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MUSIC VIDEOS www.postmagazine.com 18 POST JULY/AUG 2020 further animation will be done from the studios," Razzy explains. "All we were able to do is take out characters from the movie in different scenes and use those assets for the music video." The team was given a window of opportu- nity to watch the feature several times, during which they wrote down all the possible options for extracting the characters, along with correspond- ing timecodes. "We divided the music video into three sec- tions," he continues. "The first was a practical set, which was SpongeBob's house, where we had life- size cutouts of the character to line up where the artist should be looking." The second section was the car scene and is fully-CG, making use of assets from the movie. The third section is a mix of practical effects and set extensions. "To make sure we had the right backgrounds for the animated characters, we previously export- ed all the animation we were going to use, with alpha," Razzy explains. "We loaded that up to OBS Studio. We also had the live feed from the Red Helium camera using Blackmagic's DeckLink, composed that, and sent it back to the monitors, and also sent a feed to another computer that was transmitting via Zoom back to Paramount, Interscope and Nickelodeon so the client could see how it would look, more or less." The team handled the car scene similarly, though using Unreal Engine for virtual produc- tion since it was a fully-CG scene. The last set, which mixed both practical and CG elements, was created via a green-screen shoot and mark- ers for reference. In addition to 36 Grados, post services were provided by Invisible Work and Greenlight. Harold Jimenez directed the project for 36 Grados and Luis Valiente handled editorial. Unleash The Archers — Abyss Unleash The Archers recently released Abyss, a new music video that builds excitement for the band's upcoming album of the same name. The Canadian melodic power metal quartet will release the full-length album "Abyss" on August 21st. In the new video, visual effects are used to Orion — Lush Life NEW YORK CITY — When cinematographer Timur Civan was called on to shoot Orion's Lush Life music video, he took a cue from the pop/ rock tune and decided to have some fun. The bouncy, reggae vibe brings to mind palm trees, rainbows, warm sunny colors, and sweet, simpler times, so he and director Bhavani Lee chose a retro 1970s feel. The project was shot using a Panasonic Lumix S1H with Sigma Cine Art PL mount primes. They put together a simple but effective lighting kit of BB&S's Force 7, four-foot remote phosphor Pipelines, Area 48 Color and Lightbridge CRLS cine reflectors. Being a resourceful filmmaker, Civan con- structed a mirrored set piece to create the 'hall of mirrors'. "We bought eight inexpensive four-foot-tall mirrors and built simple stands out of scrap wood, then spray-painted them black," he notes. "I gaffer-taped four-foot-long tubular Pipelines to the right edge of every mirror and evenly spaced them in a semi-circle. There was no key light, just the throw from the Pipelines bouncing reflections everywhere." The set piece proved useful for the city scene that closes in on a smothering neck-tied worker. And when it surrounds brightly clad lead singer Orion Simprini and his mirrored starburst guitar, the effect becomes whimsical as the tune bounc- es back to a sunny paradise. To portray the three dancers basking in the glow of a 'lush life', Civan bounced a single Force 7 LED Leko into three Lightbridge cine reflec- tors for all the key and fill. The Force 7 outputs smooth, even light edge-to-edge without a hot spot. And the cine reflectors, says Civan, "give the most beautiful soft light. By applying the distance and inverse square law, the three actors were evenly illuminated. I was able to get what looked like a really big light from further away, so it seems like a bigger production." For the finale, Civan chose to use a projector, so the lights had to be dimmed low to saturate the projected images. He set the camera at 4000 ISO, dialed down the LED lights, blew silvered confetti off the background, and switched on the projector, propelling pastel colors across the scene. Off to frame left, a single Area 48 Color threw a purple hue into the mix. The Agua video makes use of animation from the upcoming SpongeBob movie. A Red Helium camera was used to capture live-action footage of J. Balvin.