What’s the most important thing about music video production for a music video director? It’s not the swag! It’s not the nice cars or sweet locations. Is it the pre-production? I’m giving you 5 tips to arm you with the right knowledge to begin your music video process.

Given that music videos are usually small productions and can have a minimal or 1-man crew, I’m going to use ‘director’ and ‘cameraman’ interchangeably.

Tip 5. Keep it simple

Some of the best music videos out there are very simple videos and aren’t overly complicated. Oftentimes less is more. That’s not to say everything should be the same and in the same location. Sometimes a change of clothing can be more powerful than a change of location and vice versa. There are many ways to utilize and take advantage of one single location before you move on to the next. Make sure you’ve covered all angles and ideas before moving on to the next location/scene.

Also, the less complicated a video is the fewer fail points. An example is that if you want a sunny look with 6 locations on weekend, with 3 red cars as props, that’s just increasing the number of things that might fail and be out of our control. You’re relying on one or more sources to deliver 3 red cars, you’re relying on on sun and access to 6 locations. I like to plan videos based on the ‘worst’ possible outcome. So, that means planning for dull/overcast days (which are actually a blessing for videographers and photographers because the light is more consistent).

Tip 4. Smarter project notes and communication platforms

Planning a project is all well and good but when you do it on a phone call, WhatsApp or Instagram, there is no record or poor record of planned events. WhatsApp doesn’t have a search function to sift through messages, either does Instagram. Plan production by email because that way you and the director/videographer have a record of items agreed upon. Also, planning can take some time and there might be a good few messages. Being able to search them through your email provider is convenient.

Sending assets such as logos and big production ideas through WhatsApp puts more work on the editor to then send them from WhatsApp to email. It all gets a bit messy. Keep it clean, simple and communicate by email for production idea. WhatsApp is fine for quick contact outside of project management and arranging to meet.

Tip 3. Keep professional on set

I understand you are paying a director/videographer to produce your music video. But chatting with friends and extras on set can waste some valuable time – time you are paying for. I like to keep sets fun and have banter because I love doing this. Between scenes and takes there can be a lot of downtime as cameras are set, lighting corrected, lenses, batteries and cards change. It’s easy to chill and pick up your phone. But also it’s good to know when the put the phone down and be ready for when the camera needs to start rolling again.

Tip 2. Never rush or distract director/cameraman/videographer

As mentioned in Tip 3, there can be a lot of downtime in between takes and scenes. This is when the cameraman is checking settings as a good cameraman is shooting manually. This means when the light changes, all the camera settings change. They might be changing codecs and frames-per-second based on if they need to shoot slo-mo etc. The cameraman might also need to do a new white balance so the colours look correct. They might also need to change batteries, cards, backup up video files, figure out what lens will work best for the next scene etc. There are many things at once going through the head of a cameraman or director at any given time.

I find if it’s something important. just ask if you can speak with the cameraman/director when they have a free moment. That way you’ll have their undivided attention and ultimately it should work out better for you in the end.

Tip 1. Pre-production

Being a music video director, I can’t stress this enough. There are some people very willing to ask me to bring my camera and just wing it on the day. While you might get some interesting shots on the day, a huge amount of time will be wasted looking for that location, that good angle or that dope shot. Planning these events out beforehand will ensure you get the scenes you want to be done within a day. After all, if you are paying a videographer a daily rate, you want to get as much done in one or two days to keep costs down.

Think about clothing, colours of clothing and colour palettes, also think about background colours. For example, if you are shooting a mostly green/brown area like a forest, think about what colours would contrast well with that colour palette. Plan locations with times of the day. If you want low hanging sun for that golden hour effect, make sure you plan in advance the location for this. Remember, there is low hanging sun early-morning as well as late evening.

These are just general basic tips that can help you get the most from your music video production experience and get the best from your music video director. It’s not an in-depth look into how to do pre-production but it’s more for you think about it and come around the idea of it.

If you want to discuss a project you have, get in touch through the website. Try include as much detail as possible.

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Skills to pay the bills

There are many advantages to being a photographer first and then growing into videography. One of the advantages is having already developed a sharp eye for composition, lighting techniques and some colour theory. Other advantages include directing which I’ve learned snippets of from working with models. Photography skills definitely transfer and overlap with video but video and cinema is a much more complex and challenging pursuit. Once I was dealing with posed shots, be it in the studio or on location and with an element of control of at least a good portion of the shoot. I would say I would have 100% control of lighting and background in a studio setting and about 60% in an outdoor shoot (I can’t control the weather). But with video, there are so many moving parts and motion there is so much to consider. But it was these challenges that excited me.

Filmmaking and video production are all about trying to find solutions. Being on a film set is part-like participating in a giant team-building puzzle. There are only so many things you can prepare for but ultimately there will be many unforeseen challenges, compromises and issues that can arise. A good director will be able to make quick-thinking decisions to keep production moving while trying not to compromise the vision of the film.

MTV Generation

I’m a child of MTV. Growing up in Dublin in the 90’s I was on a daily dose of music television videos. They were my world. Music videos are like this creative bit of escapism that you can lose yourself to. Oftentimes videos were surreal and theatrical. They rarely bored me and nearly always inspired me. But as a kid, I never thought it could be a thing to pursue. All signs in school pointed to doing typical 9-5 jobs. Being a director or pursuing such a dream didn’t seem feasible. Heck, I’m entirely convinced it’s feasible now. But I’m obsessed. I need this. I want this. I’m compelled to make music videos. Music video production is the only thing I want to do. I’ve written and directed my first short film.

Eventually, I would like to make a feature film. I think making music videos is a right of passage. Nearly all my favourite directors have cut their teeth as music video directors before graduating in to feature films and TV series. David Fincher, director of such films as; Mank, Zodiac, The Social Network, The Girl With The Dragon Tattoo, Gone Girl, Seven and TV’s shows such as Mindhunter and House of Cards. He made his name doing music videos first. He directed Freedom by George Michael as well as Express Yourself and Vogue by Madonna. There is also the legendary Spike Jonze and Anton Corbijn who I speak about in my previous blog.

Spike Jonze famously is the main dancer in Fatboy Slim’s Praise You. The story behind that video is hilarious. After producing and directing a plethora of classic and hugely loved music videos for the likes of Björk, Beastie Boys and The Pharcyde and Jackass he went to direct the acclaimed Being John Malcovich (1999) and Her (2013).

New camera gear

Recently I just purchased my first cinema camera, the Black Magic Pocket Cinema Camera 6K Pro. I’ve always used my main photography camera (a good DSLR) to produce video. While this is fine for some music videos, some promos or documentary stuff, I now finally have a camera that has bit-depth capable of shooting raw footage. What does this mean? Well, simply, it means when it comes to colour grading my footage and getting that filmic, cinematic quality, I can do it. It allows me more freedom in post production. But with upgrading cameras comes with some challenges too. I need to upgrade a lot of other gear around it too. Stabilization is a factor, also storage (6K files are huge) and well as new battery power and being able to rig all these things together. All this gear should help me produce a better film. A better music video.

I’m confident I can deliver better music video production than ever before. All my cameras are now 4K capable, my DSLR and drone and my new camera is 6K. If you think you would like to discuss a project with me, a music video or promotional video for your business, please let me know. You can get in touch through our contact page and leave a number. I can call you or we can email.

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Anton Corbijn 

If you never heard of Anton Corbijn(left), you probably have seen one of his photos or music videos. Corbijn is one of those creative forces that established his photography as much as his video work. Fans of U2 and Depeche Mode will know his work with those bands as they’ve had a long creative relationship spanning decades. From music videos to promotional photography as well as stage design for tours Corbijn has cemented his legacy with some of the most successful musicians of our time.

Influential

Corbijn has photographed iconically musical legends such as David Bowie, Tom Waits, Kurt Cobain, Nick Cave, Beck, Henry Rollins, Miles Davis, to name but a few. I once read that Corbijn was the man, you go to when you want to look like an icon. His music video roster is impressive too. Notably, he did a plethora of Depeche Mode videos including the videos for Personal Jesus, Walking in My Shoes, and Enjoy The Silence.  Nirvana’s Heart-Shaped Box, U2’s One as well as the masterful Liar by Rollin’s Band. He made his first feature film, Control based on the life of the late Ian Curtis of Joy Division to much acclaim. He also had worked with Joy Division earlier in his career.

His trademark black and white film style captured many imaginations for years now. It’s no wonder he’s working with the best and artists like Depeche Mode still want to work with him after 30+ years.  If you compare Nirvana’s Heart Shaped Box to Depeche Mode’s Walking in My Shoes, you can see the visual similarities and use of religious iconography.

Spike Jonze

Spike Jonze first captured my attention when I was a kid. He made a video for the Beastie Boy’s Sabotage. The video was a parody of the 70’s cop show. It was an iconic video at the time, getting lots of airplay on MTV.  Like many of his videos, they have a lovely poetic humour to them. Fatboy Slim’s video for Praise You comes to mind as well as Weapon of Choice.

In the video for Praise You, Jonze actually stars in it as the lead dancer. His humour really shines through in work from video to video. It’s a an usual, slightly oddball but often engaging kind of humour. In Weapon of Choice for Fatboy Slim he chose Christopher Walken to do this wonderful dance. It keeps up with a surreal dancing theme for the two Fatboy Slim videos he directed.

Other notable music videos he’s done was Bjork’s It’s Oh So Quiet. An excellent musical-style video that compliments the Bjork’s music so well.  There’s also Drop by The Pharcyde which saw excellent camera trickery where The Pharcyde learned to mime their rap song backwards. The final video is reversed giving this wonderfully mad and creatively striking video.

Inspiring

Da Funk by Daft Punk is another gem that will live fondly in many people’s hearts. That’s the video of an anthropomorphic dog adapting, navigating and adjusting to his new surroundings in New York City. It was one of those bizarre videos that I could watch over and over. I love New York City.  I also love people watching. Just watching this man-dog trying to maneuver New York City and trying to win the girl, was really compelling. Music fans will also remember the video for Weezer’s Buddy Holly.  That used state-of-the-art special effects and camera trickery to have Weezer perform in Al’s diner, in Happy Days.

Feature Films

Spike Jonze credited as being one of the creators of MTV’s Jackass.  He’s even appeared as himself in some of the episodes. He’s also directed produced and wrote for the big screen. Some of these films include Being John Malkovich (1999), Synecdoche New York (2008), Jackass trilogy and more recently Her (2013) which he wrote, directed and produced.

Both their mix of surrealism and colourful visual style as weaved his way into my sub-conscience. I’m sure his influence is carried around in my head today and possibly in my work in some way. Certainly, with some of the black and white images, Corbijn has sparked my love for high-contrast and grainy imagery.

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