Embarking on a solo career, UK pop group Girls Aloud’s Kimberley Walsh is set to debut her first single from the album Centre Stage. The music video is full of glitz and glamour, with foggy dance dream sequences, golden 1940’s-esque gowns, fiery pyrotechnics and features Kimberley’s real life dance partner from the hit show Strictly Come Dancing.
Rob Bates, senior colorist at Sequence Post, collaborated with director, Paul Caslin from JJ Stereo, to deliver the grade on “One Day I’ll Fly Away."
“Even though I’ve been a colorist for more than three years, I was pretty excited to be working on my first music video,” reveals Bates. “Adding to the excitement was the fact that I’d be working with Paul, who I’d previously collaborated with on the DVD of Cheryl Cole’s Million Lights Tour Concert. It was great to have the opportunity to try something new which has a very different look and feel to a concert DVD.”
The music video was shot in 2K on an ARRI Alexa at Pinewood Studios. That meant we were working with very high quality raw footage and there was no need to fix anything,” he adds. “Our aim was to simply enhance the shots by giving them an artsy feel.”
In the “One Day I’ll Fly Away” video, Kimberley is featured dancing with a man who seems to appear and disappear throughout the story, leaving the audience to wonder whether or not she might be dreaming, or even experiencing an hallucination. To achieve the right mood and to convey the video’s story line, Sequence was given a very specific brief.
“We had to create a disillusioned feeling, and that meant crushing the video’s colors' and giving the dance sequences a cold blue hue while also adding a warm glow to some of the close up shots,” continues Bates. “The contrast between cold and warm worked well and helped us achieve the ‘Black Swan’ effect, which the director specifically asked us to channel with the grading process.”
The pressure was on to deliver the finished video within a 48 hour window in order to sync up with the album’s promotional activity.
“Despite the normal challenges a deadline will bring, we were pretty relaxed because we’d recently moved over to the new version of DaVinci Resolve,” explains Bates.
He adds: “The new streamlined interface gave us the ability to work much smarter, allowing us to access an effect or add a node far more easily without the need to jump around between menus. We were actually able to deliver the final grade well ahead of the agreed deadline.”
Sequence was working with ungraded Alexa 2K exports and EDLs straight from the studio shoot; therefore the majority of the shots simply needed enhancing to make Kimberley really pop.
“I found the tracking and auto keying function particularly useful when adjusting the lighting on Kimberley and making sure she stood out from a dark background or evening out her skin tones’ against the harsh light thrown off from the pyro pit. “
“DaVinci Resolve was already an incredibly powerful piece of software, but with the redesigned interface, and the addition of new features such as Lightbox and the contrast and pivot tool, means we can really push the creative boundaries and deliver a finished product well ahead of the agreed deadline,” concludes Bates.
(Article courtesy of Blackmagic Design)