Jump to content

Moody muay thai footage - Film Promo Short


Recommended Posts

What an interesting artistic coincidence, I just put up my own film short sharing very similar aesthetics a few weeks after you. I was inspired by watching the film Blancanieves I think, wanting those very inky blacks. Very cool that you were thinking along the same vibe:

Ā 

Our podcast on the film:

Ā 

If Interested, for a while now I've been pretty obsessed with bringing the deep blacks of Film Noir to Muay Thai, writing about that here:

Ā 

  • Like 1
Link to comment
Share on other sites

11 hours ago, Kevin von Duuglas-Ittu said:

What an interesting artistic coincidence, I just put up my own film short sharing very similar aesthetics a few weeks after you. I was inspired by watching the film Blancanieves I think, wanting those very inky blacks. Very cool that you were thinking along the same vibe:

Ā 

Our podcast on the film:

Ā 

If Interested, for a while now I've been pretty obsessed with bringing the deep blacks of Film Noir to Muay Thai, writing about that here:

Ā 

Oh yeah, the high contrast and very little grey. I think in general b&w can be great for muay thai because it helps to minimize the footage down to shape and movement to help better displayĀ the fundamentals of the art. I like your camera movement during action as well, it doesnt over-literalize what is happening and captures the emotion and intensity even in a seemingly calm environment.

Ill have to share another short experiment i did that has a similar dark mood that you seem to go for 😁

Ā 

  • Gamma 1
  • Cool 1
Link to comment
Share on other sites

11 hours ago, Sylvie von Duuglas-Ittu said:

This is very cool! I like your editing and music choice to express the gym and your team. There's nice pacing to the edits, not the "highlight" blender cut so there's space to breathe and really see what's happening, but it has movement to it that feels energizing.

Ah i appreciate that!Ā Yeah, most people just throw some face paced footage on an EDM track and call it a day.

I was trying to convey the more serious samurai spirit and the calmness and clarity that comes from training.

  • Nak Muay 1
Link to comment
Share on other sites

15 hours ago, Conor Sullivan said:

I think in general b&w can be great for muay thai because it helps to minimize the footage down to shape and movement to help better displayĀ the fundamentals of the art.

I agree with this. It isolates the form, the mechanics/dynamics beautifully, but it also does something else as well - or at least has the potential to. Photographer Harry Gruyaert noted, in his move from black and white to color, that black & white tends to put the person at the center, their psychology, cut out away from the ground, because color ceases to become an organizing principle. This makes black & white even stronger for Muay Thai because it cuts with both blades of the scissor (form/dynamic and personhood), which can bring out a lot of what Muay Thai is ultimately valuable for. Those kinds of stories.

I say this about without adding the layers of historical genre styles in B&W, those for instance in boxing (classic photos), and in cinema, which also can provide a commentary and a grammar woven into what is depicted, perhaps more readily than color.

Link to comment
Share on other sites

On 1/16/2021 at 3:20 AM, Kevin von Duuglas-Ittu said:

I agree with this. It isolates the form, the mechanics/dynamics beautifully, but it also does something else as well - or at least has the potential to. Photographer Harry Gruyaert noted, in his move from black and white to color, that black & white tends to put the person at the center, their psychology, cut out away from the ground, because color ceases to become an organizing principle. This makes black & white even stronger for Muay Thai because it cuts with both blades of the scissor (form/dynamic and personhood), which can bring out a lot of what Muay Thai is ultimately valuable for. Those kinds of stories.

I say this about without adding the layers of historical genre styles in B&W, those for instance in boxing (classic photos), and in cinema, which also can provide a commentary and a grammar woven into what is depicted, perhaps more readily than color.

On the subject of reducing the visual field to emphasize different qualities, typically when im making a video or drawing or painting, ill take a moment to slightly cross my eyes to blur what im seeing so that i can better see the overall composition and shapes. Similar techniques are simply standing further back from the piece, or even turning it upside down, so that the focus is on shape and composition, rather than letting the brain work off of preconceptions of the subject matter. It is an interesting subject - of limiting a sense to improve the others.

  • Gamma 1
Link to comment
Share on other sites

On 1/19/2021 at 8:08 AM, Conor Sullivan said:

of limiting a sense to improve the others.

Great cinematographer Roger Deakins (he has a brilliant podcast which covers so many aspects of filmmaking) say one of the things he does when he shoots digital, which is all the time now, is that is turns his monitors to black and white while shooting. So interesting, for a cinematographer who is known for his color use. Once he sets his color/lighting, he just wants B&W.

Link to comment
Share on other sites

  • 1 year later...
On 1/14/2021 at 8:56 PM, Kevin von Duuglas-Ittu said:

What an interesting artistic coincidence, I just put up my own film short sharing very similar aesthetics a few weeks after you. I was inspired by watching the film Blancanieves I think, wanting those very inky blacks. Very cool that you were thinking along the same vibe:

Ā 

Our podcast on the film:

Ā 

If Interested, for a while now I've been pretty obsessed with bringing the deep blacks of Film Noir to Muay Thai, writing about that here:

Ā 

Just amazing, You did wonderful editing . Impressive workĀ 

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Most Recent Topics

  • Latest Comments

    • Many are curious or questioning why I’ve become so focused on fighters of the Golden Age, if it might be some form of nostalgia, or a romance of exoticism for what is not now. Truthfully, it is just that of the draw of a mystery, the abiding sense of: How did they do that?, something that built up in me over many years, a mystery increasing over the now hundreds of hours I’ve spent in the presence of Golden Age fighters - both major and minor. Originally it came from just standing in the ring with them, often filming close at hand, and getting that practically synaptic, embodied sense that this is just so different, the feeling you can only get first hand - especially in comparison. You can see it on video, and it is apparent, but when you feel it its just on another order, an order of true mystery. When something moves through the space in a new or alter way it reverberates in you. How is it that these men, really men from a generation or two, move like this. It’s acute in someone like Karuhat, or Wangchannoi, or Hippy, but it is also present in much lessor names you will never know. It’s in all of them, as if its in the water of their Time. I’ve interviewed and broken down all the possible sources of this. It seems pretty clear that it did not come to them out of some form of instruction. It was not dictated or explicitly shown, explained (so when coaches today do these today they are not touching on that vein). It does not seem sufficient to think that it came from just a very wide talent pool, the sheer number of young fighters that were dispersed throughout the country in the 1980s, as if sheer natural selection pulled those movements and skills out. It did not come from sheerly training hard - some notable greats did not train particularly hard, at least by reputation. It’s not coached, its not trained, its not numerical. A true mystery. Fighters would come from the provinces with a fairly substantial number of fights, but at a skill level which they would say isn’t very strong, and within only a few years be creating symphonies in the ring. Karuhat was 16 when he fought his first fight (with zero training) and by 19 was one of the best fighters who ever lived. Sirimongkol accidentally killed an opponent in the provinces (I would guess a medical issue for the opponent, a common strike) and was pulled down to Bangkok because of this sudden "killer" reputation, but he’d tell you that he was completely unskilled and of little experience. Within a few years he was among the very best of his generation. We asked him: Who trained you, who taught you?, expecting some insight into a lineage of knowledge and he told us ā€œNobody. I learned from watching others.ā€ This runs so hard against the primary Western assumptions of how Knowledge is kept, recorded and passed, but it is a story we heard over and over. Somehow these men, both famous and not, developed keen, beautiful (very precise) movement and acute combat potency without direct transmission or even significant instructional training. The answer could be located nowhere…in no particular place or function. Sherlock Holmes said of a mystery: Once you eliminate the impossible, whatever remains, no matter how improbable, must be the truth.. All these things that we anticipate make great fighters, these really seem to be the impossible here. They were not the keys, it seems. Instead it appears that it was in the very weave of the culture, and the subcultures of Muay Thai, within the structures of the kaimuay experiences, in the richly embedded knowledges of everyone in the game, in the states of relaxation of the aesthetics of muay itself, in the practices of play, in the weft of festival fighting, the warp of equipmentless training, in endurance, in the quixotic powers of gambling, the Mother’s Milk of Muay Thai itself, which is a very odd but beautiful thing to conclude. It does pose something of a nostalgia, because many of these cultural and circumstantial elements have changed - some radically altered by a certain modernity, some shifted subtly - so there is a dimension of feeling that we want not to lose all of it, that we might still pull some substantial threads forward into our own future, some of that cultural DNA that made some of the greatest fighters ever what they were. It's not a hope to return to those past states, but a respect for what they (mysteriously) created. As we approximate techniques, copy movements, mechanize styles, coach harder and harder, these are all the things that make up a net through which everything slips out. Instead, this mystery, the how did they become so great, so proficient, so perceptive, so smooth, so electric, so knowing, stands before us, something of a challenge to our own age and time.
    • I guess you're in the UK?Ā  If so, do college.Ā  At your age it's free.Ā  As for after college, do what youth allows.Ā  Have a go at fighting.Ā Ā  You pay for uni whatever age you are.Ā  Nothing wrong in doing something in uni in your mid -20's+.Ā  I did a second degree in my 30's.Ā  I would not have been held back by a career as a fighter earlier on.Ā  As you get older, you begin to regret the things that you didn't do, far more than the things that you did.Ā Ā  Ā  Good luck in your fight career!
    • I am soon to be 17 and I’ve been training Muay Thai for nearly 3 years now. I also happen to be doing quite well in school and plan to go to uni. However, that all changed when I went to Thailand last summer to train for a few weeks and fight. One of the trainers, with whom I have developed a close connection, told me not to go back home and stay in Thailand in order build a career. ā€œYou stay, become superstarā€ to quote him, as he pointed at the portraits of their best fighters hung on the gym’s wall. After realizing he wasn’t joking, I told him I couldn’t stay and had to finish my last year of high school (which is what I am currently doing) but promised him I’d come back the following year once I was done with school. Ever since, both these words and my love for Muay Thai resonate in me, and I can’t get the idea of becoming a professional fighter out of my head. On one hand, I’m afraid I’m being lied to, since me committing to being a fighter obviously means he gets more pay to be my coach. But on the other hand, it is quite a reputable and trustworthy gym, and this trainer in particular is an incredible coach and pad holders since he is currently training multiple rws fighters including one who currently holds an rws belt. And for a little more context, I don’t think this invitation to become a pro came out of nowhere, because during those few weeks I trained extremely hard and stayed consistent, which I guess is what impressed him and motivated him to say those words. Additionally, I was already thinking about the possibility of going pro before the trip because of my love for Muay Thai and because a female boxing champion who has close ties to my local gym told me I had potential and a fighter’s mindset. Therefore, I have to pick between two great opportunities, one being college and a stable future, and the other being a Muay Thai career supported by a great gym and coach. So far, I plan to do a gap year to give myself more time to make a decision and to begin my training in order to give myself an idea of how hard life as a pro is. This is a big decision which I definitely need help with, so some advice would be greatly appreciated.
  • The Latest From Open Topics Forum

  • Forum Statistics

    • Total Topics
      1.4k
    • Total Posts
      11.6k
×
×
  • Create New...