KEIR SIEWERT

American/Scottish writer/director/producer of music videos, short films and promos. Owner/Operator Breaking Point Flix. Check out my website breakingpointflix.com
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soundonsight:

Everyone who has had trouble finding a job or is having trouble finding work, despite your education  … watch this short film. 

Watch me chat shit during a shoot

The Silver Linings Playbook 

Life of Pi

Killing The Softly

The Dark Knight Rises

Rust and Bone

Argo

Looper

The Master

The Imposter

AND FAVOURITE FILM OF THE YEAR: The Grey

Getting near the end of my favourite 10 videos I made in 2012

Next is NOTRE DAME by SARAH COLOSO

Obvious inspiration was Bob Fosse in the heavy use of mixing red and white light, with a lot of inspiration taken from Cabaret and Chicago.

There are a lot of knowing nods to Fosse’s work with in the video and the goal was to combine a sense of the style and camp.

Next on my ten favourite videos I put out this year

THE OK SOCIAL CLUB with THE SHAPE OF THINGS TO COME.

A relentless onslaught of energy and editing. It was basically you’re classic old-fashioned Rock n Roll video. I wrote a whole thing about it a couple of months back so I won’t repeat myself, you can read about how it was made here:

http://breakingpointflix.tumblr.com/post/23539269423/how-it-was-made-the-shape-of-things-to-come-by

Next up on the end of year retrospective, my 10 favourite videos I made this year:

VULTURE by BEAR ARMS

Never work with children or animals they always say. Well it’s true. Trying to keep a hoard of 8-10 year olds to pay attention and do exactly what you ask them is no easy task. Not to mention when it came to filming the sections where they attacked the band, we had to take away their weapons because they started to get a bit too enthusiastic.

A bunch of people have commented that this video is the epitome of my type of video. However this is probably the least amount of change I have ever made to a concept. In fact basically the initial meeting basically consisted of Richard telling me the idea and me simply going, “yes, lets do that.”

I think it’s dark and funny and a bit weird and it’s always fun to come in and work on someone else’s idea.

So what’s up next on my end of the year retrospective, covering my 10 favourite videos I put out this year? 

MONEY by MISSING ANDY

Getting to do something very story based and fun, I basically got to tick all the boxes of a caper film and go all Mission Impossible.

The whole video had to be shot in 11 hours and involved just a non-stop run and gun approach, lighting areas and trying to keep everything moving at a steady and fast pace. I’m sure I probably came off like a pretty big asshole considering the amount of time I spent bossing around what amounted to around 50 extras.

In retrospect, the whole plan seemed so insane and the schedule seemed so tight, I’m amazed we ever thought we could do it lol.

But it all worked out in the end.

Next on the end of year retrospective on my 10 favourite videos I released this year:

GASOLINE by FLUORESCENT HEARTS

What can I say, smoke, lights, pyrotechnics, probably the most toys I’ve ever got to play with. Though it was very important to me that we use the lights and pyrotechnics to highlight the pace and rhythm of the song without getting bogged down in shooting whole coverage. So we took the song section by section, changing up the coverage style to fit each tempo change in the song.

I had a lot of breathing room too, it was a two day shoot, which stopped us from hurrying too much and with a great lighting technician to do what I asked with the lights, it was at times like being a kid in a candy store.

Next on my retrospective of my 10 favourite videos I put out this year:

CAFFEINE HOLIDAY by NASTY P. Described in a write up by the BBC Music Video festival as a “slick and stylish promo, with some ultra-cool split-screen.”

More then anything the whole concept was to make a visually dynamic mood piece, that got the chilled out vibe of the song, but wasn’t boring to watch. The split screens cut very deliberately with the beats to make sure the video is constantly changing and are very much a visualisation of the pace and rhythm of the track. It’s the split screen that makes it work, otherwise the images themselves would be quite dull. 

I went for very structured images, a lot of variations on wides and close ups which would compliment each other when paired. This is also because the eye is trying to process two images at once, so the structure stops it from feeling too chaotic. The camera only because more unfocused and chaotic when the video finishes in the single screen when the girl enters the club. Occasional changes in the editing beats, such a moment of full screen or freeze frames and reverse images were put in, to stop the video from getting too repetitive.

More then anything the video is just about imparting a mood and large part of that is done by the track. I just think it’s a really good marriage of imagery, editing and music.

I spent 3 hours making this, so look at it!!!

The end of year retrospective continues, examining my 10 favourite videos I made this year, in no particular order.

Next is SHEDDING SKIN, MAKING BONES by A FIGHT YOU CAN’T WIN, a video which basically allowed me to watch a lot of horror films and essentially rip them off.

It was actually an incredibly easy shoot, one location with pretty consistent lighting. The idea was to have a video where the band was the focal point with out falling into the dull repetitiveness of coverage videos, where all the video feels like is the same 10 coverage angles being re-circulated. So we shot the song in sections, changing up angles and coverage on each section and used the style of visuals to highlight tempo changes with structured tracks and pans during verses and chaotic unsteady camera movement during choruses.

On top of that was the idea of teasing in images of “the creature” (the lead singer Matthew’s girlfriend Emily) stalking around the outside and slowly picking off the band one by one. The goal here was to try to establish shots and then have the band suddenly picked out of them, so it would be more surprising for the viewer. Also, it was important that at no point did you ever get a complete look at “the creature,” so there is a lot of framing out of focus or shadowy positioning in the background or foreground.

It’s nice, compact and it’s a lot of fun.

Keir 

This is the first in my retrospective on my 10 favourite videos I made in 2012 (in no particular order).

This is TRENDSETTER by DEAD SEA SOULS. The reason I like this one so much is just the relentless energy in it and the silly tone (people often seem to label the type of stuff I do as very dark). I spent quite a bit of time watching the boxing scenes in Michael Mann’s “Ali,” Guy Richie’s “Snatch,” and Ron Howard’s “Cinderella Man.” What I like was how the captured a real sense of being within the ring with the fighter, as apposed to being more of a spectator to the fight (“The Fighter” and “Warrior” are two recent examples I can think of that are more along that line). It’s also quite useful if you’re working with people who aren’t trained as fighters. Funnily enough there was very little planning, a lot of the shots had been worked out ages perviously, for a video that the band backed out of at the last minute and really all that needed to sourced was a location. We shot the whole thing in an afternoon and it was actually surprisingly easy.

My personal reasons are I like the chaotic feel, I like some of the stylistic touches I used like the fixed camera shots and the use of the 24mm on the POV shots to help create the feeling of disorientation.

Raging Bull was a big influence on the look and I used almost exclusively backlight and smoke and really loved the look it had.

I think it’s one of my most fun and kinetic videos of the year.

Editing in progress

This video is going to be insane