Broadcast News
16/01/2002
CREATIVE TEAM REUNITE FOR 'IN YOUR EYES' PROMO
THE second single to be released from Kylie Minogue's number one album, pairs Black Dog director Dawn Shadforth with leading visual communications facility, Red – the creative team behind her last hit music video, 'Can't get you out of my head'.
The new promo for 'In your eyes', which airs in January, features Kylie and her dancers performing on a mirrored catwalk amidst a kaleidoscope of acid bright colours emanating from giant jumbotron screens.
A high proportion of the post work for the promo actually took place before the main shoot. Dan Williams created a number of different styles of graphic patterns that changed shape and tempo to fit in with the varying melodies of the song. The sequences were then replayed on 14 jumbotron screens on the day of the shoot to create a pixelated light effect around Kylie and the dancers.
The final footage then came back to Red for some final tweaking and effects work that included removing the huge rigs supporting the jumbotron screens and taking out the dancers' footprints from the mirrored catwalk to give a smooth polished look. The sequences were also enhanced using manipulated light and performance overlays multiplied with the background by Glyn Tebbutt using flame. (SP)
The new promo for 'In your eyes', which airs in January, features Kylie and her dancers performing on a mirrored catwalk amidst a kaleidoscope of acid bright colours emanating from giant jumbotron screens.
A high proportion of the post work for the promo actually took place before the main shoot. Dan Williams created a number of different styles of graphic patterns that changed shape and tempo to fit in with the varying melodies of the song. The sequences were then replayed on 14 jumbotron screens on the day of the shoot to create a pixelated light effect around Kylie and the dancers.
The final footage then came back to Red for some final tweaking and effects work that included removing the huge rigs supporting the jumbotron screens and taking out the dancers' footprints from the mirrored catwalk to give a smooth polished look. The sequences were also enhanced using manipulated light and performance overlays multiplied with the background by Glyn Tebbutt using flame. (SP)
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