Motion

Alagoas 'Ghosts'

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GMUNK 9.5 D.S.H. 9.5 J.S. 9.5 P.K. 9 V.M.H. 9 A.M. 7.7 J.M. 9 V.C. 9 C.H. 9.5 P.T. 9.1 Creative 9.1 GMUNK 9 D.S.H. 9.5 J.S. 9 P.K. 9 V.M.H. 9.5 A.M. 7.5 J.M. 9 V.C. 9.5 C.H. 9 P.T. 9 Design 9 GMUNK 9 D.S.H. 9 J.S. 8.5 P.K. 9 V.M.H. 9 A.M. 8 J.M. 9.5 V.C. 10 C.H. 9.5 P.T. 9.3 Craft 9.1 GMUNK 9.2 D.S.H. 9.3 J.S. 9 P.K. 9 V.M.H. 9.2 A.M. 7.7 J.M. 9.2 V.C. 9.5 C.H. 9.3 P.T. 9.1 Total 9.1
“We’ll be the West when it was one”. A colorful psychedelic alien arrives to an ancient settlement and fascinate them with his delightful movements and extravagant colors. Beyond his naïve look and majestic movement his intentions are as ambiguous as the concept of the “manifest destiny” in the American West. A music video for american band Alagoas.
The Concept

Dvein asked Wilson from Alagoas about it and he explained to them that they wrote Ghosts during a road trip through the north of Spain. They were in Los Monegros, a desert that recalled them to the first settlers in the West of the U.S.and that is actually known for being the location of some of the Spaghetti Westerns from the 70s. He then gave them a master class in American history, introducing them to a stunning concept, the manifest destiny. An irresistible destiny that the American settlers had to conquer the West of the continent to expand their virtues. It was a moral mission.

They were amazed by that idea, and all that had to do with it and started researching on it discovering all the controversy around it and how the idea is, somehow, still in discussion. They found the 1872 painting American Progress by John Gast were Columbia, a giant woman, lead the settlers into the dark West taking their new technology and fascinating new thoughts.

So that triggered the idea in which is based the music video, a colorful psychedelic alien that arrives to an ancient settlement and fascinate them with his delightful movements and extravagant colors, mixed in a combination of ingredients that creates the Ghosts world and fantasy, a fun and playful approach to a concept as ambiguous as the manifest destiny.

The Production

Dvein had a pretty long pre-production process that resulted in generating a number of previzs, concepts and so on. Alagoas itself gave them a lot of freedom regarding the proposal, so everything was more internal documentation so that each department head had all the information clear. But at the same time it was all pretty detailed as they had few days to shot it all so they had to be sensitive regarding time and resource management. This also involved the post team, they had to find the schedule spots so that they could shoot the HDRs, check constantly with them that they were aware of everything that was planned and if that would affect the postproduction process. And obviously, the whole shooting preproduction was handled by a small production team and was pretty challenging, even though everyone involved was very resourceful and helpful in every step.

The set was designed by the very talented Anna Colomer, their production designer. They collaborated closed-by in the design of the spaceship but she also did an awesome research to recreate the tribe village by incorporating different indigenous elements and to build a ghostly yet realistic environment for our video in an indoor set. Everything was specially constructed for the shooting. They covered the whole floor, that was 1000 sq meters, with 44 tons of sand. During the shot, the set was permanently covered with smoke. It’s also important for them to acknowledge Renée Jablonski, the wardrobe designer, who designed and crafted specially for the project together with her team clothing for 20 people, plus the monster, no rental involved.

Everything except the monster head is real, the monster suit weighed over 20kg and the dancer (Claudio Rojas) literally needed an assistant with a chair next to him to sit down after each take. He also had tracking device installed on his head. This was designed by the 3d team, Trizz Studio, so that they could have information for the tracks. So all the contact that the body has with the cast is real, but as you can imagine, there was also a big process of rotoscope for everything that was interacting with the head, that is full CG.

Editing: Marc Luelmo - Music: Wilson Brown at Antfood - Front Frame: Brazo del Hierro
Final

They started to work on this as early as 2014, but the very first rough treatment was ready by April 2014. The shooting pre-production itself though started in late May 2014, They shot in in July 2014 and had nearly 9 months of postproduction afterwards. It was completed by June 2015.

Client
Alagoas / Better Problems
Credits
Dvein Direction & Script Marga Sarda Badia Production Miguel Prohens Cinematography
Anna Colomer Art Direction
Maria Anton Editor
Trizz Studio & Lanczos Postproduction
Renee Jablonski Costume Design
Nuria Cespedes Hair & Make-up
Belen Palos Casting
Marc Luelmo Making-of
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