ДискографияТексты песенАудиоВидеоПрессаГалереяТурФорумМагазин

The tattoos in the video partly are inspired by the haida style (North American Indians) mixed up with the ornamental celtic style of tattoos. They all are transparent and fractured which gives a big graphic broadband for the video. That means we can fly with the camera through them, we see the backgrounds, we see Dave through them if he's behind them. So there are plenty of possibilities to create scenes with these tattoos. The motifs are chosen to fit into the atmosphere of the song: melancholic, sometimes dangerous, nightmarish but every time stylized to get not to concrete, just catching the flair of the song and the lyrics. The flying 3-d birds and the big house in which the crayfish walks into are created out of two tattoos on Dave's body. The trees in the 3-d world are newly generated for the video. The design of all that stuff was done by Sebastian Kaltmeyer. He is 4 years in the music video business for the side of animation. Basically, he has been working for german electro style guys a lot. Before that he designed t-shirts using that kind of graphic images. The mixture of live action and animation has been a result of the ongoing cooperation with me, Uwe Flade.

There's no story in the video, there is a development via taking the tattoo-world from a 2-d background animation more and more into a living environment. The tattoo-birds and a crayfish getting to life in a 3-d world in the end. The spectator hopefully gets this development when watching the video more times: At the beginning the perspectives on the tattoos are flat, their movement are 2-d. from time to time the backgrounds get more 3-d, kind of rooms are established, the butterflies are flying in all directions. Finally the tattoos themselves get 3-d in a 3-d world.

We dealt with live material taken from 4 concerts: Hamburg, Paris, Manchester and Belfort. We had to edit the material first which was pretty difficult as Dave sings the song live of course in a different speed related to the single-version. So the editing took some days and we used slow motion effects some time.

After that we decided, which animation should be in every single shot of the edit. The rotoscoping action (cutting Dave out of the live-material) faced the problem that Dave appeared many times standing in front of black backdrops. With black hair and wearing a black trouser sometimes it needed a long time to get the right shape of the rotoscoping mask and finding his real silhuette. Another problem with that: The electronic cameras had an exposure time of 1/50 sec. This normal but rather long time leeds to smeared frames as Dave dance around oin the stage very fast sometimes. So we had single frames whitch just a blurry whipe of his arm or the mic-tripod which were really heavy to rotoscope as you see then other tripods in the background from time to time.

Then we had to deal with different lighting situations of the four concerts. In some shots we simulated similar lighting situations in the animation, sometimes we did a strong colour correction.

After that process we decided how the animations should relate to Dave. We often picked up the perspective of the live-cameras and put the animation in the same angle. We then decided how big the animations should be in relation to his person. So we worked from shot to shot till we finally reached the 3-d part where the bird starts getting to life. From here to the end we had kind of a story with the house and the real 3-d environment.

Источник: davegahan.com