In order to manage our time better, we broke the song up into five sections with each one building on the next. With no pre light and choreographing all of the elements in 12 hours - well, that proved to be a big challenge. Also, we had a very limited budget to work with so we were not able to do a pre light. Each section had recorded their part of the song prior to the shoot so we would have a track to play on the day. Scott: One of the hardest challenges for the shoot was bringing all the performers together on the day, since they had never rehearsed together. NFS: Considering the fact that it was a live performance, what were the unique challenges of the shoot? Audio consisted of a simple boom and shotgun mic. For audio, the only sound recorded on the day was Shia's clapping. I was calling cues to my gaffer over the walkie once I wanted the lighting to change to cue Shia to stop clapping a la Citizen Kane. I lit Shia separately from the performance, which was a source four and 1k with a chimera on dimmers. As we progressed in the song we would figure out new cues based on the performance. We worked together with the lighting board operator to figure out our initial design and cues. My first AD had a theater lighting background. Lighting was all source fours, par cans, or follow spots provided by the location. That camera is great when the operator has to pull their own focus, or quickly reposition to get another shot.
#Shia labeouf applause series#
Scott: We shot on three Canon C300's with a variety of Canon L series zooms. So, it was certainly exciting to chat with the director and cinematographer of the project, Scott Uhlfelder, and ask him about how the whole bloody, beautiful, bizarre thing came together, from directing Shia LaBeouf to filming a live performance with so many (literally) moving pieces.īut before we get to the interview, take a look at the music video:
I saw it the day after it went live in late October and it easily became my new favorite video on YouTube. I was totally blown away by not only the lyrics of the song ("Wait! He isn't dead! Shia Surprise!" - I just lost it), but the creativity and beauty in the live performance. Imagine tons of choirs, classical musicians, dancers, aerialists, and guys in giant paper heads performing live on a stage while Cantor narrates a brutal scene about you, the viewer, being ferociously chased by a blood-soaked Shia LaBeouf - who is also a cannibal. If you haven't seen it before, let me give you a visual.
With almost 11 million views on YouTube, the music video for Rob Cantor's "Shia LaBeouf Live" is clearly a viral success.
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