Bag Raid: Tas Wilson
Welcome back to Bag Raid, our slightly intrusive series where we invite our camera-savvy friends and community members to spill the contents of their camera bags. This month, we connected with Melbourne-based factotum Tas Wilson, rummaging through his Midnight Black Sidewalk Camera Sling.
Words & Photos: Tas Wilson.
Meet Tas Wilson, a throw-yourself-in-the-deep-end advocate making waves in cinematography, graphic design and music. If you're familiar with The Buoys, King Stingray, or Ruby Fields, you have likely been exposed to Tas' hand at work. His contributions have merited screen time at SXSW (South by Southwest) Sydney conference and on the all-night Aussie music video program Rage.
Bag Raid w/ Tas Wilson
Bolex 16mm Lenses - Kern-Paillard Switar 10mm and Som Berthiot 25mm.
Roll of Gaff - Somehow I always need it.
Film - Preferably 500T.
Sekonic Light Meter - One of my most-used bits of gear.
Bolex ND Filters - In case I want to stop down.
Dummy Film - To make sure everything’s working as it should before loading up.
Sunblock - Got that weak Celtic skin—sun safety is cool!
Tas, good to connect. Firstly, who are you and where do you live?
G’day, I’m Tas, I’m a filmmaker/designer, I make some music and play in a band. I'm 30 years old and currently living in Melbourne with my partner and 10-month-old daughter.
Do you remember your first camera?
The old boy gave me his old Olympus OM-1 when I was 12 or so I’d say, it was a really good starting point to learn the basics. I think it was that and a shitty little camcorder that I’d use for filming my mates surfing and skating.
You're quite the creative Swiss Army Knife, balancing filmmaking, design, and being a touring musician. How do these different pursuits influence each other in your work?
That’s a good way of putting it or maybe more a jack of all trades, etc., etc., haha. I’ve always liked to have a crack at different mediums, I kinda burn myself out on one and then that gets me really hyped to try something new and jump into another, throw yourself in the deep end again sorta thing.
I’ve found it’s actually the process of each medium that influences each other a lot. I shoot a lot of film and that process of light being transferred onto a neg and that reaction, that’s then physically moving through the gate; it’s like it exists in the tangible world. So I take that approach with any design work I do too, lots of printing and scanning so those elements exist in that same tangible way and you can then physically manipulate them. Similar to a band playing or recording with amps live, you’re physically reacting to something that has existed in the real world.
You started out in post-production before transitioning into directing and DOP work. How did that experience on set shape the way you approach your projects and creative output nowadays?
It was great getting the chance to see how some of the top dog directors in Australia work and the process involved behind some of the more intricate post-heavy jobs. Some of the stuff the composite artists put together is so wild. It’s super intricate and tech and can take up a lot of time, so I think that’s why I lean into the practical effects and more in-camera approach. It’s a pretty rewarding feeling when you get scans back and it looks just how you imagined and everything has worked out in that frame you’d spent so much time on and not being sure if it would actually work.
The Buoys’ 'Settle Petal' music video has been selected for SXSW Sydney—congrats, man. Can you tell us about the inspiration behind the video and how you brought it to life?
Cheers heaps! That was such a fun one to make. I think it actually started from watching a Jean-Luc Godard film, Pierrot le Fou, I’m pretty sure it was. Everything about it blew me away. The iconic colour palette and the use of montage was really inspiring. The song has that pre-chorus that’s like an off-kilter call-and-response rhythm to it that I thought would work perfect with those naff crash zooms, I threw in a little homage to the king with the iconic scissor shot too.
When it comes to shooting music videos, what is your go-to camera setup, and why do you choose it over other gear?
Definitely my trusty Bolex H16, 17-85mm zoom and a couple of kern switar and canon fd primes. Mainly because I jump at any opportunity to shoot film and also the process of it, a lot more pre-pro has to happen because of the finite amount of film, so it forces you to plan and rehearse a lot more which makes the post-end so much easier because you don’t have hours of footage to sift through.
How do you ensure your unique style comes through in every music video or project you work on?
I think making sure I’m enjoying myself, you start to trust yourself the more you do I guess and then you know if somethings getting you hyped, then that’ll lead to the result you’re after. If you’re having fun making it, I feel like that translates and also keeps you more actively present in the concept and reactionary to all the moving parts of the production process.
You shoot on a Bolex and have a clear passion for 16mm film. What do you like most about shooting on film?
The footage you get, the colours, texture, little imperfections, everything just looks so much better. Emulation can get pretty close these days but you can always tell when it is or isn’t film. Actually holding the reel in the can after a project is such a rewarding feeling, and to go back to the physicality of it, it’s like yeah this is that video on the interweb, that will in no time at all get lost in the digital realm, but I can still physically hold it.
What's in your Hung Supply Sidewalk Camera Sling?
I pack it out with a couple of lenses, gaff (never know when you need it), light meter, air blower, audio gear, bolex nd’s, sunblock, dummy film, screwdriver, and I’m ready to go.
I'm a big fan of your design work – how did you get into it? What’s your favourite band poster or album artwork you've created?
Cheers, really appreciate that! I started out doing bits and pieces of single art and posters for the first punk band I was in in my late teens. Then it just kinda snowballed and started doing some posters for the Ruby shows we were playing. It’s been fun figuring out my own style in a new medium that came a bit later on. I'm probably doing stuff wrong by a graphic design standard but that can also lead to good results a lot of the time. I’ve actually just wrapped up the artwork for King Stingray’s new album. That was a special one for sure and to have the privilege to collaborate with the band and incorporate Dima from the band’s indigenous art on the front cover. They’re also just the loveliest band of all time, so it was a breeze!
Some wicked banshee throws a wild curse on you, and you can only choose one between making films, playing music, and designing as your creative output for the rest of your life... it's not nice, but which one do you choose?
Farrrrk that’s a super tough one. I’d probably have to go with playing music though, nothing really comes close to that feeling when you’re playing and everyones in the zone.
What medium has had the biggest impact on your creative output? Are there any particular songs, films, video clips, or directors who have had a heavy influence on you?
I’d have to say music overall, it’s kinda the glue between everything I do. It sparks a lot of ideas for me and influences a lot of direction when I’m making anything. Growing up I think like a lot of pubescent teens, Nirvana and Sonic Youth was that first epiphany moment for me, musically and visually, all their videos/cover art/merch were so influential. Gus Van Sant, Spike Jonze, Wes Anderson, David Carson, PHC all the Amyl videos are out of control. Actually the Cannonball music video by The Breeders that Kim Gordon and Spike Jonze directed was big. I could go on and on..
What's been the most creative place or city you've ventured to as a travelling musician?
I haven’t done heaps of overseas touring but I’d say out of the places we have been definitely New York, I mean we were only there for a few days but it still blew my mind. Super cliche but it really does have such an energy. Even how everyone kinda has no filter and is so sure of themselves and what they’re doing or about. Heaps different from back home where I feel like people more just do the work and are more self-deprecating and don’t hype themselves so hard. Would be mental to get to spend a bit of time there though.
Check out more of Tas' work, HERE.
Shop Tas' bag, the Sidewalk Camera Sling in Midnight Black, HERE.
