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Jo Dee Messina Returns to Match Frame AustinCompany performs extensive postproduction on music video for title track from her latest album (September 08, 2005)
Jo Dee Messina Returns to Match Frame Austin
Director Peter Zavadil of Taillight TV, Nashville provided Bohls with extensive greenscreen studio shots of Messina as well as multicamera footage from a concert in Buffalo. Working closely with Zavadil and Messina, Bohls opted to use only the high-energy, moving-camera greenscreen footage which not only featured the artist singing but also playing guitar, bass and drums. A separate cut of the Buffalo performance will be used in Messinas press kit.
?The greenscreen material was so strong, says Bohls who had teamed with Zavadil on ?My Give A Damns Busted as well as on Sugarlands ?Baby Girl and Reckless Kellys ?Stick Around videos. ?Peter and DP Peter Selesnick shot some of the best greenscreen Ive seen.
Editing on Avid Media Composer Adrenaline HD Bohls was able to handle seven and eight layers of realtime keys -- sometimes multiple Jo Dees -- adding even more energy to Messinas killer performance with scenes of crowds and fans dancing with the artist. But building the entire video from the greenscreen footage meant that Match Frame creative director Keith Lowry was charged with crafting more than three minutes of backgrounds to fill Messinas world.
?Peter wanted to show Jo Dee larger than life while avoiding a literal interpretation of the song, Lowry points out. ?So Stephen cut a performance that was very exciting to watch then we filled in entirely graphic backgrounds.
After developing the graphics aesthetics Lowry teamed with Match Frame editors Chris Blankenship and Nick Smith and freelancer Eric Lauritzen to craft the backgrounds in Adobe After Effects. ?Three different aesthetics, all pretty organic, are revealed at different paces, says Lowry. ?Nothing is literal. Everything is textural and tactile.
The music video begins with halftone-style effects reminiscent of the print process and inspired by a video Lowry is currently working on for the band Deathray Davies. Dot patterns are used as mattes wiping on and off in the background and on the floor to fill out Messina greenscreen environment. Dot treatments also affect Messina moving image and serve as transitions between shots.
Simultaneously, raw ink-like graphics pepper the backgrounds. ?hen Jo Dee swings the guitar neck and spins it almost like ink flies off the guitar onto glass between us and and splats, Lowry explains. ?The ink animates on in a streak following a hand gesture and more splats appear as Messina twirls around in a purple chair.
Finally, at her first mention of the ?Delicious Surprise, the effects culminate with what Lowry calls ?underwater fireworks. Created with After Effects particle generators, the floating, soft-edged bursts of color merge into each other. Messina turns away from the camera and walks into a brilliant underwater fireworks display as the video ends.
Nick Smith onlined the video on Apples Final Cut Pro.
?The video was a very collaborative effort that challenged us as a team, says Lowry. ?Delicious Surprise was ultimately selected as The Hot Spot by CMT.
Jessica Berry produced the project for Match Frame. At Taillight TV, Chandra LaPlume and Tom Forrest were the executive producers with Elisa Sanders producer. Telecine was performed by Crash at R!OT, Burbank.
About Match Frame
Match Frame, with branches in San Antonio and Austin, is a postproduction company that offers creative and practical solutions. Their best people, ideas and tools are available for turnkey services for anything from pre-production creative development and shoot supervision through effects execution and editorial integration.
For more information visit www.matchframe.com.
Related Keywords:Match Frame, Jo Dee Messina, postproduction, graphics, effects, compositing, music video, Taillight TV, greenscreen, Adobe After Effects, Final Cut Pro,