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Produced by :
Wagram & Nu Films
Wagram & Nu Films
Director :
Maxime Giroux
Maxime Giroux
Director of visual effects :
Marc Côté
Marc Côté
Senior MoCo operator :
Marc Côté
Marc Côté
MoCo operator :
Shawn Bonkowski
Shawn Bonkowski
MoCo assistant :
Graeme Cherry
Graeme Cherry
Compositing artist :
Nicolas Cadorette
Nicolas Cadorette
3D artists :
Sylvain Théroux, Nicolas Cadorette
Sylvain Théroux, Nicolas Cadorette
Shooting location :
Studio St-Ambroise (Montreal)
Studio St-Ambroise (Montreal)
Effects coordinator :
Audrey Boivin
Audrey Boivin
Related links :
Corneille
Corneille, a French based, Concordia educated musician, has enjoyed widening audiences in both Quebec and France and is establishing his name as a highly respected French pop and soul artist. For his song “Parce qu'on vient de loin” (Because we come from so far away) director Maxime Giroux decided to incorporate both motion control and 3D effects in the music video to combine the steady and rhythmic tones of the song with fluid oscillating camera work only achieved with motion control.
At the discretion of the director and the director of photography, it was decided that filming would take place in three separate stages. The first stage, on September 13th 2003, involved programing the movements of Motion Control robot MILO at Ste. Ambroise Studio's in Montreal. It was in this stage that Camera e-Motion MILO operators and the director were able to work productively on coordinating camera movements, speeds and angles to the dynamics of the song with minimal distractions and film crews present. Not only effectively cutting production costs but creating a positive environment in which creativity was captured without hindrance.
September 14th, 2003. With programming completed, today's schedule was to shoot the background images in the video which would rotate behind the singer in a 3D cubical environment. One being a downtown location in front of a sky scraper and the other a forested location one hour north of Montreal. It would be a test in not only the versatility of MILO and its ability to be set up quickly in remote locations but also on the film crew to conduct their jobs quickly and efficiently while respecting the location's environment, particularly in the forested location---all in one day.
With the city location filming completed without a problem, the true challenge to come was setting up MILO in an unlevel forested area with only five hours of light remaining. While the set up proved remarkably easy, the lighting for the shot was extremely temperamental due to cloud coverage, the threat of rain and the inevitable sunset to come. With limited time, kamikaze mosquito attacks and the effects of poison ivy experienced first hand, the shooting went admirably with MILO performing most honorably under the circumstances. It seemed that the only thing the film crew couldn't control was nature its self. As dusk settled in, the final shots were underway and the shoot was rewarded with the magic light that only a setting sun can create. Success was at hand .
September 15th,2002. The final aspects of production were now underway where MILO would shoot Corneille while singing “Parce qu'on vient de loin” in a studio. With Camera e-Motion 3D and Flame artists in hand, the studio was transformed from an empty green room to the skeleton form of a 3D environment soon to come on the screens of our computers and finally, to the televisions of music video fans. To the satisfaction of everyone on set, and thanks to the preproduction efficiency of motion control, the shoot was completed within six takes and the entire crew was able to go to bed at a respectful hour.
Post production comprised of assembling the two different background locations and using Flame Software to composite the singer as an element in foreground. Since MILO was used along with Flair and MIMIC software, all three different shoots, the forest, the city and the singer in the studio were already perfectly in sync thus making the job of post production much easier. The major challenge was that Fake studios had only two weeks to design, build, light and render the frames in full CGI with only two principal workers. Nicolas Cadorette on Flame, and Sylvain Theroux on 3ds max. When it was decided which parts of the city and forest footage were to be used and when in the video, it was now up to 3D artists to conceptualize and create a revolving background of interconnecting cubes of the background players.
The video opens up to Corneille superimposed into a completely CG generated 3D virtual set and as the song progresses, and the camera pans around him, 3D software is used to connect the three different backgrounds and seamlessly integrate them as a revolving whole. To make foreground lighting match the background lighting, the video was shot on 35mm standard but with different film speeds. During the morning city shoot with MILO, the video was shot at 12 frames per second, but in the forest a much slower 1.5 frames per second to compensate for light.
Music video's, for us, are always a great way to be creative and have fun with what we do. For Corneille, Fake Studio was given an enormous amount of creative leeway in how the video was to be created in CG and how the revolving background would morph around Corneille. We were all also enormously pleased with how the natural lighting of the background shots for both the forest and the city worked out as nothing beats the natural luminescence and shadows created by the physical and natural environments abound. And like the uncontested superiority of natural light, nothing else beats the uncontested superiority of motion control and visual effects created by Fake Studio and CEM, cuz baby, thats just where we shine...
At the discretion of the director and the director of photography, it was decided that filming would take place in three separate stages. The first stage, on September 13th 2003, involved programing the movements of Motion Control robot MILO at Ste. Ambroise Studio's in Montreal. It was in this stage that Camera e-Motion MILO operators and the director were able to work productively on coordinating camera movements, speeds and angles to the dynamics of the song with minimal distractions and film crews present. Not only effectively cutting production costs but creating a positive environment in which creativity was captured without hindrance.
September 14th, 2003. With programming completed, today's schedule was to shoot the background images in the video which would rotate behind the singer in a 3D cubical environment. One being a downtown location in front of a sky scraper and the other a forested location one hour north of Montreal. It would be a test in not only the versatility of MILO and its ability to be set up quickly in remote locations but also on the film crew to conduct their jobs quickly and efficiently while respecting the location's environment, particularly in the forested location---all in one day.
With the city location filming completed without a problem, the true challenge to come was setting up MILO in an unlevel forested area with only five hours of light remaining. While the set up proved remarkably easy, the lighting for the shot was extremely temperamental due to cloud coverage, the threat of rain and the inevitable sunset to come. With limited time, kamikaze mosquito attacks and the effects of poison ivy experienced first hand, the shooting went admirably with MILO performing most honorably under the circumstances. It seemed that the only thing the film crew couldn't control was nature its self. As dusk settled in, the final shots were underway and the shoot was rewarded with the magic light that only a setting sun can create. Success was at hand .
September 15th,2002. The final aspects of production were now underway where MILO would shoot Corneille while singing “Parce qu'on vient de loin” in a studio. With Camera e-Motion 3D and Flame artists in hand, the studio was transformed from an empty green room to the skeleton form of a 3D environment soon to come on the screens of our computers and finally, to the televisions of music video fans. To the satisfaction of everyone on set, and thanks to the preproduction efficiency of motion control, the shoot was completed within six takes and the entire crew was able to go to bed at a respectful hour.
Post production comprised of assembling the two different background locations and using Flame Software to composite the singer as an element in foreground. Since MILO was used along with Flair and MIMIC software, all three different shoots, the forest, the city and the singer in the studio were already perfectly in sync thus making the job of post production much easier. The major challenge was that Fake studios had only two weeks to design, build, light and render the frames in full CGI with only two principal workers. Nicolas Cadorette on Flame, and Sylvain Theroux on 3ds max. When it was decided which parts of the city and forest footage were to be used and when in the video, it was now up to 3D artists to conceptualize and create a revolving background of interconnecting cubes of the background players.
The video opens up to Corneille superimposed into a completely CG generated 3D virtual set and as the song progresses, and the camera pans around him, 3D software is used to connect the three different backgrounds and seamlessly integrate them as a revolving whole. To make foreground lighting match the background lighting, the video was shot on 35mm standard but with different film speeds. During the morning city shoot with MILO, the video was shot at 12 frames per second, but in the forest a much slower 1.5 frames per second to compensate for light.
Music video's, for us, are always a great way to be creative and have fun with what we do. For Corneille, Fake Studio was given an enormous amount of creative leeway in how the video was to be created in CG and how the revolving background would morph around Corneille. We were all also enormously pleased with how the natural lighting of the background shots for both the forest and the city worked out as nothing beats the natural luminescence and shadows created by the physical and natural environments abound. And like the uncontested superiority of natural light, nothing else beats the uncontested superiority of motion control and visual effects created by Fake Studio and CEM, cuz baby, thats just where we shine...