» Posts Tagged ‘musicvideo’
This is a post by Joe Marine… much more to come from Joe soon. Stay tuned!
Nikon’s new D800 will be put through its paces soon enough (we hope), but until then we’ve got some moderately compressed videos to pixel peep. I find it curious that these official company videos always seem more compressed than they ought to be – as if to entice more speculation – but that’s a topic for another post. In any case, this music video, directed by Morten Rygaard and produced by Peter Brodin at Nikon Nordic, gives us a small taste of D800 quality: More »
Egil Pedersen directed the music video for Ruggged Wilderness & Mountain Man No More’s track “Dropping Feathers,” and uses some clever post-production tricks that tell the story in a very organic way. Shot on a Canon 5D Mark II in Norway, the stark black-and-white aesthetic of the video subtly incorporates excellent After Effects work: More »
Director Chris Milk, whose work I’ve covered here before, has released in conjunction with some Google Chrome developers his latest music video, “3 Days of Black,” for the supergroup Rome (which, for this song, consists of Danger Mouse, Daniel Luppi, and Norah Jones). The first full 3D scene is literally eyebrow-raising and the video highlights a number of important web-based storytelling tools, like the 3D browsing technology WebGL. Requires Google Chrome. More »
I like music videos that tell stories, as opposed to ones in which the band plays their instruments and lip-synchs in front of the camera (as if to explain they are a band and they play music). DANIELS (so named because both co-directors are named Daniel) tell a wonderfully dreamlike, mixed-up story of a car crash with their video for the title track off Manchester Orchestra’s forthcoming album Simple Math: More »
What do you do when you have a final studio album from the late, great Johnny Cash, but no way to have the legendary man in black appear in the music video? Crowdsource it. This is what director Chris Milk has done with Cash’s song “Ain’t No Grave,” setting up a Flash-powered website that allows visitors to hand-draw individual frames of the video. The video is then dynamically pieced together from these frames, based on ratings by viewers — in this way, it is an always-changing work of art. Here’s the video in its current incarnation: More »
This post won’t appeal to everyone, but even if you don’t listen to rap music — and “joke” rap at that — the group best known for last year’s novelty smash Combination Pizza Hut and Taco Bell has a new mix tape out, and to promote it they’ve created not a music video but a game. Regardless of whether you listen to classical or klezmer, hip-hop or happy hardcore, this is a very clever way of getting people to listen to a song repeatedly. More »
The Walkmen’s
I’m a few days late with this, and at the speed of the Internet that might make this old news. But as someone who’s currently evaluating the relative merits of HTML5 vs Flash (for the interactive implementation of my project 3rd Rail), I was intrigued by director Chris Milk’s interactive video for Arcade Fire’s latest album The Suburbs. Built entirely in HTML5 (which means you’ll need a compatible browser to experience it), the multiple window-spawning video makes very clever use of Google Maps and its streetview feature to personalize the video for your own hometown. More »
The video for Dan Deacon’s Paddling Ghost came out nine months ago, but I just re-watched it via RADAR; the charming puppet-laden video, directed by Natalie van den Dungen, is definitely worth a (re)watch. More »
First off: this is weird (which can be taken either as a warning or an endorsement). I was originally going to go with a post title of “Britney Spears’ latest,” and then show this oddball French video, but… only I would think that was funny. So here’s La vengeance de Boorbie by French recording artist Zôl. Music video directed by Charlie Mars. More »
Billy Polard sang a song and then made his own music video using a Nintendo DSi
Cold War Kids' "I've Seen Enough" is multi-color, multi-angle
The interactive video for Cold War Kids’ “I’ve Seen Enough” video isn’t multi-angle — it’s more “multi-take” — but the idea is the same. While I designed a multi-angle music video player in a similar vein for MTV (it’s in my portfolio — scroll down to the second image), what interests me most isn’t multi-angle storytelling but rather multi-story storytelling, where more than one narrative thread is unfolding simultaneously — and the viewer has a choice as to which one they follow. My in-and-out-of-development project 3rd Rail is exactly this.
Here’s the Cold War Kids video: More »
A hilarious music video from a great band. Sometimes the dance-off just doesn’t get it done.
Directed by Peter Serafinowicz.
Life just feels like this sometimes.
[via Blake Whitman]
It’s rare that a song’s music video relies on the viewer to understand the other tracks from the parent LP. But The Antlers’ Hospice is essentially a concept album about a relationship that withers away — every track is an entry in the same story of emotional and physical wilting. Seen in that context, this video for “Bear” makes a lot more sense. More »
Arev Manoukian’s award-winning short “Nuit Blanche” is deservngly making its rounds on the internet: it’s the rare effects-laden film that doesn’t feel effects-laden. More »
Yeah, that’s right — I’m posting this. Why? Because who knew an unreleased music video for a piece of quintessential ’90s schlock could be so prescient?
Director Nigel Dick‘s video for The Real McCoy’s 1995 dance-floor hit “Run Away” was deemed “too dark” by the band’s label, which isn’t surprising given how much of a disconnect there is between the setting of the video and the kinds of places this song was presumably played. But a ’90s dance song seemingly so culturally relevant at a moment where “Foreclosures, Bankruptcies Up” is the headline every day is a bit unexpected. So here it is, an Orwellian (in an Apple commercial kind of way) video interpretation of a club track in which defeated workers toil under the watchful eye of Big Brother: if that doesn’t get the hips gyrating, what will? More »
Here, rock video director/photographer Estevan Oriol (videography) makes the mistake of complaining about those of us “on the come up” when he’s already “put on.” More »
Here’s a student project I shot and edited sophomore year at Middlebury College. It’s a music video for an off-the-wall, hilarious, energetic song recorded by my freakishly gifted freshman year roommate, Ben Campbell. The talented and versatile Damian Washington (another dorm-mate of mine) makes an appearance in the video; you’ll be seeing a lot more of him soon.
Re-watching the video six years removed, I think it still looks remarkably good, considering when/why/how it was made (the indoor scenes don’t look so hot, but they were shot as desperate last-middle filler because the weather was being uncooperative–not exactly uncommon in Vermont). Conceptually the video is nothing special, but hey… I was 19.
And now, for no one’s benefit other than my own, some memories of the video:
Equipment: I used the school’s Sony VX-1000 (the camera that kicked off the whole DV revolution, really), a friend’s CD boombox, and 8 “D” batteries (which cost me $41, comprising 100% of the video’s budget). I digitized the footage using a home-built PC through an analog video cable (sure, the VX had firewire, but I didn’t), and edited it using Adobe Premiere 5.1 and a friend’s red TV from Japan (yes, you read that right: the TV itself was inexplicably red). All the effects were done in Premiere.
Awards, fanfare, honorariums: 2000 was a different time for nonprofessional video; DV cameras were not yet widely available, online video was really just a concept at the time, and broadband itself didn’t have nearly the penetration it does now. A site named FirstEye (now-defunct), vying to be an early YouTube (which wouldn’t launch for another five years), started a contest for user-submitted, eye-catching short videos. The Grand Prize was a Sony VX-2000 camera, worth about $3500. When I found out about the contest, I uploaded Wicked Harmonies; three months later, I received an email saying the judges had awarded me the grand prize. I’ve since flipped the camera on eBay for a newer model several times over, but if it hadn’t been for that initial award… a lot of things would probably be different.
Even more memories!
–There are a couple parts where Ben is obviously lip-syncing. I kept shouting at him, “actually sing! It looks fake when you don’t!”
–Reduced Phat was a production “company” I started in high school. Damian shouts it out in the song.
–I didn’t know the school’s Bogen tripods could actually go lower than thigh-height, which is why all my low-angle shots in the video are filmed from about three feet off the ground.
–Ben, hippie that he was, didn’t have a lot of clothes. The gray hoodie he wore for much of the video was, in fact, mine; mysteriously, it later disappeared.
–For both the recording of the song and the video, Ben borrowed my bass guitar (and, being a southpaw, skillfully played it upside-down); unfortunately, while trying to climb on top of the structure to shoot the triplicate scene, he slipped (hippies don’t wear shoes) and fell right on top of Your Mom. Your Mom was the name of my bass, a moniker given expressly so one could say, “I’m playing/stroking/slapping Your Mom.” Yes, that kind of stuff made me laugh… and still does.
–The jump cuts during the indoor dancing scene, halfway through the video, are there because I had to cut out a student opening a hallway door and walking right in front of Ben and co. while we were filming. In fact, if you look closely, the door is closed for the first half of the scene and open for the latter; whoever heard of multiple takes?
–At the first screening of student video projects at Middlebury, Wicked Harmonies received a standing ovation from a packed house; the audience at the second screening, more sparse and mellow, didn’t show it the same enthusiasm. My girlfriend at the time attended the second screening; I remember walking away from the whole experience thinking, damn, I wish she would have been there for that first one.
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