Alice in Chains Again Music Video
How to brand a music video
So, you lot're wondering how to make a music video? Information technology'southward an art form that's embedded into our popular culture, every bit musicians take been using music videos to promote their songs and further their creative vision for decades. With the e'er-increasing democratisation of tools and software, CG and VFX are becoming more and more prevalent in the fine art form. Nosotros'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 heed, let's meet how CG and VFX tin can heighten a music video. You 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 connected," says multi-disciplinary artist Polygon. "I have a strong impression that today, nosotros've finally come to this realisation that the visual attribute has become every bit of import as the music itself, if not more than. There'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 whatsoever visual support. "Music videos prevail as a promotional tool," he continues, "they are the nigh-viewed type of video on YouTube and superstars have no trouble exceeding a hundred million views or fifty-fifty a billion."
02. Push button the boundaries
Aside from working with some of the biggest brands around, The Manufactory has fabricated a proper name for itself by pushing the boundaries of VFX in music videos. Bringing a musician'due south vision to life comes with its own set of challenges, including time and budget. Dan Warom, crowds supervisor at The Mill in Los Angeles, explains: "Film and Tv post-production typically take significantly longer evolution cycles as well as larger budgets. Music videos often have much smaller budgets and every bit such tend to require some pretty creative uses of technology."
Music videos are ofttimes experimental in their visuals, meaning artistic briefs aren't always geared towards photorealism. "Motion graphics and blueprint tend to become a much larger focus versus the more traditional approaches of VFX or animated features," adds Warom. With these considerations in mind, The Factory has to assess the creative value of every potential project. "This tin come up downwardly to the idea, a director we're slap-up to work with and support, a track or performer who nosotros feel is going to get a lot of exposure, or a project which enables united states of america to button one of our up and coming artists," adds Jonathan 'Wes' Westley, executive creative director at The Mill in London.
03. Collaborate with you swain creatives
"One of the chief differences is the amount of creative involvement the team 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, upward until the end of the post process. Just on music videos, given that at that place tend to be fewer people involved in the blessing process, nosotros often observe that they offer more than opportunity for collaboration."
Wes and the team at The Mill embraced this collaborative nature when they worked with film directing partnership Dom&Nic on a video for The Chemical Brothers' single Gratis 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 full of robots who just want to trip the light fantastic toe."
The Mill'due south concept team dreamt up numerous designs for the robots, while testing began on the Xsens motion-capture suit, a crucial office of the projection'southward success. "Nosotros were bully to use new motion-capture technology," explains Westley. "As well as enabling us to hands capture performance on set up, it also immune us to capture additional performances at The Mill once the video had been shot and the VFX process was underway."
04. Don't be agape to get big
Warom and the team at The Mill in Los Angeles were recently approached by the directors to piece of work on the video for Ooh La La by hip-hop duo Run The Jewels. "We discussed ideas that the artists themselves had suggested then explored those over several meetings," Warom explains, "essentially providing technological oversight to evaluate what would be possible, what would await awesome and what, if anything, could be something nobody had ever seen before."
Having recently completed a project for Pepsi at the 2020 Super Bowl that used similar techniques, The Factory chose to accept things further for the Ooh La La music video. "This primarily involved using an Xsens Link move-capture suit on ready with a dancer performing choreography while the capture team recorded all that motion for use with our CG crowds subsequently," recounts Warom. "Rob Wilson our dancer and Samo our choreographer did a fantastic job of non only capturing the end routine, but took the time to break down a whole range of classic hip-hop dance styles and then nosotros could bring more than life and individuality to our CG dancers." Each of the clips were then integrated using the squad's crowd software of choice, Golaem.
The Manufactory leveraged its huge drove of clothing assets, also creating a whole custom streetwear casting library based on a cursory from the costume department. To help flesh out the world they also pulled a range of vehicular assets out of their internal library for the video'southward helicopters and hot air balloons, giving their directors the power to select the assets they wanted. "Nosotros 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 ain glitchy, distorted visual style. "Existence a '90s child and growing upward 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 past LCD screens, etc." Polygon theorises that these shifts in engineering science have shaped the style 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 first 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 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 around on Craigslist. It was the spark that I needed; I knew that information technology was through excursion-bending that I was going to be able to truly reach the aesthetic I was looking for."
06. Experiment with different styles
It would have months of experimenting before Polygon'southward technique would evolve into a coherent style. "Over the years, what used to be a cluster of colourful and abstract textures became distinct lines creating silhouettes; pieces of work that are now more figurative and are tied to the fantastic universe that I peculiarly enjoy," he adds.
Until recently Polygon resisted digital post-production: "I'm rarely given boundaries when information technology comes to creating art, and then I tend to set some for myself in order to continue artistically inspired." Nowadays Polygon volition experiment with glitch art software like 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 multifariousness of resources, and information technology can quickly get confusing knowing what to exercise and where to focus. That's why I similar to limit myself when information technology comes to what I work with and have full reward of the few tools that I apply."
07. Get easily on
One of Polygon'due south contempo projects saw him work with genre-bending UK rock band Enter Shikari on the music video for their single The Dreamer'south Hotel. "I love working with Enter Shikari and their team because they're always down for whatsoever kind of ideas that I'd come up up with," he explains.
When working on a VFX-heavy music video, Polygon starts by building a mood board, doing his best to explain his vision for the piece. "I attempt to assess the percentage of the physical effects versus those that will exist edited digitally earlier starting to shoot anything," he continues. "We rarely become a second chance on the 24-hour interval of the shoot, just information technology'due south not uncommon for ideas to bloom when nosotros are in the centre of filming or even in post-production." When directing videos similar The Dreamer's Hotel, Polygon volition make room in the schedule for improvisation, allowing him to attain shots he may not accept initially planned.
One 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 post-production process. "It was visually impacting and fit perfectly with the 90s vibe we were looking for," adds Polygon. "The thought behind this video was, 'if Enter Shikari had released this music video 30 years ago, what would it look like?'. We had some videos past Blur and Talking Heads as 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 Globe , the world'south best-selling magazine for CG artists. Subscribe to 3D Globe .
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Source: https://www.creativebloq.com/features/how-to-make-a-music-video
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