I think this is a very good idea to make the poster to the music video. It proves that even music videos can be noticed and appreciated as they are also pieces of art, not just the stuff to go along with the music. They’ve got a meaning and some of them are very aesthetically beautiful. Why not to promote them like normal proper movies? Some of music videos have got their trailers as well as they are longer than the music piece or the piece itself is very long.Â
Another music video including cigarettes as a main point.
- aesthetical
- glorifying cigarettes
- making smoke look really beautiful and neat
Black and white music videos are something extraordinary nowadays. It is really  interesting to see something standing out as most of the music videos we can see on commercial tv chanels are the same, just the actors and decorations different. It is also interesting that this music video concerns the matter of cigarettes as it is the controversion, not all the fans of the musician might like cigarettes and they might start disliking the artist after seeing the video. Also it is worth noticing that not all of the offcials music videos that come out are set to musician’s idea of it. They are just visually nice or they carry a good message, that is why they are accepted.
Our ultimate guide to DSLR video answers some of the common questions about ‘HDSLR’ and how to record HD movies on your digital camera.
Why can’t a camcorder – something that’s designed purely to shoot movies – get this ’film’ look?
It really is all down to the size of the sensor. A typical camcorder has a sensor size that measures a minute 2.4×1.8mm, or 4.3mm². In comparison, the sensor inside a typical SLR like the Canon EOS 650D is 22.3×14.9mm, or 333mm². This means that a 650D has a sensor size that’s almost 77 times larger.
The full-frame Canon EOS 5D Mark III goes one step bigger, with a sensor that measures 36x24mm, or 864mm² – that makes it 200 times the size of the typical camcorder sensor. The larger the sensor, the more light it can capture and the shallower the depth of field it can record.
Fit a ‘fast’ lens (one with a very wide maximum aperture) to a full-frame camera and you can record footage with creamy-smooth blurred backgrounds and foreground detail that leaps off the screen.
It sounds too good to be true. There must be a catch?
It’s true to say that it’s still relatively early days for film-making with SLRs, with big steps forward being made in terms of video controls, features and picture (and audio) quality with successive new cameras.
There have been some teething troubles though. Take focusing, for instance. SLRs still aren’t great at it when they’re recording video. Because the sensor needs to be constantly exposed to light, the camera has to be in Live View mode with the mirror locked up.
This means that it can’t send light to the phase-detection autofocus system that provides such fast and accurate results in normal stills photography.
The camera can still focus while it’s filming, but it has to rely on a slower method that involves measuring the contrast in the image.
This can result in the picture dropping in and out of focus as you film, so it’s often more preferable to autofocus before you record each clip, then switch to manual focus to lock the focus distance in. When you’ve finished recording the segment, you can then refocus.
Our hero Paula heads out into the neon sleaze of Montreal. Cigarettes are purchased and undershirts get danced in. Upbeat drum machine clatter, sky-scraping synth, and a final sheet metal guitar solo take us to dejected former Silly Kisser David Carriere slouching in an emergency room. Director Jasper Baydala channels the bittersweet vibe perfectly through VHS fuzz, freeze-frames, and fast cuts.
Jasper Baydala was born in Vancouver, British Columbia on March 15th 1987 and raised in Calgary, Alberta. As a competitive skier he attended the National Sport School but was injured and took to filming the sport. On graduation he went to Japan and took a boat to China and train to Vietnam, motorcycling across Cambodia to Thailand, in India he took trains to Nepal and drove across Tibet to Kyrgyzstan, and from Latvia hitchhiked to the UK. After a year abroad he moved back to Vancouver to film First Kiss (Capita Super Corporation), and went to Africa where he motorcycled from Tanzania to Mozambique, across Swaziland, and through South Africa to Namibia and Zambia. In Malawi he composed The Three Sided Mountain (Pamela Press), an autobiographical novel about Tibet. Back in North America he wrote songs while motorcycling between California, New York, and Canada, keeping a journal that became Under the Summer (Pamela Press). In Montreal he met Sean Nicholas Savage and they went on tour, ending in Montreal where he wrote Paradisus (Arbutus Records), and made music as Kool Music, and videos and record sleeves for local bands such as Mac Demarco and Grimes, written of in his 3DUM PH8R (Arbutus Records). From Belize he went by bus to Panama where he took a boat to Colombia, composing Limes (Metatron Press) in Bogota, Ecuador, and Peru. He now lives in London UK. Cover by Ashley Opheim Limited edition, first printing 359 pages.
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