PHFAT
PHFAT is a Rapper whose music has influenced the South African landscape for over a decade.
With a core sound based around a signature form of dark, heavy electronic hip hop he has also delved into experimental forms of rnb, pop and rock. After nearly ten years as a full time touring artist, the pandemic saw PHFAT withdraw from the public eye to focus on work behind the scenes, where he helped younger artists with technical work and production. His re-emergence brings with it a fresh perspective and a renewed excitement to push the boundaries of the art to which he has dedicated his life.
@phfat_official
Instagram: 14.4k
Monthly Listeners:37.4k
INTRODUCTION
PHFAT will soon be launching their latest track, “Faces in the Light” which will feature their original member, Nazieg.
The track itself’s style is nostalgic electro-rap, playing into the original sound of PHFAT, a sound that has a huge following in South Africa and abroad.
As the track itself is about the obsessive and often surreal nature of our digital consumption, so we wanted to find a way to bring that to life visually. The result is an infinite black space where our minds go to numb and disappear. Where we’re surrounded by everything and nothing and at the same time.
PHFAT “FACES IN THE LIGHT” | OFFICIAL MUSIC VIDEO | INCOMPLETE & UNRELEASED | PRIVATE LINK
PHFAT “FACES IN THE LIGHT” | BEHIND THE SCENES VIDEO | INCOMPLETE & UNRELEASED | PRIVATE LINK
TECHNICALLY
What starts out feeling like the POV of Mike’s smartphone selfie-camera pulls backwards to reveal him standing in the middle of nowhere.
This camera continues to swoop and circle around him, but he never loses sight of it.
Even as hologram dancers and spinning cars surround him, he does not even blink, he is completely consumed by his phone.
Executed as a one shot with Big Bird using the DJI Inspire 3 RTK system, which is essentially motion-control in the sky, we were able to shoot multiple layers with(almost) frame accuracy.
Along with futuristic dancers, a retro spinning car and a second drone with a dynamic spotlight, we believe we have created something unique that the world has not seen.
Although this system has been used before for short and simple shots, using it on this scale, as a complete one shot video, has yet to be achieved.
More about the RTK system here.
CHALLENGES
Through testing prior to the shoot, there were many learnings, the main one being that if the drone move is too dramatic or vertically quick, the sync between the layers goes off temporarily, before returning to its GPS coordinate once it settles.
Through this learning we planned the parts of the song where we wanted duplication to be more slow and steady, allowing for easier compositing.
That being said, the sync, although incredibly close, was not always perfect, and therefore some tracking was necessary to align these layers so that there were no “slipping feet.”
Mapped out in blender prior to the shoot, we were able to plan the moves according to the progression of the song. Link here.
However, the DJI system does not work like normal motion control systems, where you set the key points and then the time it takes to get there. Instead you set the key points and then the speed at which it moves between them, which lead to a lot of trial and error to get right on the day in line with the animatic/song. But we got there.
Another issue we encountered was the second drone with the drone light, which was not motion controlled. Because where it shone wasn’t always accurate, the backgrounds’ lighting was always slightly different, making compositing our layers tricky! But not impossible.
After many hours in After Effects, VFX artists Luke Veysie and Kirk Morgan (also the DOP) cracked it.
THE LAUNCH
We are looking to launch the music video along with the track within the coming weeks (2024). They will be launched parallel with supported PR from the artist and the production company.
We are looking to you to have the exclusive premiere of the music video and behind the scenes content and article.
You will have access to:
- The Music Video
- Behind the Scene Video
- Behind the Scene Stills
- Any Interviews you require
Please contact us should you have any further questions.
CREDITS
Executive Producers
Producers
Director
BTS Team
Director of Photography
Drone Pilot (Inspire 3)
Drone Pilot ((Alta 8)
Gimbal Light Op (Alta 8)
Drone Pilot (Inspire 2)
Cam Op (Inspire 2)
Air Traffic Control
Air Safety
Gaffer
Spark
Stylist
HMU
Choreographer
Specialist Driver
Roland Sweet
Andrew Slough
Elmaree Bohm
Krisleigh Marx
Lauren May
Rob Smith
Julian Evans
Luke Veysie
Kirk Morgan
Jonno Searle
Nick Riley
Nicole Henning
Jamie Royal
William Annesley
Steve Searle
Natalie Smith
Warrick Le Seur
Themba Blom
Kaley Meyer
Shana Mans
Berlin Williams
Quinton Robertson
Security
Paramedic
Catering
PA
PHFAT
Dancers
Editor
Visual Effects
Colourist
Title Design
Behind the Scenes Edit
Special thanks to Big Bird, Luke Veysie,
Kirk Morgan, Grant Campbell, The Refinery
Cape Town, Fisantekraal Airport
Leanne Shuman
Pumza Sitsheke
Shesha
Bennett Bodla
Mike Zietsman
Berlin Williams
Cianna Herbst
Chenal Tayer
Mathew Jacobs
Rori Bingham
Wesley Ourson
Rob Smith
Luke Veysie
Luke Veysie
Kirk Morgan
Kyle Stroebel
At The Refinery CT
Kirstey-Anne Wernich
Julian Evans
ARTIST STATEMENT
“There was a period where I wasn’t particularly interested in being in the public eye which meant I fell out of touch with the artistic landscape globally.
When I went quiet in 2019 we were still dealing with the fact that the camera had flipped. Where people once stood in crowds and festivals and pointed their cameras at the stage, they were now filming themselves having the experience of watching the stage.
In 2024 the landscape feels quite different: It feels as though people are aware that posting the images captured by their cameras onto the internet is a lot like gambling: Some dumb moment might have them perceived as heroes to millions of people or lambasted by just as many and the risk doesn’t feel worth it.
So now their cameras have been turned off.
It feels like they are sitting in a class in high school, afraid to put their hands up and instead of just asking their question they are scouring the room praying that someone else will be brave enough to do it for them. And so we find the latest iteration of a new genre of internet user, someone who can check the safety of their opinions before reposting them, assured of the positive interactions they will receive as a result. Never truly making anything of their own.
I can’t quite comment on whether it is a good thing or not but it does result in the lights from their phones creating a hoard of bottom-lit double chins who are unaware that their fleeting moments of engagement are collectively influencing the tides of human attention.” - Mike Zietsman, PHFAT
