Here It Goes Again Music Video Okgo Release
How to make a music video
And then, you're wondering how to make a music video? It'south an art form that'southward embedded into our popular civilization, every bit musicians have been using music videos to promote their songs and further their artistic vision for decades. With the ever-increasing democratisation of tools and software, CG and VFX are becoming more and more prevalent in the art form. We've gathered music video pioneers to discuss their craft and provide a backstage pass to some of the most innovative VFX in music videos.
With all that in mind, let's come across how CG and VFX tin enhance a music video. Y'all can also check out our pick of the best animated music videos.
01. Understand that music and visuals are connected
"Music and visuals have ever complemented each other and been closely continued," says multi-disciplinary artist Polygon. "I accept a stiff impression that today, we've finally come to this realisation that the visual aspect has become as important equally the music itself, if non more. There's a existent symbiosis between these mediums now."
He adds that in today's world information technology would be inconceivable for an creative person to promote their latest release without any visual support. "Music videos prevail every bit a promotional tool," he continues, "they are the most-viewed type of video on YouTube and superstars take no trouble exceeding a hundred one thousand thousand views or even a billion."
02. Push the boundaries
Aside from working with some of the biggest brands around, The Mill has fabricated a proper name for itself by pushing the boundaries of VFX in music videos. Bringing a musician'south vision to life comes with its own set up of challenges, including fourth dimension and budget. Dan Warom, crowds supervisor at The Manufactory in Los Angeles, explains: "Movie and TV postal service-production typically have significantly longer evolution cycles every bit well equally larger budgets. Music videos often have much smaller budgets and as such tend to require some pretty artistic uses of technology."
Music videos are frequently experimental in their visuals, significant creative briefs aren't always geared towards photorealism. "Motility graphics and design tend to become a much larger focus versus the more than traditional approaches of VFX or animated features," adds Warom. With these considerations in mind, The Manufactory has to assess the creative value of every potential project. "This can come downwardly to the idea, a director we're keen to work with and back up, a track or performer who we experience is going to get a lot of exposure, or a project which enables u.s. to push i of our upward and coming artists," adds Jonathan 'Wes' Westley, executive creative managing director at The Mill in London.
03. Collaborate with yous young man creatives
"One of the main differences is the amount of creative involvement the team of artists have on music videos," explains Westley. "On all projects we push to work closely with the directors from pre-product, through the shoot, up until the end of the mail service process. But on music videos, given that there tend to be fewer people involved in the blessing process, we often observe that they offer more than opportunity for collaboration."
Wes and the team at The Factory embraced this collaborative nature when they worked with film directing partnership Dom&Nic on a video for The Chemical Brothers' single Complimentary Yourself. "Nosotros were involved in that project from the very beginning," recalls Westley. "The initial conversation we had with Dom and Nic was about doing a music video total of robots who merely want to dance."
The Mill'due south concept team dreamt up numerous designs for the robots, while testing began on the Xsens motion-capture suit, a crucial part of the project'southward success. "We were keen to employ new motion-capture technology," explains Westley. "Every bit well equally enabling us to easily capture operation on set, it also immune u.s.a. to capture boosted performances at The Mill once the video had been shot and the VFX process was underway."
04. Don't exist agape to go big
Warom and the squad at The Factory in Los Angeles were recently approached by the directors to work on the video for Ooh La La by hip-hop duo Run The Jewels. "We discussed ideas that the artists themselves had suggested and then explored those over several meetings," Warom explains, "substantially providing technological oversight to evaluate what would be possible, what would look awesome and what, if anything, could be something nobody had ever seen earlier."
Having recently completed a project for Pepsi at the 2020 Super Bowl that used like techniques, The Mill chose to take things farther for the Ooh La La music video. "This primarily involved using an Xsens Link move-capture adjust on set with a dancer performing choreography while the capture squad recorded all that move for use with our CG crowds afterwards," recounts Warom. "Rob Wilson our dancer and Samo our choreographer did a fantastic job of non only capturing the finish routine, but took the fourth dimension to break downwardly a whole range of archetype hip-hop dance styles so we could bring more than life and individuality to our CG dancers." Each of the clips were then integrated using the team's crowd software of choice, Golaem.
The Factory leveraged its huge collection of clothing assets, also creating a whole custom streetwear casting library based on a cursory from the costume department. To aid mankind out the earth they also pulled a range of vehicular assets out of their internal library for the video's helicopters and hot air balloons, giving their directors the ability to select the assets they wanted. "We too had to simulate fire and embers in many of the burning money pile shots," says Warom. "These were completed in Houdini using its exceptional PyroFX toolset."
05. Find your manner
Multidisciplinary artist Polygon creates music videos in his own glitchy, distorted visual style. "Being a '90s child and growing up through the 2000s, I witnessed a lot of changes from various kinds of media and mediums," he explains. "I got to grow upwardly while the transition from analogue technology to the digital era was happening: VHS players became DVD players, CRT TVs slowly got replaced by LCD screens, etc." Polygon theorises that these shifts in technology have shaped the fashion he creates fine art today.
"Over the years, I've been trying to balance and intertwine counterpart and digital through my work," he continues. "When I first started, I was creating pieces that were entirely digital using software from the Adobe suite. Information technology took no time for me to realise that emulating wouldn't be enough for me. Next thing I knew, I was buying some counterpart gear, CRT TVs, old VCRs and some video equipment used for broadcasting lying effectually on Craigslist. It was the spark that I needed; I knew that it was through circuit-angle that I was going to exist able to truly achieve the aesthetic I was looking for."
06. Experiment with unlike styles
Information technology would accept months of experimenting earlier Polygon's technique would evolve into a coherent style. "Over the years, what used to be a cluster of colourful and abstruse textures became singled-out lines creating silhouettes; pieces of work that are at present more figurative and are tied to the fantastic universe that I particularly enjoy," he adds.
Until recently Polygon resisted digital post-production: "I'm rarely given boundaries when it comes to creating art, so I tend to gear up some for myself in social club to keep artistically inspired." Nowadays Polygon will experiment with glitch art software similar Acrid Cam, which he calls a gold mine for experimenting with digital glitches, and Lumen, which is primarily used past VJs creating geometric shapes. He continues: "everyone nowadays has access to a huge diversity of resources, and it can rapidly become confusing knowing what to do and where to focus. That's why I like to limit myself when information technology comes to what I work with and have full advantage of the few tools that I use."
07. Become hands on
One of Polygon'south recent projects saw him work with genre-bending UK stone ring Enter Shikari on the music video for their single The Dreamer's Hotel. "I love working with Enter Shikari and their team considering they're ever down for any kind of ideas that I'd come up up with," he explains.
When working on a VFX-heavy music video, Polygon starts past building a mood lath, doing his best to explain his vision for the piece. "I effort to assess the percentage of the physical effects versus those that will be edited digitally before starting to shoot anything," he continues. "We rarely become a second hazard on the day of the shoot, but it'due south not uncommon for ideas to flower when nosotros are in the middle of filming or even in post-production." When directing videos like The Dreamer's Hotel, Polygon volition make room in the schedule for improvisation, assuasive him to achieve shots he may not take initially planned.
1 of the video'due south last sequences, which sees horizontal scrolling with digital feedback accept over the screen, was conceived at the very end of the mail service-production process. "Information technology was visually impacting and fit perfectly with the 90s vibe nosotros were looking for," adds Polygon. "The idea behind this video was, 'if Enter Shikari had released this music video 30 years ago, what would it wait like?'. We had some videos past Blur and Talking Heads every bit inspiration. We really wanted to capture this retro essence and I think people immediately understood what we were going for."
This article was originally published in 3D World , the world'due south best-selling magazine for CG artists. Subscribe to 3D World .
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Source: https://www.creativebloq.com/features/how-to-make-a-music-video
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