Repost One ov the lasses best, and at a very nice compression

Mega 87mb mpg

         

'Cross the Uni' is up on antville now

         

my favorite video of all time.

         

why is it your fav of all time?

         

it's simple and elegant and perfectly captures the spirit of the song, something i think most videos just don't do.

         

erm... i'd posit it's actually a lot more than that, longsto. this is profoundly impressive stuff. to the point that i actually prefer not to say too much about it.

         

fair enough. i was asked. truth be told, just declaring one clip to be my 'favorite' of the tens of thousands of videos in existence gives it a certain weight, no?

         

Agreed. All time great. I can't say enough about this video. Glad to see the repost and glad to heap on the compliments. Beautiful on every level.

         

What codec is this? I can't seem to view it in Windows Media Player.

         

according to mi GSpot prog

DirectShow claims to be able to play the file. The following combination of filters were used:

{MPEG-2 Demultiplexer} (Splitter)

{InterVideo Video Decoder} (Video Decoder) {Video Renderer} (Video Renderer) - U don't really want to know the rest

It plays in my WMP n' Winamp fine but then I have got Divx installed as well It plays fine in VLC not needing recourse to such codec

         

it's a muxed mpg2 (= dvd quality, though scaled only to 480x320 instead of the full 720x576). qt plays it if you have the qt mpg2 component installed, otherwise vlc's your best bet.

my donkey's right bald!

         

Plays in VLC, MPC and Mplayer. They're all free as in beer and as in speech. What else d'you need?

         

where can i get this mp3?

         

here (first or fourth are best).

         

progosk, I understand why you like this, it's a formalist masterpiece, but I'm not sure what the content is here. Doesn't mean I don't like it, but it's super vague - is it some allusion to the civil rights movement?

         

y know? i never asked myself what the original song means, beyond some particularly motley moment of zen. which is why it doesn't really occur to me to delve into what content/intention there is here beyond what i see, beyond the chords these images resonate. (i haven't seen pleasantville, though i presume it's the movie set they're destroying, and perhaps there's something thematically to do with the movie.)

         

I see. I didn't realize that this release was connected with a movie. As for the meaning of the original song, I'm cool with just letting that ride.

         

Ah, who cares... It looks phenomenal, it keeps getting better with repeat viewings, clever use of camera tricks that don't get in the way of the experience. Reminds me of Gondry.

         

Who cares? Sorry, I didn't know I was required to gape with awe like some slack jawed jokel and just receive the genius of a floating fiona above a dinner being destroyed by frat boys.

         

Oh, coady... ...I wasn't suggesting you need ignore the hidden depths of this "formalist masterpiece." I was suggesting that I don't care... I think it alludes to a lot of things, but that for me it works better without having to infer a depth to it, be it civil rights, anti-establishmentism etc etc. You care, I don't. With love, A slack jawed yokel x

         

That's cool, onesmallkreeger, I understand just wanting to take in a piece.

Maybe next time instead of saying "who" cares you can just say "I" don't care.

         

It's a beaut alright (Pleasantville is a brilliant film, btw).

Although, there is one technical aspect that has been bugging me -- bugging me because I'm only 99% sure that it is taking place:

Can anyone confirm that Fiona is being shot with motion-control at 24fps against a green screen?

Now either this is totally obvious to everyone but me, or it's a conceptual element that PTA has made so subtle, that most layviewers won't even pick up on it (at first glance, at least).

I'm not a filmmaker, but I was able to pick up on certain details upon my second viewing: the speed of her blinking and facial reflexes; when she quickly gets up and walks out of frame; the movement of her hair; the lack of shadows from the surrounding action being cast on her; jumpy/fuzzy mask edges (esp. when on top of the bar and sitting in the door entrance); no handheld.

My 1% of doubt comes as result of my untrained eye and because she so gracefully and convincingly emotes in time with the languid, dreamy tempo of the song.

         

this is pure masochism, as it's quite sure to kill the magic spell this video casts, but i'll bite for a technical examination. (in fact, i will end up more aware of the two halves of my brain: one that will hold firm believing in petie p's "1% of doubt", while the other deconstructs it to death.)

some elements regarding scene 1:

• what's obvious is that the image in the mirror is not from the same shot as the foreground image. since it's a pretty parabolic track&pan in, this would suggest that they're working with motion control gear in order to be able to repeat the same complex trajectory precisely (with the mirror you'd get significant parallax otherwise, shattering the illusion). ignoring the shattered coloured glass for a minute, what is without doubt is that foreground-fiona, as well as everything happening between her and the camera, is in loco and part of the same take. taking advantage of quicktime's excellent frame-by-framing, you can easily identify elements that don't match between the action in the mirror and the action in the foreground. i first thought that fiona's mirror image was conserved, but was surprised to find (due to a blink in the mirror that she doesn't do to camera) that foreground fiona ≠ background fiona. so she's definitely in loco, and it's one whole camera move with her (at least until the camera pans away from her); this would mean that at least in this first scene, since the foreground elements are in slo-mo that she is, too. what exactly goes on behind her, however, looks pretty complex. the mirror-shatterer looks the most artificial of all the elements: the timing of his gesture, the lacking reflection of his bat, how he disappears for a little too long behind her, and on the whole looks a little too big... so the perfect timing of the mirror shattering to the musical cue was clearly done in edit/composite; it looks as thought they missed the cue a little, since the butter brickel image in the mirror suddenly shifts at the moment of impact; the shatterer was added last, and a little awkwardly. the rest of the move, for the pan/move along the bar, takes over most likely from the right edge of the corridor's door frame (later also taking over frame right). most likely for the foreground-fiona take there was greenscreen in the mirror (though sitting right up against green can make keying pretty damn tricky), as well as green screen covering the left side of the back wall of the diner.

ok, who does scene 2?

         

Thanks, progosk, for the comprehensive play-by-play. It's true that the 'magic spell' may wear off, but that's always the case when process fascinates you just as much as the final product.

I think PTA tries to highlight the fact that Fiona is not in slo-mo with a few techniques: having her quickly dart off screen in a few instances; rotating her so her hair falls naturally; and blowing her hair with the fan in the last shot — but perhaps these clues are still too subtle to push the effect beyond the subliminal. I still wonder how many others overlooked this effect upon first viewing.

oh, and yeah, who does scene 2?

         

agog