Following on from last month and the discussion on the new working conditions, we’ve been proud to be involved in a few lockdown themed short films which have highlighted the experiences that we have all been living through. It’s been amazing to see the creativity of each filmmaker really shine through and also their unique and differing approaches to capture how people have been feeling. From a music perspective, we’ve tried to subtly embellish particular scenes which each director has wanted to highlight in a way that bespoke composition and working directly with a composer can do so well. In particular, we’ve found that working together with the director and editor at an early stage has led to a better workflow and a more symbiotic relationship between music and content. Often when an editor uses a music placeholder, everyone gets attached to that particular sound and it is hard to hear anything else take it’s place. The earlier the music discussion happens, the more productive it is for everyone.
A great example of this was our work with director David Hayes & DS Films before their shoot in South Africa for the South Africa Tourism Board. Pre-shooting, they asked us to come up with the framework of a bespoke track to accompany the 1min30 film. In this way Dave would have a soundscape in mind when filming. We sent over a rough demo on the first shoot day which he listened to with his local driver & the rest of the crew. The driver was so inspired by the track that he was moved to tears and Dave too said he took real inspiration from it whilst shooting. More importantly, when editing the footage back in the UK, editor John Jeanes really appreciated having a track already in place to work with - especially in terms of the pacing of the film and being able to follow the structure of the music.
We recently read this great article by Ethan Herlock at DJ Mag on the UK Drill scene and the filmmakers who are playing an important part in the genre’s popularity. Music videos have always played a prominent role in promoting a new track but with the increase in content being consumed, they have now become even more important for any aspiring young artist looking to build traction. Tracks such as ‘Y-Pree’, shot in Jamaica have gained more notoriety due to the visuals giving the artist Millionz and his crew the ability to show off their style direct on camera.
We worked with director Teeeezy C on the sound design of SL’s ‘Bad Luck’ helping to create a baron wasteland world which the rapper had woken up in. The sound design really helps immerse the viewer into the story. SFX and sound quality are often overlooked but they often add a 360 experience that plays an important role in the feel and quality of the visuals.
Oli // OPM
Adidas Skateboading ‘Palace x Puig’
Mykola Leontovych - Carol Of The Bells
Browns ‘Nocturnal Animals’
Prada ‘2020 Resort Campaign’