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Column2

ZombieArmI've Got Nothing
Chartjackers' single hits the Charts at last!

ZombieArmT-Mobile's Josh
Phone brand grades ad with Jamie

ZombieArmMisfits
Behind the scenes explored by our team

ZombieArm5 Live Spots
Online ads roll through Pogo iQ

ZombieArmRowland Wins
Pogo edited charity film wins IVCA award

ZombieArmRonnie Scott's 50th
Tapping into the success of Ronnie Scott's

ZombieArmOpen Evening
Pogo flings its doors open with Frame and Fugitive

ZombieArmChartjackers
Hat Trick's youth-tube show goes large

ZombieArmHarding's FPA
Harding's FPA testing illuminated, a bit

ZombieArmThe End of JF
Wrong pitch can bring light into the dark

ZombieArmJenny
To the spoiled the rewards do not go

ZombieArmAviv Geffen Video
Promo for Love Song a RED success

ZombieArmOne World Awards
Pogo and Bruno create the award's look

ZombieArmBroadcast Advert
Blanket Jamie in Europe wide campaign

ZombiesZombies at BAFTA
Zombies try their luck with BAFTA members

ZombieArmZombie Introduction
Intro sequence to Hat Trick Zombies a la Bruno!

Afghan3 Minute Afghans
4 challenging Afghani short films on C4

TransitIn Transit
Pogo Film champions red-routes in production

JamieJamie joins Pogo
Welcome our latest member of the gang

 

 

 

 

 

column3

July 2009

 

Pogo Films Onlined and Graded the Music Video for Aviv Geffen’s “Love Song”.
Aviv may not be that well know in the UK but he is huge in Israel, having had countless hits over the last 20 years!

"Love Song" was shot on the Red and Phantom, the latter was used for its amazing high-speed abilities.

The Phantom can shoot up to 1,400,000 frames-per-second (fps). This, combined with the Red footage gave very impressive results.

Directed by Drew Cox and Produced by Jermaine Grossett who had previously worked on the music video "Dance Like a White Boy” by Master Shortie, also shot on the Red and Onlined and Graded at Pogo Films.

"Love Song" was Conformed/Graded and Onlined using the Quantel iQ by Jamie Dickinson.

Jamie found that the music video was a really interesting job as it involved files from both Red and the Phantom. And the iQ can import from both formats directly.

Using the iQ to make low-res copies of the Phantom files for the offline edit, he could keep the HD files to use later in the on-line and grade. There was a lot of compositing done in the offline which he managed to match in the iQ and he also blended in a cool light effect over the edit.