JohnPaul led the creative charge on Jetty Rae's films for Climbing Clouds and FALLIN, so as the writer and director of her third music video, Kerosene, I feel responsible for the pain I put our faithful cast and crew through in what became one of the more labor-intensive projects I’ve been a part of. I persuaded Jetty to walk through a field full of bull elk, hike hundreds of feet up a dune in a dress, and bounce back from 16-hours of filming the day before to run all day through the woods. Crewmembers Paul Genzink, Grant Floering, and Katie Fox went above and beyond. All three worked impossibly hard and rolled with the sometimes-hectic nature of the Kerosene music video project, packed into a long and daunting schedule that the proverbial “union” would never approve of. We’ll also be forever thankful to all of the volunteers mentioned in the credits, as well as the always cheerful and accommodating Jason Stewart, husband of Jetty Rae. Many thanks.
I won’t elaborate on the meaning of the project. I think it’s shown by the events of the story itself and by the very authentic performance of Jetty. It’s not a happy or comfortable film, and so we feel privileged to be invited into such a vulnerable part of Jetty’s and Jason’s lives.
During the process of production and editing, Kerosene evolved into something beyond what I had pictured. Shots that I had only liked before became favorites shots, and shots that I thought worked brilliantly in storyboarding ended up finding different, stronger homes in the actual edited sequence. One of my favorite shots is of Jetty sitting on the wood floor with her back against the off-white wall. I was inspired to put the shot in by a different music video I'd seen that was starkly simplistic, but after storyboarding the shot, I concentrated most of my attention on worrying about larger, more difficult sequences. In the end all turned out well, but I find I'm being completely surprised by beauty of the little things.
During our time on Crystal Lake filming the underwater sequences for Kerosene, we also filmed //WATER//, a small experiment in underwater filming techniques.
So between the the underwater work, filming with elk, flying dollhouse furniture, floating dresses, fire, smoke, and super slow motion, this project was pretty well rounded.
Kerosene was our second piece to be filmed primarily on the Sony FS-700 (Fallin being the first), which, if you’re in the market, is a whole lot of camera (500fps slow motion, high bitrate 4K cinema raw with 14+ stops of dynamic range). This film was also my first go on minor special effects and titles, which is something JohnPaul usually and rightfully keeps for himself. So it was a stretching time. But a very good time.
The footage from the Fs700 grades for color very well, as seen below in JohnPaul's color passes for this project.
CHEERS, and thanks for reading!