Ill Never Love Again Music Video Rip
How to make a music video
So, you're wondering how to brand a music video? It's an art form that'south embedded into our popular culture, as musicians have been using music videos to promote their songs and farther their creative vision for decades. With the ever-increasing democratisation of tools and software, CG and VFX are becoming more than and more than prevalent in the art form. We've gathered music video pioneers to hash out their craft and provide a backstage laissez passer to some of the almost innovative VFX in music videos.
With all that in mind, let's meet how CG and VFX tin can enhance a music video. Y'all can as well check out our pick of the best animated music videos.
01. Understand that music and visuals are connected
"Music and visuals take always complemented each other and been closely connected," says multi-disciplinary artist Polygon. "I accept a strong impression that today, we've finally come to this realisation that the visual attribute has go as important equally the music itself, if not more than. In that location's a real symbiosis between these mediums now."
He adds that in today's world information technology would be inconceivable for an artist to promote their latest release without whatever visual support. "Music videos prevail as a promotional tool," he continues, "they are the most-viewed type of video on YouTube and superstars take no problem exceeding a hundred million views or fifty-fifty a billion."
02. Push the boundaries
Aside from working with some of the biggest brands around, The Mill has made a proper name for itself by pushing the boundaries of VFX in music videos. Bringing a musician's vision to life comes with its own set of challenges, including fourth dimension and budget. Dan Warom, crowds supervisor at The Manufactory in Los Angeles, explains: "Film and TV mail service-product typically have significantly longer development cycles every bit well every bit larger budgets. Music videos oft have much smaller budgets and every bit such tend to require some pretty creative uses of engineering."
Music videos are often experimental in their visuals, pregnant artistic briefs aren't always geared towards photorealism. "Motion graphics and pattern tend to become a much larger focus versus the more traditional approaches of VFX or animated features," adds Warom. With these considerations in heed, The Mill has to assess the creative value of every potential projection. "This tin come down to the idea, a managing director we're keen to piece of work with and support, a track or performer who nosotros feel is going to get a lot of exposure, or a projection which enables us to push one of our up and coming artists," adds Jonathan 'Wes' Westley, executive artistic director at The Mill in London.
03. Collaborate with yous fellow creatives
"Ane of the chief differences is the corporeality of creative involvement the squad of artists have on music videos," explains Westley. "On all projects we button to work closely with the directors from pre-production, through the shoot, upwardly until the end of the post procedure. Only on music videos, given that at that place tend to exist fewer people involved in the approval procedure, we oftentimes detect that they offer more opportunity for collaboration."
Wes and the team at The Manufacturing plant embraced this collaborative nature when they worked with film directing partnership Dom&Nic on a video for The Chemical Brothers' single Free Yourself. "We were involved in that project from the very first," recalls Westley. "The initial conversation we had with Dom and Nic was well-nigh doing a music video total of robots who just want to dance."
The Mill's concept team dreamt up numerous designs for the robots, while testing began on the Xsens motion-capture suit, a crucial part of the project's success. "Nosotros were keen to use new motion-capture technology," explains Westley. "Every bit well as enabling us to easily capture performance on set up, it also allowed us to capture additional performances at The Mill in one case the video had been shot and the VFX process was underway."
04. Don't be agape to go big
Warom and the team at The Manufactory in Los Angeles were recently approached by the directors to work on the video for Ooh La La past hip-hop duo Run The Jewels. "Nosotros discussed ideas that the artists themselves had suggested and and then explored those over several meetings," Warom explains, "essentially providing technological oversight to evaluate what would exist possible, what would look awesome and what, if anything, could exist something nobody had e'er seen before."
Having recently completed a project for Pepsi at the 2022 Super Bowl that used similar techniques, The Mill chose to take things further for the Ooh La La music video. "This primarily involved using an Xsens Link motion-capture suit on set with a dancer performing choreography while the capture team recorded all that motility for apply with our CG crowds later," recounts Warom. "Rob Wilson our dancer and Samo our choreographer did a fantastic job of not just capturing the end routine, only took the time to break down a whole range of archetype hip-hop dance styles so nosotros could bring more than life and individuality to our CG dancers." Each of the clips were then integrated using the team'south crowd software of option, Golaem.
The Manufacturing plant leveraged its huge collection of vesture assets, also creating a whole custom streetwear casting library based on a cursory from the costume department. To assist flesh out the world they also pulled a range of vehicular assets out of their internal library for the video'south helicopters and hot air balloons, giving their directors the power to select the assets they wanted. "We also 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 style
Multidisciplinary artist Polygon creates music videos in his own glitchy, distorted visual style. "Beingness a '90s kid 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 up while the transition from counterpart 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 way he creates art today.
"Over the years, I've been trying to balance and intertwine analogue and digital through my work," he continues. "When I get-go started, I was creating pieces that were entirely digital using software from the Adobe suite. It took no time for me to realise that emulating wouldn't exist enough for me. Next thing I knew, I was buying some analogue gear, CRT TVs, old VCRs and some video equipment used for broadcasting lying around on Craigslist. It was the spark that I needed; I knew that it was through circuit-angle that I was going to be able to truly achieve the aesthetic I was looking for."
06. Experiment with different styles
Information technology would take months of experimenting before Polygon's technique would evolve into a coherent mode. "Over the years, what used to be a cluster of colourful and abstruse textures became distinct lines creating silhouettes; pieces of piece of work that are now more figurative and are tied to the fantastic universe that I particularly savour," he adds.
Until recently Polygon resisted digital post-production: "I'thousand rarely given boundaries when it comes to creating art, and so I tend to set some for myself in order to keep artistically inspired." Nowadays Polygon will experiment with glitch art software like Acid Cam, which he calls a gilt mine for experimenting with digital glitches, and Lumen, which is primarily used past VJs creating geometric shapes. He continues: "everyone present has admission to a huge variety of resources, and it can quickly become confusing knowing what to practise and where to focus. That's why I like to limit myself when it comes to what I work with and take full advantage of the few tools that I employ."
07. Become hands on
Ane of Polygon's contempo projects saw him work with genre-angle UK rock ring Enter Shikari on the music video for their single The Dreamer'southward Hotel. "I honey working with Enter Shikari and their squad considering they're always down for any kind of ideas that I'd come with," he explains.
When working on a VFX-heavy music video, Polygon starts by building a mood board, doing his all-time to explain his vision for the piece. "I endeavor to assess the per centum of the physical effects versus those that volition be edited digitally earlier starting to shoot anything," he continues. "We rarely get a second chance on the 24-hour interval of the shoot, but it'southward not uncommon for ideas to bloom when we are in the middle of filming or even in mail-product." When directing videos like The Dreamer's Hotel, Polygon will make room in the schedule for improvisation, allowing him to achieve shots he may not take initially planned.
One of the video's concluding sequences, which sees horizontal scrolling with digital feedback take over the screen, was conceived at the very end of the post-production procedure. "Information technology was visually impacting and fit perfectly with the 90s vibe we 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 look like?'. We had some videos by Blur and Talking Heads as inspiration. Nosotros really wanted to capture this retro essence and I think people immediately understood what we were going for."
This commodity 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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