PARACHUTES TALK YUKSEK - TEXT LUKE TIERNEY
PARACHUTES are back and continuing where they left off; making weird shit by messing with the norm. Far from the school Yearbook this time we're set in a cool studio where some sweet sweet music's being made. Of course the repeated action / gif style effect has been around for a while so PARACHUTES took it that step further and showed the reality of doing something again, and again, and again. We had a quick chat to find out a bit more, from whether they knew they'd got the shot to repeat, to learning how much planning goes into a shoot like this. Oh yeah and their favourite gif below.
Word Is Cheap: What's the best gif you've seen recently? PARACHUTES: This one...
It’s impossible for anyone to do exactly the same gesture twice in a row. So we asked everybody to loop their actions as perfectly as possible, and we shot them for maybe 30 secs
WIC: Obviously we love gifs, do you think the gif has been overdone or is just coming into it's own? P: Gifs have always been and will always be cool. However they've been used a lot in films lately, so when the label asked us a gif-related music video, we felt really challenged to find an innovative idea. So what we tried to do is mix gifs with reality; we came up with repetitive actions that could evolve and have consequences in other timelines. WIC: How did you know when you had the right take for the repeated actions? P: We didn't! It's impossible for anyone to do exactly the same gesture twice in a row. So we asked everybody to loop their actions as perfectly as possible, and we shot them for maybe 30 secs. Then we selected the best loops for each character — we wanted them to be realistic but with a hint of weirdness. WIC: How planned was the shoot, being big post fans, were you confident you'd be able to make it all work? P: Since we wanted to shoot people being looped in different timelines, and our main character to be able to interact with them, we had to shoot each person individually without moving the camera, so that they can be all composited together in post. It was tricky, we had a mobile green screen, for some scenes we had to shoot 6 or 7 different passes... Luckily we were assisted by two VFX supervisors from the Parisian post company, Mathematic. WIC: Styling is really mixed, in a cool way, what was the thinking behind this? P: The studio we shot in is very retro, but we didn't want to give the impression that the film is set in the past. So we carefully mixed modern, edgy fashion design with retro touches. We worked with an impressively talented stylist, Maud Dupuy. WIC: Do you enjoy the shoot more or the post production part of film making? P: We love shooting, and since we come from graphic design we often come up with graphical ideas that involve post-production. Usually we like to do it ourselves because we can really take our time, and experiment different things. But for this one the planning was so short that we couldn't; we worked with Mathematic, and it had to be very efficient, straight to the point.