Panic at the disco music type pro#

вЂњBeing a fly on the wall and living in his world, in his element, at a Panic! show was just really cool.вЂќ вЂњIt was just incredible watching the fans interact with Beebo,вЂќ said Dermer. For him, the most fun was in directing a great music video with a great band, but also being able to do something unique with a puppet in a pure documentary format. Dermer attributes the success to a great song, a compelling character in Beebo, and of course, good looking imagery. The video, which dropped on March 18th, began trending quickly.

Panic at the disco music type pro#

I try to give him the best images to work off of, so hearing his positive feedback on the Blackmagic RAW images that are produced with the URSA Mini Pro made me happy.вЂќ вЂњWith digital film, the color process is now a direct extension of cinematography, and having a true artist like Ryan, who is also tech savvy, is so important because he makes things happen that I didn't even know are possible. вЂњThe things Ryan is able to do in post is incredible,вЂќ said Kielar. Playback was smooth and compared to other similar codecs, I found it much more efficient.вЂќДermer and Kielar enjoyed the process of color on the music video, both because of the quality of the images from the Blackmagic cameras as well as working with McNeal. Also, the efficiency of the codec seems to be the biggest deal to me. вЂњColor space was great and it helped to have some access to camera raw settings for the session, both to make adjustments and to facilitate discussion between me and (Kielar).

вЂњTwo things stood out to me right away,вЂќ said McNeal. In post production, colorist Ryan McNeal used DaVinci Resolve Studio to finish the project, and found the Blackmagic RAW format a great improvement over Cinema DNG.

вЂњShooting at a concert space where at times it was very dark or very bright.the camera was able to hold it all together.вЂќ Using the file format allowed the crew to shoot longer without changes, a key element of shooting fast during a live event. вЂњThe dynamic range was incredible,вЂќ said Kielar. The team decided to shoot in Blackmagic RAW, and were happy with the results. The camera team, led by cinematographer Wojciech Kielar, enjoyed the flexibility of the Blackmagic cameras. вЂњWorking with puppets is a special effect that most people forget is a special effect,вЂќ said Dermer.

The production relied heavily on a documentary style, despite the added complexity of a live puppet in nearly every shot. вЂњHaving the Pocket 4K available for those incredible unexpected moments of spontaneity was key,вЂќ said Dermer.

вЂњFor вЂDancingвЂ™s Not A CrimeвЂ™ we wanted to thrust Beebo into the real world, and what better place than a Panic! Show.вЂќ The team used the URSA Mini Pro for more rehearsed moments, and the Pocket Cinema Camera 4K for less planned shots. Urie developed the idea for the puppet and came up with the concept for the video, then contacted Director Brandon Dermer for execution. The video follows the puppet Beebo, a caricature of lead singer Brendon Urie that has already starred in other Panic! At the Disco videos, as he gains back stage access to a live concert, but misses his chance to interact with the band after partying too much.