We’re two short weeks away from Christmas and it sure is starting to get ugly out there. This weekend, I found myself INSIDE a mall. It was terrible. There were people and decorations and people and Santa Claus’ and people. Lots of people.
And the parking lot -- can I get an oy vey or would that be too cliché?
It should go without saying -- but yes, I’ll say it anyway -- I don’t care for Christmas. Or any other holiday, for that matter. The entire exercise of forced and fake joy and happiness strikes me as excessively forced and fake. I can’t help it. Maybe it’s the Jew in me, but I find nothing merry about fighting over parking spaces and pretending you actually like those cheesy boxed gifts that usually involve some kind of miniaturized game. Which is why, many years ago, I celebrated my first Devilmas with Josh Todd. At the time, I lived in Naples, so I came up to Orlando to hang with Josh for a few days. We were both in between relationships, so we spent the days doing what best of friends do: drinking and watching zombie flicks.
Thus was the first Devilmas. There were a few cool things born from that moment of time. Devilmas, of course. The script for “Our Zombie Holiday, pt. 1”. The story for a still unfinished children’s novel about a boy and his trash can (“BORC-9”).
And of course, everything Devilmas-related that’s been produced since.
This year, the legacy continues in a big way.
The Devilmas theme song was actually produced towards the end of 2010, but we held on to it so that we could release the music video in the heart of the Devilmas Season 2011 (October 31 through December 31). When it came time to start working on the video this year -- aside from the desire to see it done, we didn’t really know how to pull it off (“we” being myself, Matt, and Chris).
Matt and I eventually decided that the best way to do Devilmas was the way we do everything: outsourcing. But don’t let the idea of leaning on the community of Krumbination fool you into thinking that this simplified the job for me and Matt.
The easy parts of the video were Matt’s performance footage (I LOVED the material from inside the train, how he stuck the camera on the tripod and held the tripod, moving it around with him) and Chris’ footage (shot on a greenscreen and matched to the plate that Matt shot in Utah).
After that, it was all uphill.
Fortunately, Eric Morrison contributed the “Bad Christmas” segment which knocked a small chunk out of the video. Ryan Johnson provided titles for the opening, which, intercut with footage from our resident Baptist minister and PHd student, proved to be the perfect prologue.
I think I posted this on Facebook and I was totally serious: this project took the better part of a month to edit. Not only is it the longest music video I’ve cut, but every single shot has some kind of effect on it.
The Devilmas music video is the definition of a labor of love. It’s been a long time coming -- years in the making! -- and the joy I feel is not only due to finally having this off my plate, but that we now have such a beautiful realization and tribute of the Devilmas Season.
Next year: greeting cards.
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The anguished musings of a jack-of-all trades creative professional based out of Longwood, Florida. Find out more about him here. You know, if that's your 'thing'.
Most of my production music is original but if I need something extra-special, I usually get it from AudioNautix.com: