Home' Trinidad and Tobago Guardian : June 3rd 2013 Contents A29
• Twitter: @GuardianTT • Web: guardian.co.tt
While astronaut Buzz Aldrin enjoys
movies about space, he doesn t always
think they get it right.
A day after attending the New York
premiere of the post-apocalyptic thriller,
After Earth, he admits the film was a
great family drama, but the space scenes
were not realistic.
His main point of contention: "There
was a lot of noise. In space, you don t
get that much noise."
Aldrin, who followed Neil Armstrong
onto the surface of the moon during the
historic Apollo 11 landing in 1969, says
that "noise doesn t propagate in a vac-
uum. We talked over headsets."
"Fortunately, we were free of static.
We could communicate with each other
pretty clearly, and mission control, though
we were 50,000 miles away." (AP)
Buzz Aldrin says space isn't very noisy
video? ZAHRA GORDON
Since its release on May 17, the music
video for Bunji Garlin s hit song, Differ-
entology, has been quite polarising. On
social media Web sites such as Facebook,
Twitter and You Tube, Bunji Garlin fans
have responded with hearty congratu-
lations or expressed their immense dis-
appointment with the long-awaited
video. So what exactly makes a music
In his review of the video, technology
columnist Mark Lyndersay said "much
of the video is layered with pointless
colour grading and hokey directing deci-
sions." On his blog at
Lyndersaydigital.com, Lyndersay remarked
that while the Differentology video had
all the "elements" to make a good video,
it was ultimately "kind of weird looking
Directed by Nigel Thompson of Black
Ice Studios, the Differentology video was
partially shot on location at a quarry in
Valencia and interspersed scenes of "mud
people" with Carnival costumes and party
motifs. The video also included viking
imagery, with Garlin dressed in helmet
and fur in some scenes, since he is the
self-titled Viking of Soca.
In an interview with the T&T Guardian,
Lyndersay shared what he believed were
the criteria for a good music video. "For
me, a good music video expands my
understanding of the song. The very best
ones can make you think about a song in
a whole different way and really appreciate
what the artiste was trying to do with
their music," he said.
For others, there seemed to be a general
consensus that music videos have some
sort of emotional connection to the song.
Walt Lovelace of Beach House Entertain-
ment said: "A successful music video is
one that could generate some kind of pos-
itive emotion out of people." Lovelace has
directed countless videos for artistes such
as 3Canal and David Rudder. His co-
director on many of those videos, Danielle
Diefenthaller said the video must provide
viewers with an "enhanced feeling" for
the song. She added that the video must
sell the artist as well as the song, especially
if the song is already popular.
Another artiste and director, Remy Year-
wood, said music videos do not always
need to tell a story. In a telephone inter-
view with the T&T Guardian, Yearwood
said music videos can be a literal inter-
pretation of the song lyrics, abstract or
even delve into magical realism. "Regard-
less of how you decide to do it, the video
should always tap into the energy of the
song. There s two ways to consider it.
The video could be good and it could be
effective. When it s good, you get a general
consensus and most people like it. When
it s effective, it creates a conversation and
that can be positive and negative."
Whether the video is good or bad, a
popular song will remain popular, said
Lyndersay. "I don t think I ve ever seen
a music video that was so bad that people
stopped listening to the song, particularly
if it was a good song to begin with. If the
song is awful, a good music video won t
save it, and a bad music video makes for
a happy bundle of let s forget that ever
The video s quality is dependent on the
type of equipment used, however. "Of
course equipment matters. As in any dis-
cipline, you need to have the correct tools
to execute your trade. The better the tool,
the better you ll be able to execute it.
Especially if you want things to reach a
certain standard," said Yearwood.
Another important factor is editing.
According to Dieffenthaller, "Editing is
everything. It s all about the timing and
directing and knowing when to cut and
make transitions." Both Lovelace and Dief-
fenthaller agreed that access to high tech
equipment had grown tremendously since
the 1990s. "Back in the day when we
didn t have any fancy studios or lights
and it was about telling a story but doing
it simply. Technology didn t keep us back
from editing. Now, technology has so lev-
elled the playing the field that it really is
important to know how to craft," said
However, even with quality equipment,
editing and intriguing visuals, music videos
can still generate debate.
"Music videos are a funny thing because
everyone will interpret differently. There
is no law and rule on if it should have a
story or not. Music videos are like paint-
ings, whether people feel good, bad or
indifferent, at the end of the day, it s my
painting," said Lovelace.
• Continues on Page A30
Many who viewed the
Differentology video, remarked
that the scenes with the "mud
people" evoked memories of rapso
group 3Canal's video for the 1998
hit Mud Madness.
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