Dream Music: Part 2 is an amazing stop-motion and time-lapse video by Marc Donahue and Sean Michael Williams that features a technique they call “lyric-lapsing”. Using still photos, they somehow planned the time-lapse sequences just right, so that the singer in the video is actually mouthing the words as he scurries around to various locations. They state that the video is a “musical voyage into the depths of the subconscious”, and that it was designed to “transport the viewer from their own reality into a world of dreams and at the end, [...] awake to wonder how we were able to take them there.”
The magnitude of the effort is what’s truly impressive. The creators spent six months shooting the photos across two states. Every 3-4 seconds seen in the video required about 6-8 hours of work to create. Read more…
Director Kevin Parry recently finished creating a music video for the song “Water Falls” by Kalle Mattson. Filmed by Andrea Nesbitt, the video features some crazy time-lapse shots over great distances in San Francisco. Parry has also turned the shots into these animated GIFs that show you what various locations would look like if you were Superman whizzing around. Read more…
Alex Dainis of Boston first recorded herself lip-syncing the song “Aaron’s Party” by Aaron Carter back when she was 17. Three years later she made another recording, and finally this year — at the age of 23 — she made a third. This resulting video, titled 17-20-23, shows her singing her heart out at all three ages. She writes,
One take, once every three years. Sure there’s a story behind it, but mostly I just hope I’ll still be this ridiculous at 26, 29, 32…you get the idea. I think it’s simultaneously the best and worst idea I’ve ever had.
If you have children, you could start a yearly tradition of recording a lip-syncing video. It’d make for an awesome video once they’re adults.
Orrin Hastings spent three months creating this stop-motion music video for the song “This Man’s Brighter Days” by abe&tell. He roamed the streets of Sydney asking 500+ girls to hold up an iPad containing one still frame extracted from a video. Played back, the stop motion contains a video-within-a-video. The concept is very similar to the J.Views video we shared a couple months back, except that one used actual prints.
Feast your eyes on this amazing stop motion music video idea for the song “Rivers and Homes” by electronic music artist J.Views. After filming a traditional music video in upstate New York, the production team had 2000 of the individual frames printed out. The prints were then distributed during a recent tour in Israel to 300 fans, who held them up and posed for new photographs. The resulting photographs were then re-animated into a video showing the original music video running in stop motion in the hands of the fans. No computer fakery was involved in the production, and the final video is quite mind-blowing.
This music video for the song “Solidified” by Gramatik features an interesting technique: custom bokeh shapes that move. We’ve featured creative bokeh techniques in the past, but they’ve all focused on floating words or static shapes. Director Brad Hasse went a step further by having his monster silhouettes in the out-of-focus light points move around and sing along. The technique involves placing tiny monster cutouts directly in front of fast lenses that are racked out of focus.
To celebrate the end of the school year, the photojournalism students at Western Kentucky University created this music video for a song titled “Camera Hang Low” by Benny Sevs feat. the F-Stopz. It asks the important question that every serious photographer needs to answer: “Do ya camera hang low?”.
If you like PES’ stop-motion videos in which random objects are prepared as food, you’ll love this creative music video for the song “Get By” by Delta Heavy. It’s mind-boggling to think about how much time and energy went into preparing and photographing each individual still: director Ian Robertson shot 11,008 photographs and selected 3,184 for the final cut. 10 hours were required just to animate the 18 frames showing the Rubik’s Cube equalizer. Animation took a total of 32 days. You can find more background information and photos here.
Director Ninian Doff made this creative music video for singer Graham Coxon‘s song “What’ll It Take” by stitching together dance moves sent in by 85 of Coxon’s fans from 22 countries around the world, turning them into one composite dancer.
San Francisco-based indie band Wildlife Control made this creative music video for their song “Analog or Digital” using both time-lapes and stop-motion techniques. They spent a day on at Ocean Beach in SF, shooting the entire video in one take as a series of 3,060 individual photographs. The fast playback makes the world around them pass in time-lapse, while their synchronized movements cause them to move around like stop-motion claymation figures. It’s definitely not an easy feat — they had to play the song slowed down 35x!