Michal Menert – Dreaming of a Bigger Life

Larger than life, already…

Was scouring the Pretty Lights website (www.prettylightsmusic.com) last night, in awe over the pretty design (refresh the site a few times… LOVE the random backgrounds!), when i discovered this amazing body of work under the PL Label tab.

I don’t gush very often… (ok i gush all the fucking time) but this has to be heard to be believed. Extremely fresh and engaging, this album is hopefully a sign of things to come. The world needs more music as groundbreaking as this. There is endless inspiration to be found in here.

The Flower

Embrace Life

featured on http://blog.duarte.com/

Several days ago, one of my co-workers sent out a link to a video entitled “Embrace Life”, a commercial promoting seat belt use. Apparently The Sussex Safer Roads Partnership decided that it was time for a seat belt awareness campaign that didn’t use the shock and awe approach. Sussex must be a lot like where I grew up, because the only seat belt awareness messages I’ve seen involve threat of punishment… and punishment by way of fine, personal injury, or death.

So I clicked on the link, like you are about to…

… and the video immediately arrested my attention, a feat nearly impossible when I am two cups deep into a pot of coffee, and juggling multiple tasks. But by the time the father’s expression changed to concern, I was reacting emotionally to this thing… in my cubicle, of all places. How embarrassing.

“Don’t blink. Just finish the video, collect yourself, and get back to life as usual. And in the event of a total emo-meltdown, there is Kleenex nearby.”

But it turned out I could not go back to life as usual. For some reason I found myself thinking about it the following morning while brushing my teeth. I couldn’t stop thinking about how quickly that video got inside my head. Why did it have such power over me? Was it luck, or was there a formula to charging something that fully with emotion? And how could I bring that same level of emotion to my own creations?

As it turns out, it was no accident. On the production company’s website there is a “Making Of” page, where I learned the method behind this masterpiece.

“I wanted to create a visual metaphor addressing how a single decision in a person’s day can greatly influence both their own and their loved ones’ lives. Choosing to film the story inside the family living room represents the feelings many people equate with their own car, in that it represents a level of safety and protection from the ‘outer’ world.”

This was true for me. Instantly I was thinking about my own family and friends… the people I credit most for my personal safety.

“So to create the emotion of this dramatic moment, I wanted to tell the story using slow motion to allow the audience the time to be drawn into the film’s world and to let them connect with and project their own feelings onto the scenario playing out before them. I wanted to give the audience the time to breathe, to absorb our message and using slow motion was the right technique to allow this to happen.”

Ahhh so that’s how I got so absorbed. It takes a lot to yank us out of the hypnosis of our routines, but I was completely halted in the first 15 seconds.

“I wanted to keep the audience in the moment and so we kept the film’s look to be subtle and natural, complimenting Luke’s onset lighting.”

Although I didn’t notice it at the time, that may have contributed to my initial impression… that the piece seemed to have no wasted energy. No wasted pixels or motions. Every component has purpose.

“Embrace Life’s music … started with Daniel giving examples of the music he felt best optimised the emotion and tone of Embrace Life and from these guide tracks Sid worked his magic until the right blend was achieved.”

There is a moment of tension when the piano changes key at the 50-second mark… and then there is the impact… and the glitter in the bowl showers down around them like pieces of safety-glass or the fragments of one’s fragile life.

The moral of this story is obviously “fasten your seat belt”… but for us creative types, a secondary message exists: Slow down… eliminate clutter… take the high road to emotional impact and really ENGAGE your viewer. Respect your audience. Don’t threaten them… create imagery that they will WANT to remember and maybe even share… and if you can make them want to call their families after your presentation, well then everybody wins.

Read the full “Making of” page: http://www.alexandercommercials.co.uk/Makingof.html
Alexander Commercials: http://www.alexandercommercials.co.uk/index.html
The Sussex Safer Roads Partnership http://www.sussexsaferroads.gov.uk

Inside Daft Punk’s Pyramid

Photo is from 2007 but that doesn’t make it any less impressive
http://www.thedailyswarm.com/swarm/daft-punk-alive-2007-tour-all-access/

click for larger

1. ABLETON
“The show revolves around Ableton Live software on custom made super-computers, which we remotely access and control with Behringer BCR2000 midi controllers.”

2. SCREENS
“Next to the ethernet remote computer screens there are four Minimoog Voyagers, the classic analog synthesizers. They’re a 30-year old design.”

3. MOOGS
“We can mix, shuffle, trigger loops, filter, distort samples, EQ in and out, transpose or destroy and deconstruct synth lines. We keep some surprises on the side too!”

4. VISUALS
“There’s a direct connection between our rig and the lights and visuals of the show. The light and video engineers can also add or control layers during the show.”

5. SYNTHS
“Inside the pyramid are synthesizers and remote controls connected to the rest of the music equipment and computers, which are in rack-mounted towers off stage.”

6. TEAMWORK
“Working the music equipment, lighting and video equipment, and building the pyramid for each show takes around 10 people, including both of us.”

Peche Lambic

WIN