There are numerous past joys that we’ve had to give up in our socially estranged present, but for many, the foremost of them is the thrill of being part of a live music crowd.
Director brothers Gabriel and Sergio Twardowski are intimately familiar with having accompanied and captured Brazilian DJ Alok’s sets around the world over the past four years. Confined indoors due to Brazil’s coronavirus lockdown measures, the brothers set themselves the gigantic task of excavating 30 terabytes of material to create an engaging stop-motion video as a gift for Alok and fans of concerts at Alok Memories.
The aesthetics present for the video caught our attention, since it is a video made with “stop motion” but in a very traditional way that achieves very attractive results, perfectly applicable to other concepts.
“We wanted to make a new movie using these old files, so we started looking around 900 hours of images (30 terabytes divided into 14 hard drives) looking for similar characteristics among the clips to see if it would be possible to run a project on this one. meaning. ”
“In this two-month study, we realized that there was a geographical and photographic pattern in the shows: the artist was always in the same positions (he is a DJ) and our camera movements were very similar. This is how the Alok Memories project was born and it became a gift for fans who need shows and for the artist himself who was able to celebrate his last years of shows. ”
“We decided to make something lively and energetic, highlighting the large number of shows and telling a story with them. Then we draw the possible paths with the selected frames. The only way to know which one worked was to test it from start to finish. There were 14 tests to get to the best one. ”
“When we had the film ready, we realized that it didn’t give us the feeling we wanted. Our solution was to incorporate a “material” texture layer. So we printed all the frames on A3 sheets on the cheapest paper, bought a cutting base, and made a template to fit the sheet. This was done so that we did not have to look up the position every time in the printed material. Just insert the sheet, cut and paste. As the paper used was plain, we sanded the edges to give a printed photo paper look. ”
“Finally, the stop-motion took 6 days. We use the Panasonic Lumix GH5, the same camera we use to record most of the scenes we investigated. We connected the camera to the LUMIX Tether which allowed us to do all the setup and take pictures using the computer. ”
“In total we had more than 100 working days between pre-production and completion, more than 1000 impressions between tests, failures and successes.”
“With the directors of design and sound mixing Mateus Polati and Jimmy Gressler, we seek to use audio to unite the narrative and take the listener to the universe of the film, within the programs that we are projecting. In it, we tried various options with songs from Alok, tracks produced with elements of them, and tracks external to it, until we realized that classical music would tie the film as necessary and would be a good solution to reference memory. of the public and have the energetic rhythm, with pauses and ups, to represent the more than 10 shows that we were using per second. ”
“We decided to make something lively and energetic, highlighting the large number of shows and telling a story with them.”
“Also, using a classical score and not Alok’s, meant that we could extend this tribute to the public of other artists, following the same path of their releases as the Symphonia song, in which it uses samples from the classical Symphony. No. 5 by Beethoven. So, along with the audio cables, we chose the 3rd movement in Vivaldi’s Four Seasons series, dedicated to spring and moments of renewal. The track has been heavily edited to suit the pacing of the film, mainly due to the slower and more delicate pacing. ”