FS Playhaüs: Q & A with Videographer Luke Arghiros
By Tessa Lillis
The theme of FS2020 is described as follows:
‘Through video, photography and performance between now and the show, we hope to build an imaginary destination for our guests: PlayHaus.
Room by room, each chapter of the PlayHaus story will represent a form of escapism that you or someone you know may practice’.
To understand more behind the creative process of displaying such a theme to the FS audience, ST.ART’s Tessa Lillis sat down to an interview with Luke Arghiros, this year’s Head of Videography. ST.ART strove to understand more about the process in creating this content, Luke’s own personal input in the work produced and the integration of the theme into the videos.
ST.ART: So I wanted to ask you a few questions about the general role of ‘videographer’ for FS. It’s my impression that FS particularly has an online visual content presence.
Luke Arghiros: We have definitely put an emphasis on visual content in the form of videos. We’ve made a conscious effort to put out content that was both cool and also encompassed the feel of the show. All the videos that you have seen have been leading up to the theme of the show, all with a purpose.
ST: Do you think that there is a comparison with FS videos and those of other shows?
LA: We definitely focus more on videos specifically as a means of building up to the show.
ST: And this is your first year as the FSvideographer, correct?
LA: Yes, but I didn’t think I would be. When I went to my interview, I thought I was applying to be the videographer’s helper. Then they told me ‘Hey! You’re head of video!’, and I was shocked. One of my thoughts was honestly ‘Uh oh’. But nowI’ve made around nine videos for FS,and I really enjoy the process;thesix videos for the theme of FS, the FS afterparty, as well as the hype videos that people have seen for Starfields.
ST: Were you guided by any previous videographers, or would you say you were given complete artistic license for the videos?
LA: I never actually met the previous videographer so there was never any guidance to follow; only previous work to try and compete with. When we’re making our videos, there are usually three of us involved: Daniel Craig (FS director), myself (the videographer), and the model. Daniel has the idea for the video, we go to the location for the shoot, and I’ll take any shots that I think are worth adding to it to create a coherent vision. I would say that’s the general process I was guided through.
ST: And before this, you had done previous work with Lightbox.
LA: Yes, exactly. I started working with Lightbox in my first year, and I’m in my second year now. I learned a lot through doing jobs with them. Henri Cooney, who is our main videographer at Lightbox, taught me a few things as well. But, when I joined FS, my experience was very different. I had the briefest interaction with my predecessor and the rest was up to me. I distinctly remember being told in my interview not to not crack under the pressure! So, because I wasn’t given a specific guide, when you watch my videos you can see a steady progression as they become more cleanand coherent.
ST: In terms of this year’s theme, Playhaüs, how did you feel in terms of visual content you could produce?
LA: The important thing is that the theme has to be consistent throughout the videos, graphics, photography, etc. It is very important that we’re all on the same page, so, at the start, we are given an outline of projects that we’ll be creating over the FS production period. I personally have input right when we are making the video. For all of the videos, I needed to convey a form of escapism; I had some shooting technique ideas for that. We also always knew there were shots that were essential to each shoot: the closing and opening eyes, but we added creative additions like freezing roses in mid-air and flipping the image to give a cool effect on the day of the shoot.
ST: Would you say the shoots are planned far in advance, or do they fall into place?
LA: Usually, we have a few weeks to plan. The shoots are always in incredible locations. For example, the first one we shot was with Josh Edozien in Elie, which is a stunning location. The Purple video was filmed in the Cambo Estate, and the Red video was in a cool hotel near Edinburgh. All stunning locations, for which we had to plan in advance.
ST: Is it true that the Green Room was in Italy?
LA: No, but that’s the coolest one, in my opinion! The best thing about it was that everyone will have walked past that location at least once in St. Andrews but never noticed it. Do you know the bus station in St. Andrews? Just past it as you go down towards the Medical buildings, there are some bushes and stairs. We shot the Green Room there. It’s basically a parking lot! I shot it at a tilted angle using a cropped lens so that there isn’t a wide view, and because I took a low position and framed it in a certain way, it looked like we were in some beautiful Mediterranean garden.
ST: How would you describe the process of planning this, getting the models to these different locations, etc.?
LA: It’s definitely hectic. For a shoot, the videographer, photographers, director and model have to be present, and we have to transport everything to the location itself. We’re still students at the end of the day, and sometimes you have to sacrifice a lecture to ensure that everything happens! Filming takes about three hours, but editing will take upwards of five to ten hours. Considering there are over ten videos I’ve made for FS, that’s a lot of time spent in cafes editing. My flatmates have gotten used to listening the same music in each video for sure! I also run things by them, as well as my girlfriend, Amelia, who has a massive impact on the final product.
ST: Out of the rooms that have been released, which was the most difficult?
LA: The Yellow Room in Elie was meant to convey warmth, but it could not have been a colder day. It was windy as hell and absolutely freezing. Josh would have to throw his big coat on and do jumping jacks between every single take. We also had to not die walking along jagged rock walls high above the waves. What a way to start, with every extreme thrown at us!
ST: Which was the most fun?
LA: The Purple Room! The purpose of the room was to make the models look likethey were having fun. We wanted everyone to relax a bit, because the models are accustomed to photography and not necessarily acting for videos. Models are meant to be kind of stoic, but the whole team gets along so well that it wasn’t difficult to film them having a great time.
ST: Now that you have finished all the videos, how are you feeling for the show?
LA: I’m honestly so excited for people to see my work live with a big screen. I’ll be able to see everyone’s reactions in real time. On Facebook, you only see the likes and don’t get a sense of authentic reactions, but here I hope the hype we’ve been trying to build really pays off in the event. Although it’s been a lot of work, I’ve really enjoyed all of it and it’s so much fun to see this huge project with all these moving parts come together.
Luke’s artistic vision fully culminated in the show itself, held this last Saturday in Lower College Lawn. The theme of Playhaüs was completely demonstrated through Luke’s immersive yet playful media, showing a sixth room which hadn’t been previously released for the audience to see on the big screen. The energy in the show was mesmerising as the onlookers saw the models transport from visual immateriality to tangible figures, ultimately emphasising the sense of escapism that had been previously amplified by Luke’s videos. Attendees could spot Luke continuing to work throughout the show, floating through the audience with his gimbal to capture the show itself. Luke’s gratification was clear as he revelled in the moment, recognising that hundreds of eyes were simultaneously appreciating his hard work.
Check out Room 6: Deep Blue below
All visual content courtesy of FS and Lightbox