Directing duo Bison enlisted Team GB’s Olympic rhythmic gymnastics team for this new video for Ministry Of Sound’s Michael Woods ‘We’ve Only Just Begun’ featuring Ester Dean (who co-wrote Katy Perry’s ‘Fireworks’ and Nicki Minaj’s ‘Superbass’).

Each member of the squad was fitted with 60 LED lights which then enabled us to create light trails. I applied a rough effect in FCP which helped us judge which shots worked best with the effect and how to pace the video. It quickly became apparent that we wouldn’t want to over-edit the video, forcing the pace with the edits as so many dance videos seem to. Instead we could let the gymnasts natural rhythm describe the music for us. Post was then completed by The Mill.

As a footnote, Team GB’s rhythmic gymnastics team self-financed their entry to London 2012 but are now unfortunately having to disband due to lack of funding.

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Second part of a Corin Hardy horror double header. The teaser trailer for his upcoming indie ‘Frogz Legz’.

Quite where in the deepest recesses of his twisted mind he comes up with this stuff I don’t know but I loved every minute of this. Sexy french girl turns into a Were-frog….what’s not to like!

Dir: Corin Hardy

Prod: Dom Thomas, Rory Gilmartin

Prod Co: A+, Brilliant Films

Editor: Vid Price

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Horror short I edited for the wonderful (and slightly twisted) Corin Hardy. We put this out on youtube with no credits to see what the reaction would be….nearly a quarter of a million hits later and quite a debate as to if it’s real or fake, here’s a few of the more ‘insightful’ comments on youtube. 

pretty good camera work for some troubled kids…

more fake than the word fake

good vid ,

If they’re all dead then why was the Guy from this in pram face on BBC 3

Dir: Corin Hardy

Prod: Dom Thomas

Prod Co: A+

Editor: Vid Price

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If you have the opportunity, get yourself down to the cinema to see the digitally remastered 4k re-release of Jaws. I’d only ever managed to see Jaws 4 ‘The Revenge’ at the cinema so personally I jumped at the chance! It looks amazing and still sets the benchmark for cinematic tension and fear in my eyes.

Much has been said and written about Verna Fields oscar winning editing, the tension she (and Spielberg) manage to build before you even see the shark is breathtaking. Here are a few of her own words on how they achieved this tension through editing….

Cutting film is really very much a matter of feeling and rhythm, and a cut that is off rhythm will be disturbing and you will feel it—unless you want it to be like that. That’s my favorite story about the cutting of Jaws (1975)—each time I wanted to cut I didn’t, so it would have an anticipatory feeling. You don’t know whether those things will work or not, but it worked.

The next time you look at a sequence, watch for the choices in pacing. A perfect example is the early beach scene in Jaws. There’s a lot of rhythm cutting there. It’s a quick pace. Then, I broke the pace for the sake of maximizing anticipation. You see a dog go in the water. You see a woman go in the water. You see someone else going in the water, and so forth. And what I tried—and it worked—was to hold longer than where I would have normally cut.

A great lesson for any student of editing or indeed anyone interested in visual storytelling of any kind, be it film, music video, commercials, whatever.

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Having just been cutting with Tim Pope I thought I’d share some of Tim’s thoughts on music videos. Although this was recorded in the eighties the points are probably even more valid today, especially on creating truth in front of the camera.

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When Michael Holyk approached me to cut his video for dub step legend Benga ft Bebe Black’s new track ‘Icon’ I asked, as usual, what the idea was?

'You're gonna throw them both out of a plane?! Ok now Michael, seriously…..'

Benga ft Bebe Black ‘Icon’

Dir: Michael Holyk

Producer: Gail Davey

Production Company: Nice & Polite

Editor: Vid Price                                                                                            

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