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Just Like The Old Days – Music Video
DD Allen
Just Like The Old Days – Music Video
When developing the concept for the music video, we knew that Drew’s vocals had to have a fitting visual location. David had remembered a scrapyard he’d regularly drive past on the way back to his hometown in Monmouth.
After recceing the yard, we know that Langdon’s Scrap Yard would be a fitting location that would sync up perfectly to the feel of the song. We had ideas about how we could shoot something like this at sunset, to take full advantage of a cinematic lighting setup. The film was captured entirely in 2 shots. To achieve this, the camera was mounted to a DJI Ronin M camera stabiliser.
This allowed for fluid motion while following Drew walking through the scrapyard. The scene was entirely lit by the dropping sun combined with car lights, multiple 1Ks, 2Ks and a 2.5K HMI (which we put high in the sky on an articulated forklift). We used 3 separate power rings and 400m of 16Amp extension cord.
After recceing the yard, we know that Langdon’s Scrap Yard would be a fitting location that would sync up perfectly to the feel of the song. We had ideas about how we could shoot something like this at sunset, to take full advantage of a cinematic lighting setup. The film was captured entirely in 2 shots. To achieve this, the camera was mounted to a DJI Ronin M camera stabiliser.
This allowed for fluid motion while following Drew walking through the scrapyard. The scene was entirely lit by the dropping sun combined with car lights, multiple 1Ks, 2Ks and a 2.5K HMI (which we put high in the sky on an articulated forklift). We used 3 separate power rings and 400m of 16Amp extension cord.
Drew paints a number of detailed pictures in the song, and it’s important that Drew is telling this story, narrating his song as he walks through the Scrapyard. We set up a number of scenes and scenarios that relate to Drew’s lyrics, such as Cole’s cheating wife, and the fisherman at old Harrys Rocks.
Our second recce of the yard, this time with Drew, allowed us to run through the route plan and nail down all of Drew’s timings. It was surprising to learn how long it takes to walk what looked like such a small distance on the map!
We also had to make a preliminary lighting plan. One of the biggest challenges was how were going to keep all of this lit in one take without any of the power tripping. We used three different power rings, and lots of extension cord!
From this recce, we also determined that the perfect time for the take was between 6.50pm – 7.10pm. This was when the exposure of the sky matched our lights. We knew that if we were quick and there were no problems this would allow for two takes. Which isn’t many at all, quite terrifying.
Outside: The scene was entirely lit by the dropping sun combined with car lights, multiple 1Ks, 2Ks and a 2.5K HMI (which we put high in the sky on an articulated forklift). We used 3 separate power rings and 400m of 16Amp extension cord.
Inside: We used a mixture of 300W – 850W Arri Tungsten lights with warm gels, and also used the overhead florescent lights with full CTB’s. In post-production, we then shifted the blues to a light cyan.
Produced by a crew of 2 people, Sam Dawson and David Morgan Jones.
Equipment
Camera
- Canon C100 MKii
- Canon EF-S 28 – 70mm
- Canon EF-S 18 – 55mm
- Atomos Shogun
Lighting
- Arri 2.5k HMI
- Arri 2k tungsten x 3
- Arri 1k tungsten x2
- Arri 850w
- Arri 650w x 2
- Arri 350w x 2
- 1920’s Large filment bulb
- 850w par lights x 4
- Dimmers
Grip
- 400m of extension cords
- DJI Ronin M
- Redrock Thumbwheel Focus
- Atomos Shogun
- Easyrig Cinema 20
Here is the off-camera footage showing how the video was captured (Left: original – Right: graded and stabilised)
The film was captured entirely in 2 shots. To achieve this, the camera was mounted to a DJI Ronin M camera stabiliser. This allowed for fluid motion while following Drew walking through the scrapyard.
Client:
Long Day Records
Studio:
Kube Productions
Producers:
Sam Dawson, David Morgan Jones
Director:
Sam Dawson
Director of Photography:
David Morgan Jones
Editor:
Sam Dawson
Talent:
Drew Allen
Lighting:
Sam Dawson, David Morgan Jones
Pitch Concept:
Sam Dawson, David Morgan Jones