Director Shane Meadows deployed DaVinci Resolve Studio 14 and a DaVinci Resolve Micro Panel to edit and grade Liam Gallagher’s latest music video, ‘Come Back To Me.’
For the third single from Liam’s number one solo album ‘As You Were,’ Meadows came up with the idea of taking Liam back to a venue that meant a lot to him. “When I heard the song, it had a raw energy and that, combined with the lyrics, is how I arrived at the idea of a live performance in a small, intimate venue,” begins Shane. For Liam, this was King Tut’s in Glasgow, where Oasis were first discovered. “It was the perfect setting when we realized he’d not been back since.”
Shane captured all of the pre-concert buzz and the performance for 200 fans using a ten-strong multi-camera set up, which allowed him to get every shot he needed in just two performances. “I wanted a simple and straightforward shoot so that we didn’t lose any of Liam’s natural live energy by making him do multiple takes.”
The final piece of the jigsaw was choosing a post-production workflow that would allow Shane to harness Liam’s natural energy when it came to cutting the music video in post production.
“DaVinci Resolve’s support for multi-camera editing meant that I could sync the rushes using timecode and playback each camera angle side by side,” he explains. “Watching the whole shoot back simultaneously in Resolve made edit decisions simpler and much faster. I was, in essence, producing a live mix, just as you might in a concert environment.”
Meadows was especially impressed by the improved speed and performance of DaVinci Resolve 14. “I was working with a variety of different cameras, codecs and formats, but no matter what I threw at it, Resolve took everything in its stride. I also found Resolve’s UI to be responsive when trimming and moving clips and the smooth playback of clips in realtime was impressive.”
Working with colourist, Darren Mostyn of Online Creative, Shane created a black and white vintage grade, with hints of psychedelia to complement Liam’s aesthetic. “As well as anamorphic lenses, we also had a lens built which had panels of glass to create a kaleidoscopic, retro effect. As such, we emphasized that in Resolve by adding film grain and pungent red titling to create a 16mm look and feel. Liam has a real swagger and iconic image, and I wanted that to convey that in the grade.”
Shane explains that the combination of DaVinci Resolve Studio and the Micro Panel allowed for a flexible and convenient post workflow for the video: “In television production, you often have to decamp until parts of the post process are complete. For Liam’s video, we did everything from the initial cut to final delivery in a matter of hours without leaving my edit suite. And that is all thanks to DaVinci Resolve. For me, the best technologies are those that support rather than frustrate creativity.”
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Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.