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www.postmagazine.com 18 POST MAR/APR 2022 Ian Flanigan — Grow Up (featuring Blake Shelton) Emmy-winning commercial director Vince Peone recently completed work on Ian Flanigan's music video for Grow Up, featuring Blake Shelton. The video begins in a retirement home, where its residents have grown tired of its slow pace and bland food. One older gentleman decides he's going to break out for one last hurrah, and buys some new western clothing for a night out at the bar where Flanigan is performing. He goes on to steal a classic Oldsmobile, pick up an old girlfriend and set the night on fi e — literally — with a fi eworks display at a dusty, old rodeo. According to Peone, the shoot took place in Kansas City, MO, over two days last November. And while the weather wasn't optimum, he was able to catch a bit of a warm window. "The schedule was aggressive for two days, but we had a great team in place who were fast, fie ce and friendly," notes the director. "The only challenge was actually an abstract one. Eric Roberts' character was loosely based off of y late grandfather, who was known around the local karaoke bars as Cowboy John. At times Eric looked so much like him I had to take a deep breath and take a beat because it felt so personal." The project was shot using a Red camera, which Peone says worked well for the run & gun production. "Our DP Jeremy Osbern had tricked it out with a bunch of fil ers to create a classic filmic look " Peone recalls. "We had talked about Paris, Texas and other Wim Wenders films as inspi ation, which I think we were able to pay homage to, look-wise, without actually shooting 35mm." Peone's ArtClass handled the edit, allowing him to stay very close to the video as it evolved. "I worked with Blair Stalder, who started editing the piece after we huddled about tone in advance. Her acute sense of comedic timing really served the playfulness of the piece. She also brought a sensitivity to it that it needed to balance it out and make it feel authentic. I think she absolutely crushed it." Peone prefers practical effects whenever possible, though in this case, there was some clean-up in post, including sky replacement for continuity, cleaning up the bar's sign and adding fi eworks so that the rodeo's horses wouldn't get spooked during the shoot. Queen Kwong — I Know Who You Are Queen Kwong has released the official video or her fir t single, I Know Who You Are, off the up oming record, "Couples Only," set for release this July. The video stars Queen Kwong (Carré Kwong Callaway) and was inspired by Isabelle Adjani's performance in the 1981 cult classic, Possession. Directed by Joe Cardamone, the video shows Queen Kwong entering a sub- terranean tunnel, where she exposes a male love interest's toxic and negative qualities for what they are. She loses her stability and lashes out in anger. As the video progresses, however, she regains her sensibilities, ultimately returning to the surface world in a calm state, just as the sun is setting. The project was shot and edited by Jacob Mendel. "This video is a spin on Isabelle Adjani's iconic scene from Andrzej Zulawski's 1981 movie Possession," explains the artist. "The movie is largely an allegory for divorce, hence, Joe Cardamone suggested the concept for the video a while back because the movie and my record share some thematic commonalities. The one condition I had was that the video ends differently than the movie. Possession was written from a male's perspective and the last thing I wanted to do was portray yet another 'crazy bitch' who's to blame for everything falling apart. That's the opposite of what my record is about. So we changed (it) to align with my experience and it ends in a much happier place." The shoot consisted of just director Cardamone, DP Mendel and Callaway performing. "We only had one take to do the main tunnel scene because I could only break everything once," she explains, referring to the bag of groceries she car- riers with her into the tunnel. "Though it looks like I'm screaming my head off, I had to stay nearly silent the entire time because we couldn't draw attention to ourselves and risk people coming into the tunnel while we were shooting." Mendel shot the video using a Blackmagic Design 6K Pocket Camera with Carl Zeiss Jena vintage lenses. He also served as editor, cutting and coloring the project in DaVinci Resolve. Footage was shot in slow motion to create the dramatic effect, and an internal lens adapter (Magic Booster from LucAdaptors) was used, allowing for him to shoot high frame rates in low light without introducing too much noise into the image. Blair Stalder edited the piece. A Red camera was used for the shoot. DaVinci Resolve was used for the edit and color grade.