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www.postmagazine.com 17 POST MAY/JUNE 2025 S L A C K R R - N E V E R FO R G E T UK-based pop/punk band Slackrr recently released their new single "Never Forget." The track is off their upcoming album, which is set for release via SBAM Records this summer. In the video for Never Forget, hand-puppet versions of the three band members take a trip through London, see a show and return to their rehearsal space, where they run into the live-action band members before stealing their van. According to Slackrr bassist Cait Bowyer, who shot and edited the project, the shoot spanned just a single day, with props, such as the puppets and cine- ma box, made in advance. "The three of us spent the day moving around the different locations, and this was the part that took the longest, as we were going from our rehearsal room in Southampton to getting on a train, going to the cinema and back again," she reveals. "We literally had to do the route that the puppets were taking and find different ways to film them in all the different places." The video was shot entirely using a Samsung Galaxy A54 Android phone. "We wanted this to be as DIY as possible, and using a phone actually made a lot of the outdoor shots easier, particularly when the puppets were in motion, like when we wanted to make it look like they were walking down the street or onto the train platform," she explains. "It also made filming puppets on a busy train from Southampton look a bit more subtle!" The video was then edited using Microsoft Clipchamp. "We didn't need anything particularly advanced for this one because, again, we wanted to make sure it was as easy and DIY as possible." That said, Bowyer and the team still ran into a few challenges. "The video was so much fun to film, but one of the hardest bits was the actu- al puppeteering work," she notes. "We had to work together to make sure that the three of us weren't in view of the shot at any time, so (guitarist/vocalist) Scotty and (drummer) Louis had to do a lot of weird walking with and sitting down on the pavement to keep the puppets above their heads and moving." The "cinema" she adds, was also a challenge, as the puppets needed to ap- pear as silhouettes in front of the movie screen. "At the end of the video, we had to get the puppets to look as if they were sitting in our tour van, so Louis had to crawl pretty uncomfortably into the footwell of the van and hold the puppets up in front of the window. I also think Scotty's hat and sunglasses would fall off his puppet's head pretty often, and I think if you watch the video closely, you can see where we added a few of those shots just because we thought they were funny." Slackrr is on Facebook and Instagram. A N T H O N Y GO M E S — T R U E T H AT Blues rocker Anthony Gomes recently released the second single and music video from his new album "Praise the Loud," which was released on April 25th through Rat Pack Records. The True That video is part of a package directed by Sedona, AZ-based Jamie Brown, who oversaw all four visuals tied to the new release. True That debuted on April 11th, just a few weeks after the Praise the Loud video, and another two have already been shot when Post caught up with the director. True That mixes performance footage of Anthony Gomes and his band, along with a light narrative in which the male lead is seemingly hustled by his gold-digging girlfriend. Ultimately, the guy gets the last laugh, running off with her best friend. According to Brown, the performance footage was shot at The Canyon in Agoura Hills, CA, and presented several unexpected challenges due to the use of different forms of stage lighting. "It was a bear to edit," Brown reveals, noting that he spent hours tweaking the visuals to achieve the desired results. The project was shot in 4K by Brown and frequent collaborator Sebastian Paquet using Blackmagic Design and Canon cameras. Brown then edited the piece using Apple's Final Cut Pro. The narrative portion of the video was shot in Las Vegas several weeks after the performance shoot, with Brown using Peerspace to secure the house used as the location. Actor Mark Justice, with whom Brown worked on a music vid- eo for the Christian metal band Stryper, handed the lead on-camera role and coordinated the female talent for the shoot. Brown has a credit list that spans many music videos. Since he often works as director, DP and editor, Brown says he thinks about the edit while he's fram- ing shots during production. In fact, he's been known to capture what he calls "weird" visuals during a shoot, knowing that he may need some filler down the road. His advice when it comes to shooting performance-type visuals is to be aware of the lighting and to try to control it as much as possible. "Don't assume it's easy to change later," he shares. In the case of True That, Brown says another challenge was telling the narra- tive part without it being too obvious, and balancing it with the performance footage, which highlights Gomes' skills as a guitar player. In addition to editing within Final Cut Pro, he also uses the software for color grading, along with third-party plug-ins. He's a fan of MotionVFX's subscription, which is constantly updating its offerings. For QC purposes, Brown recommends loading visuals to YouTube privately to see how color and sound synchronization hold up before delivering final assets to an artist or label. This allows him to make any necessary tweaks or corrections having viewed it in a real-world scenario. MUSIC VIDEOS