MAKING-OF SUPERSUBMARINA

MAKING-OF EDITOR
SPAIN – MUSIC VIDEO MAKING-OF – 2 min

2013
MUSIC VIDEO DE LAS DUDAS INFINITAS (link)
Director: Jota Aronak
DOP: Rafa Reparaz
Editor: Juan Manuel Gamazo

Extract of Interview I made to Juan Manuel Gamazo, music video editor, for the blog "editorunderconstruction"

PHG How long did take to cut this video? How many versions you made and how did you work to evolve version after version?
JMG "This video was edited in 5 days. As I told you, we first edited another structure and, as soon as we knew that the first was cleaner and more direct we began to work in it. I tend to make the first cuts long so as to see swiftly all the good material I do have. This time my first cut lasted 3 songs!!!
After a previous work of organisation, first cuts, etc. and with barely 3 half sessions of work we had it. We hesitated some things, always due to the good material we had. For instance, to delete some gymkhana part and make the more powerful longer. But missing obstacles made easier the way to the main character. The last change we made was to include two shots of the main character in the floor surrounded by people that we have discarded in principle. These two shots simplified and clarified the content of what has happened (of can happen) to the main character if she doesn't act."

PHG Which were some of the more difficult moments to cut?
JMG The more difficult moments to cut were the interactions of the musicians in the story. Even today not everyone realise them. 
Teníamos dos momentos con los cantantes: el playback y su intervención a modo de dioses en el relato. Sin embargo, habían sido grabados en el mismo espacio y eso entorpecía la lectura inicial -el público lo había decodificado como un playback y no como parte del relato-, por lo que creo que es lo más endeble del relato ahora mismo. Las intervenciones son las siguiente: el barco de papel que devuelven, las tizas que la guían y le interponen gente y, por último, el cambio de tiempo que hace que pueda llegar a la tienda. En algunos casos como el barco de papel intentar ser claro nos llevó incluso a hacer un re-encuadre digital creando un primer plano del barquito que sale volando. Si se lo han perdido vuelvan a verlo. 

frame videoclip supersubmarina
frame videoclip supersubmarina

Extract of Interview I made to Rafael Reparaz, music video DOP, for my former blog "editorunderconstruction"

RR "I remember that each night, after closing the shoot, I went upstairs to the hotel rooms that served as base for the production. Each night darkness told me that there wasn't anyone. I had to grope to look for the switch and take my coat and go home. Just before pressing the button a threatening hoarse voice run over the place "Eeeeh, we're working!" There was the great Carlos Caba illuminated by his screen. We spent hours working on colour correction so as to reduce times in color grading, because we had no much time before delivering, taking into account Red footage time conform. To these night work Jota also came, besides Pablo, sure, that used to rest in the floor fighting to keep awake. In some way, I think it's for living these moments that we are filmmakers..."

The tone of colour was in a way inspired on the mental image we have of our parents pictures, mixed with retro colours or Hipstamatic photos. We weren't clear about how to put it in practice but how normally happens fate came and offered a solution. It's an euphemism to say that we screw it up. Due to the hurry the first shots in the shooting (particularly those shot in the rooftop terrace) were shot with a high levelled magenta tint. When we watch them, without thinking, we love them and thought that the origin of that dominant was due to the lenses. At the end of the work day Carlos gave me the news, it had been a human error. We should not get worried about it, because we were working with RAW material and that was perfectly reversible. But that was the bomb! Just the distinctive point we were looking for. From that point we continued operating in that way but then we were conscious, and tweaking the nuances of that tone. Normally when you see a magenta tint image it feels very unpleasant and it's something you try to eradicate. For turning upside down this convention Carlos Caba worked without pause and hit the nail on the head: blue in blacks and overexposure as general tone. The cold tones in low-lights gave shape and character to the image. On the one hand we had a magenta tint that works very well as a retro convention and on the other hand the cold complement on shadows invokes a mood that matches well with the story we are telling.