Music: director Alan Del Rio Ortiz transports musician Petite Noir into patterned digital environments for his La Vie Est Belle music video.
Petite Noir – AKA Yannick Ilunga – was on a tight schedule to generate the video, so Ortiz made a decision to use green display to give the team an possibility to develop the project further following filming.
“For the live action sequences we shot on a green display in a studio making use of the Alexa Mini camera on a Ronin rig,” Ortiz advised Dezeen. “This permitted us to do some fluid camera moves on a light-weight rig. We needed to keep everything smooth.”
The film moves from dwell action sequences, displaying close-ups of the South African musician singing, to overhead shots of virtual environments.
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“The music influenced the slow motion, the lighting and the mood of the video,” said Ortiz. “It essential to match.”
At some points the viewer appears to be flying more than a digitally-designed city or desert, and at other individuals travelling via an apparently infinite tunnel surrounded by columns.
“There is a loose narrative about receiving lost within a virtual globe,” stated Ortiz.
For much of the video, Yannick is proven sporting patterned garments that often match the background.
“These have been a group effort among me, our lead CGI artist Pete Puskas and Rochelle Nembhard – who is a frequent collaborator with Yannick on his artwork,” Ortiz explained.
The movie constantly blends true footage and digitally-produced imagery, emphasised by displaying the musician wearing an Oculus Rift headset even though standing in a black and white-patterned virtual space.
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As nicely as designing digital environments, the filmmaker transformed the musician into virtual versions of himself – recreated in pc-produced marble or gold.
“We took a 3D scanner and scanned Yannick in different positions,” stated Ortiz. “Then, in post manufacturing, Pete Puskas and his group were in a position to include textures to the scans to make them seem like clay, marble, cloth and so forth. We even additional joints to give the 3D scans some subtle movements.”
As the film continues, the musician’s form continues to duplicate until a room is total of statuesque virtual versions of himself.
By cutting among the actual and virtual musician, the film blurs the lines in between what is true and what isn’t.
As the movie draws to a shut the actual Petite Noir and the virtual statues seem to confront every single other. The musician shown bows to a marble version of himself, walks via a space complete of Petite Noir figurines, and last but not least returns to display him standing in front of a green screen.
