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Shadowclub’s ‘Dirt and the Rubble’ Music Video Directed by Fausto Becatti


Last Thursday Shadowclub launched the music video for their emotive track ‘Dirt and the Rubble’ at The Liberty Building in Braamfontein, accompanied by a live performance. The video, directed by Picture Tree’s Fausto Becatti, is a mash-up of footage shot on 16mm film and captured digitally. These dual mediums were interwoven to portray an adventurous love story where the past and present meet in a nostalgic montage – some scenes are drawn from the director’s personal archive, while others are freshly shot.


This unusual approach was the result of a collaboration between Fausto and the band, who each wanted to create something that would reflect their passionate interest in the roots of the art form they pursue. In Fausto’s case, it’s the stills he’s been shooting on film for years, in search of that one “perfect shot that arrives like magic amongst the throwaways”. For Shadowclub, it’s the classic raw rock ‘n roll and blues that have fired them up over two albums, including their most recent release Goodbye Wild Child. Working with Graham Boonzaier as DOP and Amy Anstey and Adi Koen on make-up and wardrobe, the music video brings ‘Dirt and the Rubble’ to life through a moving story of a young, carefree couple on a spontaneous journey.


“About two years ago I embarked on a project to shoot 16mm film,” says Fausto, explaining the origins of the project. “I decided that I wasn’t going to wait until someone gave me the money to do it, because then I might never get the opportunity.” Throughout this filmmaking experience he stored each 16mm film in its canister, waiting for the right opportunity to put the footage to use. “When I heard an early live version ‘Dirt in the Rubble’ I knew instantly that it was the perfect accompaniment to what we had shot.” However, this existing footage wasn’t enough to tell the entire story and the prohibitive cost of shooting film and shipping it to London for processing meant that they had to explore other options. The solution came when Picture Tree bought one of the first Digital Bolex cameras and Fausto was able to augment his 16mm shots with new scenes filmed using the Bolex, as well as an Arri SR3 Super 16mm.


For Fausto, the process was filled with wonder. “Not having playback on set meant that after I hand-delivered the film to the lab, stayed over at night for a couple of hours to see the process happen, and then finally take it to the telecine to have it scanned, I got to sit down about a week after the shoot and see what we had. Watching those rushes for the first time was an experience I can barely explain to anyone who hasn’t had the chance. It’s exhilarating. It exceeded the feeling I get when looking at my 35mm stills after having them scanned. It’s magic, like falling in love with your footage for the first time.”




Director: Fausto Becatti
DOP: Graham Boonzaier
Edit: Cremer Van’Dango at Hey!Fever
Grade and Online – Warwick Allen at Mushroom Media
Make-up and Wardrobe: Amy Anstey
Wardrobe: Adi Koen


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