Bobspez wrote:
How did she get a black leather jacket on in the finished video? She didn't have it on in the studio. Also at one point in the final video her hair blew in the wind. How did that happen?
Overdubbing... Mary is a veteran studio rat of sorts. She eats, lives, and breathes music and the life of an independent singer-songwriter. She recorded the entire song in the studio, and lip-synched it on location, much the same way as people have recorded music films and videos for the last 50 years or so. She took the laptop outside and set it on a table and recorded those lip-synched scenes with the 1080P webcam.
The whole thing is edited as multi-track audio and video. It's conceptually simple when you see it done. But the subtlety of it requires sublime talent. She knows exactly what to do to shape her sound, and how to edit her audio and video work. This is not new to her.
What can be done with a Mac, Logic Pro, and Final Cut Pro is nothing short of amazing. This was a good demo of that. Logic Pro itself is a wonderland of audio tools. You can add virtual processors like limiters, compressors, leveling amplifiers, equalizers, delays, reverbs, phasers, flangers, controlled tube pre-amp distortion, tape hiss (!), notch filters and other tools — effortlessly. What took rooms full of hardware in the 1970s is all possible on a laptop now.
That Mac can mix a couple hundred audio tracks, each with several processor plug-ins on it, without breaking a sweat. Drop the result into Final Cut Pro along with the video, and edit away... Final Cut can handle MANY streams of 4K in a timeline on that machine — up to 20, which is more than most of us need. Final Cut also can handle multiple tracks of audio, although I'm sure she mixed that song in Logic Pro, based on what we saw in the video.
If George Martin had a setup like that, we likely would have had more Beatles records and films! Much of the better music being recorded today is being recorded and marketed independently, outside of the big, fancy, high overhead studios of the past. The technology of computers and the Internet has freed musicians from the confines of recording contracts and the lechers who write them.