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I have to give credit to my DOP Nikita for that. It’s the fourth film I’ve done for Joesef, so we speak the same visual language. He really cares about his videos, but I still had a lot of creative control. This was filmed in one day. We couldn’t do a full night’s shoot, so it was 11am to 11pm. “From 11am until it got dark outside, we shot the interiors. I planned it shot by shot as we had so much we had to get. I filmed the whole thing on my phone as a rehearsal, so I had a live storyboard. We were so precise, there’s nothing we shot that’s not in the final edit.” The win was welcome as, confidence boost aside, it was a chance for Hindman to see his work in a cinema, and have people come up to him and talk about it afterwards – something he hadn’t experienced before. “Usually, my relationship with how one of my videos is received is looking at the view count online, reading comments you can’t put faces to. But here it was fellow filmmakers and industry people meeting face to face.” As for what’s next, Hindman is now working on a short narrative project funded by the BFI and Film Four, which he says is “stylistically a continuation” of his Stories in Motion video. In terms of advice for next year’s competition entrants, he concludes: “It’s really important when you’re making a thing to enjoy that process for what it is.” The winning shorts can all be found individually on YouTube. For more Stories in Motion details – including how to enter for 2024 – head to the URL below. “It’s good preparation to be able to get a lot of story out in only five minutes”
In terms of advice for anyone entering next year, “it’s all about being able to tell a fantastic story in a short amount of time,” he responds. “But it doesn’t have to be a linear narrative, or too complicated – save that for later on in life!” Sound advice Winning in the Stories in Motion music video category this year was freelance filmmaker Luis Hindman, his visuals accompanying Just Come Home with Me Tonight by Scottish singer Joesef. Like Red Room , most of the action takes place in near darkness, with a deft and subtle command of lighting and colour. Here, the initial setting is a nightclub, before heading into artificially lit streets. Posting beneath the video on YouTube, singer Joesef notes that “we are nerds for colours and old Wong Kar-Wai films, so that’s influenced the aesthetic.” Video director Hindman also cites Kar-Wai and adds Xavier Dolan, saying the intention was “a dreamlike depiction.
and its actual look, Harrington notes that sound design and music were as integral to telling the story as performance, cinematography and lighting. “90% of the film, except for the dialogue, is completely sound design,” he agrees. Being selected as one of the winners of Stories in Motion has already expanded the fledgling filmmaker’s network of contacts. “After the screening, lots of people came up to me saying: ‘I was terrified and uncomfortable, but really enjoyed it’ – and cards were exchanged,” he enthuses. As someone working in the business already, Harrington admits: “The aim is to transition into doing this full time, although I quite like having the day job AD-ing. I’m able to do a job for five months, save up and do a short film at the end of it. That works really nicely.” Even though the equipment used and the individuals involved vary from one project to the next,“it keeps things interesting with different kit and crew and helps to make each film as different as possible.”
LEADING LIGHT Considered use of colour and lighting in the video for Just Come Home with Me Tonight saw filmmaker Luis Hindman bag top honours in the music video category
More information canon.co.uk/get-involved/competition/ stories-in-motion
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