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Black Lights - "For You" | Director - Colin Warhurst
Music Video | Black Arm Management | Grey Tiger Media
Daniel Warhurst - Second Camera
Starring Laura Pye & Black Lights
Colin Warhurst - Director, Editor, Grading, Camera Operator (Canon 5D MkII)
This video was originally shot on a Canon EOS 5DmKII, and was shot in Manchester (UK) at night, and the wonderfully helpful Atlas Bar. The story is a multi-screen / multi-thread narrative, split across three different "windows", which were originally delivered inside of a standard 1920 x 1080 frame, which necessitated the three individual windows to be cropped and shrunk to fit.
After the initial video was launched though, we realised that each individual window could retain dimensions of approximately 1080 x 1080, if positioned within a larger frame; such as an Ultra HD 3840 × 2160 area.
The result is this version of the video, which though not quite filling the entire Ultra HD frame with moving images, does benefit from three incredibly detailed 1080 x 1080 windows, which tell the stories of our main characters. At the time of writing (March 2013) YouTube allows upload of full 4K files, but actually shrinks it down to something just above 2K. However, the extra detail retained is still something to Marvel at, and if YouTube re-enable the full 4K feature, this video should automatically update and look even better. You can even see the detail of the artificial film grain (R-Grain) which was added in post; this kind of detail is normally lost in compression.
As mentioned in the earlier and original "HD-version" of the post, the idea for this music video was inspired by a video installation I saw at San Francisco's Museum of Modern Art (@SFMOMA) by Vietnamese artist Dinh Q. Lê.
The installation was something I have been massively inspired by since, and though the square crops adopted here in "For You" don't have the same sense of grandeur as "Sound and Fury's" gorgeous widescreen film projections, I hope the central theme of the story gels well with this method, and crucially, leaves the viewer wanting to view the story again and again to decipher all of the combinations and variations of meaning. With this "4K" version of the original, hopefully the extra detail achieves what "Sound and Fury" does so well, and draws the viewer in for repeated sittings.
Thanks again to Black Lights, Chris Henniker of Black Arm Management, Daniel Warhurst (Partner in crime at Grey Tiger Media), Atlas Bar and the beautiful, patient and talented Laura Pye