Key & Peele spoof of vanity music videos
 

I think the many production in-jokes in this one will be enjoyed by many here.

We shot the main part of the video with our standard gear package: Arri Alexas with Alura zooms. I used white ProMists, either a 1 or 2 depending on the shot (heaviest diffusion I've used in a long time). The aerials were done on a hexacopter flying an NEX7 courtesy of Vortex Aerials, who did a great job.

For the low-budget end of the video, we stripped down to a beat-up HVX200 owned and manned by our director Peter Atencio, with one bounce card. We overly-sharpened the image in color correction to simulate a cheaper looking camera (the HVX looked too good!). I love the plethora of bad effects and wipes Peter built into this section, along with the forced perspective with the plastic horse and Stimpy doll.

Inspired lunacy and as always, I love being a part of it.

Re: Key & Peele spoof of vanity music videos
 

Watching the $15,000 disintegrate was absolutely hilarious.

Re: Key & Peele spoof of vanity music videos
 

Charles...'Inspired lunacy' indeed!

Loved it!

Best regards,

J.

Re: Key & Peele spoof of vanity music videos
 

saw this last night, loved it!

Re: Key & Peele spoof of vanity music videos
 

Great stuff.

I love that your camera was still too nice for the 2nd part. Why not record it via smartphone? :)

Re: Key & Peele spoof of vanity music videos
 

Haha Robert--probably would have still looked too good!

Re: Key & Peele spoof of vanity music videos
 

I think I've got a practically new Panasonic VHS-C around somewhere! I know that wouldn't look too good ;-)

Re: Key & Peele spoof of vanity music videos
 

We've certainly explored the legacy look before on the show, from Season 2's sketch about Obama in college (shot on a 1985 Magnavox home video cam, originally owned by DVinfo's own Lorinda Norton):


And this year we did four sketches using JVC KY1900 3-tube cameras from the early 80's:

The tube cameras have a look that would be hard to replicate even with a look in post. When we need to do a modern broadcast look we mostly add sharpening and lift the gamma a bit in color correction. It would be kind of fun to shoot an early 2000's piece with an XL1, although again the look is not so radically different as to make that an obvious connection for the viewer.