American indie pop band MisterWives’ Rock Bottom video was made to promote the band’s first single off its upcoming album. In the video, the band’s lead singer, Mandy Lee, is seen walking on the sands and hills of a beach before walking through a mirror to find the rest of her band on a dance floor. The video combines neon colors and different textures with dark and gray backgrounds at the beginning as Lee goes from dark times to eventually breaking through the mirror and shining with her band on a swirling dance floor.
To capture the look the band wanted, production was done in different locations at different times of day. This included shooting on a remote beach and in the California desert, into which director and colorist Jade Ehlers and his small crew had to hand-carry all of their camera gear and lighting, including a 100-pound mirror. Ehlers color graded the piece on Resolve and edited on Adobe Premiere.
“We wanted to go for a darker tone, with the neon colors in the darkness that showed that light can shine through even the dark times. The song is about showing it is more about the journey to get to the end of the tunnel than just sitting in the dark times, and the video had to capture that perfectly,” Ehlers says.
The video was shot with a Blackmagic Pocket Cinema Camera 6K, which was chosen because of its small size, high dynamic range and ability to shoot in low light, all essential requirements that allowed Ehlers to shoot at the locations that were best for the song.
“Honestly, because of how different all our scenes were, I knew we needed a camera that had great low light that would allow us to be sparing with light since this shoot had a lot of hiking involved,” he says. “The beach location was quite crazy, and we hiked all of the gear in, so having a small camera bag to carry everything in was great.”
Throughout the video, Ehlers had to adjust for different textures and unexpected lighting problems — including lighting the lead singer’s bright-green puffy dress against a gray background in the desert. Another challenge came from shooting the dance floor scenes, wherein the black floor was not putting out as much light as expected. To compensate and get the shots, Ehlers used the camera’s 13 stops of dynamic range and dual native ISO up to 25,600 along with the Blackmagic Raw codec for high-quality, lifelike color images and skin tones.
“Because of the bit range of the camera’s sensor, I was able to qualify the dress to make it pop a bit more, which was amazing and saved me a lot of extra work. And the dance floor scenes were great but were also harder than we imagined, so we had to push the camera higher on the ISO so get the exposure we needed,” concludes Ehlers.