Pulse Films Director Sam Pilling describes his directing style as constantly evolving, but with a touch of gritty, moody visuals that have an element of intrigue, tension and suspense - this is exactly what we see in his latest promo for Elliott Power’s ‘On The Windrush’.
Meet Director Sam Pilling:
Most recent project: Elliott Power ‘On The Windrush'
Lists his inspirations as: His dad
Would love to work with: Kevin Spacey
Current top picks: Volvo 'The Swell', Arbor Skateboards featuring Jake Kelly ’Turn It Down’ & 'Mommy' by Xaviar Dolan
Elliott Power 'On the Windrush'
Shot in a desolate Dagenham location at 5.30 am, this intriguing and gripping video follows a mysterious feral character as he traverses an abandoned wasteland, hunting and scavenging before he encounters another ghostly being and engages in a deadly fray.
Sam comments, "When Elliott approached us with the track he gave us a bit of background on it. "On The Windrush" was the name of the boat in which the first Caribbean immigrants travelled to England. The track is about not feeling accepted in a country or place which you call home. I wanted to take that sentiment but visualise it in a completely different way."
The creatures, which appear to look like humans captured through a thermal image lens, were in fact graded and then painstakingly rotoscoped by Escape studios, before being re-supplied to Mill colourist Matt Osborne, who created the striking look for the final film within the grade.
Sam continues, "The grading process was key to the whole video. The two layers of footage (inverted & background) had to be handled very differently to each other. Matt and I worked closely to try and make the two parts feel like they were from the same world and for the technique not to become the focus of the video, but to be embedded within the story."
Mill colourist Matt Osborne adds, "I have been a huge admirer of Sam's work for a long time, and when I saw the initial treatment I jumped at the chance to grade it. To create a post-apocalyptic look for something that was shot in the day time was a huge challenge. We spent time getting the contrast looking believable, but making sure we still kept details in the shadows. We also layered shapes to add contrast into the skies and ground. After our initial grade (one for the character and one for the background) it was painstakingly roto scoped and supplied back to us to apply our grades and tweaked accordingly."