Broadcast News
04/11/2004
Mill help to imprison Kylie within spherical neon light cage
Kylie Minogue’s latest video sees the pop queen suspended in a neon spherical cage.
Several light cages were built on a rig to look as though they were suspended in their own black universes, with Kylie as their star, performing her usual well-crafted, sculptural dance moves. Each verse is marked by the appearance of a new light cage while the cage rotates around Kylie in rhythm to her music.
The Mill’s Flame artist, Adam Grint, was charged with enhancing the light bars on the cages to bring out their full potential. He boosted and levelled the glow of each bar in each cage. It took him an intense week of Flame, including a few drawn-out 20-hour days. He also hand-picked some bars, changing their colour, so that they animated in time with the track. The Mill was also responsible for rig-removal and added elements, like extra light bars built in Flame, which were used to create a foreground effect for mid-shots.
“The most challenging part was making the background dancers look more abstract, to make it look like Kylie was enveloped in their light,” said Grint. “I had to make the lights around their bodies look streaked, like they were shot on a slow shutter. I ended up using time-warping, motion blur and glow. But it all had to be done using Kronos [a Flame spark that helps smooth shots slowed down in post]. Without it, the streaks would have looked broken.”
(GB)
Several light cages were built on a rig to look as though they were suspended in their own black universes, with Kylie as their star, performing her usual well-crafted, sculptural dance moves. Each verse is marked by the appearance of a new light cage while the cage rotates around Kylie in rhythm to her music.
The Mill’s Flame artist, Adam Grint, was charged with enhancing the light bars on the cages to bring out their full potential. He boosted and levelled the glow of each bar in each cage. It took him an intense week of Flame, including a few drawn-out 20-hour days. He also hand-picked some bars, changing their colour, so that they animated in time with the track. The Mill was also responsible for rig-removal and added elements, like extra light bars built in Flame, which were used to create a foreground effect for mid-shots.
“The most challenging part was making the background dancers look more abstract, to make it look like Kylie was enveloped in their light,” said Grint. “I had to make the lights around their bodies look streaked, like they were shot on a slow shutter. I ended up using time-warping, motion blur and glow. But it all had to be done using Kronos [a Flame spark that helps smooth shots slowed down in post]. Without it, the streaks would have looked broken.”
(GB)
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