Phil Peel

Film, video, photography, sound and story

Lamer Tree Festival & Editing

Posted by Phil On August - 23 - 2013

Oh dear ..sorry it’s been a long time since I updated my blog.  I could blame pressure of work.. but that would be untrue.  ..Well partly.

I have had a load of editing to do.  and editing I find is difficult to get into. It’s great when I’m in the flow and it’s going well, but when you’ve got to the stage of repeatedly going through what you are doing for repeated minor adjustments, then it’s a bit of a slog to start up each day.

So I’ve been feeling that writing my blog was just putting off  getting back into editing. So I’ve done the editing and not the blogging.

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There’s also the feeling that working on an edit suite isn’t very blog worthy. But if I think about it I have been doing some other interesting things.

Like going for a spin in a Lancaster Bomber ..more of that later

..and working at  the Lamer Tree Festival, which is a lovely little festival hidden deep in the country between Salisbury and Saftesbury.

I was helping out Salisbury Arts Centre’s Media Dreamspace project

I was editing their footage …with a very quick turn around …(working on FCPX which is great for fast work.) Very sunny, hot, hard work but great fun.
So whilst I was there I grabbed some of my own shots around the festival on my Panasonic GH2.

Music by Swingrowers.

Here’s the results.

 

..and here’s a few random photos

 

 

 

Unique Victorian stage

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…a small audience!

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Sharing a hula hoop

 

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Food service with a difference

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Seasiack Steve

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Filming Rolling Stones

Posted by Phil On July - 17 - 2013

Why I don’t really like the Rolling Stones.

I recently watched the Rolling Stones performance at Glastonbury on BBC  IPlayer and read that the BBC/ Stones negotiations had been difficult.  Finally only a very much shortened version had been allowed to be transmitted, without the best numbers    This brought back memories of similar problems I’d had directing the  filming of  them years ago for the Beeb.

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My Rolling Stones sweatshirt

After months of negotiations we arrived at the football stadium with the film crews  (this was actual film not video) to discover that we were only allowed to film three numbers from their set. 

It was a very hot day and I remember sitting in the dusty  lane outside the turnstyles with the irritated cameramen as we waited to hear what we were going to be allowed to shoot.

Various Stones flunkies appeared and disappeared. as we sent messages.  “Satisfaction?” …”no”  “Brown Sugar?”  “no?”
“This was before the days of emails, so we showed copies of the correspondence, none of which had given any limitations in what we could film, but it transpired that the Stones were deeply suspiscious of  BBC crews as they  didn’t want the BBC to build up an archive of  all the Rolling Stones tracks.

Dave Pritchard, the producer,  was furious and at some level in the Stones management, they accepted that we had been misled. So they came up with a placatory offer. “How about an interview with Mick Jagger”

Dave was delighted, but we had no presenter with us. “Phil, can you figure out what to ask him?”
So I sat in the dust and weeds and tried to work out what to ask him.  What do you ask someone who’s been interviewed so many times.? I hadn’t any idea what they had been doing recently or even the names of recent albums.   It would be terrible to get a great opportunity like this and blow it on crass questions.

Moral – Always do your research!

It was intensely hot, we had no water, as we stuck in between the outer and inner security.

1. “How’s the tour going? ”  No..far too obvious.  He must have been asked that a million times.
2. “Do you still get the same excitement performing live?”

..and so on.       

I eventually worked out 10 questions.   ..just as the news came back.  “The interview’s off.”

So finally ringed by security we trudged though under the stage as they played above us. I had a splitting headache  from the heat. It felt like we were going to a public execution .

Setting up in fornt of the stage , the music was so loud, the cameramen couldn’t hear anything I said. Our minders wouldn’t let us film the audience.   They didn’t want me to go from camera to camera. We hadn’t been allowed to see the stage before, figure out good angles .  So the cameraman just busked it. The stage was so huge you couldn’t get a shot of the whole band.  So we mostly ended up with multiple shots of Mick Jagger. From my point of point of view it was a complete mess.

We used the footage. It wasn’t great.

So the Rolling Stones are not my favourite band   …but I did buy  a T shirt  ……..and kept the list of questions for years after.

 

Update: I found a couple of photos I took that day.

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Filming a simple music video in the studio.

Posted by Phil On April - 1 - 2013

We filmed a studio session last week with Steve Wood to promote his Michael Buble act, which he’s taking to the Greek Islands this week (lucky him, it’s a lot warmer there)

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..and it was nice to be working indoors for a change. We shot four numbers in 6 hours. ..but we spent 2 hours of that rigging the jib and lights. In the end we only used three songs in the final edit.

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In this sort of video, it’s not selling the music or the track, so I believe there’s no need to have any sort of story line or exotic location shots. It’s designed to sell the performer ..to show their personality and performance skills.

Here’s the video.

 

 

I think if you don’t have a big budget, then less is more effective, so we filmed in a blacked out studio with strongly dramatic backlighting.

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Roy Perkins shot with his GH2 as second camera, Jude was rigger and lighting and Rachel Stephens was production assistant. ..and photographer.

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She got some good shots as we worked.

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Steve was really pleased with the results and he’s off with the results to Rhodes in two days time. …lucky him. 🙂

Technical stuff:   more details here 

We used a simple set up with three lights and Jude handholding the fill light. We were using a 12 foot jib and found that we got shadows on Steve’s face with a fixed fill light, so Jude dodged around the jib with a battery LED light.

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I shot on my Panasonic GH2. I had concerns about having to use autofocus on the jib, but the focusing of 14 -140 lens worked perfectly.  You have to use autofocus on a jib, unless you have full remote focussing.

In addition to the Panasonic zoom I also used my Pentax 50 mm 1.8,  and my new SLR Magic 12mm 1.6 lens and the Lumix 14mm 2.8 when I did a few Steadicam shots.

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I was surprised that the 14mm Lumix produced an annoying strange intense green flare spot when shooting into the lights,  but I  took the green out of it in FCPX.

I used some fairly extreme grades in the FCPX colour grading as I wanted to go for the dramatic look.

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How to make a half million hits YouTube video.

Posted by Phil On May - 31 - 2012

Now Everybody Stand In Line by L&O Featuring Valentine & Dretonio is now on ITunes, Amazon and HMV and the video has had probably 750,000 hits in its various different versions.

So it all started on a local football pitch and we ended up being interviewed by ITV News crew outside the Emirates Stadium and number one in the US dance charts.

Here’s a “behind the scenes doco” of the football, studio recordings, video shoot and news coverage of Now Everybody Stand In Line Football Anthem by L&O. + preview of new Ibiza mix.

Filmed in River Studios, Meadow Farm Studio and Liquid night club.
featuring producer/football manager Gary Louca, singers Dretonio, Valentine, Chris Todd and dance crew & sound engineer Olli Daddarn
Camera crew Mike Peel, Jude Peel and Robin Wheeler.
BUY the track and whole package of club hits NOW AT iTunes http://itunes.apple.com/gb/preorder/now-everybody-stand-in-line-ep/id500556074

 

The music video was all shot on a Panasonic GH2 with Pentax Super Takumar 1.7 lens and the Panasonic 14-140 zoom lens.

The making of video was mostly shot on a little Pansonic TZ7 camera.