» Posts Tagged ‘musicvideo’
How often do we think about the effect that light has on shaping the human face? It’s one of those questions that experienced cinematographers are always contemplating, but one that younger shooters tend to think less about as camera technology dominates most filmmaking discussions these days. Luckily for us, every now and again a profound example of how powerful light can be comes along that slaps us in the face and forces us to look back at one of the most fundamental aspects of cinematography: lighting the human face for emotional impact. Opale’s recent music video for their song Sparkles and Wine provides one such example. Check out both the teaser trailer and the video below: More »
When not busy transitioning people from boxed software to their subscription option, Adobe occasionally takes time out to partner with talented users to bring projects created with their tools to fruition. In that spirit, the company reached out to Barcelona’s collaborative direction, live action, and animation project Dvein, to create an impressive liquid motion art piece called Magma for the launch of the Creative Cloud. Take a look after the jump: More »
If you haven’t seen it yet, well, prepare for something that has never happened in the history of human existence: the first full music video shot in space. Chris Hadfield, a Canadian astronaut and the exiting commander of the International Space Station, just released a tribute music video to David Bowie’s Space Oddity, which was shot completely aboard the ISS. Check it out below: More »
If you like your music videos light of tone and populated by dancing girls gyrating through candy coloured tones, then you’ll probably want to skip Ross Anderson’s extreme make over promo for SBTRKT’s Trials of the Past. In fact, even if you do prefer films of a darker tone, I’d say this one’s not for the faint of heart or something you want to pop on in the office and certainly not in the company of anyone you wouldn’t take into an R-rated movie. If you’re feeling brave, have a watch after the jump: More »
A few days ago we pondered what the effect of mobile video sharing app Vine enabling website embedding may have on filmmakers, but with mobile app Echograph seeing itself recently acquired by the filmmakers’ video site of choice Vimeo, perhaps we should be looking at the cinemagraph landscape as one of the new creative arenas filmmakers will choose to explore. Ian and Cooper’s Back to Me music video for Joel Compass may well be the bellwether which kicks off that creative flood: More »
Tasked with the creation of a music video for the Joey Ramone track New York City, director Greg Jardin decided to get literal in his interpretation of the song and hit the NY streets with his crew, some famous faces and its residents for a pixilated, lip-synced tour of some of the most recognizable spots in the world-famous city. See how good your landmark and cameo spotting skills are after the jump. More »
You’ve all seen first person or POV videos at some point — but the new Biting Elbows music video is something else entirely. Continuing with the Insane Office Escape Series (insane is an understatement), Ilya Naishuller (who is also in the band) directs another video with balls-to-the-wall non-stop action — giving movies like Crank a run for their money. Using a first person perspective, our hero fights his way through seemingly endless waves of suit-and-tie bad guys, with a little bit of teleportation thrown in for good measure. Check out the decidedly NSFW video below: More »
You might know him from his excellent camera reviews, but Philip Bloom also has a large body of work online that consists of music videos, documentaries, and narratives. For his most recent project, Philip has joined forces with one of his frequent collaborators, Olly Knights, to shoot a music video for the main single off Olly’s new album Bitten By the Frost. The piece was shot in two days on the Canon 1D C DSLR, and a few great behind the scenes videos have been posted online in addition to the music video. Check out all of them below. More »
I’m as guilty as anyone of falling under the spell of the technically complex or epic-in-scale music video, perhaps sometimes at the expense of those that take a more straightforward approach in their filmmaking techniques. That being said, every once in a while a video comes along with such a beautifully un-fussy yet effective concept that you can’t help but applaud the clarity of its construction. The Cauboyz video for Husbands’ track Dream definitely fits that bill: More »
If you look back fondly on those days of seeing an image reveal itself point by point as you worked your way through a dot-to-dot puzzle, then the new video for Foals’ My Number from Christopher Barrett and Luke Taylor, better known as the pronoun ‘Us,’ is going to fill you full of sequential number hunting nostalgia. More »
“I create these stories with missing pieces. Missing pieces are very interesting because then people wanna fill them. People are afraid of emptiness and they wanna fill those gaps…. That’s exactly what I want to do with my art. I want people to think about what they see and wonder if what they see is real. If what they see has a meaning.”
If you’ve yet to fall under the spell of French director and musician Woodkid’s (aka Yoann Lemoine) approach to music videos, then I suggest you get comfortable and feast your eyes on this trio of promos for Iron, Run Boy Run, and I Love You: More »
There’s nothing new about brands partnering with creative talent to give a mutual boost to their respective profiles, but what’s slightly different about the new six-part video collaboration from Noisey and Belvedere Vodka is their approach of pairing non-traditional music video directors with musicians. The first product of this alliance to stalk its way online is Black Swan choreographer Benjamin Millepied’s Demons for Canadian electronic duo Zeds Dead: More »
Dead Can Dance has been making their particular kind of mesmerizing, hauntingly beautiful music ever since I was but a tot. After disbanding for about 7 years, they reunited in 2005 for a world tour, and last year they released their first studio album in 16 years, Anastasis. Now the band is teaming up with Genero and reaching out to filmmakers everywhere to create a music video for the opening track of the album – Children of the Sun -- and compete for a chance to win £3,000 ($4,740). More »
Short films featuring puppeteering tend to be rather thin on the ground — in fact only Natalie van den Dungen’s Paddling Ghost music video for Dan Deacon jumps to mind as a puppet centric film we’ve featured here on NFS. Which is all the more reason for me to not let the fine example of the craft that is Dirty Night Clowns go by unshared, even if I have been a little less than quick off the mark in its discovery.
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While some of you may still be in the holiday spirit and enjoying time with family, we’ve got a music video from Sufjan Stevens that may or may not make you feel just a little different about the holiday classic “I’ll Be Home for Christmas.” Filmed in 120fps on the RED EPIC, the video took 1 month of preparation, 3 days of set building, and 35 cast and crew members — all for a total filming time of less than 1 minute. Click through to check it out, plus a nifty behind the scenes video of the entire thing in real-time. More »
Watch the Surreal 'We Are On Fire' Shot on the Weisscam HS-2, Plus Blackmagic Cinema Camera BTS
Slow motion is one of the many beauteous benefits gleaned from the advancement and proliferation of digital technology — not only has it been made less of a headache to achieve, it’s also effectively cheaper now, too. Like any of the benefits of digital proliferation, it has the potential to be overused, but more importantly, the potential to be gorgeous when executed tastefully. The music video for CocoRosie’s “We Are On Fire,” shot by Filip Piskorzynski with some additional work by John Brawley, is an example of the latter — in this case, shot on the P+S Technik Weisscam HS-2 Mk II — plus, Mr. Brawley has just posted some impressive looking behind-the-scenes material for the video, shot on the Blackmagic Cinema Camera. More »
The French electronic band M83 has been working with the directorial team Fleur & Manu to produce a trilogy of sci-fi music videos following the adventures of a group of children with X-Men-type powers. We’ve already discussed the first two videos, for their songs “Midnight City” and “Reunion,” and now we have the third video for the song “Wait” — all off the album Hurry Up, We’re Dreaming. Serialized videos are nothing new, but the style and scope is nothing short of spectacular. Click through to check out all three. More »
Elijah Wood's Bio-Mechanical Arm in Flying Lotus 'Tiny Tortures' Music Video, Plus VFX Breakdown
Elijah Wood must be best known for his starring role in The Lord of the Rings trilogy, and less so for some of his darker work (Sin City, Eternal Sunshine, and my personal favorite alien-takeover teen-angst movie, The Faculty). His work in FX’sWilfred rounds it all out, proving that he’s an artist capable of a wide range of roles, in pieces of any tone. Recently, experimental electronic/hip-hop artist Flying Lotus released a music video for his new album Until the Quiet Comes featuring a special effects-amputated Mr. Wood — as well as a found-item prosthetic arm that engenders itself around him. Read on to check out the video as well as an effects breakdown posted by director David Lewandowski. More »
When one of my roommates moved to LA to pursue a full-time screenwriting career, I used the following criteria to choose a new roommate: “which among our applicants is the most talented filmmaker?” Instead of shooting stills of my Brooklyn apartment I had shot a walkthrough video on my RED (it was sitting on my desk so it was actually easier than taking a bunch of photos, but… most overkill apartment video ever!) and so there were a lot of people to choose from. Paul Trillo, it turned out, had seen me speak at the Vimeo festival and I had backed his Kickstarter campaign, even though we’d never met, so the choice was easy. Paul moved in and promptly shot this lovely music video on his Canon 7D: More »
I may be alone in this, but I often wonder about pretty wild and crazy sorts of technical things (many times involving VHS tape — don’t ask :). For instance, I’d be curious to see how RED holds up transferred to that good old home video workhorse format, or maybe how VHS-shot footage looks blown up to HD or even 4K (I may or may not be joking about that). I simply have a fascination with this type of thing, and as such, I was very excited about this find! Director David M. Helman has overseen the creation of a Joey Bada$$ (with Chuck Strangers) music video which blends RED footage that was dubbed to VHS, recaptured, stretched, then composited back over the original shots — creating a time-bending nostalgic-but-new feel. Read on to watch the video, and see what this stuff looks like! More »
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