OkGo – Experimental Video Rock Stars

An American rock band originally from Chicago, OK Go is composed of Damian Kulash, Tim Nordwind, Dan Konopka and Andy Ross. The band is known for its often quirky and elaborate one-take music videos. They had mild to middling success until they started making more interesting/experimental music videos.

OK Go has become famous for their creative and often low-budget music videos, most of which have been promoted through YouTube. Many of these have become viral videos including the 2006 video for “Here It Goes Again”which won a Grammy Award for Best Music Video in 2007. The band performed a complex routine with the aid of motorized treadmills, and has received over 50 million views on YouTube four years later.

 

 

The band’s video for Needing/Getting, released February 5, 2012 in partnership with Chevrolet, debuted during Super Bowl XLVI and has over 32 million views on YouTube.  Many of the videos also use long or single-shot takes, which Salons Matt Zoller Seitz claims “restore[s] a sense of wonder to the musical number by letting the performers’ humanity shine through and allowing them to do their thing with a minimum of filmmaking interference“.The success of OK Go’s music first won the band the 14th Annual Webby Special Achievement Award for Film and Video Artist of the Year.The video for “This Too Shall Pass” was named both “Video of the Year” and “Best Rock Video” at the 3rd annual UK Music Video Awards.”This Too Shall Pass” won the LA Film Fest’s Audience Award for Best Music Video,UK MVA Awards – Music Video of the Year Winner 2010, among others.

The band has worked with directors including Francis Lawrence, Olivier Gondry, Brian L. Perkins, Scott Keiner, and Todd Sullivan. The videos have been screened and displayed at museums, art galleries, and film festivals around the world including the Guggenheim Museum, the Museum of the Moving Image, the Edinburgh International Film Festival, the Los Angeles County Museum of Art, the Los Angeles Film Festival, and the Saatchi & Saatchi New Director’s Showcase.

 

 

The video for “I Wont Let You Down” is objectively the first to feature the use of a UAV drone to film a whole music video. There are many other examples of OK Go pushing the boundaries between music video and experimental art (stop motion toast being particularly memorable), companies give large sponsorship to them for features in their videos or for them to be in a stylized ad campaign. Their blend of inoffensive middle of the road indie music is greatly uplifted in the public domain by viral videos which are in themselves a very clever marketing tool. I think it’s fair to say no one would remember OK Go if they hadn’t got on their treadmills back in 2006 and their subsequently more interesting (and expensive) videos that have followed.

 

 

Their most recent video focuses on the super slow-mo trend that is both a hit on YouTube and with the general consumer as more and more devices can record at higher frame rates. A large amount of planning and calculations has evidently gone in to this video to get the sound and visual synchronization. What’s perhaps most impressive is how well they managed to sync up the song with the incredibly fast “events,” of which there are exactly 318. So how did they do it?

“We used very precise digital triggers to set off several hundred events in extremely quick succession. The triggers were synchronized to high speed robotic arms which whipped the cameras along the path of the action,” Kulash explains on the band’s official website.  “Though the routine was planned as a single event, currently no camera control systems exist which could move fast enough (or for many sections, change direction fast enough) to capture a movement this long and complex with a single camera, so the video you see connects seven camera movements.”

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This spreadsheet consists of  dozens of connected worksheets feeding off of a master sheet 25 columns wide and nearly 400 rows long. In Kulash’s words, it “calculates the exact timing of each event from a variety of data that related the events to one another and to the time scale in which they were being shot.”

On top of this intricate web of events, many were shot at different speeds. Each section was shot at a constant rate, but between the events they toggled from one speed to another.

Kulash breaks it down further: “When the guitars explode, we are 200x slower than reality (6,000 frames per second), but Tim and Andy’s short bursts of lip sync (Tim twice and Andy once) are only 3x slower than real life (90 frames per second). The watermelons are around 150x, and the spray paint cans are a little over 60x.”

 

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Attack of the Dones

The domestic hobby drone market is massive and thought to be worth around $3.3billion internationally (http://expandedramblings.com/index.php/drone-statistics/). In September, GoPro made its first step into the drone market with the Karma – a product that has been way overdue – something that was not only impressive in terms of drone specifications but also had a removable stabilising unit for their standalone cameras, meaning it offers more bang for the buck. Only days later DJI (arguably the biggest drone maker in the world) released their newest and smallest drone the Mavic.

As you might’ve guessed, in testing the GoPro Karma’s camera did slightly better than the DJI Mavic’s camera, but DJI’s drone body did slightly better than GoPro’s. See, each company specialises in different areas: DJI has got their aerial drone game down, while GoPro knows more than a thing or two about tiny action cameras.

Below is an infographic of these two similar drones to help the consumer decide which one to spend their hard earned cash on.

gopro-karma-vs-dji-mavic-pro-drone-wars-infographic2

Research Drones

My Diigo thingy 

Brief history of drones (UAVs)

How easy it is to actually buy drones (physical evidence/study? – I go and take photos in places that sell drones)

Laws that effect them now both for commercial and public use

[Small unmanned surveillance aircraft
167.—(1) The person in charge of a small unmanned surveillance aircraft must not fly the aircraft in any of the circumstances described in paragraph (2) except in accordance with a permission issued by the CAA.
(2) The circumstances referred to in paragraph (1) are—
(a)over or within 150 metres of any congested area;
(b)over or within 150 metres of an organised open-air assembly of more than 1,000 persons;
(c)within 50 metres of any vessel, vehicle or structure which is not under the control of the person in charge of the aircraft; or
(d)subject to paragraphs (3) and (4), within 50 metres of any person.
(3) Subject to paragraph (4), during take-off or landing, a small unmanned surveillance aircraft must not be flown within 30 metres of any person.
(4) Paragraphs (2)(d) and (3) do not apply to the person in charge of the small unmanned surveillance aircraft or a person under the control of the person in charge of the aircraft.
(5) In this article ‘a small unmanned surveillance aircraft’ means a small unmanned aircraft which is equipped to undertake any form of surveillance or data acquisition.]

Scary things that have happened around drone usage

What people say about the above scary things

Data from the USA

What I want my data to achieve

Questionnaire

Conclusion