Issue link: https://digital.copcomm.com/i/1533763
www.postmagazine.com 8 POST MAR/APR 2025 BITS & PIECES LOKI FILMS CREATES CRADLE OF FILTH'S WHITE HELLEBORE VIDEO LONDON — Extreme metal band Cradle of Filth turned to Loki Films' (www. lokifilms.co.uk) Shaun Hodson to produce their latest music video. White Hellebore is off the band's new studio album, "The Screaming of the Valkyries," which was recently released by Napalm Records. The White Hellebore is an alluring woman who is in danger from the preda- tory Black Widow. The video is set in a morgue, with the corpse of a Hollywood starlet being prepped for an autopsy. But, there's a twist. Through her dealings with occult forces, she's able to avoid the grave, instead affecting the morti- cian, whose extreme actions allow her to carry on. The video does not feature any band members, as the musicians were spread out and unavailable during the production timeframe. Instead, Hodson assembled a small and versatile team to pull off the shoot, which spanned just two days. Hodson's partner Amy Lucas took on the role of the actress, Belle Shore. One of the morticians, Dean Addison, also served as gaffer for the production. And James Dunkley, who also plays a mortician, is the one who connected Hodson with the band. "Once we had this come across our desk, we both sat down, because we have a love for horror films, (and) we wrote the whole concept," says Hodson of his collaboration with Lucas. "We took ideas from The Exorcism of Emily Rose and The Autopsy of Jane Doe," he reveals. The project came together over the course of just a week. Day 1 focused on the morgue shoot, which was staged in a small warehouse. On the second day, Hodson hung plastic sheets in his own living room and shot all the blood splatters that completely cover Lucas. Hodson employed his own Red cameras for the shoot — an 8K Red Weapon and 6K Red Komodo, which was affixed to a DJI Ronin gimbal. The video is presented in an anamorphic aspect ratio and was framed that way in-camera using Laowa Nanomorph lenses. "I definitely wanted to capture this on anamorphic," explains the director, noting that he uses Aputure LED lighting and tried to avoid the flares that are often the result of shooting with anamorphic lenses. "I definitely didn't want that," he reveals. "I wanted the light to be soft, even to the point of the moonlight coming through the window. I didn't want to haze it. I didn't want to have that whole 'beam' sort of look to it…I wanted to make it look dark, moody, miserable, with no light touching on the camera." Hodson then quickly moved on to the edit, which needed to be delivered in just four days. He cut the video using Apple's Final Cut Pro. "I love working in Final Cut," he states. "I think they've got some great plug- ins at the moment." He points to Color Finale 2, which he used for the final color grade. "That brings a lot of what DaVinci can offer into Final Cut," he notes of the tool. In this case, he was going for a mood and feel reminiscent of the darker scenes from The Ring. Cradle of Filth heads out on tour April 17th. NEW SISTER COMPANIES OFFER PRODUCTION & POST DALLAS — The Board of Directors and Editorial Board are two new companies (www.theboardofdirectors.co) that have launched with the aligned mission of delivering quality branded stories and advertising campaigns. More than just a commercial production company, The Board of Directors is a collection of talented directors and producers who thrive on coming up with engaging ways to visualize stories. Its team of featured talent includes Adam Littke, Ben Hoffman, Franco Garuti, Jeff Bednarz, Lan Freedman and Tom Ryan. Editorial Board is post and finishing house that offers creative editorial, mo- tion graphics and finishing services. Senior editors Alex Heisterkamp, Elizabeth M. Stewart, Marc Stone and Sai Selvarajan are joined there by senior motion designer Seth Olson and senior Flame artist Artie Peña. "Having the spirit and energy of a start-up with depth of experience means that, across the board, we can get to the heart of what agency and brand cli- ents need," explains The Board of Directors' EP Brandon Tapp. "Our top priority is to provide a hands-on approach with simple elegance. As we evolve as an industry, it's partnerships that will define the future." Editorial Board EP Kendall Kendall says their approach focuses on the fundi- mentals: "Being nimble and flexible by design, having processes that work for clients and our artists, and enjoying the collective and group nature of how we produce interesting content." EP Brandon Tapp & EP Kendall Kendall