Here’s a short animation I wrote and produced with animator / illustrator Andrew Khosravani.
The piece is narrated by Hannah Fry and tells the story of how zero became a number. We were very happy about it getting a “Staff Pick” on Vimeo!
The scripting for the piece was tricky, it took several weeks to wrap our heads around the subject and then boil a significant amount of history down into around 3 minutes… inevitably details had to be cut and even after recording the voice-over with Hannah we had to make some difficult decisions to make further cuts. All in the name of reducing animation time – which was significant for a piece like this – Andrew did an incredible job!
Oh and the chapter numbers are obviously all in binary.
Here’s my first venture into music videos – made for a friend’s band – Dear Leaders.
It was actually shot last year, but a busy work schedule delayed the edit until the beginning of this year – they released the track as a single in April alongside the video – check it out below!
It was real guerrilla film making, we had no budget, very little plan or script – just a very rough narrative. We shot this across London, near Green Lanes in Haringey and also in Hackney Marshes, with a lot of improvisation at the locations. I also shot this solo, with only two days to get everything done (the band live in separate cities) – which added extra pressure to the production!
The edit was quite challenging as a result, but eventually I picked a route through the footage, not that the narrative makes total sense… but when were music videos ever the bastion of linear narratives?
I was lucky enough to work with actor Julian Spooner (who put up with two days of masking tape being ripped off his face) – who was great to work with, mainly because he was very patient and took my direction without protest. The band members also make small cameos – see if you can spot them!
It was shot mostly on my Sony A7s and it’s low light capabilities allowed opened up a lot of creative possibilities for shooting at dusk on the marshes.
Video produced for the Royal Institution, for the 2015 Advent Project “A Place Called Space”. The piece is composed from multiple interviews with astronauts that were recorded between September – November 2015.
The film features 4 astronauts (Dan Tani, Helen Sharman, Jean-François Clervoy , Mike Barratt) and uses NASA archive footage to explore the ins and outs of living in space (spoiler alert: it’s fun, but it ain’t easy!).
All interviews were transcribed and then common threads were grouped together and collected on an edit timeline. The audio segments were cut down and edited together, then brought into FCPX where they were combined with video footage. I spent quite a while searching and logging appropriate NASA archive footage. Once the rough form was assembled, I introduced some music and refined the edit to work with the tracks I’d chosen.
Occurring without warning, the panic attack is a crippling and cruel symptom of many anxiety disorders. These debilitating episodes thrust individuals into intense bouts of terror, leaving them fighting to regain control of their own body.
The piece combines interview material recorded with a friend and abrasive sound design to pull the listener into the experience of a panic attack. It was produced as part of the Hubbub Relaxation / Cacophony tape, commissioned by the Wellcome Trust and featured during the Lates Spectacular event in September 2015.
This year we wanted to go all out for our April Fools effort, so we decided to make a video to announce this year’s (fake) Christmas Lectures subject and lecturer. You can see the effort below:
In reality, the lecturer featured in the video is none-other than Ri Director of Finance, Michael de Crespigny (at least his name was real) who, may I add, played a fantastic role in portraying a quantum astrologer.
Although we don’t usually make a video announcing the Christmas Lecturer we wanted to create a piece of content that would work for our international YouTube audience as much as those that regularly tune into the Lectures in the UK.
So we set about scripting a piece that straddled the line between nonsense and plausibility, settling on the subject of astrology and making liberal use of the word “quantum” to hopefully pull the wool over people’s eyes.
I recently made a short film for the Royal Institution that tells a story of the miners safety lamp, also known as the “Davy Lamp” – invented by Sir Humphry Davy in the 19th Century.
The lamp was designed to allow miners to safely light their way in the mines using candles or oil lamps – which were previously at risk of igniting flammable gases that leaked from the coal baring rocks, often leading to devastating explosions and large loss of life.
Find out more by watching the video!
This is the first time we’ve explored an archive story through the format of Andy’s Tale’s From the Prep Room series and I really like how the historical narrative is combined with the usual demonstration elements of the series – it’s something we’ll think about doing more in the future.
Riffing off the film’s subject matter, I thought I’d experiment with shooting most of the film in candle light in a pitch black environment – which was made possible by the low light capabilities of the Sony A7s, combined with a very fast vintage lens (Takumar 50mm f1.4). I really love the intimate setting that this creates and it also helped to hide the fact that we shot this in a very dull location (the Ri’s windowless basement lab used for school workshops).
Slow motion footage was captured on the Panasonic GH4 at around 100fps – watching the flames billowing out of the gas filled tube is particularly mesmerising!
The final video piece produced during a week long artist residency in Margate.
Building on the ideas explored in the previous piece, I decided to evolve the square framing and slide-like presentation to include simple shots of shapes and colours I found around Margate. However this time worked with a centre division in the frame, juxtapositioning two different shots.
When I was out shooting I did have this in mind, so I concentrated mainly on rectangle and square shapes, lining shots up in a way that would work with this format. The edit was more a proof on concept, it’ll be interesting to see how I can expand on it and use it within something more substantial.
Continuing with the residency in Margate, here’s the third installment:
Thursday was spent largely working inside, so for this piece I decided to detail some of the rich textures within the house we’ve been staying in. The property is a large 4 story townhouse, which is currently mid-renovation, with exposed wooden floorboards and cracked walls with exposed plaster.
Detailing the tapestry of patterns, colours and uneven surfaces I wanted to pull out the aged aesthetic of the house in the presentation of the film – so I played with aspect ratio to present images in a format closer to 4:3 rather than a modern widescreen format. I also enhanced the square images with 35mm film grain and rounded off the corners to mimic the look of old slides, adding in projector sounds to support this look.
Finally the music loop was recorded in the afternoon on an old electric keyboard found in the living room, which we were experimenting with on a separate audio work. I processed the recording by slowing it down and detuning it, to further enhance the ‘aged’ aesthetic of the film.
Continuing with the residency in Margate, here’s the second short video piece:
I wanted to provide a different perspective on Margate from yesterday’s piece, so as the tide receded I spent time down in the harbour capturing the orange and blue tones of the sunset set amongst the beached boats.
I was drawn to one boat in particular, named Sea Horse, which featured a curious Seahorse shaped ‘S’ on its stern.
It was a beautifully clear evening, so as the sun set, the sky was awash with intense oranges that slowly gave way to deep, inky blues. In terms of grading, I wanted to preserve these colours so I enhanced the contrast and deepened the blacks, but did little else. When shooting these scenes I shot in a flat profile and exposed to the right so that I could pull down the blacks in post and maintain the deep blues of dusk.
Finally, I decided to add in some sound design to play off the mostly static shots. The sounds of lapping waves, gusts of wind and creaking boats are suggestive of motion and act almost like ghostly echoes of movement.
The piece was shot entirely on my Sony A7s, using two old M42 lenses: