The Goodiepal Equation documentary is now available for free in Youtube! 

The film is also available to rent and watch without ads at the Fonal shop. The documentary is also released on a USB drive with a massive five hours of extras including a brand new 20 minute Epilogue where we see what’s up with Goodiepal and his pals after the filming of the documentary. Browse to Fonal online shop to purchase the USB and rental: https://fonal.com/shop/the-goodiepal-equation-usb/. There is also a new Goodiepal Equation t-shirt available with design and coloring by Ilona Lehtonen and pencil drawings by Kalle Rantakallio.

The Goodiepal Equation is my first feature documentary and it follows Kristian Parl Bjørn Vester, a Danish/Faroese musician/artist. The documentary was filmed during 2011-2017 and it was edited by Eeva Tuomi between 2015-2017.

The film had its sold out premiere at the Helsinki International Film Festival on September 22nd 2017 and a sold out international premiere at Ji.Hlava International Documentary Film Festival in Czech Republic on 28th October 2017. The documentary was selected to CPH:DOX and will have three screenings there end of March 2018.

You can follow future screening dates on the films facebook page.

About the process

I did a short 30 minute documentary on Goodiepal in 2012 in my A Day in the Mouth series. That was when I decided it might be a good idea to do a longer piece on Goodiepal. I spent the first five years just filming him and in 2015 Eeva Tuomi came on board as the editor.

Technically the film is very very simple. There was no lighting and I used whatever camera I owned at the moment. I begun with the Panasonic GH1, then the Panasonic GH2, Blackmagic Pocket Cinema Camera and finally the Sony A7s. This a natural progression but it also gives the periods a certain look that changes alongside with Goodiepals ever changing appearance. My favorite camera was the Blackmagic Pocket that shoots Prores. You can color correct material that is severely underexposed or white balanced wrong. That happens quite often in documentary work. The A7s is as good and even better in many ways (lowlight for example) but I really prefer to use a camera that has a deeper depth of field. The full frame sensor of the A7s gives you an image that is just too shallow and you have to constantly keep checking the focus.

Working with Goodiepal

I quickly realised there are no second takes when working with Goodiepal. Everything had to be captured as it happened. I bought a GoPro camera that we attached to Goodiepal’s bike and he also used it to film other things on his own. The fact that the camera had no screen and Goodiepal could not see what he was filming gave me an access to his personal life that led to some fantastic intimate moments. These moments would not have happened had I been there.

Editing the documentary

Eeva edited the film for over two years and I must say I am extremely happy with how she handled the footage. There was almost 60 hours of material. 15 hours of just stuff Goodiepal had shot with the GoPro stuck on his bike. The first two years was just hard work. In the last few months we restructured the edit and the chronology of events was mixed up a little bit. This was a pivotal moment in finding a narrative to the cut and having a flow of events that we were happy with.

Loads of people helped with getting extra material and I’m very grateful for that. We also licensed some footage from Danish broadcast companies. That was very expensive. It was equally amazing to be able to do surround sound that Samuli Ala-Lahti realized with his sound design. So in the end the film turned out to be much better than what I hoped for and it seems it will have many more screenings than the originally planned one at a local cinema.

We are now submitting the film to as many film festivals as we can and hopefully next year we will have many screenings!

A word from the director

The Goodiepal Equation documentary film reveals a small part of Goodiepal’s personality and mystery. It shows its protagonist as both an uncompromising artist and a loyal friend. Goodiepal explores the boundaries of society’s rules. He shatters the definitions of art in his works and actions. Goodiepal is by nature impenetrable, yet consistent. That is why people often either love him or hate him.

Goodiepal himself forms an essential part of his theories. Indeed, the Goodiepal Equation is as follows: “The further a message travels over space and time, the more value it adds to its content.” One might think that this documentary has been made on the off-chance of Goodiepal later becoming an extremely famous artist and theorist. This, however, is a ready example of the paradox that is Goodiepal – it will never happen. If nothing else, it will be hindered by Goodiepal’s personality. For all his overbearingness, he is not merely a master manipulator; his actions reveal true altruism and empathy. He pays for rooms for the needy to work and live in, he helps refugees and donates large sums of money to charity.

Even though he is the self-proclaimed man for the new millennium, for most of us he is also beyond comprehension and imagination. You will feel like Alice in Wonderland having a conversation with the Cheshire Cat. That is why following Goodiepal must be done with a mind as open as Alice’s as she stepped through the looking glass.

The documentary portrays a man who is more than an artist or a theorist. It shows us someone who is battling – in his very personal way – his problems and illnesses. Goodiepal’s attitude in the face of adversity is the main reason why I chose to make this documentary. His loyalty towards his friends is demanding but also very rewarding. In the words of his best friend Poul Erik: “He is ready to die for his friends.”

The Goodiepal Equation press release

Goodiepal (real name Kristian Parl Bjørn Vester, b. 1974–76) is a Danish musician, performance artist, lecturer and activist operating on the fringes of society. Goodiepal rides thousands of kilometres on a self-built bicycle that he uses to power his shows. He has released a record with a genuine 500-krone banknote embedded in the vinyl – priced at 250 kroner. Goodiepal has put together an exhibition for the National Museum of Denmark comprising all his material possessions, and he creates his art outside of customary institutions and norms.

Goodiepal’s best friend, the former 1960s rock star Poul Erik, is another true eccentric, a hoarder living among things he has collected from skips. His dream is to own a piece of each item ever produced by human beings. Goodiepal considers Poul Erik his partner in crime, although his audience would prefer to see him without him.

Goodiepal’s life is shadowed by Huntington’s disease, an inherited degenerative disease of the brain that has driven men in his family to suicide. Doctors find odd tumours in his head and he begins to misplace and forget things. Many of his closest friends are likewise affected by illness.

Goodiepal’s activism turns increasingly radical and he drifts further and further away from social safety nets. Goodiepal challenges us to reflect on our view of the world. What remains of us if we only exist to serve the system? What is THE GOODIEPAL EQUATION?

The post The Goodiepal Equation documentary appeared first on Sami Sänpäkkilä.

Buy CD: http://fonal.com/shop/ninniforeverband

Ninni Forever Band debut solo album from Pintandwefall member Ninni Luhtasaari, recorded and produced jointly by Risto Ylihärsilä and Teemu Markkula. Ninni Luhtasaari is a one-woman artist collective. She is a milliner, a versatile manipulator of moving and still images, a conceptual artist, a multi-instrumentalist and a songwriter — among other things.

Music video by Sami Sänpäkkilä.
Thanks to Risto, Ville and all the innocent bystanders!

http://www.aaneton.com
http://www.ninniforeverband.com

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Ville Pirinen is a hard rocking visual arts freelancer and a musician living in Tampere, Finland. He plays in a multitude of bands including Black Audio, Seremonia, Steel Mammoth and draws and writes comics such as “Ornette Birks Makkonen” and “Yhesti yhes paikas”.

Shot and edited by Sami Sänpäkkilä with Panasonic GH2, Zoom H4n, Audio Technica Lav, Swit led light and DFocus v2. Edited in Sony Vegas Pro 10. Watch previous episodes of A Day in the Mouth.

www.villepirinen.com
www.samisanpakkila.com

The post Ville Pirinen – A Day in the Mouth episode 6 appeared first on Sami Sänpäkkilä.

Chef santeri and Anna-Liisa Nikus have just published a cook book on how to prepare black sausage in several ways. I was hired to shoot a short web commercial for it. I was very excited to get to work with the legendary M.A. Numminen on this video. Chef Santeri aka. DJ Sane and Numminen have a project together combining beats and Numminen’s lyrics. For this commercial they rehashed an old legendary Numminen track Dägädägä.

The project was shot at Harri Hinkka’s photography studio. I wanted to get quite a clinical look for the video. Bright, flat and sharp. The video is lit with two 650W tungsten in front and one 350W tungsten behind the actors for backlight. Extremely simple.

The lights you see in the picture were borrowed from the studio and are dimmed down to minimum. It pretty much came out the way I wanted it to be so I was quite pleased. The music really makes the video though so it was quite easy to make it “good”. The whole shoot took about three hours, I edited it in about a day and a half and we ate about two kilos of sausage during the shoot. I hope to get more work like this in the future!

Check out Uusi Mustamakkara facebook page here: https://www.facebook.com/uusimustamakkara

The post Uusi Mustamakkara appeared first on Sami Sänpäkkilä.

Directed, edited and shot by Sami Sänpäkkilä
Actors: Noora Federley, Ilkka Vekka, Ville Pirinen, Erno Taipale, Teemu Markkula, Ninni Luhtasaari

This is the second video I’ve shot for Seremonia. It’s from their newly released self titled album. This was a quick shot in between two longer more story driven music videos in the plans for Seremonia. First one was done already and is called Rock ‘n’ rollin maailma and it begins the story of a young girls driven to the world of rock ‘n’ roll and alcohol. Hopefully we get to shooting the third one some time this year.

Uhrijuhla was shot in a studio right after the bands promo photoshoot session. The idea is pretty simple. I’ll leave the loose red thread for yourselves to figure out. It took about four hours to shoot and two days to edit the video. Most of day two was trying to find the right look for the video.

Lighting

I used a 650W tungsten as front light and a 300W tungsten as backlight. I shot this one accidentally at 5600K although the lights are of course rated for 3200K. Sometimes you just screw up the most simple things. But it wasn’t a big issue since I had a plan to do the video black and white.

Grading the video

However after I got back to the edit and tried it out I didn’t find that it fit the footage that well. So after extensive messing around with the colors I got the heureka moment with Magic Bullet looks 2’s “two strip process” preset. I constructed the final look using the preset as the basis. I’ve actually tried this out on numerous of my projects but it’s never really worked. Lucky me it did this time around! Technicolor 2 strip process is a wonderfull looking and very complicated filming procedure. Here’s a bit of info on how they recreated the look digitally for Aviator. Check out the images on the website.

The visual effects are all done in camera except for the overlay images and one 7 frame shot that I did with After Effects. Can you guess which?

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NARC BEACON 9, 11, 19 & 21yr ANNIVERSARY 2LP gatefold picture disc edition available now on Fonal Records! http://www.fonal.com/shop/goodiepal_narcbeaconnagnagbacon_2xlp

Goodiepal or Gæoudjiparl van den Dobbelsteen, whose real name is Parl Kristian Bjørn Vester, is a controversial Danish/Faroese musician/composer. The eccentric and self-made Goodiepal has influenced the course of modern music through radical excursions into computer technology and media art. Until recently Goodiepal has been employed as a teacher at DIEM (Danish Institute for Electro-acoustic Music) at the Royal Academy of Music in Aarhus, Denmark.

Goodiepal declared intellectual war against the stupidity in modern computer music and media art, which is to say against The Royal Academy of Music, when he quit the job in 2008. As per 2012 he lives somewhere in Europe and is married to the road.

Shot and edited by Sami Sänpäkkilä with Panasonic GH2, Zoom H4n, Audio Technica Lav, Swit led light and DFocus v2. Edited in Sony Vegas Pro 10.
Music by Goodiepal.

Watch previous episodes of A Day in the Mouth

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Starwall (Espace Louis Vuitton, Tokyo, Japan edition)
Site-specific installation | Plywood, fluorescent lights | 940 x 850 cm
Work with support of Espace Louis Vuitton Japan, Tokyo

Starwall is a site-specific installation. A black wall is built in front of a window. Using the locations longitude, latitude and compass direction I determine what starry sky would be visible though that window at a certain time. The stars in the Starwall are lit by the sun from behind the wall during the day and in the evening by fluorescent lights that are placed behind the wall. The holes are drilled with 6 different sizes of drills to represent the stars brightness.

For the gallery space Espace Louis Vuitton in Tokyo, Japan I have chosen the exact middle of the exhibition as the alignment point which is 25th July 2012 at 16.00. This is when the real stars will align with the fake stars drilled on the wall. There are 273 stars and one galaxy (NOC 6034) on the Starwall. The brightest star on this wall is Arcturus which is also the third brightest individual star in the whole sky seen from planet earth.

The size of the holes in the Starwall correspond to the brightness of the stars. For example Arcturus is 0.15 magnitude so it was drilled with drill size 3.5mm. The brightest magnitudes between 0-1 have been drilled as a 3-3.5mm hole and dimmest stars of 5-6 magnitude will be drilled with 2mm drill size. There is also a grill 1 meter behind the window. This causes the stars on the Starwall to twinkle as you walk in the gallery space.

Exhibition open June 9th – September 9th, 2012 everyday from noon until 8pm. Espace Louis Vuitton, Tokyo, Japan

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The Big Crunch is a video installation that communicates the presence of humans on earth and human intelligences take on the apocalypse. It is an examination on how humans react to the end of the world and how we read signs and symbols found in nature to try to demystify our existence. We see images beginning from mathematical innovations, the golden section and Fibonacci sequence to the end of the world, the Big Crunch.

1 or 4 channel installation | 2012 | 9:16 (vertical) | HD | 10:46 | stereo
work with the support of Espace Louis Vuitton Tokyo
Edition of 3

“Our observations and our learning shape the universe into being, time is a creation of our minds, laws are generated by our thoughts and conclusions. Once we reach unity, we will reach universal consciousness and the answer.”

Directed by Sami Sänpäkkilä
Writer, cinematographer and editor: Sami Sänpäkkilä
Production manager: Maiju Laitinen
Key grip, gaffer: Alpo Nummelin
Best boy: Tanja Glad
Make-up artist: Elisa Uimonen
Costume designer: Anne-Mari Pahkala
Animation: Enrico Glerean
CGI artist: Mikko Kalliomäki
Runner: Antti Halmetoja

Actors: Jenna Snellman, Tanjalotta Räikkä, Teemu Markkula, Elissa Määttänen, Tomi Paulamäki

Eyes: Elissa Määttänen, Sami Sänpäkkilä, Jussi Virhiä, Jenni Ala-Kyyny, Ninni Luhtasaari, Teemu Markkula, Noora Federley, Ville Pirinen, Tomi Palsa, Ismo Torvinen, Laura Laukkanen, Seela Dahlman, Mikko Kyrönviita, Aino Louhi, Juhana Suoniemi, Hannaleena Heiska

Thank you: Pirkkalan VPK / Kare Willberg, Etelä Pohjanmaan Pelastuslaitos (Lehtimäen paloasema) / Eerik Kaltiaisenaho, Raija Pynnönen, Tampereen Työväen Teatterin puvustamo / Katri Innanmaa, Anssi Kasitonni & Maria Stereo, Lari Aaltonen, Wille Klen, Susanna Snellman, Tampereen URSA / Pasi Paunu, Matti Joki, Tampereen vesi / Matti Virkamäki, Petri Ylönen, Heikki Sundelin, Veli-Pekka Suorsa, Pekka Myllyharju, Petri Paulamäki, Matti Sänpäkkilä, Laura Köönikkä, Espace Louis Vuitton Japan / Christine Vendredi-auzanneau, Naoko Nishida.

The Big Crunch can be seen at The Awakening exhibition at Espace Louis Vuitton, Tokyo, Japan. Open June 9th – September 9th, 2012 everyday from noon until 8pm. Espace Louis Vuitton, Tokyo, Japan

The post The Big Crunch appeared first on Sami Sänpäkkilä.

First video from the new album by Barry Andrewsin Disko “Kuka siellä?”. Available on CD/LP and soon on digital.

We had a very small crew for this video. Here’s a good hint, if you’re shooting in front of suburban drug store with masked men, realistic looking guns and wads of cash you should definitely call the emergency services and let them know about it. They’ll be very pleased and actually it is common practice, something we do every time we use smoke on our shoots. Just so you don’t end up paying for the fire departments unnecessary visit or better yet you won’t end up under siege by 20 police men.

I had my fingers crossed for a rainy or a cloudy day for this shoot. The only light I used was my small camera top LED light to open up Jukka’s face a little bit. We used a c-stand to mark his heads place so Jukka would know where to put it when he came in front of the camera.

Ninni who shone in the Seremonia video in the tormented daughters role worked as a prop master on this video. She had done really realistic looking 20 euro bills and loads of cool wads of cash! And you know what, you can’t photoshop bills! If you try it will recognize them as such and tell you it’s prohibited to photoshop currency! probably sent out an email to local police as well… In the end you can’t really see the wads or the bills which is a shame. Gotta do another video with them more prominent though!

Jukka made a great appearance as himself in this video. He said he had a lot of practice trying to buy train tickets from VR. Mikko and Ville (also of the Seremonia-fame) you see as the bank robbers. I had in mind that Ville would be driving the car but it needed a bit of precision to get the car to stop in the right place, so we decided it’s not probably a good idea for him to try driving for the first time ever…

Directed, filmed and edited by Sami Sänpäkkilä
Prop master: Ninni Luhtasaari
Actors: Jukka Herva, Mikko Siltanen, Ville Pirinen, Antti Halmetoja
Thank you to Teemu Markkula and Petri Vaittinen!
Copyright Fonal Records 2012.

BUY CD: http://www.fonal.com/shop/barryandrewsindisko_kukasiella_cd
BUY LP: http://www.fonal.com/shop/barryandrewsindisko_kukasiella_lp
http://www.barryandrewsindisko.com

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This is probably one of the fastest in its price range of wide-angle lenses you can get. It’s a 12mm (equals 24mm on full frame sensor) Micro Four Thirds lens at f1.6 and costs around 550 USD + vat. My most used lens is propably my Canon FD 24mm f1.4L (equals about 50mm on GH2) lens, second up is my Canon FD 50mm (equals about 100mm on GH2) f1.4. Although this 12mm is still a speciality lens I have been using it quite a lot already.

Pros and cons

First of all some quirks and the negatives. The lenses focus and aperture ring are in reverse order from what I’m used to. The focus ring is closer to the body and the aperture ring is the outer away from the camera body. This makes use of follow focus difficult as the focus ring is so close to the camera body. In my case with the Panasonic GH2 and DFocus it’s impossible. There’s just not enough room. But on the other hand it’s such a wide-angle lens that chances are you’ll rarely need to pull focus. I absolutely love how smooth the aperture and focus rings are! It’s fantastic as there are no clicks on the aperture ring like there are on still lenses.

I really don’t like the caps that come with the lens. The lens cap itself is metallic and you need to screw it on and off which it doesn’t do smoothly. Also it’s very thin so if you’re wearing mittens or gloves it is even harder. The rear cap on the other hand is made of very soft plastic. Mine is already falling apart and every time I take it off little pieces of plastic fall off from rubbing with the lenses metallic parts. It’s slowly being eaten away in use.

SLR or Noktor?

I find it very confusing that if you do a google search for SLR magic hyperprime the SLRMagic.com website is nowhere to be seen in the search results. What you need to know is that there are two websites that have exactly the same content. Noktor.com and SLRMagic.com. There’s also two types of lenses pictured on their website, some with Noktor logo’s on the lenses and some with SLR Magic logos. This is due to the fact that a company called Nokton required them to change their name from Noktor as it was too similar to theirs. So although understandable that they want to cater to their Noktor brand customers this adds a little bit of unprofessional and confusing feel to their site(s). You’d wish they’d at least re-direct from one site to the other and create a unified web presence.

Working with a variND

It says on the small manual pamphlet that “Due to the wide-angle of view 77mm filters has to be used”. That’s absolutely true. I have a 72mm VariND and when you connect it with the necessary step up ring you see clear vignetting on the image. You can use it if you hold the variND directly on the lens rather than using a step-up ring to connect it. It’s a bit of a workaround but it does the job and I was able to get good shots like this with no vignetting. The lens itself of course is not to blame but it’s a good thing to know before you go on a shoot.

Image quality

The lens is really small yet quite heavy. It’s got a very nice robust feel to it I must say and the most important part is that the image that comes out of this lens is fabulous! I really like it. It has a very cinematic quality to it. It’s seems that compared to my Canon FD lenses it’s less sharp, it has a little bit more contrast and the color reproduction is different. I can’t say exactly how yet but it seems that there is an ever so slight warm, yellowish tone. It does need a little bit of tweaking to match with my Canon FD lenses. The SLR Magic lens is way way better then the GH2 kit lenses (which I have not used even once since I purchased the camera, they are absolutely useless to me).

There’s a bit of distortion on the edges that is noticable if you are shooting buildings or other objects that should have straight lines. All in all the build quality (mind the caps) seems very good and the images are lovely! This is the first time I own a lens that has no clicks and I really like it! SLR Magic website says the lens is $549 plus vat and shipping and is “available 1 month after order date”. I have a feeling I’ll be using it quite frequently.

Here’s a short ad I made with the 12mm lens. Below that a music video shot for Seremonia, the shot on the bridge with the golden head, rehearsal room scenes and the steady cam shots are with the 12mm lens.

The post SLR Magic m4/3 HyperPrime 12mm f1.6 lens appeared first on Sami Sänpäkkilä.

I heard the first songs from Seremonia a few months ago and immeadiately fell in love with their music. I knew I had to make a music video for them! Gladly they accepted my proposal and we wrote the script with Ville Pirinen in just a few hours. The shoot took us only about ten hours. The edit one and a half days. So about a two day project in total. We didn’t have much of a budget and used all our own gear. Someone did pay for my pizza though so I guess you can’t say it was a totally zero budget!

Tanja Glad did the lights. We had one 800W redhead, two 650W Cinelight Tungstens and one 300W Cinelight tungsten. Cinelight is a company in Romania that makes cinema lights that look and work exactly like Arri lights but cost half as much. Our first impressions and tests confirm that they really are very good lights.

On the first indoor scenes I wanted to have a pretty flat daylight look so we just bounced an 800W redhead with a daylight gel off the ceiling. The window had a little bit of ND so I managed to pan from the railway to indoors without having to pull iris. Wich would’ve been impossible anyway cause I’m using canon FD lenses so they don’t have a smooth iris ring. Would be a smart idea to get them declicked.

On the rehearsal room scenes I wanted a really harsh direct light that would leave the corners of the room dark. We used the all the three Tungstens in their spot mode and put them as high as we could and just lit everything directly. It works great and those scenes I’m very pleased with. Those scenes were also shot with the SLR Magic 12mm f1.6 lens that I’m still getting accustomed to. A review will follow shortly! The glidecam shots we’re on a Glidecam HD-4000. I really love it so far! I’ve only used it on two shoots but it’s a great tool to be able to run with the camera and get rather steady shots.

Ohjaus: Sami Sänpäkkilä
Kuvaus ja editointi: Sami Sänpäkkilä
Käsikirjoitus: Ville Pirinen ja Sami Sänpäkkilä
Valaisija: Tanja Glad

Tyttö: Ninni Luhtasaari
Isä: Mikko Siltanen
Rokkarit: Ville Pirinen, Noora Federley, Ilkka Vekka, Erno Taipale, Teemu Markkula
Muusikot: Vilunki, Risto

Sävellys: Pirinen, Taipale, Vekka
Sanoitus: Vekka
Sovitus: Seremonia
Video ISRC: FI-4SP-12-00002

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Video for Steel Mammoth’s Nightmare Ad Nauseam from the LP Nuclear Rebirth. Available from Ektro Records.

Directed, edited and shot by Sami Sänpäkkilä
Lights by Alpo Nummelin
Actor Garfield Steel

Steel Mammoth’s music video was shot with my brand new Panasonic GH2 and Sony monitor. The Sony monitor turned out to be a big help in focusing and also in judging the skin tones as well as the exposure. I will write a full review of the GH2 in the upcoming months but I have to say I’m really impressed! I don’t see any colour banding or artefacts on the footage. It also handles color grading very well. My GH2 isn’t even hacked yet! The Vimeo compression actually looks quite bad compared to the original files!

Alpo Nummelin did the lights. We used a classic german reporter set-up with two Sachtler tungsten 150W lights. Alpo changed the lights to daylight (5600K) by adding a CTB gel. This was purely because we wanted the snakes light ball you see on the table to have a warmer color. It also turned the snakes tummy into a bright golden glow that looks awesome! We also used my SWAT led camera light to add some light on Garfield Steels face as he moves in between the lights and also when he pushes the pitchfork and hand towards the camera. The Swat led turned out to be a little green. I hadn’t noticed this before on other shoots. I definately wouldn’t have seen this problem unless it was for the 5″ Sony monitor. The genius that Alpo is he fixed it by adding a minus green gel in front of the led light! I gotta say I was impressed! He did some magic grip work too that he tried to explain to me over the phone, I should’ve written it down to remember.

The whole shoot took about 2 to 3 hours. Although it was an easy one shot set-up. We’re getting much quicker and efficient with Alpo. Practice does make you better! Oh! The pizza we had after the shoot… Amazing! Yummy! I’m finally over the fact that I got food poisoning from Restaurant Napoli in 2003. Recommended.

PS. Can you spot the Twin Peaks homage in the video? :D

The post Steel Mammoth: Nightmare Ad Nauseam appeared first on Sami Sänpäkkilä.

Jussi Lehtisalo is the founder of Circle and he runs the label Ektro Records. In addition he plays in groups such as Pharaoh Overlord, Ektroverde, Steel Mammoth and Rättö ja Lehtisalo just to name a few. Amongst others his labels has released music from finnish bands Kuusumun Profeetta, Keuhkot, Plainride and from international bands such as Acid Mothers Temple and Faust. Too many to mention as are his multiple labels.

ektrorecords.com

Shot with Panasonic GH13, Zoom H4n, Audio Technica Lav, Swit led light and DFocus v2. Edited in Sony Vegas Pro 10.

Watch previous episodes of A Day in the Mouth

The post Jussi Lehtisalo – A Day in the Mouth Episode 4 appeared first on Sami Sänpäkkilä.

Directed by Sami Sänpäkkilä

Script: Sami Sänpäkkilä & Risto Ylihärsilä
Light designer, gaffer: Alpo Nummelin

Veijarit footage courtesy of Bronson Club.
Thank you to TTVO / Fogscreen company.
Copyright Fonal Records

Lyö song taken from the compilation album 167-761 (Ensimmäiset askeleet) available from fonal.com/​shop/​risto

The post Risto: Lyö appeared first on Sami Sänpäkkilä.

Music video for Disco Ensemble.

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