Sony Vegas

  1. Band : Fear Control
    Song : Masks
    EP: ‘The Monster’
    Production by Underground Planet

    I love this song front ta back, no other way to put it. But unlike most of my vids there's not a whole hell of a lot for me to ramble about regarding the making of because it's about as basic, though badass, as it can get. Weren't much of a budget which ya might suspect, but that should never mean putting out a crap vid. I was down for just about anywhere and Kash (singer) had randomly come across this underpass. Perfect, visually just a great little nook to shoot in. Showed up just before sunset and wrapped about 3 1/2 hours later or so. Nothing more to prattle on about ... but I will, cuz that's how I roll.

    This is one of the first vids I've done in just about forever that I did solo, no crew or assistants, purely a matter of economics but it was kinda cool to know I could still pull off a vid all by my lil ol lonesome. My latest primary cam is a DJI Osme with an X5R head. Running and gunning has never been so literally running and gunning. The ssteadicam-ish nature of it allowed me to be wherever I wanted whenever I wanted and made for some very cool motion shots. In addition, of all cams to use as a second cam, I had a Canon T2i. It was almost ridiculous to even bring it but, totally glad I did. No it didn't match the look or even touch the quality of the DJI and the shots from it are WAY softer in the edit ... but the shots work, and there are a number of em that really kinda help make the vid. I tend to be a footage whore anyway and it's no easy task for me to leave another camera in the car all alone when it could be recording. All that said I was pretty frikkin grateful when it's card was full and I neglected to bring an extra.

    Beyond that the other big blew my mind with awesomeness part of this vid was that the night scenes were lit entirely, as in the only sources of light, were from two Lume Cubes, Go give em a glance, you won't believe it, but I was there and saw it with mine own two eyes. I'd seen a bunch of their promotional material, read a good amount about em, but nothing I had seen did them justice. It's hard without seeing them in action to really wrap your head around it but I'm telling ya, there were no lights down there, pitch black, but yet ... there it is. Could have only been better if I had four but in some twisted badge of honor that I just bestowed upon myself, there's sumthin cool knowing that this was shot with just two of those fukin things. 2! Mounted them on a couple tiny little tripod like mounts, ones you might use for a GoPro, set em in the grass, and *whallaaa" ... as God himself once said "Let there be light!." My last gushing praise, completely unsolicited and unsponsored, is that when I watched the first take of the night shots I cackled out loud.

    Nuff said, another vid in the books, as always go frikkin buy this song, buy their music, like em on Facebook, and share their sh*t, it's more important than ever to support independent artists and give em a little bit of the love they deserve! And with this little bloggy bit of info out of the way, I'm gonna go watch it again ;)

    Edited in Sony Vegas with additional CC from Red Giants Magic Bullet

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  2. Holy crap I've been slacking! Sam posted this on YouTube months ago and I'm just now getting around to posting it here. Shame on frikkin me! Love this vid, but if you have checked out any of my previous you know I like to blog a wee bit about the vids I do and that's the part I haven't gotten around to, till now!

    The funny thing is that there's not much to say about this one. First meeting Sam he wanted something simple, just rock and roll with hot chicks. Simple enough right? ... oh, and he wanted it filmed on 16mm. Which I personally thought was awesome, I'm a huge fan of analog, personally have three or four instant cameras that I adore! There's just something about the pressure of having to get it right, when every pic I take costs a buck it's not near the same as using a DSLR or cell phone for that matter, and blasting off with a hundred shots.

    So I was totally down ... until we looked into pricing. The painful decision Sam had to make was, could the money be better used somewhere else to make the vid awesome. Indeed it did.

    This was shot on my long ago introductory into DSLR shooting, a Canon T2i, and an Osmo, which might just be the coolest thing in the world. Took a little getting used to and must concede that I had a whole lotta shots that were all but unusable. Thankfully, this was digital, so I could overshoot the hell out of it and get a good handful of awesome moments. There's some shots done with the Osmo that I love, the quick running in and the various members of the band, the pull off of the drummer, the overheads of the drums, shots that would have been a pain to get otherwise were reduced to just sticking the Osmo on a stock and running around in circles. I have the X5R unit now and I'm dying for my next shoot.

    So, yea, Sam found us a decent local studio with a huge cyc wall and we went to work. The very loose concept that I started with was that I didn't want to shoot the band together, like, at all. I try to change things up from vid to vid, in whatever subtle way I can think of, and something about doing all single shots seemed like a cool way to go. So that was my rule, shoot each person individually only ... until I broke the rule with the girls. The studio had this frikkin amazing couch, actually made out of a coffin, I was told by one of the studio peeps that it got left after some CSI wrap party. There was no way I couldn't use it, so three girls on a couch it is! Then make the perfectly logical next step of having Sam sing sitting on it for a coupla takes so there's some continuity with it.

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  3. Artist : Adam Carmichael
    Song : Heaven Knows
    Album : Before I Go
    Director : Raymond J. Schlogel
    Production Company : Underground Planet

    I simply adore this video and so many of the reasons why I adore this video have little or nothing to do with me but the combined talents of all involved.

    For some of you that have read my little “blog” type descriptions on some of my other videos this first bit may seem a little redundant but: I loved this song on first listen. Actually thinking about it as I write I suppose that’s a logical pattern to fall into and it shouldn’t surprise me that many of my vid descriptions start with that statement or similar, of course I loved it on first listen or I probably wouldn’t have taken the gig!

    Anyway, back to this song in particular, loved the piano, loved Adam’s voice, and love love loved the lyrics. “Hell knows I know right from wrong but heaven knows how I've tried …“ Brilliant!

    So as per usual during the “concept” phase, I put the song on repeat and thought my little thoughts waiting for that “Ah Ha!” moment. That being the moment that I think what I’m seeing in my head would be perfect for the song and that the concept will work within whatever budget (or lack thereof) that the project consists of. For “Heaven Knows” the “Ah Ha!” moment came after a good thirty or forty listens when I realized I already had the concept for this over a year or so ago! Not sure why it took me so long to realize it but once I remembered it that little voice in my head let out a loud resounding “DUH!”

    I’ve talked before about how I tend to mentally bookmark various locations that I think are cool and/or unique if the right project comes along, the same thing happens with concepts. In this vid I had both. The idea for this came awhile back and was actually inspired by an “acoustic” version of a radio performance by Lady Gaga for her song “Fooled Me Again.” Still and always one of my favorites by her. If you care to check it out you can see that here:

    I’ve watched enough “So You Think You Can Dance” to know just how profound dance can be and that’s all that I had really wanted to do as I was reasonably sure that Lady Gaga wouldn’t have answered my calls to make a guest appearance in the vid. Just one dancer, dancing out the lyrics, emoting the passion and angst while matching the swells and lulls that occur throughout the song. The only other embellishments I wanted to incorporate beyond that were to be the angel wings along with the opening where she puts them on and the end where she “takes them off”. Symbolism to me that I won’t bother getting into only because I know would come off too artsy fartsy and in the end would prefer to leave it to the audience to formulate their own interpretation.

    So anyhoo, as with many pet projects I’d like to do, it feel by the wayside and lingered on the back burner as something I would get to one of these days. Thankfully that day came when Adam sent me this song and after many a listen the light bulb finally lit.

    From the original concept it was always Marisa Mingea (with one “S”) who I saw as the dancer. She’s lent her talents to two of my video’s in the past, both Teera - Flashy ( and Larissa Ness - Thoughts of You ( and is undoubtedly one of the most talented dancers I’ve ever met. Even without the wings she has an ethereal quality to her and the way she dances that I knew would be a perfect fit. On a complete side note I might add that the first time I met Marisa over two years ago during a rehearsal for the Larissa Ness vid Marisa was wearing pants with angel wings on her butt, hows that for foretelling? .. not that I was looking at her butt mind you, just happen to notice in my peripheral vision. That's my story and I'm stickin to it.

    For Adams part there were only three key requirements, the first being the simpler of the trio. Going back to my “locations I’ve bookmarked in my brain” was a place that I’d seen a couple photographers use and had hoped to use one day, a local Austin bar called Lustre Pearl ( The staff there were awesome and more than accommodating. The second thing needed was a strong performance, just as the dance needed to be emotive Adam had to tap into the passion and vulnerability that comes across so well in the song, it without that the video would have been unbalanced.

    The next challenge was the wings. What I wanted wasn’t something you could pick up at your local costume shop. I wanted them to be articulated in such a way that Marisa could incorporate them into the dance, that she could bend them, move them, and reposition them at will as opposed to just sticking a pair of generic wings on her back. I also wanted to show her putting them on, I wanted the straps to be in full view (perhaps the only thing I wanted that would make making them just slightly easier to make!) as I wanted to sell the fact that they were “fake” to add a bit of surprise during the last reveal.

    To build these I turned to Meredith Johns and her company Hawgfly Productions Inc ( They’re a local FX company that had been nominated for 2010 Emmy Award and that, much to my joy and surprise, is based only blocks from my house. Bonus! Thankfully they were up to the challenge as I’m sure you saw in the vid, the wings were simply stunning and everything I wanted them to be. But consider this next time you watch it, as graceful as Marisa executed her choreography, she was doing so with 40 pounds of feathers, leather, and metal strapped to her back. In the shape I’m in I don’t think I could have walked up a flight of stairs wearing em but Marisa made it look effortless.

    Amy Chambless from Hawgfly was on set and did all the blood effects/wounds and the, um, well, the nipple covering stuff. Hawgfly also made a second pair of partial wings for the close up of ripping them out of her back.

    Huge thanks to Adam, Marisa, Hawgfly, Lustre Pearl, and my awesome crew Matt Friede, Arturo Cavazos, and Eliazar Mendoza, you all do such an amazing job at making me look good.

    Quick technical details for those who care, shot on a Sony PMW-F3 in S-Log recording to internal SxS card. Edited and CC'd in Sony Vegas with additional CC from Magic Bullet. One additional Magic Bullet tidbit worth the mention is that as the chest covering and make-up were not completely smooth MB's filter "Cosmo" which did a great job at smoothing it out.

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  4. Artist : Shawn Colvin
    Song : We All Fall Down
    Album : All Fall Down
    Director : Raymond J. Schlogel
    Production Company : Underground Planet
    Copyright : Nonsuch Records

    While standing in the middle of an empty field shooting Aron Dees - American Dirt vid ( I got a rather staticy call from someone from Warner Brothers asking if I might be interested in doing a simple video for Grammy Award winning Shawn Colvin. Though I was missing every other word they said I told them enthusiastically "I'm in!" The couple things I could make out from the conversation was that they wanted something simple, they didn't want to be literal and perhaps similar to the one I did for Daniel Whittington's "Never Go Home" ( which they especially liked. The last thing I heard was that they were going to send over the song for me to give a listen and see what I can come up with.

    After getting home from the days shoot the song was in my inbox waiting. With my crew still unpacking gear I pressed play. Often times I have to hear a song a good hundred or so times before the visual comes to mind but on this one it was almost immediate. Knowing that they liked Daniel's and also knowing that I didn't want to repeat myself, by the time it hit the chorus it was already there. For me upon the first listen, with the sparseness of the first verse I was ever so pleasantly surprised when the chorus kicked in. Keeping in mind not wanting to be literal the theme for me was more matching the tone of the song rather than lyrical.

    I could totally see the one person clapping circling around her and then when it hit the wonderful surprisingly full chorus to capitalize on that and just have random organized irreverent chaos enter the frame, having them exit at the end of the chorus and someone clapping reentering the frame. As Shawn herself later described it, "a visual cacophony." Leave it to the songwriter to better describe what I was going for than I could =)

    First things first I called a First AD I'd wanted to work with for awhile, Michelle Millette (, she dug it and jumped on board right out of the gate. Right away we began casting, looking for people with "visual talents." Some of which I had already had in mind but was open to more. Thankfully we got a great response. On casting there is a funny aside, when I pitched the original concept I was tossing out all sorts of miscellaneous types of characters that I was hoping to get. In that list I offhandedly mentioned perhaps a guy in a bear suit. For some reason this set off a bit of an alarm bell among some involved. As none of what I was wanting to do was written in stone it was no big deal but when I met with the parents of the younger performers and made a mention of that the mother of the two unicyclists offered up the fact that her kids had gorilla outfits that they had performed in. Sometimes I have a great idea, other time's it seems great ideas are simply handed to me on a silver plate. Kinda funny that while we had gotten a bunch of great people two of the visuals that I had wanted and saw during my first listen, a drum major and ballerina, were the last two people to get cast.

    Must also take a moment to mention the location which we filmed at The Swan Dive here in Austin Tx ( I'm mentioned this elsewhere but as is often the case I'm always making mental book marks of cool locations I'd like to shoot at. From all the pictures I'd seen of the club I knew it would be the perfect backdrop. They couldn't have been more accommodating,

    On the day of shooting I had intentionally over-cast the performers, much in the same way airlines overbook their flights knowing that there will be some drop outs I was fairly confidant that some who had committed might not show and beyond that I really couldn't have too many if they all did. The one issue with doing it in that regard is that I had to choreograph everyone who showed up on the fly. While the crew was busy setting up the lights and removing a table and chairs that were in the spot just behind her that I hadn't realized in my scouting that they were actually bolted to the floor, I made a quick list of all the available talent and hid in a corner. I laid out three pieces of paper for the three choruses and started breaking it down, I really thought it would be just a rough draft till I saw it all in action but it played out perfectly. The placement of each fell in line quickly for the various segments as well as for the grand finale where all would be either taking a position or passing through.

    Of the many kudos I could give to Shawn and her awesomeness, the one I'd like to mention specifically was that the jugglers wanted to do the tosses in front and behind her, despite my inclination to just say "no" I decided to pitch it to Shawn as she would be the one getting biffed in the head if something went awry. She pretty much just said "sure" and never flinched once while it was going on even though she said she could feel the breeze as they were passing by. Ya gotta love that lady =)

    Not counting rehearsal's that day that didn't have Shawn in the chair we did a total of 17 takes. We filmed two different versions as per the label's request so around half those were one way and the other half another. Three takes were cut (blown) under a minute. Another 3 takes were cut (blown) at about the halfway mark. For a one take vid with a lot of moving parts I don't think that's too shabby!

    Cast & Crew

    Alex Shelley - Unicycle Gorilla
    Alex Armonta - Hula Hoop
    Bethany Berg - Contortionist
    Chris Bailey - Poi Spnner
    Callie Erwin - Clapping Girl 1
    Camille Pinkerton - Gymnist
    Christopher Bailey - Poi Spinner
    Chris McMillan - Drummer
    Daniela Bustillos - Ballet Dancer
    Etienne McGinley - Juggler
    Eslerh Gomez - Mime
    Jack Shelley - Unicycle Gorrilla
    Jane Jennings - Belly Dancer
    Kelsey Strauch - Juggler
    Lila Parrish - Gymnast
    Sarah Kihls - Roller Skater
    Timeca Seretti - Clapper 2

    Direct/Shoot/Edit - Raymond J. Schlogel
    First AD - Michelle Millette
    Crew: Matthew Friede
    Arturo Cavazos
    Eliazar Mendoza
    Matthew Friede
    Don Elfant

    Hair: Shawna Parvin
    Makeup: Mandy Wright

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  5. This would be my "America!!! F*CK YEA!" video. I received a very nice email from a very nice wife inquiring about the possibility of getting a music video for her husbands new song "American Dirt." They were planning a trip to Austin and were thinking that while they were down here getting one shot might make the trip all the more worthwhile.

    So they sent the song over. When Aron said the line "And I'm proud of the soldiers that fought, and the ones that are fighting right now" I was in. 11 months ago I did a music video for "Free Agent" just days before one of its members, J Brooka, shipped off to Afghanistan. ( We've been in contact via the web a handful of times throughout his time there and am always relieved to get a message. At the time of this writing he has a month left to go and I, along with all his friends and family, can't wait to have him back safe.

    For me that was the motivation. The video came together relatively quick to coincide with their coming to Austin. Initially it was fairly simple but then the thought of Aron getting an actual tattoo came to mind. Though he all but scoffed at the idea, Amanda (remember I said she was a very nice wife) loved it and somehow convinced him to do it. And of course I'd be remiss if I didn't mention how awesome my tattooist Nathan Hebert is. Not just for the great tattoo he gave Aron for the vid but also for being willing to come in and do it on his day off. And big thanks to Atomic Tattoo on Burnet for letting us shoot in the shop. ( Note to Nate: We need to finish my sleeve ASAP! =)

    You can check out Nathan's other work or book him here:

    The night before we were to shoot I had yet another idea after being told they had their two sons coming with. I through out the idea that it might be cool, if we were even able, to find various public service type uniforms and have them more or less represent the either our future or a younger version of those in service now. They managed to get the costumes the day of the shoot and we bounced around Austin finding suitable backgrounds as we went. I feel I should apologize to all the women out there who take on the same roles as men and unfortunately are not represented in the video but these were the kids they had, don't fault me for them not having a daughter! Do know that its as dedicated to you as to them =)

    I also have to give a quick nod to Angela Lee for finding us the great location to shoot the band. ( While I often don't mind the fun of "gorilla" type shooting (just find a location and set up shop wherever I think might look groovy) it's never fun getting kicked out of a location and with Aron and fam being in from out of town and not a whole lotta time to switch gears if something like that happened, it was nice having a great location with the landowners permission. Not to mention the landowner seemed to enjoy our little shebang and invited the entire band, cast and crew up to his house for a celebratory beer after we wrapped.

    This was shot on a Sony PMW-F3 and edited in Sony Vegas.

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  • Riccardo Uras

    IN & OUT
    A digital short that derives from the union of passion/obsession between Photography, Videography and Surfing
    Shoot with Blackmagic Digital Cinema Camera
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    by Riccardo Uras

  • Jared Conley

    Short comedy film, made using Sony Vegas Pro 10.

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    "A short video with interesting facts about skateboarding. The video is kept in the silent and minimalist style . I have worked the first time with the depth of field and Sony Vegas Pro 12."

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