#who’s bright idea was the coffee shop soundtrack video

[neon-danger]

you know how at the end of the Damned music video Jack straight up throws a potted plant at Alex

That’s how I imagine him punching Alex’s dad in that one scene of cbth

[cabinboy100]

BABY DRIVER: Take a Ride w/Edgar Wright's Rockin' Wheelman

Thanks to the Brattle Theatre and the Independent Film Festival of Boston, I got to watch BABY DRIVER at an advance screening last week!

It is a gorgeous musical roller coaster ride of a film. Writer and director Edgar Wright supercharges another beloved cinematic icon-slash-genre—the Wheelman or Driver—with his remarkable style, vision, wit, and rhythm. While not *a* musical, per se, BABY DRIVER is very musical, delivering snappy dialogue, sharp looks, slick moves, death-defying driving, and brutal gunplay, all choreographed to a soundtrack beautifully interwoven with the film…

There's not a lot more to say, really, beyond additional superlatives upon superlatives, and I don't want to go into scenes or characters too deeply and give up any of the fun. I think I'll just let one of the trailers do the talking…

Bottom line—GO SEE THIS MOVIE! And see it IN THE THEATER!

[rant] And for Space Pope's sake, do NOT take your phone out for any reason while the movie is running. You just paid $10 to $20 for this amazing experience! We live in an age of wonder that allows you to ignore a movie for free at home. Save the spacebooking, twitting, and txting for later. Or if you're gonna do that, or even look at a message on your annoyingly-bright-in-a-darkened-theater phone, get out of your seat, walk to an exit, behind a barrier, or *maybe* the back wall, out of anyone's view, and then have a look, respond if you must, and get back to the show. If you're waiting on your wife to finish delivering, or the funeral parlor's supposed to call about Pop's arrangements, or you're expecting a call from the doctor with those test results—WTF are you doing at the movies? If your phone lights up and you can see it, believe me, everyone next to and behind you can see it. Keep it in your pocket. If you see someone next to or near you futzing w/a screen, do everyone a favor, be your own (and my) hero, and ask them to put it away or take it outside. [/rant]

Beware, beyond this point, I'm gonna start lobbing spoilers into my rambling. So, exit pursued by a bear now if you haven't seen BABY DRIVER already!

CRITS (oh-so-minor, probably more like backhanded compliments).

I don't feel the heart in this that I do in the Cornetto films. Those films—SHAUN OF THE DEAD, HOT FUZZ, THE WORLD'S END—had relationships at their centers. But I have to say that my not feeling that with BABY DRIVER is very fair and true to the driver genre. You don't get the warm fuzzies thinking about BULLITT, THE BLUES BROTHERS, or THE FRENCH CONNECTION, right? Well, okay, maybe THE BLUES BROTHERS. =)

The characters tend to be flat and archetypal, taking a back seat *sorry-not-sorry* to the action and style. Wright does get me rooting for some of the baddies along the way, because of their professionalism, circumstance, charisma, and, well, moral relativism. And while they may be flat, they own their two dimensions and are memorable, essential, love- and hate-able in their own ways.

Of course, we know who we're rooting for—our Baby on board.

Maybe this isn't fair to BABY DRIVER, but I'd *just* seen Walter Hill's THE DRIVER, right before it, and was so frickin' impressed with its style and tension and story-slash-chase-telling cinematography. I found myself wanting more from the final car-v-car showdown in BABY. I feel like both Wright's BABY DRIVER and Refn's DRIVE put their tightest and tautest chase set piece at the start of their films. They are a-ma-zing intros to each film experience, but greedy me, I want even higher peaks in the middle and the end.

Oh, don't get me wrong—there ARE more peaks, gorgeously choreographed, executed, shot, and edited peaks, throughout. It's been a week now and I still feel my thoughts are vibrating from the experience.

I'm gonna see it again, so maybe I'll revisit this notion of the "starting with dessert" problem, if that's what it is. Maybe it was having THE DRIVER on my palate affecting my perspective…

LOVES.

I love the reason that Baby is always listening to his music. I don't know which movie or story first used music as a way to time and count off the steps to a heist—at the moment I can only think of HUDSON HAWK =) —but I was almost surprised that that seemed to be what was happening with Baby's character in the film's opening chase scene (w/Buddy, Darling, and Griff). It almost seemed too, well, easy…y'know, for Edgar Wright. But it *is* Edgar Wright, so we know he's gonna do something brilliant with it.

Yeah, I know. Sometimes I wish I could watch a movie with my 9-yo brain, and not think so much.

Then we see Baby on his apparently regular walk to Octane coffee, and in a beautiful "Harlem Shuffle" music video starring Baby against the graffiti of Atlanta streets, we learn that music permeates every moment of Baby's life. Man, when Debora walks by outside the shop in front of the rainbow heart—so simply perfect. =)

And I'm pretty sure that when he retraces his steps, "Shake Shake" has been added to a column or wall that had "Right" on the way in.

Later we learn that there's more method to Baby's madness for music. Doc explains that he suffers from tinnitus, and music helps keep the ringing in his ears at bay. Later still, we learn that he has a habit of recording much of what he hears, using the audio as samples in musical creations of his own. I really wish we'd been able to see him create some more of those, and/or hear more from his extensive library.

WRIGHTS.

Some little bits of fun that I feel are somehow Wright-ian, whether intended by the director or not. =)

J.D., of Bats's crew, is given a simple assignment—pick up three HALLOWEEN Michael Myers masks for use in the robbery. What does he show up with? Three Mike Myers (as Austin Powers) Halloween masks. When questioned about his cluelessness, one of the gang tries to clarify—The Bad Guy from HALLOWEEN, the movie! To which he replies—Oh! You mean Jason! And hey—What's Buddy's real name? Jason! As in Jason from FRIDAY THE 13th? As in the guy who keeps getting killed by never dies?

(This exchange inspired me to goof a BABY DRIVER: Halloween the 13th meta-mashup poster = )

And what's Baby's real name? M I L E S of course!

Hrm…Good thing Wright didn't make this movie on the continent somewhere or in Canada or his name would've been Kilometers! *groan*

Bananas! Doc reveals that's the phone call confirmation code word he receives from his contacts after a successful interaction. Darling reacts to the playing of one of Baby's tapes—"Is he slow?"—with B-A-N-A-N-A-S. When the Butcher's Atlanta PD colleagues show up for revenge on Doc, they give him the code word—"Bananas!"—along with some hot lead.

The invisible camera returns! In WORLD'S END, Wright shoots a scene between Simon Pegg and Rosamund Pike in the restroom of a pub with the camera pointed squarely at the mirror on the wall. Sure, it could be digital magic, but I can't help but wonder if Wright has pulled off some practical magic. Just the right lighting combined with a glass plate at the correct complementary angle or something? Well, whatever he did then, he does again in…I want to say at least two shots—maybe three, with reflections in a car exterior?—in BABY DRIVER. My lame brain is now only recalling one, tho, in a pan across the washing machines of a laundromat, a sweet bit of Courtship, American Style.

Yeah, probably some "simple" digital trickery…But maybe only for the last 10% that some Houdini-like stage magic couldn't quite cover? I want to know but don't want to. =)

And speaking of courtship—I kind of adore how Baby sharing his earbuds with Debora physically connects them while they're moving around the laundromat and talking. It turns their conversation into a sweet dance number. A bit of Wright magic.

Becky & Ella? In the elevator down to P1, P2, and P3 after the first job, Buddy promises to take Darling to Bacchanalia, for the best wining and dining around, or something to that effect. When Debora presses Baby for an idea on where they'll go out, he tells her what sounds like "Becky and Ella" for the best wining and dining around. NB: Found out Bacchanalia *is* an actual ATL restaurant, but I don't believe we ever see its name or signage on screen.

I WONDER…

About the "Spirit of 85" or whatever it was called. Doc mentions it to help establish Baby's cred. Apparently Baby tied the Atlanta PD in knots on what sounded like a crazy prolonged chase involving a cloverleaf interchange of highways. I think the word "spaghetti" was used? No doubt native Atlantans will appreciate the description of the feat. Baby's Kessel Run? =)

Oh, man! Who is responsible for Baby's wardrobe? For half if not most of the film, he is strategically yet uncannily decked out in duds that scream "Han Solo" to me. I'm talking A NEW HOPE—black vest over white shirt with dark pants.

(Baby’s taste in clothes—as well as his backstory and talents—inspired this BABY DRIVER: Nerf Herder mashup… =)

After the film, I was told that our Baby, Ansel Elgort, had been on the short list for the young Han Solo film. I honestly had no idea as I did and do my best to block that sort of "news" as much as possible when it comes to films I'm looking forward to.

Was this Wright, Elgort, or another member or members of the crew expressing their support for HANsel? I have no idea how the timelines of young Solo casting and BABY DRIVER shooting line up. But if the decision was made before shooting, maybe Ansel’s turn as Baby becomes a kind of what-could-have-been/what-you-missed strutting? =)

When I heard about the LEGO MOVIE directors being dismissed from the project, I thought that maybe they'd seen BABY DRIVER and realized that Edgar Wright had already made the movie—what's the point now? =)

And in the Hollywood minute before Ron Howard was announced, I wondered if maybe BABY DRIVER might possibly be the perfect proof of capabilities for Wright as the new director. Alas—*sigh*—not to be.

I wonder just what the heck happened with Disney/Marvel/ANT-MAN and Wright.

CINEMA SERENDIPITY…

I love it when my experience of films and shows connect in little unexpected ways…

Last week, I got to see Edgar Wright's amazing action jukebox, BABY DRIVER. The next night, I caught Kumail Nanjani and Emily Gordon's hilarious, heart-warming and -punching rom-coma-com, THE BIG SICK. And tonight, a week later, experienced Bong Joon Ho's OKJA on the big screen before it streams on Netflix.

Yeah, none of that connects on paper, but in my head it's a different story… =)

In THE BIG SICK, Kumail and Emily's non-dating dates reveal his obsession with cricket and appreciation of zombies, which of course would logically add up to a SHAUN OF THE DEAD poster on his bedroom wall. That's some solid math, and reminded me that I've followed some twitter exchanges between them about movies (about ROGUE ONE, Riz Ahmed, representation, and a buddy heist film).

The content of OKJA does not directly connect to anything Wrightian (as far as I could tell on a first viewing), but Bong Joon Ho's previous film, the must-see sci-fi fable SNOWPIERCER, features Jamie Bell as a character named Edgar, apparently named for Wright. That note, plus the fact that Edgar was best buddy of Chris Evans's Curtis, inspired a couple of mashup posters, one of them a meta-mashup starring SCOTT PILGRIM's Lucas Lee.

Yeah, like I said…it's all in my head.

Why do I have a feeling like this will be read back to me in court at a later date?

BABY DRIVER AT AN ADVANCE SCREENING…?

Oh—how did I get to see all these films in the theater? And before their wide release dates? The Brattle Theatre and the Independent Film Festival of Boston are my enablers-slash-suppliers. If you're Boston-local and love moviegoing, I *highly* recommend you check their schedules and membership privileges, join/donate/support either or both, and see some amazing movies!

Allright, enough a-ramblin'. If you made it this far, I'm sorry and thanks much. Now, get thee to the theater and BABY DRIVER up!

Keep on keepin’ on~

[tiernanmck-blog]

Digital Video Production

Week 4

In week 4 we looked at some promotional videos as examples of the kind of videos we could produce, these promotional videos weren't directly linked to our chosen subjects however were still helpful  as they gave us an idea of how we could use transitions and music to enhance the video quality. Later in the day we did our own specific research into promotional videos that related to our client. Some of the class practised transitions they may apply when they go to create their own promotional video. 

Analysing Promotional Videos

I got down to researching promotional videos that linked to my client/subject which is carpentry. The issue was most of the videos I was coming across had clearly been made by people in the company who had no experience making videos as most were static images or with poor transitions and either music that did not match or no music at all. It took a lot longer to find good promotional videos that I could use as inspiration but eventually I came across one that was amazing i t had real character to it and didn't feel corporate or forced in anyway it actually feels like a video created by something with talent that cares. 

The video itself was created by a studio called Evergreen Media and it was for a carpentry business called ECWoodworking. The establishing shot of this video is close up shot of a chainsaw being turned on and then the footage is slowed as soon as the chainsaw is turned on to add a nice effect. This is a perfect establishing shot as this is the start of the video and the start of this carpenters working day. The most common type of shot in this video are close ups with occasional medium shots. Most of these shots are focused directly on machinery or the carpenter himself with the depth of field changed so the background and foreground and out of focus to emphasise the subject in that scene. 

There are two scenes within the video are it includes the interior and exterior of the workshop with the lighting changing drastically from natural bright lighting to a less natural incandescent lighting that works really well and the orange hue it gives off works really well in my opinion. 

The transition work alone is really well done as there are no simple transitions that just swipe across the screen every transition has been thought about, from what I can see some transitions are a series of quick shots between longer scenes and others are a quick camera pan into a dutch angle that melds the scenes together. The music included is quite upbeat and matches the pace of the video as the transitions and speed is quite fast so a fast soundtrack is what is needed. The main transitions seem to happen at dips in the music where the beat is about to repeat which adds a nice effect. 

Now I will be analysing this promotional video for a coffee shop called Strada Eateria. The opening of the video begins with a dramatic horizontal opening before the two horizontal black bars stop near the top. It starts of relatively slow as it holds this scene for a bit then a cyclist cycles past and using a mask transition attached to the cyclist the scene changes. This makes transitions far smoother and more natural looking. The next scene is that of inside the coffee shop, quickly we can hear the music beginning, the scene is focused on someone making coffee with and then to customers minding their own business however the audio is amplified and the pouring of coffee and the flipping of a page is loud and adds to the scene. 

The next noticeable scene is when the music picks up as there is a man chopping with a knife, the music is synced up perfectly with each chop in a satisfying way. The use of upbeat music sets the tone of the coffee shop, it lets the viewer know this is a good place to get coffee and relax with friends. There is a lot of close up shots mixed with medium shots they almost stagger one another, it goes close up then medium then back to close up. 

A majority of the clips shown in the video are close ups, the reason for this, I think, is to get a greater sense of detail whether it be individual coffee beans or the faces of the customers, together it almost enhances your viewing and understanding of the kind of coffee shop this is. We are also getting a sneak peak into the customers lives whether it be them reading, drawing or just chatting all things we do, this helps us relate to the content. 

There is use of another mask transition, very similar to the one in the beginning with the cyclist. This time they simply use it to change locations within the shop instead of going from outside to inside like before. The reason they did this was for a much quicker transition than just a simple boring pan across the shop to the new location, this way they can keep up with the quick pace of the clips.

The video ends with the music stopping however not all sound is stopped much like in the beginning, the sound of the scene play out this time it being the many sounds of the coffee shop. It's a subtle way to end compared to a boring abrupt ending. The logo of the coffee shop then comes in and it is set against a blurred background of the coffee shop, this emphasises the logo and makes it pop.