MUSIC: "POMPEII" by E.S. Posthumus
VIDEO SIZE: 6.08 MB
LENGTH: 01:41
NUMBER OF CLIPS: 58
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Re-Mastered & Rereleased: June 15, 2008
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COMMENTS:
THE SCORE - As explained in the Comments section for POMPEII Version 1, "POMPEII" is a dynamic score and offers opportunities for both adrenaline-packed clips as well as introspective clips.
PATTERNS - I created this video with the intention of not using the same techniques used in Pompeii Version 1. That is, eliminating the excessive use of gunfire and explosions, and rely more on the emotional aspect of the series that is equally adrenaline-filled.
To provide movement and relatively more drama than static, relatively non-moving clips, I used a wide variety of different zoom shots, such as clips I call "zoomarounds," where the camera pans around a pivot, such as Scully scanning the crowds in UNREQUITED or Scully rotating in a chair in front of Mulder's desk in NEVER AGAIN.
I also wished to practice designing the video so that the clips flow from one to another, following a pattern of movement. For example, in the opening scenes, soldiers are running through an underground maze in APOCRYPHA, and in the following scene, Mulder is running down the stairs, in the same direction, while gunshots are fired at him in PAPER CLIP. The clip that follows that is the continuation of the APOCRYPHA clip that now shows Mulder and Scully running through the maze in the same direction as Mulder had in the previous clip.
There is a sequence of a similar directional flow of clips in the following sequence, starting with Scully aiming her gun at Luis Cardinale from PIPER MARU.
At 00:17 minutes starts a sequence of what I call "turnarounds" and "zoomarounds." Mulder is sitting in his apartment couch and the camera pans around him to show his gargoyle drawings from GROTESQUE. Following that clip is Scully in a zoomaround as she pivots around in her chair in NEVER AGAIN. Her face is not completely revealed in that clip, and instead completes its rotation in the next clip, also from NEVER AGAIN.
Ending the sequence of zoomarounds and turnarounds is a clip of Mulder leaning backward as the camera zooms in on his face, a look of resignation from DEMONS. This clip serves as a transition into contextually scary parts of the show, namely clips from Mulder and Scully's harrowing experiences in FIRE, THE CALUSARI, and ELEGY.
At 00:50 minutes, the directional flow sequence starts again, with a pivot zoomaround clip starting with Scully scanning the crowds in UNREQUITED, and continuing that rotation with a Mulder zoomaround from DEMONS. The following clip is Mulder swinging his arm around brandishing a gun at Scully from ICE, and effectively starts the last action sequence of running, violence, lust, and projectile forces. The heavy drum beats are accompanied by the hit of the spear from HOME, Teena Mulder slapping her son from DEMONS, Scully resusitating Mulder in END GAME.
There is another sequence of motional flow immediately following the END GAME clip, where the doctor's duck in END GAME leads to Scully's duck and roll in LEONARD BETTS, and again uses a defibrillator, mirroring the previous clip. As Leonard Betts flies out the doors of the ambulance, another set of doors open, this time doctors wheeling Mulder in from BEYOND THE SEA. Again, another door opens as Mulder enters his apartment in 731.
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