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MUSIC VIDEOS www.postmagazine.com 29 POST NOV/DEC 2022 DARK DIVINE — NO ESCAPE InVogue Records' post-hardcore band Dark Divine recently released the music video for No Escape, which is off the band's debut EP "Halloweentown." No Escape features Ricky Armellino of Ice Nine Kills and reflects experiences with both the paranormal and insanity. SquareUp Studios' Eric Dicarlo handled production and post for the proj- ect, which was shot in just two days in the band's hometown of Orlando, FL. Dicarlo specializes in the production and post of music videos, particularly for the metal genre. His website (https://www.squareupstudios.com) features more than 400 projects that he's worked on, and he says his skills as a drum- mer often come into play when closely editing visuals to soundtracks. Dicarlo, who is based in Rockland County, NY, shot 4K and 8K footage using Sony's mirror-less A1 and S III cameras. He estimates that five passes were shot of the lead singer, and three of each additional band member. "This was the first one that was prewritten," he says of the video's concept. "It was originally written out to be this much more location heavy type thing, but they are a Florida band, and there's really no resources for lower-budget filmmaking, so we pretty much had to simplify the concept to make it doable." Dicarlo traveled with his own lenses and lighting package for the shoot. "Honestly, I have cine lenses and some nicer lenses, but I really only bring these little, compact gimbal-friendly lenses nowadays. My setup is so compact. I flew with all the lighting for that shoot. I brought all the lights myself." Some of the video was shot using the Sony A1's 8K capabilities, but for the most part, the project was shot in 4K. "I like to shoot at higher frame rates, so I shot most of it in 4K," he explains. "I shot most of it at 60 frames, but it's really my shutter speed that my style comes down to. I shoot at ridiculous shutter — like one 1/500th of a second probably, if I had to guess." He then edited the project in just a single day, using Apple's Final Cut Pro. "I use Final Cut because I have a very fast turnaround time and I find that Final Cut is significantly faster than every other software…I edited that video in about a day and I think I got maybe one small revision." While the track lends itself to fast-paced cutting, Dicarlo says this edit is pretty tame when compared to past work. "We agreed on this, in this particular video, that I was going to back off on the post. That was one of the things that was requested before we shot — that I actually let it breathe because we were bringing so much to the set." JAWNY — ADIOS Jawny's Adios video finds the Interscope Records artist on the other side of heartbreak, detailing the deterioration of a relationship. The indie-pop artist's deceptively light-hearted arrangement is paired with dizzying visuals that fol- low Jawny as he recklessly cruises through empty back streets while hanging out the passenger-side window of a Camaro on a sunny afternoon. "I could sit here and give a really smart sounding press quote, where I make up a story to make this song sound really serious and pretentious," says Jawny of the track, "but the truth of the matter is, I wrote a song that I believe in. I made the best music video of all time for it, and now it's out in the world and it's yours. Go nuts with that." The music video was directed by Spencer Ford, who says the entire project was shot using a GoPro camera, mounted on an FPV racing drone that was piloted by Jay Christensen. "There's really not a lot of editing in this video. There's only one cut be- tween two long uninterrupted shots," Ford explains. "At the end of the first shot, the drone flies up to blue sky and some balloons float into frame. Those balloons are the only VFX in this video. Everything else you're seeing is real. It took a lot of planning and it wouldn't have been possible without Kevin Clark/ Screens production co. The route had to be mapped out and storyboarded beforehand, and approved by the city so that we could shut down nine blocks in downtown LA. We had people on every corner to make sure it was safe for Samy Maloof, our stunt driver, to tear through the streets and do some pretty incredible driving." Jawny also released a music video for Wide Eyed, which serves as a continu- ation of the Adios video.