Greentea Peng promo pushes LED to the limit
Stink Film’s director Felix Brady pioneers a new filming technique at Europe's biggest LED studio for the music video for Look To Him.
Credits
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- Production Company Stink/UK
- Director Felix Brady
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Credits
powered by- Production Company Stink/UK
- Director Felix Brady
- Editorial Trim
- Post Production No.8
- VFX The Mill/London
- VFX Selected Works
- Executive Producer/Head of Music Hannah Bellil
- Producer Andrew Rawson
- Producer Shea Coleman
- DP Konrad Losch
- Editor Liv Ay
- Colorist Alex Gregory
- Executive Producer Charlie Morris
- 2D Lead Adam Maynard
- Executive Producer Clare Melia
- VFX Producer Tom Manton
- VFX Producer Sean Costelloe
Credits
powered by- Production Company Stink/UK
- Director Felix Brady
- Editorial Trim
- Post Production No.8
- VFX The Mill/London
- VFX Selected Works
- Executive Producer/Head of Music Hannah Bellil
- Producer Andrew Rawson
- Producer Shea Coleman
- DP Konrad Losch
- Editor Liv Ay
- Colorist Alex Gregory
- Executive Producer Charlie Morris
- 2D Lead Adam Maynard
- Executive Producer Clare Melia
- VFX Producer Tom Manton
- VFX Producer Sean Costelloe
This fascinating video takes the viewer on a gorgeously gliding journey that explores originality, creativity, and shaping your own reality.
Filmed between London and Latvia at Europe’s largest LED studio, Brady pushed the limits of LED volumes utilising a never-done-before filming technique involving precise 3D mapping, cars on rotating turntables and virtual environments built for The Matrix, that were supplied by the gaming giant EPIC Games.
Brady commented: “I felt equally as passionate about the creative and the song as I did about the technical aspects. The video is really all about source energy and believing you can tap into it at any time so you don't need to look to others for that.”
“The car is the vessel for this idea - it’s the analogy for life being relentless and ever moving, it’s this foundational thing we can’t jump off. The characters atop the car are representative of the flamboyant side and the serious side, the transience of life and all its intertwined conflicts.”
To achieve a 360-degree shot of choreography atop of a moving car on a limited budget required a highly ambitious technical approach that had not been done before. Brady faked an orbiting camera by spinning the car on a platform inside an LED volume. Virtual backgrounds were then synced to the car’s rotation.
Brady adds: “I’m now incredibly passionate about pushing the limits of LED volumes. It’s the playground of the future.”