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.
Posts Tagged ‘musicvideo’
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?”.
Thanks for sending in the tip, Jabin!
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.
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!
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.