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!
Posts Tagged ‘musicvideo’
Here’s another cool example of what’s possible when you combine creativity with an insane amount of dedication: animator Jonathan Chong spent hundreds of hours creating this stop motion video for the song “Against The Grain” by the Australian band Hudson. He animated everything by hand, and captured 5125 individual photographs of 920 pencils for the three-minute long finished product.
Want to see what pure dedication looks like? This music video for the song “In Your Arms” by Kina Grannis is a stop-motion animation done with a background composed of jelly beans. It’s a crazy project that required 22 months, 1,357 hours, 30 people, and 288,000 jelly beans. They could have used CGI, of course, but each frame was carefully created by hand and photographed with a still camera. It’s even more mind-blowing given this fact: none of it was done with a green screen.
Australian college student Nathan Grant created this stop-motion music video for the song ‘Minister’s Daughter’ by the band The Good God Damned. After recording footage of the band playing using a Sony XDCAM, Grant printed out 3,433 photographs from stills in the video. He then spent six months turning the prints into this stop-motion video, capturing the new photographs with a Canon 600D.
Instagram is changing not just the way photos can be shared, but how music videos can be made. UK indie rock band The Vaccines recently created a website that asked fans to snap photographs of themselves while at music festivals and then tag them with “#VACCINESVIDEO”. After receiving nearly 3,000 submissions, the band used them to create the music video for their song “Wetsuit”. Aside from a few video clips, everything you see in the video was submitted through Instagram.
P.S. Building upon this idea: what if a band were to ask fans to snap photos during a live performance of a song, and then combine the photos afterward using the timestamps of the photos to sync them with the song? That would be crazy.
Photographer Nathan Seabrook made this creative stop-motion music video for the band Yuba Diamond. Despite what your eyes might tell you to believe, no computer trickery was used. Instead, Seabrook used roughly 1700 separate prints and some old fashioned techniques (e.g. fishing line and projecting scenes onto the background) for all the animations and effects seen in the video.
Film director André Chocron created this beautiful music video for the song “Time is of the essence” by Cold Mailman using time-lapse and tons of time-consuming editing. The time-lapse stills were shot over two weeks using a Canon 7D and Nikon D300, but that wasn’t the difficult part — editing the video to have the apartment buildings serve as equalizers for the music took a whopping three months!
Thanks for the tip, Carl-Frederic!
Last year we featured a pretty neat slow motion video shot from a moving train. British band SixToes decided to use the same idea for a music video, placing people all along the platform doing various things, and slowing down 7 seconds of footage into an entire music video.
The idea could be improved on by having what’s happening on the platform reflect what’s being sung in the song, but would require tons of planning and perfect timing — though the end product would be totally mind-boggling.
(via Small Aperture)
Fashion photographer David LaChapelle is launching a lawsuit against Rihanna over the controversial music video for her song S&M. LaChapelle alleges that “the music video is directly derived from and substantially similar to the LaChapelle works” and that it copied the “composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe and lighting” of eight of his photographs.