VFX: Location of film

This is the location of my video. It is going to be shot in a flat because I think a contained space will help the horror theme as contained spaces show that the character is feeling trapped.

The filming will be shot mainly during the evening time because that's the time of day for that the story is set in.
The equipment I know I shall be needing:

• Dolly Track
• Tripod
• Camera
• 2 lights (to create some nice contrast lit scenes)
• Microphone

I am going to have some help when I do the filming so I know that set up time won't take long and I am going to be soon carrying out lighting tests for my video so I will know approximately how long shooting might take when I do the final filming.
I have tested the visual part of my idea to see if it was possible and whether or not I liked it, so now my next step is to work on how I want the lighting and sound to be in the video. These will be small tests but will help to answer and solve many questions I have, such as how I can avoid the subject and the doppelganger's shadow interfering with one another.

Censorship and 'Truth'

Brief Notes:

Shadow Problem with Doppelganger

Doppelganger Experiment 1 from Munirat Plummer on Vimeo.

From these test shots and in the screenshot you see below, I have thought about a problem which might affect the visual outcome of my video. I think that the shadow cast by the doppelgänger needs to be subtle so that it is easy to see that it is a paranormal aura.

I might have to consider using green screen to film the doppelgänger's scenes because this will allow more freedom when I want to edit and add any effects on it.

My next test shot will be more precise because I am now going to consider lighting in the scene so that the horror/thriller theme will be obvious. I am going to do this test because it will allow me to see the shadow of the subject since its going to be more obvious and harsh due to the contrast lighting I am going to have.
In the test shot I shall be testing the scenes from my storyboard and I can see if it will work or any changes that need to be made.

The previous test shots I made has allowed me to notice this new problem which could have easily been overlooked.

Work Experience on the 'Residue' Film set

I had a work experience day on the film set of 'Residue' that will be releasing the near future.
I started the day by reporting to the 2nd assistant director's office where he handed me the scripts and call sheet of the next few days of filming.
I was taken to the film set with other students doing work experience, there were 3 of us. We arrived at the film location, set in a restaurant.
The first main jobs I was given was running errands, getting and making refreshments, cleaning the set and helping clear out any equipment that wasn't being used anymore. The first half of filming in the day carried on until lunchtime around 3pm.

I really enjoyed being on set and watching everyone carry out their roles on set, working together so well. The equipment was really high quality, I imagine to get the best results for the film. I got to watch the scenes on the director's screen as they were being shot and it was really good to see that some scenes required more takes while others did not take long to shoot. I found that what took the most time was setting up the equipment especially in a contained space like the restaurant. There are loads of safety regulations that were considered so a lot of background work went into the each scene before it even got to the filming stage.

The crew on the film set was made up of about 40-50 people, this consisted of roles such as drivers, sound crew, make up artists, actors/actresses, directors, assistant directors and lighting crew.
When we moved onto a different scene and filming location after lunch had been provided, which I enjoyed, the crew went on to the next filming location and we were given radios to be able to communicate with each other. I felt like part of the crew with these radios, the assistant directors could ask about my whereabouts or give orders and I didn't have to be close to them, this really helped because we were shooting outside now.
My job during this time was to help setup any refreshment stations and keep pedestrians from disturbing the scene while filming was on, which was a cool task to do.

The 3rd assistant director gave us a short introduction to how the radios worked and how we responded. I learnt that the phrase 'lock in' meant get into the position or role you were assigned and basically mean get ready because filming might start soon.
Another phrase was 'turning' which meant that the camera was rolling.

I found that doing this work experience taught me so much that can't be taught in uni and meeting the different people was really exciting and I enjoyed it so much it is beyond explanation and will definitely continue to look for more work experience and runner jobs to build up my experience.

I learnt about three companies from this day: Matador Pictures, Green Screen Productions and Future Effects (Special Effects for TV & Film).

Movie: 42

http://www.imdb.com/media/rm1342611456/tt0453562?ref_=tt_ov_i

Brian Helgeland directed this film and wrote it. Watching this film, is so inspiring that by the end you are rooting for the main character, Jackie Robinson. His struggles with coping during the times when racism was close in his face and being the first black man to join a baseball league team and play with them are inspiring. This movie is definitely an inspirational film, even if the audience does not know anything about baseball, by the end of the film you love the sport without even knowing the rules about it. 

The scenes were shot in a simple way, with tracking shots which I think helped to give the film its steady pace, which I believed helped with the storytelling. The story was told beautifully without being rushed, though the film is long and lasts about 2 hours, it keeps you glued to your seat and slowly build the climax to the end where Jackie Robinson takes the Dodgers team to the World Series.

I noticed that the movie soundtracks really complimented the scenes, the music helped to create drama which I thought was clever, not many movies have good soundtracks. The film was released this year in April. I didn't know it was out but just stumbled upon it and I am glad I did because it ticks all the boxes in how a biographical movie should be told visually.

The movie is set during the 90's, from the environment to the costumes, every aspect has been definitely been thought and I also felt like I learnt more history watching this film than reading a history book. The dialogue in the scenes were kept short and straight to the point which I think helped the storyline get across without having long dialogues to make the audience look track of what is going on.

Since learning how to use more equipment during our VFX studio time, I definitely see how using equipment such as dolly tracks or cranes can improve the production quality of a film.

Motion Capture: Capturing Interaction between Human and Animal

http://www.nationalmediamuseum.org.uk/BradfordAnimationFestival/BAFGame

http://www.nationalmediamuseum.org.uk/Events/BAF/2013/M/MotionCaptureCapturingInteractionBetweenHumanAndAnimal.aspx

This talk, carried out by Karl Abson, a lecturer at Bradford University, was very interesting to me, even though I would have wanted to see more results of the motion capture with more animals, but the lecturer did state that the reason they focused their experiment with a horse was because it was easier to teach and control.
The talk was mainly about how introducing Motion Capture using animals could help prevent risk, removing danger, can create quicker and cheaper results. It will eliminate the need for animators who have to animate an animal's movements quicker without them needing to look into the anatomical study of the animal's body use the information taken from the motion capture to inform them.
He said, animator's might be worried about their job being taken away but do not look at it that way, it is used more to reduce the time spent on researching everything about the animal which you might as well be a vet, he stated.
To carry out the experiment on the horse, his team needed to hire a studio, equipment, vets to make sure the animal was in good condition and care, VFX artists and animators. The technology used to read the information from the cameras was Blade (http://www.vicon.com/Software/Blade). This software is meant to give you quick feedback of your readings, it saves time and allows the user to still have full control giving room for experimentation.

The negative points of using motion capture on animals is that it is harder to control them obviously due to the communication factor, and depending on the size and type of animal, the markers emit light received by cameras need to be placed correctly on the animal so it can be read properly. The problem of what material to use to attach the markers to the animal is also hard because you do not want to hurt the animal which is why Karl Abson had vets on hand to keep the horse in check.
However, a time when the use of motion capture on animals would have been a good use was during the filming of Life of Pi, at no time was the tiger on set as that would have created many problems, so animators had to animate and create a 3D tiger, but studying the way it moved and its actions would have taken them a very long time.

I decided to talk about this lecture since my interests do lie in Visual Effects and Film, this research study could be more used in the future since there are University and studios experimenting on different types of animals.

Reflection on Bradford Game Festival

http://www.nationalmediamuseum.org.uk/BradfordAnimationFestival/BAFGame

On Tuesday and Wednesday, this week, our class visited the Bradford Animation/Game Festival which had a series of talks and discussions that were held.
Last year, I mainly visited the Animation part of the festival and this year only the Game part. Next year, I hope to attend both the Animation and Game talks depending on who they have on their line up.

I am going to be talking about the talks that I found interesting and what I took from the festival.
There were talks from Brian Horton (Crystal Dynamics), Steve Lycett (Sumo Digital), Warren Spector, Futurelab and Viktor Antonov.

WARREN SPECTOR

http://www.nationalmediamuseum.org.uk/Events/BAF/2013/W/WarrenSpector.aspx

In this talk, Warren talked about his childhood memories of Disney and how it has continued to influence his work till now. I enjoyed this talk because he explained the different stages that had to happen to make the game Epic Mickey.

Warren Spector has been in the industry for more than 30 years and worked in several companies, he stated. The concept he based the Epic Mickey game was to make Mickey be seen as a hero while still keeping the iconic character's characteristics intact. The concept was what helped drive their idea and the various team members that worked on this project also helped to bring it to life. Warren Inspector wanted to add that quality of cinematic storytelling to the game. He also wanted pay homage to certain artists that created previous cartoons that he enjoyed during his childhood. I learnt from him to learn to take inspiration from all sources that you can but still maintain the creative box that you were given to work with.

http://conceptartworld.com/?p=14678

http://conceptartworld.com/?p=17418

The images are some concept art done by various artists posted on Concept Art World.

KEVIN CARTHEW FROM TEAM 17

Kevin Carthew, Creative Manager from Team 17 had a part in creating many iconic video-games in the past 25 years. I enjoyed his talk because he made the topic of his presentation based on How Animation improves Interaction?. I thought that the points he made could be transferred to filmmaking, because even though an audience is not playing your game, you still want to create interaction with them through sound and visual imagery anyway that creates that connection with your audience, so although it was mainly based on games, I think that I can think about them when I produce future work.
He stated that they are an independent company and the game Worms has been their official breadwinner and biggest game. I thought that it was great that they built on that by creating more Worms games while still creating new games like Superfrog and Alien Breed.

The few points I wrote down that he made about how animation improves interaction were:

• MAKE IT SNAPPY: input driven, not animation driven and create levels of interactivity according to the game
• MAKE IT REWARDING: visual feedback is part of the game reward. Quality visual feedback can be used to modify player behaviour.
• MAKE IT PLAYFUL: keep animation fresh, multiple animations for frequent events, for example when a character dies in different environments/situations, try to change the animation so it does not get repetitive.

BRIAN HORTON FROM CRYSTAL DYNAMICS

http://www.nationalmediamuseum.org.uk/Events/BAF/2013/B/BrianHortonCrystalDynamics.aspx

http://www.tombraider.com/gb/base/home?refer=71

http://www.tombraider.com/gb/base/home?refer=71

http://www.tombraider.com/gb/base/home?refer=71

Brian Horton was worked in the games industry for 15 years as a fine artist and illustrator. He has done many works such as Buffy the Vampire Slayer and Star Wars, he is now the Art Director for company Crystal Dynamics.
He was given the project of creating the new Lara Croft: Tomb Raider game with a sequel announced 
during the talk yesterday. He stated that being given the responsibility of bringing the icon Lara Croft 
back was great because he enjoyed playing the previous games, however this time he wanted to move
the image of Lara Croft from a sex symbol back to the a strong woman seen as a survivor.
His team and him thought of the themes that most films and games are based on such as horror, love,
betrayal, vengeance and survival, to name a few. They chose to base it on survival because this meant 
that they could re-design the image of Lara Croft in much more stronger image and create a journey that
would make the players feel connected to.
I found this very interesting because he explained about ways of tackling a problem and the way he drew
from many various sources to understand how they wanted the character to move in the environment they
placed her in. They used various actresses and models as sources for the face, body and style of the Lara
Croft. They tried to keep her image still recognisable through the model. 
The Xsens technology allowed them to motion capture certain complex movements that were needed in 
the game, while the rest were accurately keyframed. I found the fact that you couldn't tell the difference 
between when the motion capture and keyframing were used, this meant that the animators were 
highly skilled in their field which Brian also stated.

Ethics: What is Good?

Today, our lecture was about Ethics and how we as designers can influence this capitalist world and still be ethically ''good''. I am going to briefly talk about certain points from my notes made in the lecture.

Living in a capitalist system, how can we survive in this system in all aspects of career and life?

The article by Ken Garland in 1964, ''First Things First'',  a manifesto produced during an affluent time talks about how designers felt frustrated with producing pointless ads for products like cat food, detergent etc.

The ad was then re-written by the magazine Adbusters in 2000, outlining similar problems but mainly placing the blame on advertisers and accusing them of not using their talents to stop the capitalist system.
The article basically talks about how capitalism is the main cause and not the designers but designers also need to stop encouraging that and use our problem solving skills to help charities and help the planet. However, there were 22 visual communicators that were in favour of upcoming advertisers to re-think what jobs they took, this is easier said than done because most of the 22 visual communicators already had made a name for themselves and didn't need to look for work and could easily sustain themselves, whereas this is not the case for upcoming designers.

Victor Papanel, a writer stated in one of his articles, that most ads are designed not for the needs of the people but for the needs of manufacturers to sell to people.

Radio created using any material that can burn such as cow dung and a juice can. Manufacturing costs came at 9cents.
http://www.flickr.com/photos/laimagendelmundo/3832399766/

Victor wanted to make people understand that designers since we are what connect the manufacturer's to the public, should create work that improves our world instead of just thinking for profits.

The tips left to us after the lecture was How do we determine what is Good?

Subjective Relativism
there are no universal moral norms of right and wrong
all persons decide wrong and right for themselves

Cultural Relativism
ethical theory that what's right or wrong depends on place and time

Divine Command Theory
good actions are aligned with the will of God
bad actions are contrary to the will of God

These points do not fit every situation and therefore cannot really be used. Immanuel Kant, a german philospher created theories that stated how humans could determine if an act was ethical, it is called Kantianism.

http://cdn8.openculture.com/wp-content/uploads/2013/09/kant-shooting.jpg

He created two moral rules based on two categorical imperatives.

History Of Compositing

Compositing: A technique that is used to combine various shots in any format whether it be 2D or 3D into one scene.

(Un Homme de Tetes) Melies: Both are examples of the first compositing technique used in films. It used the technique of double exposure on mattes which allowed for different shots to be combined into one shot. Melies would black out parts of the frame he shot using a sheet of glass with some black paint because in those days it didn't matter as black and white films were the only format films were produced then. The matte helped to make sure certain areas of the film would not get exposed, he would then rewind the film and expose the part of the frame that was under the matte earlier, thus resulting in double exposure. This technique at the time was surprising and it was a help towards methods that are used today in compositing.




Matte Painting (Glass): This was a good way to create a false visual image. Sets or backgrounds would be painted on a sheet of glass and then placed between the subject and the camera which then eliminated the cost of large sets needing to be built.

Travelling Matte a.k.a Black Screen: This process which is also called the Williams Process was used in the film 'The Invisible Man'. The black matting process photographed subjects against a pure black background, the film was them duplicated to high contrast negatives until a black and white silhouette was created. The black and white silhouette was used as a travelling matte because it could be re-positioned throughout the frame. The negative effect of the black screen was that no shadows could be seen which meant it still didn't create the perfect compositing effect needed.

http://filmmakeriq.com/lessons/hollywoods-history-of-faking-it-the-evolution-of-greenscreen-compositing/

Blue Screen (Dunning Process): This process invented by C. Dodge Dunning used coloured lights to indentify the subject and background. The background was lit blue and the foreground yellow, and then using dyes and filters the blue and yellow light could be split apart to create travelling mattes with shadows.

http://filmmakeriq.com/lessons/hollywoods-history-of-faking-it-the-evolution-of-greenscreen-compositing/

Yellow Screen (Sodium Vapour Process): Vlahos created this process as there was a big demand to create a compositing technique for colour films as black and white films became less produced. This process used the chemical sodium, because it emits light at 589.9 nanometres per second (nm/s) and the camera used allowed 4 strips of film so the actors were shot against a blue background, because it was the farthest colour away from human skin tones. Separating the blue gave three colour negatives, a silhouette matte was created as seen in the Williams Process, then a printer combined the mulitple shots back into one. Disney was the only company to have this camera which meant that they were at the foreground of colour film, they did allow rentals of this camera but it was charged at a very high cost.

http://filmmakeriq.com/lessons/hollywoods-history-of-faking-it-the-evolution-of-greenscreen-compositing/

Colour Difference Matte: Vlahos later then created a new improved process which took him a very long time, but didn't require any bespoke hardware and could be used in any format which made it possible for more filmmakers to use compositing in their work.

http://filmmakeriq.com/lessons/hollywoods-history-of-faking-it-the-evolution-of-greenscreen-compositing/

How Green Screen became more used than Blue Screen?
Green became a more used colour because as seen in the diagram the colour registers more on electronic displays than blue and red. Sometimes, a blue screen is used if it will allow more information in the shot to be used, in reverse a shot with a blue sky would be filmed on a green or red screen because the shot will be clearer.

Mist Experiment

Food Colouring with Water from Munirat Plummer on Vimeo.

I did the experiment above as a response to the Mr X video I posted recently. I was impressed by the use of smoke effects to show how the tattoos were acting on the body. I thought I could experiment with doing this with my idea of a doppelgänger. I haven't yet thought how I want to visually represent it, so these are just simple experiments below that I did in After Effects.


My tutor gave me the idea of creating a human body shape mask so you can't tell if that the mist is food colouring in a glass. I created duplicated the masks and added different layer modes as you can see titled in the image. I shot the footage at 60fps which I then reduced to 10fps so it played back at slow motion.

The descriptions are the layer modes I used in AE to change the colour of the mist and make sure all the layers could be visible.

Human Mask Shapes from Munirat Plummer on Vimeo.

I animated the masks in After Effects, and got them moving and decided to keep the middle mask in its original colour mode and change the others to match the colour of the solid layer which shows that if I changed the colour I could change the way it looks which might help convey the thriller/horror theme I want in my video.

The colour of the background in the image below should be considered because I am not yet experimenting with lighting, but that is my next stage. However, I like how the mist has embodied the shape of the person, maybe next step would be to go from using a glass to a fish bowl or something bigger. Here I see if making the mist embody a human form if it will work. I think it will.

I used the footage from our Green Screen compositing lesson and overlayed the mist on the outline of the subject from the video.

I carried this experiment because I wanted to create that effect of cold air or mist that people say they feel if a paranormal aura was present. Though this experiment may not be used or evolved, I think it will help me rule out whether I want to include it in my final video or not, so far, I am still not sure because I like the effect that it created but I need to place more in the concept that it will be used in.

Green Screen Compositing Tutorial

Today, we learnt how to take footage already shot from a previous shoot and the green screen footage into After Effects to combine them today. I am going to post a few main points raised and then the final result of the compositing. I will probably be researching more into certain processes and might need to apply it to my final video project.

I recorded the actions during the tutorial using Quicktime's 'movie recording', so I can go back and look through the processes in detail. These are the screenshots from the videos.

Make sure the frame rate is the correct value

Mask off the area or subject that you need to composite into the scene.

Using the Screen Colour tool we made the green screen background disappear.

Here we then used the Screen Matte tool to change the clip black and clip white values

Using the Screen Shrink/Glow tool, we could kind of adjust the look of the fact that most of the subjects feet were cut off.

Then placed the final mask cut out into the back plate of the scene we wanted to use.

Throughout the tutorial, we used the 'pre-compose' tool to create a new composition that had effects/settings so we could then add that into another new composition or the current one we're working on, therefore if we needed to go back and change anything in a previous composition it will automatically change the settings in the new one. This makes editing the footage easier because different composition with settings that can be changed without affecting the final result.

Here we're using the color correction tool to make the lighting try and match the back plate scene

We duplicated the ''keyedfootage'' composition and then deleted the effects in the top compositions so we still had the effects in the main file.

Mainly more colour correction here in this screenshot

Here we are working on adding a shadow to the scene, this is only one type of technique to adding a shadow, there are many other ways of doing it, hopefully I will research into more and try them out.

The shadow is then re-scaled and positioned and moved to where it should be as you can see, it is positioned at the bottom of their feet.

Final touches being added here, like another mask with some extra tint settings to make sure the colour correction or general look is better.

Green Screen Final Result from Munirat Plummer on Vimeo.

Mr X (Moving Image Picture)

This film featuring, Duncan X, a tattooist from South London, talking about his life experiences and work.

http://www.moving-picture.com/work/mr-x

This is the text explaining shortly the VFX processes that went into making this video.

''The task was to determine how the tattoos would first be removed, then proceed to grow back over Duncan’s skin. MPC's Motion Design studio attended the shoot, where Duncan had his body covered in make up and tracking markers to determine their placement.

VFX Supervisor John Sunter led the Motion Design studio in creating a storyboard of how each scene would look, including the design of the tattoos. These then acted as style frames for the director to work from. "Alex entrusted us to design a 'look' for the animations based on Duncan's own tattoo designs,” said John. "It was an exciting opportunity for us to demonstrate our in-studio tracking and compositing skills. Alex and I had a very similar vision for the look of many of the shots – so when Duncan spoke about heroin the tattoos took on a smoky quality to reflect this.”

Extensive cleanup was necessary to remove the tracker markers, along with the traces of tattoos under his make-up. This meant taking sections of skin and pasting them onto other parts of his body using Nuke and After Effects.

The tattoos were animated and then tracked onto his body using Mocha. RealFlow was also utilized to create the flowing effects, and the snakes were animated in Cinema 4D. ''


I posted this video because I wanted to experiment with fluids, generally focusing on mist and other types of fluids if it fit in the context, but this video is what I visioned in my head. I thought it was very creative how the VFX artists emphasised what Duncan's was saying about heroin by adding the smoky effect to the tattoos. The video is in black and white which I think makes the smoky effect more effective.
I have carried out my own experiment which I shall be posting, using water and food colouring to study the flow and movement which I shall then try and re-create in Maya following a tutorial.

Doppelganger Edit

Using the layer mode 'Subtract' with a lowered opacity on the mask.

Using the layer mode 'Add' with a lowered opacity on the mask.

The 'Add' layer mode has more of a ghostly aura about it than the 'Subtract' model, I do like it but it needs cleaning up and the lighting in general does not help convey the mood. This has got me thinking about how I am going to light my scene, I want to make the lighting dark with sharp shadows, edge lighting.

In the image above I was experimenting with the 'Strobe Light' effect and realised I didn't really need to use it if I wanted a flickering type effect. I could just use the 'opacity' tool and keyframe it to create the action I wanted. So I will be keeping in mind the use of the strobe light effect but try to keep it simple and effective with simpler alternatives.
I even made the mistake of duplicating the ghost layer in my clip when adding the strobe light effect which caused it not too work properly, I duplicated it because I thought I could get rid of the opaque white layer that appeared over my mask, so when played the effect was not clear enough to see.






Doppelganger Experiment 1 from Munirat Plummer on Vimeo.
The first video is just experimenting mainly with where the ghost is positioned. This time when I shot my scenes I did not shoot a plain plate, I instead made sure I did not move any objects in the scene and had my subject enter from different directions.


The second video is similar to the first except that it shows how using the opaque tool helped to create the flicker effect I wanted.


Doppelganger Experiment 2 from Munirat Plummer on Vimeo.

What I learned from these experiments were:

• lighting is not good and therefore does not help to convey the mood, this is going to be my next step, the colours are flat with no distintive shadows therefore it is not conveying suspense
• think more carefully about I shoot the scenes and have more backup shots in case the first choice does not fit when it comes to editing
• now need to work on sound because that will help emphasise the effects in the video such as the flickering and other diagetic sounds
• thinking more about the position of the subject and its ghostly double will help to make the mood more scary and also maybe I do not need to show much of the ghostly figure, like small body parts that emphasise its presence should help alot.

Cities & Film Lecture

Today our context of practice lecture was based on 'Cities and Film', these are the few notes I made from the lecture.

Choosing the competition- Responsive Brief

These are the main competitions I want to enter in, they appeal to me because both have require skills that I want to improve on.
The Comex competition, I feel would allow me to take the brief on a more narrative/storytelling style focusing more on conveying the idea through no dialogue and if dialogue needs to be used, then make sure it is in Spanish. This is making me leave my comfort zone and look at differents types of research which I means extending my knowledge.

The iRobot competition I feel would be a good one to choose because I could improve my 3D modelling skills here, 3D lighting and environment skills and mixing that with live-action. The theme of making the brand have more human characteristics will help my character designing skills. I am leaning towards this idea more because I can work on my 3D skills but also still working outside my comfort zone. I will still be creating the film in a narrative style but I do not have the none dialogue constraint as the Comex competition or the language preference.

I am going to brainstorm on both ideas and pick one by the end of the week so I can start research and pre-production work. I could end up doing both briefs, one for the Responsive brief and one for the PPP2 task.
Comex Paint: Barcelona

http://www.mofilm.com/competitions/brand/Barcelona-2014/Comex

The brief of this competition is to show how beautiful the sport soccer and how that helps make the game better, so beautifying something to help the sport improve.


iRobot: Las Vegas

http://www.mofilm.com/competitions/brand/Las-Vegas-2014/iRobot

This competition is to show how iRobot has helped better people's lives and what they have accomplished or been able to do with the extra time on their hands. Requires you to show that it is not only seen in sci-fi movies or as a dangerous object.

Scriptura Vitae

A few screenshots from the video.





◢◢◢ SCRIPTURA VITAE † A film by Aerosyn-Lex Mestrovic | Music by Diplo ◣◣◣ from Aerosyn-Lex Mestrovic on Vimeo.



I watched this film without reading the description below. It is amazing, so beautifully edited, it is based on the artwork by  Aerosyn-Lex Mestrovic. Both the imagery and sound captivated me, the sound created by Diplo, designed by Steve Milton, is such a strong score that it really does reflect the visuals in the video. The way it has been edited is definitely thought through, the special effects add to the video instead of taking over it and it has probably been done to emphasise the artist's work. I thought it was interesting that the video was in black and white, because this has inspired me to re-think how I want my video to look like even though it is not based on the same context, the special effects used has just shown a different way of me portraying the paranormal idea of doppelgänger. Whether I end of changing the path of my idea or not, I am definitely inspired by this video for future works I produce from the music used to the imagery. Some of the imagery would not work if the film was put in a different context but because the whole thing is well executed, it really works. I enjoyed watching it very much.
The visual effects were done by Fake Love.
The video was shot using RED, http://www.red.com/products