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Title: Straight to Hell
Vidder: Zeborah
Video source: White Collar (fair use for purposes of commentary, etc)
Spoilers: All of seasons 1-3
Music source: Straight to Hell by Lorenzo's Music, licensed Creative Commons Attribution Share-Alike; therefore
Fanvid license: Creative Commons Attribution Share-Alike
Summary: Peter's road is paved with good intentions.

Download link at my fanvid master post; YouTube embed follows (includes captions):

Night was nearly morning
when he left her car and ran.
Said he had to take a piss
and that he'd be right back.
What started as a fling
got serious too fast...

Well I'm going straight to hell
Well I'm going straight to hell
Well I'm going straight to hell for this

Working at a nightclub
taking money from the door.
He was getting paid with beers,
set the empties in a row.
He was necking with a Spanish girl
and he didn't even know.
(Didn't even didn't even
didn't even didn't even know)

Well I'm going straight to hell
Well I'm going straight to hell
Well I'm going straight to hell for this (x2)

Went up to the bar
when he heard the last call.
Said he's got a girl waiting
for him by the door.
He disappeared into the crowd
and headed for her car...

Well I'm going straight to hell
Well I'm going straight to hell
Well I'm going straight to hell for this (x3)

I'm not entirely sure they're intending Peter to be read this way. But since he spent the whole episode talking about how if Neal's cornered, he runs... I think if he didn't intend Neal to run, then he was pretty stupid not to, on the lift up to the Interview Room With The Mysteriously Astounding View, send a quick text message saying "That didn't mean run, it meant go have a coffee. Stay put, I've got this."

So, while I think Kramer's wrong inasmuch as legalised slavery is never a good solution to your problems, he nevertheless has some valid points inasmuch as there might in fact be a problem here.

Mirrors: White Collar does so much with reflections. They're everywhere. You can't break into a house without walking past a mirror, and if there's no mirrors around there's a window, glass wall, conference table, car door, wine glass, guitar, or decorative crystal ball. I wanted to do something celebrating that; but looking for a song about mirrors I came across this instead, so I ended up using the effect to subtly support the whole Neal&Peter dynamic rather than as a thing in its own right. It's all thematic and stuff, I'm so proud.

Technical stuff: iMovie mysteriously refused to save as .ogg, hence .mp4 instead of .avi. No big deal. Also I think it's my fault because I moved a bunch of applications I wasn't using to a spare folder, so possibly it turns out I was in fact using at least one of them. Now to figure out which.

iMovie also remains terrible at title effects, so I borrowed a friend's Final Cut Pro to do that. It shifted the colours for that section a bit away from red, but I think it's only noticeable to people who've watched that section 10,000 times while editing it, ie me.

I did the final credits myself, with GIMP. This also did weird things to the colouring, but I decided to pretend I did that on purpose.

Neal walking with coffee is flipped left to right to fit the movement better; countless clips are subtly sped up or slowed down to fit the beat; and Peter's final smile is reversed. I mention this because it could be construed as cheating, but I don't think it is, he's totally smirking in that shot; it's just a very subtle smirk because he's sitting in front of an interview board and could get in trouble for smirking at this point, and I couldn't for the life of me make it work clipped out of that context.

Process: There are some vids, like my Doctor Who Living Doll one, where I know right from the start exactly which clips I'm going to use. And then there's vids like this one, where I clip out over 300 clips from the source before I start picking the ones I like best. (Well, I broke up the tedium a bit by clipping a season then vidding the appropriate verse+chorus; and then when I had the framework done I made adjustments where lyrics trumped strict chronology, and got a few extra clips to fill in weaker spots.)


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