Using Sora to make music videos, can it be done? Join the experiment with iServalan's music catalogue

www.iservalan.com
www.taletellerclub.bandcamp.co...

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Episode Transcript

Speaker 1 (00:00):
Head Groovers. So I was so elated yesterday because I
finally finished this film and it's the music videos, my
first music video. I kind of thought, well, should I
do stuff like you know mime? Just thought I'm far
too old, you know, do you know what I mean?

(00:21):
Like Beyonce? Should I Beyonce style video at sixty three? No,
that's not going to wash as it really. I mean,
I guess you know, the thought of doing my face
would be as far as I go. But sing as
I can't. I know I'm a singer, but I can't sing,
you know. I mean, the music isn't really about my vocal.

(00:43):
It's very small part of the you know, everything that
I produce. You know, if I never had to sing
or you know, I probably would do never sing. But
how do you speak your thoughts? You know? Without a vocal?
It's sort of I'm kind of backed into a corner there.

(01:05):
You could do a spoken word, but I just and
I've done a couple, but they're just grim. I don't
think they work. Really. Spoken word is so cheesy, isn't it.
When you think about Paul Hardcastle's nineteen and then the
nineteen about the Vietnam War, I believe and but I

(01:25):
mean that did really really well, but it was so
overplayed that it became this whole kind of cheesy thing.
And then there are you know, you start to verge
upon rap as well. I think, you know, because a
lot of rap is pretty much spoken word, you know,

(01:46):
sixty three years old, I don't know, I don't think
that's I'd rather be a sort of aging, kind of
out of tune ballad singer. I'm quite happy with that.
I'm actually quite happy with that. Anyway. I made the
first video for Mister Capricious, which is one of my
favorite songs, and I love the vocal on that. Actually

(02:08):
that's flex Isolan Vapor Punk all three, and it's inspired
me to, you know, want to do another track this week,
because you know, the world's change and I write about
you know, social commentary pretty much mostly. I mean it's
it's weird because do you know what we haven't moved
on from. Yeah, I was writing anti war songs in

(02:33):
twenty twenty and those songs still apply today. I mean,
it's crazy about the same people. It's just so annoying.
But you know, I don't write I write other stuff.
It's not all just anti war I mean, I've got
a lot to moan about. I've seen a lot of things.

(02:53):
I've got a lot of opinions, which is really important
as well. If you're a musician, can you say things
in music? Yeah you can, but nobody's going to know
what the hell you're on about. I mean, you can
make a film with music, which is what which is?
You know, I kind of do that. I do do
that as well. So anyway, I did my first video

(03:15):
and I was quite quite pleased with it. Bit cheesy,
but none too bad, and I used Saurra, so I
thought I'd tell you guys all about Sora. So I've
got a paid version of chat GPT and basically it
builds my websites for me, so it, you know, together,
Over the last two months, we have completely and utterly

(03:39):
changed my branding, produced artwork in the neon colors for
my brand logos, all our merch logo staff. Obviously, my
my intricate artworks are not have nothing to do with

(03:59):
Sora because it's really it's a bit shit. I'm not
going to lie to you. It's not very good. But
it's a free source platform. You know, people can go
on there and they can have fun, and it's only
if they want to download stuff. I believe that you

(04:20):
have to pay. I mean, I'm not one hundred percent sure,
but with my Chat gp T subscription, I get it included,
so I thought, right, I've been using something called may
which is m ai ve e, which is great because
it gives you a lot of genitals. So and I
was sort of toying with this idea of doing sort

(04:43):
of genitalia animations. But you can't sell those anywhere because
no one will host them except only fans. And the
problem with OnlyFans is you're going to get, you know,
the bad reputation, and I don't particularly want that. I
do want to be you know, I want I want

(05:05):
people to not get confused about my output. And when
I did all the artwork about the Dominatrix, it was
confusing enough for people, I think, and you know, you
the public frame you, you don't frame yourself, so you
do have to be a bit careful. I think, so yes,

(05:28):
maybe I'll do. Maybe, when I'm a very old lady,
I'll get an only fans and put up and create
erotic artworks, because I do think there's nothing wrong with
a bit of genitalia animation if it's very pretty. I
don't think. I don't have a problem with that at all.
I think it's great. But yeah, it's you know, I

(05:48):
would you can't sell it on gum Road, you can't
sell it on whoere else? Am I? Band Camp because
I can put videos on band Camp now, so you
can watch all my videos on there, which is exciting,
isn't it? Isn't it? It's really exciting. So yes, you
know you thinking about because I'm branding and trying to

(06:14):
carve out a place in the history books of the
sort of artists I am and the things that I
make and the things that I do. I don't want
to take risks with the definition, so I'm I'm playing
it pretty safe, you know. I mean, some of my

(06:37):
protests Aret even I've taken down because you're so dependent
on what Google thinks you are and what the AI
thinks you are. You're that you know, you have no
control anymore, I think, you know, But in the seventies
there was a lot of control over your personal image.

(06:58):
And you know, if you're an artist, the filter would
be you know, the lens would be seen through kind
of the art school lens, and you do some shows,
and you'd have some private views, and then you might
do some commissions for people, and you might, you know,

(07:22):
I don't know, hand make some T shirts or something,
and you make your own fanzine or you know, all
of these things, and you were in completely control of
yes I'm a protest artist, or yes I paint flowers
because you know, I had a market store and I
painted these flowers. But you know, today where the problem

(07:44):
with having to do so much output every day, really
certainly every week to market yourself, you can make errors
of judgment and if they're picked up on do you
see what I mean, they're just magnified, really campletely artly magnified.
So am I safe with lyrics? I do think I'm

(08:06):
safe with lyrics because quite a lot of my lyrics
are very convoluted anyway, and the erotic lyrics with the
Marchioness of Dorchester, who's a bit of a sex addict.
Actually she's she speaks in a way that actually you
have to be quite bright to understand. So I don't

(08:27):
think there's too much confusion there. You know, if you've
got to be fairly clever to read something and understand it,
you're probably going to be very fairly clever about what
it means. Do you see what I mean? And you're
not going to see it as some kind of invitation
to my boudoir, which you know, even the most risque

(08:49):
artwork that I've done has not been an invitation to
the boudoir. But of course you know it's misjudged because
of the lens of the Internet and how it's almost
pornogra phis is anything. I don't suppose that's a word.
Is it pornographies? If it's not a word, it bloody

(09:09):
should be. Yeah. The way the internet does that, you know,
it turns every piece of flesh into an invitation or
ar titillation. So as an artist, what do you stop?
Do you stop doing flesh? Then? Do you stop? You know,

(09:31):
do you start covering up your models? Do you see
what I mean? So, yes, I'm sort of being a
bit clever at the moment, and I have a massive
collection of erotic art that I've done, an erotic film,
which you know isn't necessarily the right word for it,
but I've had to take an awful lockdown in the

(09:55):
past five years. Sometimes it turns up and I think, ah,
rite that, But a go. Really, I don't destroy anything.
So when I die, from you know, the year two
thousand and eight up until about two thousand and eighteen,
so a good decade, maybe twelve years, there is artwork

(10:18):
that I was producing that was, you know, when I
first did it a little bit shocking, but now i'd
probably have the police around us. So but yeah, I've
got my daughter's going to have it all and you
know it just because I can't put it up now

(10:39):
doesn't mean to say that she couldn't put it up,
you know, at another time, or have an exhibition or
something a retrospective when when things are a little bit
more back to the equilibrium that I feel we should
be at, which is where there's you know, the reason

(11:04):
the resondet for making art is not for somebody to
you know, have a wancover. Although you know, I'm not
oblivious to the fact that certainly artists have created erotic
art as pornography on purpose or you know, I'm aware

(11:25):
of that. So it's very difficult actually, I think for
a woman and especially a feminist artists such as myself.
I do classify myself as a feminist artist, by the way,
and it really is very difficult I think to balance
how your work will be viewed and what your intention

(11:46):
was in doing the piece very very difficult, and so
you know, I'm kind of moving towards something that's much
more accepted really by the powers that being. The how
is that, the of course, is mostly Google. So yes, this,
I used Saura and I did this. This song and

(12:08):
this video is about domestic violence. So I had to
work within Saurra's restrictions, which are loads, bloody loads. So
I'd asked for a fist pumping through a sheet of glass,
and it just would not would not give me that.
I asked for something. Oh I can't, I can't remember

(12:31):
what it was, but it was something to do with skin,
and you know I didn't It wasn't broken skin, but
it was something like that, something similar, and it wouldn't
show me that. So I asked chat Gpt to go
through the song with me and to write a prompt
for every line. And that was my starting point. So

(12:51):
they call you mister capricious. So you know, what was
the prompt for that? And we decided how I wanted
the film to look anyway. Needless to say, we did
it line by line, and SA produced pretty much rubbish,
so but it gives you a starting point when somebody
does something really bad. You know, this isn't time to

(13:14):
row your sleeves up and think right, no no, no,
no no no. What we need is I didn't worry
about coloring, but the coloring that Soa goes to if
you just leave it to its own devices, is very bland.
So I started up in colors and things like that.
But then I recolored in my edit and I posted.

(13:34):
It took quite a long time because I had so
many clips because there's a lot of lines to the song,
the lyrics. But finally, and now that I've done one
and it was four minutes forty, I'm ready to go
for the next one. So I'm really excited now, you know,
every evening now that's what I'm going to do. I'm

(13:56):
going to spend my evenings creating music videos for my
tracks and it it's just a lovely part of my
career that finally I can I can do this with
an army of one and as a recluse and someone
who doesn't want to film myself. I have the tools
at my disposal, and you know, they may not be

(14:19):
the best tools, but actually I like I like the challenge.
It's a real challenge and it's an exciting challenge. So
pop over to my band camp T Turner Club dot
band camp dot com and you can see mister capricious
back son