Alexandru Popescu, specialist in efecte vizuale, a realizat videoclipul muzical Lee Mvtthews – Fool. Numele sau se regaseste si pe genericul filmelor americane de succes: Piratii din Caraibe: Pe ape si mai tulburi, John Carter, Prometeus, Ronin: 47 pentru razbunare, Eroii Monumentelor, Jurassic World, Kong: Insula Craniilor, Jumanji: Aventura in jungla, Maria Magdalena, Tomb Raider Inceputul si Christopher Robin si Winnie de Plus. De asemenea, a participat la realizarea serialului Urzeala tronurilor.
In prezent lucreaza la productia cinematografica Aquaman. Este angajat la comapania Method Australia.
Videoclipul a fost filmat in Noua Zeelanda, intr-un studio in Auckland.
Director Alexandru Popescu
Producer Rosalind Stratton
Director of Photography Eoin O’Liddigh
Focus Puller Graham MacFarlane
Gaffer Karl Saunders
Lighting Best Boy Brin Compton
Production Manager Fenella Stratton
VFX Supervisor Alexandru Popescu
VFX Production Manager Stefan Popescu
Additional Post Production Safe Frame
Make up/Hair Aya Hirst
Clothing by Dead Studios
Camera Equipment Panavision Inc
Lighting Equipment Flashlight Film Services Limited
„This was a challenge I was very excited to take on, because I wanted to explore further the freedom of creativity that comes with using realtime rendering for VFX heavy content. Unreal Engine was my main tool, and it delivered an amazing experience from previs all the way to the final composited frames. Fool was created from initial idea to final delivery in a little under 3 months.
When starting the project, I was very keen to pitch a concept that would allow me to use a blend of CG and Plate Photography, to be able to create an otherworldly atmosphere. I wanted to build something unique, a music video that stands out as different. I wanted to take full advantage of the fact that I can control the world I was creating, so I based my idea on an otherworldly character that is experiencing the contrast between the word built by man and natural beauty.
So the video became a combination of realtime rendering of CG sets, all done in Unreal Engine and plates shot on green screen in a studio in Auckland, New Zealand on an Arri Amira. A lot of people are currently experimenting with using game engines for filmmaking, but there isn’t a lot of work out there using filmed plates. However, there is so much to gain from using this technique compared to the traditional vfx pipeline, that I really feel we should experiment as much as possible and push this workflow further.
With only 3 months for a very ambitious project, being structured was key. We split everything in 4 stages :
Post production” (Alexandru Popescu)