Sunday, March 30, 2008
This is a good web site to help you understand and answer some of your question about Final Cut Pro. Ken Stone
Monday, February 25, 2008
Sound
MICROPHONE TYPES:
Many types of microphones are available, but which ones are best for video production? Video microphones fall into three categories: Handheld, Lapel and Boom microphones. Each has its benefits and will be suitable in different applications.
HANDHELD MICROPHONES
The on-the-scene news reporter typifies how handheld microphones are used. A television reporter stands on-camera holding a microphone about chest high. If they are interviewing someone, the mic is passed back and forth between the two. This is probably the least professional way to gather sound but it is fast, easy and works every time. The disadvantage is that the microphone is clearly visible and susceptible to handling noise and wind noise. You must also rely on the talent to get the mic in the right position to pick up sound. However, if you need to provide a sense of urgency for your next video, a handheld microphone is just the ticket. It lends a certain "live" look and implies spontaneity.
LAPEL MICROPHONES
Also known as "lavaliere" mics, these miniature microphones are usually worn on clothing - clipped to a shirt, jacket or tie. They can also be worn under clothing or a tie, but that will almost certainly muffle the sound. Lapel mics are the workhorse of the news industry. Tune into any news program and, if you look long enough, you will see one or maybe two lapel mics clipped to the talent (networks are paranoid and can easily afford to use a backup mic). These microphones are typically very small (some are smaller than a pencil eraser) and are easily concealed in clothing. In theatrical applications they are often woven into hair or taped to the side of a face, with just enough sticking out to obtain good sound. As a rule, lapel microphones are non-directional and pick up sound from all directions. Although directional lapel mics are available, they are generally larger, more expensive and very prone to mechanical noise (brushing against clothing, etc.). The obvious advantage to a lapel mic is that it is always the same distance from the subject's mouth. The primary disadvantage is, being non-directional, they aren't always useful outdoors and are easily swamped by loud background noises (machinery, vehicles, wind, etc).
BOOM MICROPHONES
The name "boom" actually comes from the stand that holds these microphones. The microphones themselves are a highly directional type called a "shotgun mic". A boom is a special microphone stand that allows the mic to be hung over the subject(s) on camera. To keep the microphone out of the shot, these stands can be adjusted for height and angle. In addition, the microphone can be swiveled 300+ degrees to pick up sound from any subject. You can see these boom stands sometimes on "The Late Show" or "The Tonight Show" when they take a wide shot of the stage. The producers of "Home Improvement" have used a boom mic as a prop several times. The portable version of a boom stand is called a "fish pole". You can see these at news conferences and when reporters are chasing people down the street. In my opinion, the boom mic is the ultimate way to capture sound for video. Because they are highly directional, they pick up very little background noise - they are not held by or attached to the talent, so there is a minimum of mechanical noise plus, they sound great! The only disadvantages are that they must be carefully positioned just outside the video frame and, if movement is required, you will have to bring another helper to the shoot.
BOUNDARY MICROPHONES
One last type of microphone that falls outside convention - the boundary microphone. Originally manufactured by Crown under the trade name "PZM" (pressure zone microphone), now everybody makes one, including Radio Shack. The boundary mic is unconventional in that it lays on a table, floor or wall and effectively uses the entire surface for pickup. The larger the surface, the better the sound. By positioning the microphone element a fraction of an inch above the surface, the boundary mic eliminates phase cancellation and other strange things that happen to regular microphones. Boundary microphones excel at picking up large groups of people, background ambience and crowd noises (applause, laughter, etc.). On the other hand, they also excel at picking up air conditioning rumble, creaking doors and bystanders. While you can't use them in every situation, they are handy for corporate board meetings and video depositions. Just lay one or two microphones on the conference table and start recording. Just don't allow anyone to lay books or papers on your mics! You must experience this to believe it.
Many types of microphones are available, but which ones are best for video production? Video microphones fall into three categories: Handheld, Lapel and Boom microphones. Each has its benefits and will be suitable in different applications.
HANDHELD MICROPHONES
The on-the-scene news reporter typifies how handheld microphones are used. A television reporter stands on-camera holding a microphone about chest high. If they are interviewing someone, the mic is passed back and forth between the two. This is probably the least professional way to gather sound but it is fast, easy and works every time. The disadvantage is that the microphone is clearly visible and susceptible to handling noise and wind noise. You must also rely on the talent to get the mic in the right position to pick up sound. However, if you need to provide a sense of urgency for your next video, a handheld microphone is just the ticket. It lends a certain "live" look and implies spontaneity.
LAPEL MICROPHONES
Also known as "lavaliere" mics, these miniature microphones are usually worn on clothing - clipped to a shirt, jacket or tie. They can also be worn under clothing or a tie, but that will almost certainly muffle the sound. Lapel mics are the workhorse of the news industry. Tune into any news program and, if you look long enough, you will see one or maybe two lapel mics clipped to the talent (networks are paranoid and can easily afford to use a backup mic). These microphones are typically very small (some are smaller than a pencil eraser) and are easily concealed in clothing. In theatrical applications they are often woven into hair or taped to the side of a face, with just enough sticking out to obtain good sound. As a rule, lapel microphones are non-directional and pick up sound from all directions. Although directional lapel mics are available, they are generally larger, more expensive and very prone to mechanical noise (brushing against clothing, etc.). The obvious advantage to a lapel mic is that it is always the same distance from the subject's mouth. The primary disadvantage is, being non-directional, they aren't always useful outdoors and are easily swamped by loud background noises (machinery, vehicles, wind, etc).
BOOM MICROPHONES
The name "boom" actually comes from the stand that holds these microphones. The microphones themselves are a highly directional type called a "shotgun mic". A boom is a special microphone stand that allows the mic to be hung over the subject(s) on camera. To keep the microphone out of the shot, these stands can be adjusted for height and angle. In addition, the microphone can be swiveled 300+ degrees to pick up sound from any subject. You can see these boom stands sometimes on "The Late Show" or "The Tonight Show" when they take a wide shot of the stage. The producers of "Home Improvement" have used a boom mic as a prop several times. The portable version of a boom stand is called a "fish pole". You can see these at news conferences and when reporters are chasing people down the street. In my opinion, the boom mic is the ultimate way to capture sound for video. Because they are highly directional, they pick up very little background noise - they are not held by or attached to the talent, so there is a minimum of mechanical noise plus, they sound great! The only disadvantages are that they must be carefully positioned just outside the video frame and, if movement is required, you will have to bring another helper to the shoot.
BOUNDARY MICROPHONES
One last type of microphone that falls outside convention - the boundary microphone. Originally manufactured by Crown under the trade name "PZM" (pressure zone microphone), now everybody makes one, including Radio Shack. The boundary mic is unconventional in that it lays on a table, floor or wall and effectively uses the entire surface for pickup. The larger the surface, the better the sound. By positioning the microphone element a fraction of an inch above the surface, the boundary mic eliminates phase cancellation and other strange things that happen to regular microphones. Boundary microphones excel at picking up large groups of people, background ambience and crowd noises (applause, laughter, etc.). On the other hand, they also excel at picking up air conditioning rumble, creaking doors and bystanders. While you can't use them in every situation, they are handy for corporate board meetings and video depositions. Just lay one or two microphones on the conference table and start recording. Just don't allow anyone to lay books or papers on your mics! You must experience this to believe it.
Friday, February 15, 2008
TREATMENT
A brief narrative description of what the viewer will see and hear in your video is called the treatment. The process of writing a description of the video will help you think deliberately and creatively about what the finished video should look like to the viewer. Treatments are also useful in communicating with others your plans for specific video segments. Getting others to evaluate the treatment can result in valuable feedback that will help you improve your plans. If your project includes several video clips, a short treatment for each clip is useful. View the attached treatment statement for an introductory video to be used in an exhibit of practice.
A brief narrative description of what the viewer will see and hear in your video is called the treatment. The process of writing a description of the video will help you think deliberately and creatively about what the finished video should look like to the viewer. Treatments are also useful in communicating with others your plans for specific video segments. Getting others to evaluate the treatment can result in valuable feedback that will help you improve your plans. If your project includes several video clips, a short treatment for each clip is useful. View the attached treatment statement for an introductory video to be used in an exhibit of practice.
An Example Video Treatment
Methods in Multimedia
Academic Assignment Projects
Introductory video
The instructor (standing in front of the school) will face the camera directly and introduce
himself, the name of the course, and school name and environment. As the instructor
begins the school and environment description a cutaway to campus video will occur
showing the building and students moving between classes. The video will then return to
the instructor, now sitting at his classroom desk. The instructor will describe briefly the
specific practice of giving students authentic tasks. During this narration, video clips of
students at work in the lab will be presented. Finally the instructor (now standing in the
lab) will describe what can be found in the online exhibit of practice and invite viewers to
explore.
Methods in Multimedia
Academic Assignment Projects
Introductory video
The instructor (standing in front of the school) will face the camera directly and introduce
himself, the name of the course, and school name and environment. As the instructor
begins the school and environment description a cutaway to campus video will occur
showing the building and students moving between classes. The video will then return to
the instructor, now sitting at his classroom desk. The instructor will describe briefly the
specific practice of giving students authentic tasks. During this narration, video clips of
students at work in the lab will be presented. Finally the instructor (now standing in the
lab) will describe what can be found in the online exhibit of practice and invite viewers to
explore.
One of the most neglected tools in the videographer's tool kit is usually the video treatment, a document that defines the concept, summarizes the story and determines the creative approach of your video. A well-written video treatment takes the lightbulb glowing over your head and makes it visible to others. It's an important tool that can help you plan, generate interest and obtain funding for your video.
Treatments aren't just for the pros. A great video treatment can make the difference between having a Matterhorn of unfinished projects and unwatchable tapes or having a library of high-quality, compelling videos. If you care about the end result--tapes that people actually want to watch--you could use a treatment.
Whether videography is your profession, avocation or hobby, you can ignite your creativity, enjoy production more than ever and experience real satisfaction when you screen the final, sensational results. Read on to learn how video treatments work for you in every stage of production, and how to develop them effectively and professionally.
Anatomy of a video Treatment
To understand the concept of a video treatment, imagine that you're telling friends about a movie you've just seen. First, you'd probably mention the title and try to capture their interest by giving them the high concept. ("Have you seen Root of All Evil? It's about this 21st century cop who goes back in time ...") Then you'd probably start at the beginning and tell the story sequentially, elaborating on scenes that were especially exciting, funny or that moved you. You might finish with a line or image that dramatically sums up the movie's theme. Then (if your friends aren't angrily berating you for spoiling it for them), everyone has a good idea of what happens in the film. A video treatment is pretty much the same thing: it summarizes the concept and essential story elements, captures the emotion and pacing and defines the creative slant of the finished piece.
Your video treatment is the foundation of the video project, so spend time on it. Make it good. After all, if the video doesn't work on the page, it's probably destined for that media Matterhorn where a tape resides until someone scans it, shrugs, and uses it to tape the new episode of When Animals Attack.
Step One: Research
The first thing you'll need to do is gather some basic information. What's the theme or central message? Who is the audience? What's the purpose of the video? What's the desired outcome--what do you want the viewer to do, think or feel? What style has been successful with this particular audience in the past? What's new or different about this subject? What's the budget for the production? How long will the finished video be? Record your answers on a worksheet and keep these guidelines on hand as you write.
Step Two: The Concept
Use your research worksheet to create a "concept statement"--a very brief summary of the theme and purpose of the video. Here's an example: "Entering the Japanese marketplace is a potentially lucrative prospect for software developers. But, differences in business style, technical requirements, currency and language create barriers. In this 5-minute video Head East, we introduce AccessPro, an exciting, new resource for those seeking to expand and succeed in Asian markets." It's a simple statement of what--a program called AccessPro, who--for software developers, why--to overcome cultural barriers and succeed in foreign markets, and how--by viewing this 5-minute video explaining the program.
The concept statement is the core message of the video, as defined by you or agreed upon by you and your client. The core message doesn't change, but you can present it or "treat" it in many creative ways.
Treatments aren't just for the pros. A great video treatment can make the difference between having a Matterhorn of unfinished projects and unwatchable tapes or having a library of high-quality, compelling videos. If you care about the end result--tapes that people actually want to watch--you could use a treatment.
Whether videography is your profession, avocation or hobby, you can ignite your creativity, enjoy production more than ever and experience real satisfaction when you screen the final, sensational results. Read on to learn how video treatments work for you in every stage of production, and how to develop them effectively and professionally.
Anatomy of a video Treatment
To understand the concept of a video treatment, imagine that you're telling friends about a movie you've just seen. First, you'd probably mention the title and try to capture their interest by giving them the high concept. ("Have you seen Root of All Evil? It's about this 21st century cop who goes back in time ...") Then you'd probably start at the beginning and tell the story sequentially, elaborating on scenes that were especially exciting, funny or that moved you. You might finish with a line or image that dramatically sums up the movie's theme. Then (if your friends aren't angrily berating you for spoiling it for them), everyone has a good idea of what happens in the film. A video treatment is pretty much the same thing: it summarizes the concept and essential story elements, captures the emotion and pacing and defines the creative slant of the finished piece.
Your video treatment is the foundation of the video project, so spend time on it. Make it good. After all, if the video doesn't work on the page, it's probably destined for that media Matterhorn where a tape resides until someone scans it, shrugs, and uses it to tape the new episode of When Animals Attack.
Step One: Research
The first thing you'll need to do is gather some basic information. What's the theme or central message? Who is the audience? What's the purpose of the video? What's the desired outcome--what do you want the viewer to do, think or feel? What style has been successful with this particular audience in the past? What's new or different about this subject? What's the budget for the production? How long will the finished video be? Record your answers on a worksheet and keep these guidelines on hand as you write.
Step Two: The Concept
Use your research worksheet to create a "concept statement"--a very brief summary of the theme and purpose of the video. Here's an example: "Entering the Japanese marketplace is a potentially lucrative prospect for software developers. But, differences in business style, technical requirements, currency and language create barriers. In this 5-minute video Head East, we introduce AccessPro, an exciting, new resource for those seeking to expand and succeed in Asian markets." It's a simple statement of what--a program called AccessPro, who--for software developers, why--to overcome cultural barriers and succeed in foreign markets, and how--by viewing this 5-minute video explaining the program.
The concept statement is the core message of the video, as defined by you or agreed upon by you and your client. The core message doesn't change, but you can present it or "treat" it in many creative ways.
Friday, February 08, 2008
Allow your subject to make clean entrances and exits.
Make sure you leave about five seconds at the beginning and end of a shot. This will allow the editor to cut cleanly from image to image, whether it's moving or not. Also, the few extra seconds will allow enough head or tail for dissolves.
Leave about ten percent of the frame for headroom.
Some viewing screens (TV or computer) may crop your image and cut the top of your subject off. Too much or too little headroom makes for bad composition. Too much headroom is worse; it looks like you were not watching the frame.
Static shots will edit together well, as long as the subject is in the same place from shot to shot.
In post-production, the editor will want to connect shots that don't force the eyes to bounce all over the place as they progress through the cut. To check this, editors usually put their thumb about a foot away from their eye and hold it over the subject of an image. If the subject is covered by the thumb in the next image, you have a successful "butt" edit. Again, if the static shots have subjects moving in and out of the frame; make sure they have clean exits and entrances. In an exit, the editor will cut just as the subject's eyes (if applicable) leave the frame. The next shot will pick up the action or the next subject right where the subject exited the frame. If this is not possible because the shooter did not allow the subject to leave the frame, then it forces the editor to make a jump cut to the next shot. This is especially true if the subject of the next shot is on the other side of the frame.
Having the entrances and exits with a few extra seconds at the beginning and end of a shot will allow the viewer's eye to settle on the center of the screen so the cutting is seamless. If the shot is designed to have the subject leave the frame entirely the editor will more than likely leave a beat or two of clear frame before cutting to the next shot. This will allow the viewer's eye to settle before moving to the next shot. Wait at least five seconds before hitting the pause button after you call "cut." Treat entrances the same way. If you don't have a clear frame and it comes time to cut to the next shot, you run the risk of a jump cut. The subject will appear to pop into the frame. Always direct your actors to move out of frame all the way or you will make your editor crazy. Remember: fixing it in the editing is a myth.
When you shoot make sure you have consistent frame size.
This is especially true in a two-person interview situation. In a single subject interview you can vary the frame size and use your cutaways or B-roll to make the transition from wide to medium to close up. Watch shows like 60 Minutes or Dateline and their technique, execution and style. Again, keep frame size consistent. Depending on the subject matter, cutting from a wide shot to a close up may not work and you may end up with a jump cut. Another example of using consistent frame size is a well-shot dialogue sequence. You wouldn't record one actor in a wide shot and the other in a close-up. If you want to progress from a wide to a close-up, you need to shoot coverage. Coverage is starting in the wide shot, allowing the action to play out and then shooting the action again in a medium shot and then in a close up.
Moving shots can be a great way to give your work a strong dynamic.
They don't call it moving pictures for nothing. While shooting moving shots, be sure to stay consistent with speed of motion. Cutting together two differently paced pans or other moving shots will force a jump cut or dissolve. Keep in mind that the most eloquent cut is the straight cut, so give the editor the choice to do that. To set your pace through a move, time the shot in a rehearsal, counting the seconds to completion. Make sure you finish the shot at the same place and time as in the rehearsal. Then shoot the shot a few more times with different speeds to give the editor choices.
Avoid zoom shots. Period.
It's very hard to cut into and out of a zoom. During the editing process, the editor will more than likely be forced to use a dissolve to make the transition to the next shot. Zooming should be used to bring the subject into a proper frame before you hit the record button. Another reason to avoid the zoom is that a zoom compresses the image and squeezes the fore, middle and background. Use the zoom only as a stand-alone shot, not as part of a sequence. A related problem is mixing focal lengths. In other words, frame the camera in the normal position on the zoom and get closer or wider by moving the camera closer or farther away. Using the zoom to bring in the subject or open the frame may compress or fish eye the image. Mixing normal and compressed shots from the zoom will not cut together well.
Compose your shots in three dimensions.
Try to give the illusion of depth by composing with the foreground, mid-ground and background in mind. Put props or other secondary subjects in the frame so the shot looks more three dimensional. For example try a composition, branches and leaves in the foreground, the prime subject in the middle and the tree trunk in the background.
Practice the above techniques and see how they work in the editing. If you make a mistake, experiment and try to adjust your technique and execution accordingly. Mastering shooting like an editor will allow the editing to be an experience offering greater choice and creativity and make your camera work stellar!
Make sure you leave about five seconds at the beginning and end of a shot. This will allow the editor to cut cleanly from image to image, whether it's moving or not. Also, the few extra seconds will allow enough head or tail for dissolves.
Leave about ten percent of the frame for headroom.
Some viewing screens (TV or computer) may crop your image and cut the top of your subject off. Too much or too little headroom makes for bad composition. Too much headroom is worse; it looks like you were not watching the frame.
Static shots will edit together well, as long as the subject is in the same place from shot to shot.
In post-production, the editor will want to connect shots that don't force the eyes to bounce all over the place as they progress through the cut. To check this, editors usually put their thumb about a foot away from their eye and hold it over the subject of an image. If the subject is covered by the thumb in the next image, you have a successful "butt" edit. Again, if the static shots have subjects moving in and out of the frame; make sure they have clean exits and entrances. In an exit, the editor will cut just as the subject's eyes (if applicable) leave the frame. The next shot will pick up the action or the next subject right where the subject exited the frame. If this is not possible because the shooter did not allow the subject to leave the frame, then it forces the editor to make a jump cut to the next shot. This is especially true if the subject of the next shot is on the other side of the frame.
Having the entrances and exits with a few extra seconds at the beginning and end of a shot will allow the viewer's eye to settle on the center of the screen so the cutting is seamless. If the shot is designed to have the subject leave the frame entirely the editor will more than likely leave a beat or two of clear frame before cutting to the next shot. This will allow the viewer's eye to settle before moving to the next shot. Wait at least five seconds before hitting the pause button after you call "cut." Treat entrances the same way. If you don't have a clear frame and it comes time to cut to the next shot, you run the risk of a jump cut. The subject will appear to pop into the frame. Always direct your actors to move out of frame all the way or you will make your editor crazy. Remember: fixing it in the editing is a myth.
When you shoot make sure you have consistent frame size.
This is especially true in a two-person interview situation. In a single subject interview you can vary the frame size and use your cutaways or B-roll to make the transition from wide to medium to close up. Watch shows like 60 Minutes or Dateline and their technique, execution and style. Again, keep frame size consistent. Depending on the subject matter, cutting from a wide shot to a close up may not work and you may end up with a jump cut. Another example of using consistent frame size is a well-shot dialogue sequence. You wouldn't record one actor in a wide shot and the other in a close-up. If you want to progress from a wide to a close-up, you need to shoot coverage. Coverage is starting in the wide shot, allowing the action to play out and then shooting the action again in a medium shot and then in a close up.
Moving shots can be a great way to give your work a strong dynamic.
They don't call it moving pictures for nothing. While shooting moving shots, be sure to stay consistent with speed of motion. Cutting together two differently paced pans or other moving shots will force a jump cut or dissolve. Keep in mind that the most eloquent cut is the straight cut, so give the editor the choice to do that. To set your pace through a move, time the shot in a rehearsal, counting the seconds to completion. Make sure you finish the shot at the same place and time as in the rehearsal. Then shoot the shot a few more times with different speeds to give the editor choices.
Avoid zoom shots. Period.
It's very hard to cut into and out of a zoom. During the editing process, the editor will more than likely be forced to use a dissolve to make the transition to the next shot. Zooming should be used to bring the subject into a proper frame before you hit the record button. Another reason to avoid the zoom is that a zoom compresses the image and squeezes the fore, middle and background. Use the zoom only as a stand-alone shot, not as part of a sequence. A related problem is mixing focal lengths. In other words, frame the camera in the normal position on the zoom and get closer or wider by moving the camera closer or farther away. Using the zoom to bring in the subject or open the frame may compress or fish eye the image. Mixing normal and compressed shots from the zoom will not cut together well.
Compose your shots in three dimensions.
Try to give the illusion of depth by composing with the foreground, mid-ground and background in mind. Put props or other secondary subjects in the frame so the shot looks more three dimensional. For example try a composition, branches and leaves in the foreground, the prime subject in the middle and the tree trunk in the background.
Practice the above techniques and see how they work in the editing. If you make a mistake, experiment and try to adjust your technique and execution accordingly. Mastering shooting like an editor will allow the editing to be an experience offering greater choice and creativity and make your camera work stellar!
Frame for balance, using negative space and positive space.
In the vertical, the subject usually gets two thirds of the frame and one third for lead or negative space. In the horizontal, the "rule of thirds" will apply. Divide up the horizontal frame into thirds and put the foreground in the lower third, the subject in the middle third and the background in the upper third. Maintain a balanced shot through the execution, especially at the end, so you leave a good frame to cut on. Also, when ending a shot, try to leave something in the frame for the viewer or leave the viewer's eye in the center of the screen.
In shooting a moving shot, begin with a static frame and then progress through a follow, pan, tilt or dolly shot.
Leave a static frame at the beginning and end of the shot for five seconds. The editor will make use of this technique when cutting a static shot against a moving shot. For example, the editor will cut into the moving shot on the static part and then let the shot progress through to the moving part. Normally, when going from moving shot to moving shot, the editor will use a dissolve, cut to a neutral shot or cutaway. Cutaways are transitional shots and are used when the master or coverage shots don't cut together well. Shoot lots of cutaways and B-roll. They can be wide or close shots, but they are usually static, and can save your project down the road during the editing
In the vertical, the subject usually gets two thirds of the frame and one third for lead or negative space. In the horizontal, the "rule of thirds" will apply. Divide up the horizontal frame into thirds and put the foreground in the lower third, the subject in the middle third and the background in the upper third. Maintain a balanced shot through the execution, especially at the end, so you leave a good frame to cut on. Also, when ending a shot, try to leave something in the frame for the viewer or leave the viewer's eye in the center of the screen.
In shooting a moving shot, begin with a static frame and then progress through a follow, pan, tilt or dolly shot.
Leave a static frame at the beginning and end of the shot for five seconds. The editor will make use of this technique when cutting a static shot against a moving shot. For example, the editor will cut into the moving shot on the static part and then let the shot progress through to the moving part. Normally, when going from moving shot to moving shot, the editor will use a dissolve, cut to a neutral shot or cutaway. Cutaways are transitional shots and are used when the master or coverage shots don't cut together well. Shoot lots of cutaways and B-roll. They can be wide or close shots, but they are usually static, and can save your project down the road during the editing
Video Camera Review page
http://www.camcorderinfo.com/
This page has some nice information on about low end cameras.
This page has some nice information on about low end cameras.
Tuesday, January 29, 2008
Tuesday, November 06, 2007
I lived on the Moon
Posted Jul 06, 2007Inspired by works of Tim Burton, Hhayao Miyazaki and Tibetan and Nepalese art, this animated video clip for the song I lived on The Moon from Kwoon's album Tales and Dreams mixes the world of deep sea with deep space as a father explains his life on the moon to his son.
Monday, October 08, 2007
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