Our female hero awakens and begins her journeys through a series of stunning environments. There are moments when we see through her stylized point of view, where her world is markedly more mystical, filled with shamanic rituals, hypnotic runes and an elusive, enigmatic stranger she summons from nature itself. The locations seem simultaneously familiar yet mysterious. Switching between these two perspectives inspires the audience to question what is real and what is fantasy, and reflect on the truth of their own senses..
Our heroine’s story folds back on itself – she wakes up three times, each time in the same physical posture but in a radically different location. As she ventures forward again, her path diverges. She finds herself in new places, discovers that objects and symbols she’s carried on her journey have changed shapes, and the cloaked stranger seems to know her differently. By the end, the stranger is no longer an untouchable figure she is chasing but a spiritual conduit that embraces her and pulls them both into reality, restoring vision and beginning the story anew once more..
In addition to effects and environment, we distinguish our heroine’s two perspectives through props. During the outset, she carries a sack full of geometric objects which on the outside seem mundane, but erupt with extruding, illuminated designs that come alive once viewed from her point of view. Though her perspective is otherworldly, we also wanted it to feel tangible, as there’s no substitute for practical objects, so we crafted and 3D printed the extruding geometry, laser engraved runic patterns, and installed lights inside objects for in-camera lighting effects..
The band was treated as the interweave between the two dimensions in the film.. Visually, they’re presented through a the same methods of infrared photography, providing a visual bridge while still giving us a reprieve from the intense environmental palettes. We captured the thousands of scattered, IR-visible dots emitted by an array of Kinects, again only 'seen' through the Infrared camera, and supplemented these patterns with laser projections that bathe the image with fill light and color.. The band footage also acts as a narrative locomotive, spurring the transition points within the story and acting as a puppeteer for the characters during their memorable interactions..
++ LINK to the Original Treatment ++
++ Read More about the Process at the Creator's Project ++
THE FILM TECHNIQUE
We shot the “audience” narrative — within the visible light spectrum — using a standard RED Epic camera package and de-coated zeiss super-speed standard prime lenses. We thrived on capturing majestic wide-angle shots that enhanced the beauty of our locations and complemented those shots with an assortment of textural macros and long-lens compressions to drive home an intimate experience with our characters.. The de-coated lenses brought us very close to the “Tycho aesthetic” in-camera.. The lenses gave us creamy lifted shadows with muted yet saturated colors, distinctly rich bokeh, and pools of soft focus with crisp focal points. This was a great starting point for our colourist at Glassworks to take it to another world.
We captured the infrared “POV” narrative through the usage of infrared and full-spectrum photography, we custom modified a second RED Epic camera to enable this unique aesthetic. Placing stylized filters over the lens gave a dreamy, highly-affected look that emphasized we were looking through our heroine’s eyes. Lastly, in grade we experimented greatly with channel mixing and advanced processing to render a variety of remarkable looks.
We wanted to create a whole new look with which to shoot the band, something that would tie the story together.. We started experimenting with infrared lighting and discovered that the IR emitter in the Microsoft Kinect projects a starfield-like dot pattern not unlike what a 3D render of point cloud data looks like; with our full spectrum camera it became photographic.. Some of the lens flares we were able to make with the Kinect are unlike anything we've ever seen before - creating super dense moire patterns and 3D-like caustic inversions of lens geometry. The set was totally dark, aside from a red laser - we could not see anything except while looking through the cameras viewfinder. Operating a camera in this situation was like a real manifestation of virtual reality. The band also couldn’t see each other and couldn’t tell who or what the camera was looking at - which ultimately made the performance feel very raw..
THE PRACTICAL FX
2014 The Creator's Project: [Premiere Tycho's Otherworldly "See" Video
2014 Promo News: New Directors | Beauty & Narrative Meet in Tycho 'See' Video
2014 Laughing Squid: Tycho ‘See’ Mixes Psychedelic Imagery & Techniques
2014 Motionographer: GMUNK - Tycho "See" Music Video
2014 So Bad So Good: Tycho's Music Video Is A Hallucinatory Experience
Tycho - See Credit List
Assistant Director: Ian Colon
Executive / Line Producer: Andrew 'Demansky Devankeys' Devansky
Concept: Bradley G Munkowitz, Ian Colon, Joe Picard
Director of Photography: Joe Picard
1st Camera Assistants: Magaera Stephens, Noah Hassie
2nd Camera Assistants: Dakota Wilder Smith
Grips / Lighting: Tej Verde, Dakota Wilder Smith, Patrick Walsh
Props design and fabrication: Conor Grebel, Mike Williams
Practical FX design: Conor Grebel, Mike Williams
Lead Actress: Hannah Helena Bjørnø
Lead Actor: Eone Darke n’ Cray
Costume Designer: Jasmine Hamed
Makeup: Melissa Capistrano
Production Company: Ground Control UK
Executive Producer: Michael Stanish
Editors: Bradley G Munkowitz, Ian Colon
Post Facility: Glassworks UK
Colourist: Matt Hare
Flame Artist: James MacLachlan
Process Photography: Dan Cowles, Maris Curran, Dakota Wilder
Process Editorial: Cyrus Tabar
Camera Rentals: Chater Camera, Keslow Camera
Equipment Rentals: Little Giant Grip & Electric
Extra Special Thanks: Ground Control, Autofuss, Bot & Dolly, Ghostly, Tycho
Concept, Director, Lead Editor
at Ground Control UK
for Ghostly International