The Skids offical website

Video

UK Premiere of Wayland’s Song.

Fri 20th September- 7pm – Kirkcaldy Film Festival- Adam Smith Theatre
£7.50 (£6.50) Festival Pass: Entry to every film and event over the three days: £48 (£40)

Starring Michael Nardone, Orla Brady, Rob James-Collier

Born in Kirkcaldy, brought up in Ballingry, Richard Jobson became a punk icon as the teenage singer of The Skids. But in recent years, it’s as a film director – and one at the very cutting edge of digital technology – that he’s made his mark.

His latest feature, premiering at the Kirkcaldy Film Festival and made using cloud-based Adobe software, is a gripping parable of our times. Wayland (Ballingry native Michael Nardone) returns home injured from service in Afghanistan only to discover that his daughter has vanished without a trace. As he’s drawn into a quest to find her, he ends up on a journey in search of his own damaged soul.

Part of Kirkcaldy Film Festival 2013, download the full programme of films and events here.

 

The Skids Live 2010

Starring The Skids, Ian Rankin, The Gospel Truth Choir

20th September 9.45pm – Kirkcaldy Film Festival – Adam Smith Theatre
£7.50 (£6.50) Festival Pass: Entry to every film and event over the three days: £48 (£40)

Three years ago legendary punk band The Skids reformed for a gig in their old stomping ground of Dunfermline. With lead singer Richard Jobson now better known for his filmwork than his music, it’s no surprise that the concert was recorded by Jobson’s regular film making team and spliced together with an onstage interview carried out by novelist Ian Rankin.

The result is amust for fans:not only is Jobson particularly candid about the band’s early days, but that set list – Working For The Yankee Dollar, Into The Valley, The Saints Are Coming,Masquerade –speaks for itself. It’s been out on DVD for a while… but is a must to view on the big screen.

Richard Jobson will introduce this screening.

Part of Kirkcaldy Film Festival 2013, download the full programme of films and events here.

 


The SomnambulistsNow available to pre-order from Amazon CLICK HERE

Pre-order Price Guarantee: order now and if the Amazon.co.uk price decreases between the time you place your order and the release date, you’ll be charged the lowest price.

  • Directors: Richard Jobson
  • Format:PAL
  • Region: Region 2 (This DVD may not be viewable outside Europe. )
  • Number of discs:1
  • Classification: 18
  • Studio:No Bad Films
  • DVD Release Date:30 April 2012
  • The Somnambulists [DVD]

www.nobadfilms.co.uk

LAST FEW REMAINING ITEMS LEFT! – less than a handful of these DVDs left, have you got yours? THESE WILL NOT BE REDONE, this is the last of these stock items left to buy directly from Richard Jobson

The Skids Live 2010 DVD is now available as a special offer and discounted price.skids-live-dvd-special-offer

The Special Edition DVD with Promo CD is available to buy direct from Richard Jobson and is now only £12 including postage and packaging.

The Skids Live 2010 DVD is Region 2 PAL (UK) so this disc may not be suitable for playing in other countries and is not a multi-region or region free disc.

You DO NOT need a Paypal account to order, Paypal will accept all major credit cards and debit cards.

Make sure you put your email address in correctly as confirmation of your order will be emailed to you. ====================================

The Skids Live 2010 DVD contains the following tracks: Animation, Of One Skin, Melancholy Soldiers, Thanatos, Yankee Dollar, The Saints Are Coming, Scared To Dance, Charles, The Olympian, Hurry On Boys, Charade, A Woman In Winter, Circus Games, Masquerade, Into The Valley, Fields.

The DVD also includes interviews with Richard and also footage from the Fifer Festival 2010

Click here if you dont see the Paypal Buy Now Button

The World Premiere of THE SOMNAMBULISTS is on Friday 14 October with additional screenings on Saturday 15 and Monday 17 October
Tickets go on sale to the public Monday 26 September via the BFI website (www.bfi.org.uk/lff)

Fri 14 | 21:00 | Vue Screen 3 PRIORITY BOOKING
Sat 15 | 15:30 | Vue Screen 3 PRIORITY BOOKING
Mon 17 | 13:00 | Vue Screen 3 PRIORITY BOOKING

Richard Jobson’s new film THE SOMNAMBULISTS surrounds 15 testimonies from British
servicemen and women who were involved in the Iraq conflict in Basra.
They have a ghostly presence as they talk about their experiences in a near documentary
style, after each testimony the camera glides into the lives that might have been and the
people they left behind.
Jobson says ‘Like many people I was angered by the Iraq war and like most people did
nothing about it. This is my response to that apathy. In the film although it appears that the
speakers are the ghostly presence, it is in fact we the audience who are the
Somnambulists, it is we who were sleep walking in the build up to the war and its tragic
aftermath.’
The story was heavily influenced by the work of photographer Joanna Kane who’s
exhibition The Somnambulists at the Scottish National Portrait Gallery left Jobson deeply
impressed by it’s haunting vision of the space between life and death.
The Somnambulists is produced by Richard Jobson and Alan McKenna for No Bad Films.
The Somnambulists was shot using the Canon 5Dmk2 and 7D


The Somnambulists on the BFI Website: http://www.bfi.org.uk/lff/node/1808

Richard Jobson’s committed, imaginative response to our collective apathy to the war in Iraq.

Created as a response to our collective apathy to the war in Iraq, this new film marks something of an intriguing departure for Richard Jobson. Inspired by the photographs of Joanna Kane, whose haunting work explores the space between life and death, Jobson has gathered together the testimonies of servicemen and women participating in the conflict in Basra. Contributors are starkly but effectively filmed against a black backdrop, so we concentrate on their words, without distraction. Between these semi-documentary portraits are poetic fragments, glimpses of the lives they have left behind or might have had. Regular soldiers, a bomb disposal expert, a couple of medics and a commanding officer all bear witness to the recurring themes of the conflict: heat, dust, confusion, bravery, camaraderie, vulnerability, terror, loss. For the most part these are ordinary people sent to do an extraordinary job, and varied as their testimonies are, their cumulative effect leaves little doubt of the human cost and tragedy of this war. Jobson is a filmmaker who always works at the cutting edge of technology; here he uses that craft to powerful and memorable effect.

Sandra Hebron

The Skids Live 2010 DVD is now available as a special offer and discounted price.skids-live-dvd-special-offer

The Special Edition DVD with Promo CD is available to buy direct from Richard Jobson and is now only £12 including postage and packaging.

The Skids Live 2010 DVD is Region 2 PAL (UK) so this disc may not be suitable for playing in other countries and is not a multi-region or region free disc.

You DO NOT need a Paypal account to order, Paypal will accept all major credit cards and debit cards.

Make sure you put your email address in correctly as confirmation of your order will be emailed to you. ====================================

The Skids Live 2010 DVD contains the following tracks: Animation, Of One Skin, Melancholy Soldiers, Thanatos, Yankee Dollar, The Saints Are Coming, Scared To Dance, Charles, The Olympian, Hurry On Boys, Charade, A Woman In Winter, Circus Games, Masquerade, Into The Valley, Fields.

The DVD also includes interviews with Richard and also footage from the Fifer Festival 2010

Click here if you dont see the Paypal Buy Now Button

Steve Sander on December 1, 2010
original source article http://theconvergence.co.uk/2010/12/the-skids-live-multi-clip-editing-in-fcp/

Thanks to KAMDude for posting.

Richard Jobson’s film of The Skids performing at the Alhambra theatre in Dunfermline was an excellent opportunity to utilise the capabilities of the Canon 5D MkII camera with Apple’s Final Cut Pro 7 software. I was tasked with editing 6 cameras into one seamless record of the live gig, capturing the energy of The Skids’ live performance.

The Canon cameras lent themselves beautifully to capturing stunning images in low light without distracting the band with bulky equipment, cables and additional lighting. Indeed Richard commented that while performing he completely forgot the cameras where even there. It was also beneficial for the audience whose attention stayed on the band.

The cameramen shot long takes focusing on specific aspects of the performance. One camera followed Richard, another the lead guitarist and another the base player. A static camera was trained on the drummer.

My task in the edit suite was to transcode the footage and then sync the cameras to each song as a multi-camera clip.

I transcoded the footage using the free software download, MPEG Streamclip, which quickly converted the H.264 files into Apple ProRes files. I believe that there is nothing to be gained in transcoding to the ProRes HQ codec from the 5D, although some professional colourists tell me that HQ would be better.

From all the tests I’ve done, I haven’t personally found a generational loss of image quality when conducting any reasonable amount of colour correcting.

The H.264 codec is already heavily compressed and transcoding to an intermediate codec like ProRes HQ will not provide a boost in quality.

The only benefit I can see is if you are combining 5D footage with graphics and animation work encoded at a higher data rate. It was also apparent in the case of The Skids edit that when editing multiple clips in the timeline, smaller file sizes and data rates were going to be more convenient.

Setting up multi-clips in FCP was easy. I marked the same ‘in’ point for each camera angle of a particular song and then made a multi-clip from all of the angles (syncing the clips to the ‘in’ point). I then opened the new muliti-clip in the viewing window and edited in real time, making sure to take the audio from just one camera.

Editing in real time was a joy as it enabled me to quickly put a rough edit of the track together, reacting to the music as if doing a live mix. This enabled me initially to react to the performances rather than going for a more clinical assembly. I was then able to go back and fine tune my rough edit selecting alternative angles where necessary or indeed alternative moments from different parts of the song, like a crowd reaction. In this way the live music sections from the film were edited together quickly over two days and retained, I hope, the energy from the original live performance.

 

There is no doubt that shooting with the Canon 5D MkII and doing a multi-clip edit streamlined the whole process and from an editorial point of view enabled me to react creatively and instinctively to the material.