S T E G O S Y N C S

My latest project, which I call a "syncollage", still in the works, titled PAPER BOY. Here's Part 1

 
Online Videos by Veoh.com

It incorporates the "base" videos of PAPER MOON and CABIN BOY.

And this is PAPER BOY Part 2:

 
Online Videos by Veoh.com

 

Here's a short "straight" sync I did using an old Popeye animated film with music by Alice Cooper and Devo:  

Contact/Echoes

STEGOKITTY  PRODUCTIONS in cooperation with EVENING STAR GIFTS presents . . .

   

DARKEST CITY

cover design manipulated by Stegokitty

A full-length audio/video synchronicity featuring the cult classic Science Fiction film DARK CITY (directed by Alex Proyas, and starring Rufus Sewell, Jennifer Connelly, Kiefer Sutherland, William Hurt and Richard O'Brien) and the music of Pink Floyd, Tangerine Dream, Mike Oldfield, The Beatles, Cream, Terry S. Taylor, Enya, They Might Be Giants, The Police, Talking Heads and Supertramp.

Months in the making -- painstaking care in song selection and execution -- beautifully packaged -- an entertainment marvel!
Digitally mastered sound and picture!

Critical reviews by renowned syncers and sync enthusiasts:

A "FEATURED SYNCH" at the Synchronicity Arkive

An unsolicited review of Contact/Echoes by Upchuck Undegrind at FishComCollective

Click here to get DARKEST CITY

NOTE: Stegokitty is neither the manufacturer nor distributor of this or any DVDs reviewed on this site.

Back to Other Pre-Recorded Syncs on DVD

COMPLETE REVIEWS

Date Posted: 2004-01-26 17:09:19 - The Synchronicity Arkive
Author: karl
Subject: Review of "Darkest City" by Stegokitty

Dear Reader,

The “Darkest City” synchronism is hypnotic in beauty. Much of the music matched the movie in some form. All the music is applied appropriately. I never had the feeling that there is dead space and only consulted the list of checkpoints to see who the music was by. Music transitions are right on target. I might be biased because I enjoy most of the music used and was very pleased that the songs are played in entirety (you know, start to finish). Yes, “Darkest City” is spectacular. It truly enhanced both the music and the movie. I give this full length harmony an A+ and recommend it for surreal pleasure.

Because the songs were not from the same artist, the level of difficulty in matching was reduced. Because different artists were used, the ear did not become bored with the same tone. In some cases, I would have like to have heard other artists but I never felt that the music did not match. Much of the music used has a fantasy vibe to it.

Sincerely,
Karl Tune

Date Posted: 2004-03-24 16:01:48
Author: baker b.
Subject: impromptu review
Hi Stegocat!

On another forum, as several people here know, I've begun a rather lengthy history (once again... different slant than before, though) of a/v synching as I understand it, and how Shared Fantasia represents a shift between two broad areas of interest. Not to get into that, but simply to say that Darkest City, as I perceive it presently (plan to watch it again, as a whole, soon, when I have a 2 hr. chunk of time available), is a very good example of what I'm looking for in a more or less extensively *manipulated* synch. The use of multiple artists helps lubricate the process, and keeps the interest flowing from one individual section to another. I like the way you pay continual homage to the straight synch in this work, and how, for example, you choose to follow the Beatles song "Because" in the synch with "You Never Give Me Your Money", also the song after "Because" on the "Abbey Rd." album. This represents another strengthening of the "synchronicity" aspect, or allowing the parts to flow together naturally instead of in a more manipulated and perhaps more forced manner. I'm impressed how you keep coming back to the same artists in your synchs, using different versions of the Tubular Bells to connect diff. parts of the synch together, and help create a unified picture. You also do this through the Ummagumma album. For me, the most impressive part of the synch may be the long, single cue Tubular Bells II. This is a very worthy climax to a rather amazing synch, and, as synchs go, I'd have to rate this near the top of what I’ve seen in terms of a cohesive manipulation. Darkest City , as I understand, has its roots in single cue manipulation ala a 2001-Echoes and Dark Side of the Rainbow, but evolves this base approach into a higher level of complexity without sacrificing much of the objective, hands-off nature of the former that appeals to many. I highly recommend those heavily involved with synching, straight or manipulated, to get their hands on the DVD while available if possible, if only for educational purposes. Study and learn. My only criticism, and it may not be quite fair here since it applies to so many other synchs as well, is that it is almost impossible to follow the actual story line without immediate knowledge of the Dark City film itself. In other words, despite certainly a valiant effort at tying everything together and making the audio match the video as much as possible, it could be argued that the parts are still greater than the whole.

I don't intend this to be a final review of DC at all, but it may be the only one I create here. I also have a great hankering to view and review, once again, Dave's Being Geddy Lee, a very different approach to manipulation.

Again, excellent work! Highly recommended.

Baker.

Date Posted: 2007-10-24 10:14:23
Author: Jaydingo
Subject: Jaydingo's DC review
 

Hey Stegokitty. Heres my findings & review of Darkest City.

The overall mood of Stegokitty's sync creation DARKEST CITY is a perfect example of darkness & light. Sinester elements of film sync'd and blended with such a wide array of music both light hearted as well as ominous. All this together makes for a sync film so unique & mesmerizing one might feel as though they've run a gauntlet of emotion that leaves them elevated & better still...entertained! The opening scene using Pink Floyds Sysyphus (pts. 1-4) gives off the spidery piano tingle that brought Rhapsody In Blue to mind. Highlights of this opening segment that stood out to me were how the music tempo changes when the people of the city fall asleep & how the Dr. Schreber character is given a Charlie Chaplain/silent movie feel. When John Murdock awakens the music fits perfectly with the chaos that is going on. What ensues is a brilliant cacophony of wonderfully atmospheric sync occurrences including the first appearance of The Strangers through the elevator door. When Emma first appears singing, birds can be heard in the background...songbirds. The music intensifies apon seeing John in front of the store window pondering his identity as the music bleeds nicely into organ music as Detective Bumstead plays the accordion. The Bent Cold Sidewalk segment is very nice with lyrical syncs like "all you've seen is what you wanted to" as John watches the doomed prostitute undress, and "as you look behind" as the prostitute looks behind her over her shoulder. When The Strangers confront John you can hear the lyrics "we can lead you far beyond the door". The treacherous Mr. Hand locates Dr. Schreber while voices can be heard, the beat matching Dr. Schreber treading water. "Creating dreams that pass you by" plays out as John runs from Detective Bumstead & the tempo shifts as John creates a door to evade Bumstead's pursuit. My favorite part plays out during the next scene which uses Pink Floyds The Narrow Way as Bumstead pays a visit to a former detective Eddie who has become obsessed with the mystery of The Strangers. The Narrow Way is a perfect phrase & choice of song title due to the fact that Eddie is seen as insane with his constant obsession with the riddle of Dark City. The music itself is very subtle acoustic guitar with a chaotic slide guitar track over it. This works perfectly for this scene. Musical cohesiveness (sanity) mixed with psychedelic slide guitar with ambient overdubs (insanity). The ending of The Narrow Way is so perfect for the following scene that it could pass for the actual music video for Dark City. The passionate flamenco music that starts Serpent Dream matches with Dr. Schreber & John arguing in the streets. The flamenco vibe of the song gives way to a harder electric guitar assault that starts when the people of the city awaken none the wiser of the activity & changes made by The Strangers. The next scene uses the song Because by the Beatles as we see Emma appear to mouth the word "because" as the backup jazz musicians sway in time. I mostly found it ironic and humorous that the subject matter of the song is based on human emotions that would be lost on The Strangers. "Love is old, love is new", & "because the sky is blue, it makes me cry" are emotions that may have prompted The Strangers to look for our souls to begin with. This leads to another Beatles composition "You Never Give Me Your Money and like the other segments there are many sync occurrences. Most notably "you only give me your funny paper" as we see a news stand & "nowhere to go" is heard several times all syncing in accordance to finding Shell Beach. Another great sync is when Mr. Hand closes his eyes to see John Murdocks past playout like a dream as we hear "one sweet dream". "Always know sometimes think its me, but you know I know when its a dream" stood out strong during the Strawberry Fields Forever playthrough. Many syncs can be found here. I like to think of Strawberry Fields as a metaphor for Shell Beach. During Cream's Tales of Brave Ulysses there are many references to the beach & the sea which John & Uncle Karl are watching slides of. "And her footprints make you follow" as we see footprints in the sand. Next is a song by Terry S. Taylor entitled Confused And Upset which is very funny. Detective Bumstead appears to talk gibberish after comforting Emma. Many of the atmospheric aspects of Darkest City can be traced back to the use of music by chanters Enya. The song Aldebaran is primarily used for mood & lends an aura of beauty to the darkness of the film & gives a feeling of impending...hope! As the city changes, Klaymen Shuffle by Terry S. Taylor plays giving the scene a circus fun house type feeling. Very humorous! They Might Be Giants echo the fun of the prior tune as shifting buildings (giants) cause havoc for our hero & his pursuers The Strangers. "Hang on, hang on tight" is heard as John dangles over the city  & the word "boy" is heard as the youngest of The Strangers bites John on the hand. Mike Oldfields Etude goes with John & Bumsteads conversation as well as the conversation with John & Emma. The next song Behind My Camel by The Police plays out as John & Emma magically break the glass that separates them leading to a kiss. The dreamy music of Enya again creates a nice sound scape as The Strangers put several police officers to sleep & fitting that before this scene music from the band The Police was played :). A great song about realization is played out with the Talking Heads Once In A Lifetime. Dr. Schreber's exclamation of "My God, what have I done" is amazing & many appropriate water references! The next medley by Mike Oldfield, Sunset Door, Tattoo, Altered State, & Maya Gold fit well with the discovery of what waits beyond the walls of Dark City. The bagpipes heard next are fitting after the death of Detective Bumstead & Johns oncoming victory. The climatic battle between John & The Strangers go incredibly well together creating the perfect segway to....Athair Ar Neamh by Enya. Johns personal victory as well as his victory for humanity fit so well with this music even the bell that tolls seem to toll the impending doom of Mr. Hand & his Stranger cohorts. Johns arrival at Shell Beach is moving & almost spiritual as the darkness of the film is given the future prospect of hope & prosperity. Supertramps Asylum brings up the end credits & fittingly so!

 

Overall...a sync masterpiece! Thanks to Stegokitty for being not only the architect of Darkest City but for also giving out the key to "the city". - Jaydingo

 

A chronolist of artists OF songs, along with a few syncs to keep an eye and ear out for:

1)       PINK FLOYD – Sysyphus (parts 1-4) – UMMAGUMMA: This part is quite obvious. No explanation should be necessary.

2)       TANGERINE DREAM – Bent Cold Sidewalk – CYCLONE: This music substitutes the Roger Waters contributions to the studio disc of UMMAGUMMA, which didn’t work with the film at all. Bent Cold Sidewalk offers mainly transitional syncs, but a few lyrical syncs as well, such as:
* ”All you’ve seen is what you’ve wanted to” – You’ll know what this means when you see it.
* ”…as you look behind” – We see the prostitutes hind quarters -- her “behind”.

3)       PINK FLOYD – The Narrow Way – UMMAGUMMA: Many mood syncs and philosophical meanderings, especially on the idea of “rest”.

4)       MIKE OLDFIELD – Serpent Dream – TUBULAR BELLS III: Begins in the transforming house and ends abruptly.
The abrupt ending is the actual ending of this track and not just me cutting the song for effect.

5)       THE BEATLES – Because – ABBEY ROAD: Fits well rhythmically, and Emma appears to sing the word “because”.
* ”Because the world is round” – We see a round table.
* ”…it turns me on” – Mr. Book places his hand ON one of the model buildings.
* Repeats “Because the world is round…” – and we see ROUND bald heads.
* ”…it blows my mind” – Dr. Schreber wields a syringe of mind altering substance.

6)       Next from ABBEY ROAD, You Never Give Me Your Money, works as fine accompaniment to the mood of the scenes, and:
* ”…you only give me your funny paper” – A newspaper stand is seen.
* ”ne-go-ti-ations” – On each syllable, the camera pans between the faces of John and the newsstand man.
* The Strangers enter the prostitute’s apartment, and the music picks up tempo.
* ”Nowhere to go” – The Prostitute shakes her head.
* ”Nowhere to go” – John is trying to find out how to go to Shell Beach without much success.
* Tapping on cymbals makes for an alternate sound effect to the dangling hand-straps on the subway.
* Once again “Nowhere to go”, as it shows the Green Line subway coming to a stop.
* ”One sweet dream” – Mr. Hand closes his eyes, seeing a vision or a dream of John Murdoch’s life.
* ”Wipe that tear away” – The prostitute begins to cry.
* ”One sweet dream came true” – The straight (true) blade of Mr. Hand’s knife pushes forward.

7)       THE BEATLES – Strawberry Fields – MAGICAL MYSTERY TOUR:
* Airborne scraps of paper fly upward to the first strum of the guitar
* ”Let me take you down” – The madman jumps DOWN to his death on the tracks.
* ”Living is easy with eyes closed” – Mr. Hand closes his eyes.
* ”Mis-un-der-stand-ing – all – you – see…” – to quick scenes of romance in Mr. Hand’s mind, of which he has no understanding.
* Backward drumbeats work as alternate sound effect to Mr. Hand’s footsteps as he walks away from Emma.
* ”Let me take you down” – Emma looks up to see an electric sign pointing DOWN.
* The strings accompaniment moves to a minor chord as Emma cautiously enters the prostitute’s dressing room.
* Guitar and Strings flourishes as Detective Bumstead grabs Emma – the music bends with their struggle.

8)       CREAM – Tales of Brave Ulysses – DISRAELI GEARS:
* Camera pans between the faces of the men to the sound of the music.
* ”Bring you down” – John bends down to hug Uncle Karl.
* ”To the violence of the sun” – The bright projector light comes on.
* A drum beat sounds with the change of a slide.
* ”And you touch the distant beaches” – We see a sign for Shell Beach.
* ”And her footprints make you follow” – Footprints in the sand where Uncle Karl is stooping.
* ”Where the sky loves the sea” – The inverted slide places the sea above the sky as if they are making love.
* ”Tiny purple fishes” – No fishes, but this is probably the only place in the film where the colour purple is seen, behind Emma.

9)       TERRY S. TAYLOR – Confused And Upset – THE NEVERHOOD Soundtrack: Humorous mumbling in the talk scene between Emma and Detective Bumstead.

10)       ENYA – Aldebaran – ENYA (a.k.a. The Celts): Used primarily for timing and mood.

11)       TERRY S. TAYLOR – Klaymen Shuffle – THE NEVERHOOD Soundtrack: Funny rhythm and altered mood syncs.

12)       THEY MIGHT BE GIANTS – They Might Be Giants – FLOOD: Loaded with funny rhythm syncs, and includes:
* ”Hang on … hang on tight!” – Two quick shots of John trying to hang on tight to the guardrail.
* Once again, “Hang on tight!” – As John has to hang on tight to the rising chimney.
* ”We can’t be silent” – Det. Bumstead shouts.

13)       MIKE OLDFIELD – Etude – THE KILLING FIELDS Soundtrack: Panning between the two men’s faces to the rhythm of the music.

14)       THE POLICE – Behind My Camel – ZENYATTA MONDATTA: Pure filler. I did edit this song to 1/3 its actual length but nothing is lost because it’s totally repetitive, and works nicely enough.

15)       ENYA – Cursum Perficio – WATERMARK: Once again, pure filler. I just love the tune and wanted to share it, and it works well to boot!

16)       TALKING HEADS – Once In A Lifetime – REMAIN IN LIGHT: A few obvious lyrical syncs that I’ll leave for your own surprise, and plenty of rhythm syncs.

17)       MIKE OLDFIELD – Sunset Door; Tattoo; Altered State; Maya Gold – TUBULAR BELLS II: Other than many, many rhythm syncs:
* Incomprehensible speech is uttered to a full shot of Dr. Schreber’s face, making it appear as though he is the one speaking.
* ”What’s going on?” – Seems to be the question in the minds of the Strangers, as now, the tables are turned, and John Murchoch begins to gain the upper hand.

18)       ENYA – Athair Ar Neamh – THE MEMORY OF TREES: Chosen for mood and timing, and of course because it works well mood-wise.

19)       SUPERTRAMP – Asylum – CRIME OF THE CENTURY: The credits roll.