Halloween Music Video Its Terror Time Again
How to make a music video
So, you're wondering how to make a music video? It's an art form that's embedded into our popular civilisation, as musicians have been using music videos to promote their songs and further their artistic vision for decades. With the always-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 arts and crafts and provide a backstage pass to some of the nearly innovative VFX in music videos.
With all that in mind, permit'due south run into how CG and VFX can raise a music video. Y'all can also check out our choice of the all-time animated music videos.
01. Understand that music and visuals are connected
"Music and visuals have always complemented each other and been closely connected," says multi-disciplinary artist Polygon. "I take a strong impression that today, we've finally come to this realisation that the visual aspect has become as of import as the music itself, if not more. At that place'south a real symbiosis between these mediums now."
He adds that in today'southward globe it would be inconceivable for an artist to promote their latest release without any visual back up. "Music videos prevail as a promotional tool," he continues, "they are the nigh-viewed type of video on YouTube and superstars accept no trouble exceeding a hundred million views or even a billion."
02. Button the boundaries
Bated from working with some of the biggest brands effectually, The Manufacturing plant has fabricated a proper noun for itself past pushing the boundaries of VFX in music videos. Bringing a musician's vision to life comes with its own set of challenges, including time and upkeep. Dan Warom, crowds supervisor at The Mill in Los Angeles, explains: "Film and Telly post-production typically take significantly longer development cycles equally well equally larger budgets. Music videos often have much smaller budgets and as such tend to require some pretty creative uses of technology."
Music videos are often experimental in their visuals, meaning creative briefs aren't always geared towards photorealism. "Motion graphics and design tend to get a much larger focus versus the more traditional approaches of VFX or animated features," adds Warom. With these considerations in heed, The Manufacturing plant has to assess the creative value of every potential projection. "This can come downwards to the idea, a director we're keen to work with and support, a track or performer who we feel is going to go a lot of exposure, or a project which enables usa to button one of our upward and coming artists," adds Jonathan 'Wes' Westley, executive artistic director at The Mill in London.
03. Collaborate with you fellow 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-production, through the shoot, up until the end of the post process. Merely on music videos, given that there tend to be fewer people involved in the approval process, we often discover that they offer more 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 Complimentary Yourself. "We 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 dance."
The Mill's concept team dreamt upwards numerous designs for the robots, while testing began on the Xsens motion-capture accommodate, a crucial office of the project's success. "Nosotros were keen to use new motion-capture applied science," explains Westley. "As well equally enabling the states to easily capture functioning on ready, information technology besides allowed us to capture additional performances at The Mill one time 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 Mill in Los Angeles were recently approached past 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, "essentially providing technological oversight to evaluate what would be possible, what would expect 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 like techniques, The Manufacturing plant 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 squad recorded all that motion for use with our CG crowds afterward," recounts Warom. "Rob Wilson our dancer and Samo our choreographer did a fantastic job of not only capturing the end routine, but took the time to suspension downward a whole range of classic hip-hop trip the light fantastic toe styles and then we could bring more life and individuality to our CG dancers." Each of the clips were then integrated using the squad's crowd software of selection, Golaem.
The Mill leveraged its huge drove of clothing assets, likewise creating a whole custom streetwear casting library based on a brief 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's 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 way
Multidisciplinary artist Polygon creates music videos in his own glitchy, distorted visual mode. "Being 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 upwards while the transition from analogue applied science 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 take shaped the way he creates art today.
"Over the years, I've been trying to balance and intertwine counterpart and digital through my piece of 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 fourth dimension for me to realise that emulating wouldn't exist enough for me. Next thing I knew, I was buying some counterpart gear, CRT TVs, onetime VCRs and some video equipment used for broadcasting lying effectually on Craigslist. Information technology 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 have months of experimenting earlier Polygon'south 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 than figurative and are tied to the fantastic universe that I peculiarly savor," he adds.
Until recently Polygon resisted digital mail-production: "I'm 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 by VJs creating geometric shapes. He continues: "anybody nowadays has admission to a huge multifariousness of resources, and it can quickly become disruptive knowing what to practise and where to focus. That'southward why I like to limit myself when it comes to what I work with and take full reward of the few tools that I use."
07. Get easily on
One of Polygon'due south recent projects saw him work with genre-bending Britain rock ring Enter Shikari on the music video for their unmarried The Dreamer'south Hotel. "I love working with Enter Shikari and their team considering they're always down for whatever kind of ideas that I'd come up up with," he explains.
When working on a VFX-heavy music video, Polygon starts by edifice a mood board, doing his best to explain his vision for the piece. "I try to appraise the percentage of the physical furnishings versus those that will be edited digitally earlier starting to shoot anything," he continues. "We rarely get a second chance on the day of the shoot, but it's not uncommon for ideas to flower when we are in the heart of filming or even in post-production." When directing videos like The Dreamer'south Hotel, Polygon will make room in the schedule for improvisation, allowing him to achieve shots he may not accept initially planned.
One of the video's concluding sequences, which sees horizontal scrolling with digital feedback accept over the screen, was conceived at the very end of the mail service-production process. "It 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 thirty years ago, what would it look like?'. We had some videos past Mistiness 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'due south acknowledged 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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