Rushes
complete post on whimsical Boogie Pimps promo
Artist: Boogie
Pimps
Title: ‘Need Somebody to Love’
Length: 2 minutes 57 seconds
Record Company: Ministry of Sound
Director: Simon & Jon
Production Company: Cops & Robbers
Producer: Tim Cole
Editor: Olly Rainbird
Post Production: Adrenalin @ Rushes
Adrenalin Producers: Jonathan Davies/Carl Grinter
Telecine Colourist: Adrian Seery
Mastergrade: Dom Aarons
VFX Artists: Omar Akkari, Duncan Malcolm, Matt Jackson,
Dave Bannister, Marcus Wood
On Air: TBC - late December 2003
Adrenalin @
Rushes have just completed the post work on this fantastical and
hilarious promo for the Boogie Pimps’ new single, ‘Need
Somebody to Love.’
This quirky
film opens with the Boogie Pimps jet soaring through a blue sky,
which is dotted with billowing clouds. Inside the plane are the
band’s sky diving team, which is comprised of chubby babies,
resplendent in their kit of red jump suit and white helmet. The
back of the plane is open and as the light goes from red to green
the babies propel themselves forward and jump.
They are soon
free-falling down to earth, providing the audience with an impressive
display as they do so. Their target is a gorgeous, gigantic woman,
dressed only in her underwear, who is writhing sexily on the lush
but comparatively pint-sized fields and meadows. The babies’
faces fill with delight and milk bottles spring into their minds
when they realise that this woman is a milkmaid. Red, white and
blue smoke trails behind them as they descend, and as their parachutes
open they float towards this amazing woman. She is holding and drinking
from a huge baby’s bottle, which is brimming with milk. As
the babies land and congregate on her on silk-clad breast she squirts
the bottle at the camera, bringing the promo to a close.
Rushes’
Carl Grinter says: “Simon and Jon created baby puppets and
dressed them in specially designed and tailored suits. These were
then puppeteered and shot against a green screen background. Adrian
Seery graded the green screen performances and the visual effects
team, led by Omar Akkari and Duncan Malcolm, worked closely with
the directors to choreograph and time the free fall sequences in
which there were trails of smoke and parachutes opening. The babies’
heads were tracked to the puppets for close and mid shots and composited
against high-resolution still backgrounds, which were animated to
suggest the free fall motion.“
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