Jeremy W. directs the music video for “Surrender/Control” by LA 3-piece post-punk band GLAARE, from their album To Deaf and Day.
Surrender/Control is a visual journey exploring singularity using a combination of performance with landscape photography augmented with 2D and 3D visual effects.
The video premiered in November of 2017 at New Noise Magazine.
Directed by Jeremy W.
Produced by NEEDFIRE.LA
Cinematography: Christopher Hamilton
Production Design: Amy Augustine
Editor: Davon Ramos
Animation: Hal Forsstrom
Nuke: Matt Spencer
Special Thanks: Justin Greenlee and Brian Barnes
Rachael Pierce-Kime, singer of GLAARE, provides her own synopsis and interpretation of the video’s visuals:
In the last phase of a dystopian future, there's absolutely no food and law. The possibility of death is not only certain but horrific but there is an option being presented by scientists who saw this coming due to global warming and other issues. When no one would head their warnings, they silently built a machine in the middle of the desert that allows you to kill yourself in a painless way. It's a very beautiful and profound death that slowly takes your atoms apart and puts them back into the world.
Work initially started in 2013 as a spec video for “Children of the Sun” by Dead Can Dance through the creative crowdsourcing website Genero. The video was a STAFF PICK and FINALIST but ultimately was not used.
In 2017, Jeremy W. met with GLAARE to collaborate on a new music video. The band saw the unused spec work from the Children of the Sun video and expressed interest in using it. Surrender/Control was a seamless fit. With a new edit, visual effects, and a shoot to feature singer Rachael Kime-Pierce... the video for Surrender/Control was born.
Landscape photography was shot in and around Death Valley over the course of two weekends using a Canon 5D and Canon 7D.
The video was composed in a 2.76:1 aspect ratio as an homage and attempt to capture the detail and scope found in 70mm films like Ben-Hur.
In 2013, when the landscape photography was shot, Jeremy W. did not have the access or the budget to use a cinema-grade digital camera. To maximize image quality and achieve a 70mm scope effect, Jeremy W. economically shot on a Canon 5D at full frame in continuous shutter mode at a rate of 6 to 8 frames per second. This allowed the video to have a much higher resolution and visual quality than was available through the video options on the camera at the time. Images were sequenced and interpolated in post to 24 frames per second.