the main act, first name on the bill... visually this is pete moving up a notch to be amongst the big boys of the big bad city. Pete doesn't fit into your typical hip hop mould, his eccentric and enthusiastic personality is reflected in the tunes he makes, so rather than typical hip hop styling of THE ENDS, this video puts Pete at the epicenter of Britain's financial powerhouse, Canary Wharf. This area powers the British economy and is one of the major players in international economics. These boys don't fuck about. They are nailing it. This is a metaphor for Pete stepping up to take his rightful place at the top table. Walking in the shoes of Dilla and Madlib. He doesn't fuck about. As the stock traders trade commodities around the world so does Pete now 'trade' and collaborate on an international level. But staying true to his ethos, this setting isn't about the gratuitous money and bling of mainstream HH. It isn't the champagne excess of banker's bonuses. It is about the bright lights of aspiration. It's about magnificently constructed buildings serving as metaphor for his carefully contrived beats. It is about finding beauty in industrial architectural lines of glass and steel which mirror the beauty of his electronically produced beats. 

In terms of the tune the beats are represented by the night, and the bleeps by the lights.

Canary Warf (i think it's fair to say that the target market won't have ever been to this place or be familiar with 95% of shots... there is no other area like this in the country... and there is a lot of sculptures etc and lights left on and everythign s new and shiny and generally totally don which during the day is city boy suits dry but by night is a ghost town and is a mysterious place)
- limehouse station /

- reuters square
- cabot square /
- hsbc lion
- north colanade

- sculpture near westferry circus

- example of the difference in vibe between day and night
- by night (in time to bleeps light up the windows like a sequencer
- walking over the bridge (lights)
reflection in water
red photoshop
pete on his own on this
sat on the seat playing records with building's lights flashing
sat on floor with this DON reflection
forgot what this is already
different angle of the couple sculpture
YES YES YES - shapes, geometry, just colour them in for bleeps start here abstract and slowly pull back to reveal context... and vice versa
always got time for this sort of thing

- abstract glass and steel
- amazing colours
- colour wow
- colour

we would cut out each building. extend the background ones down to fill in the gaps. then we can fly towards them in 3D
and with we would colour each floor of lights in a different colour in time to the bleeps so the buildings dance

keep in mind the idea to go back not too late and get juxtapositions of local poor high rises in foreground with canary wharf in background


also take torches

he uses the same words to mean different things showing the different ways language can be used. like this we use animated 2d still images as 3d moving footage to show how the same thing can be used in different ways


guilty video search:

ouch animated 2d still, some text on screen:

why we're not using people lip syncing:

v.good. lyric text on sceen:


totally based on lyric text and literal depictions:

did lux make this?: