Quarantine and social estrangement restrictions have also interrupted the maximum number of music videos since early March.
Some others watched the writing on the wall and scheduled back-to-back video recordings just before the crash began. Others were forced to be creative.
In recent months we have noticed an explosion of home music videos, self-guided, handmade, hand-animated and Zoom-based. Some of them are even valuable to see, which is at a time when YouTube perspectives count towards chart positions.
Here are a variety of complete and attractive clips that you see.
Evanescence was putting the finishing touches to her first album in nine years when the closing came. Instead of putting everything on hold, the band told fans, “We promised them a new album in 2020 and we probably wouldn’t let anything stop us.”
This meant filming a video for his single return, Wasted On You, at home, of the five members expressing the loneliness of isolation.
“The success of this has posed an exclusive set of challenges,” PR Brown told the BBC. “We begin by discussing the diversity of feelings we all go through. From there, we combined a list of daily routines that would be wonderful for filming. I developed a breakdown of angles, lighting and reflections on how Oh, and everything, each and every shot, filmed through the organization and their families on an iPhone.
“After starting to take a look at the images, it became clear that even though they were thousands of miles away, they passed through each and every similar thing. I started creating a montage and saw those scenarios repeating over and over again. link them to tell their stories.”
Unlike many lockout videos, the video feels polished and professional, without sacrificing any of the underlying emotions. It was then nominated for an MTV award in the “Best Rock Video” category.
Haim crashes by giving dance tutorials in Zoom. A few weeks later, they filmed the video for I Know Alone on a basketball court, all on one side two metres away, after learning the choreography from a distance.
This video encouraged follow-up: a clumsy walk in the Forum parking lot in Los Angeles, the sisters gave the younger a push to claim pole position.
Born from the meme “Haim invented walking”, because many of his videos show the organization walking the streets of Los Angeles.
“Danielle and I discovered by laughing how part of the comments [on I Know Alone] were going: “Where’s the road?” So we thought we’d laugh a little in the hope that Haim will post it on each and every video. And we all love A League Of their Own, which has this wonderful scene of directing the sisters until they start running.”
Schrier dispensed with his old team, filming the soft herbal clip on a fixed iPhone on “my father’s $150 gimbal for Christmas.” The organization nailed it to the 3rd shot “and then the sun went down.”
“We’re aggressively opening our budgets to make sure other people have enough cash to bring in cheerleaders,” Jeff Levin, senior vice president of Atlantic Records, told Rolling Stone last month.
It’s easy to see why: animated videos have a point of style and refinement that home efforts tend to lack, which is why artists like Billie Eilish and Dua Lipa have exploited the format.
But Tinie Tempah’s video for Moncler gets ahead of them, thanks to its colorful palette and themes of positivity and interconnectivity.
“Moncler’s video was meant to be filmed in an exotic location just as the world crashed, which was unconvincing for the original production, but it turned out to be a great opportunity for me,” says director/presenter Robert Strange.
“There were those photographs circulating of other people huddled around their windows hunting in the world, so it would be time to show Tinie hunting through her own window, connecting with her friends through holographic technology. It was a tight change so I worked many 18 hours a day.”
Strange says he developed a “closer relationship” with Tinie than most other artists, even though they communicated remotely.
“He sent me a lot of concepts and most of them were added to the video,” he says. “Number one is the inclusion of your dog, Paul.”
The Oakland-based Thao and the Get Down band was one of the first artists to explode Zoom in a music video, setting a hard-to-beat standard.
By splitting the screen into a 3-3 grid, in Brady Bunch’s way, they choreographed an impressive dance regimen that affects the panel. At one point, Thao and the 8 dancers form a Frankenstein-like body. Later, a glass of water is poured from the intermediate frames into the mouth of the dancers below.
The video was made in less than a week and was recorded at once after five hours of rehearsal.
“Some dance moves had to be adjusted to look smart in the zoom gallery view and didn’t translate if they were too chaotic,” Thao told The Verge. “We found that the movements had to be clean, transparent and simple. It had to be the focal point and if too many things were happening, you wouldn’t know exactly where to look.”
There were several awards and concerts with advantages during the pandemic, however, none of them reached the scale and ambition of the June BET awards.
The arts team banned the term “virtual performance” because “without delay put joy in a box,” says Connie Orlando, director of music and specials at BET.
“We had to adjust the way we thought and get out of what we’d done in the past,” he adds. “Once you clicked, the query doesn’t: “How do we do last year’s visualization?” ItArray” How does the screen look like this year? There is a wonderful dose of freedom in this undeniable focus replacement. “
Instead of low-fidelity performances from people’s kitchens, BET provided quotes for clips that looked more like mini-movies.
Many chose to reflect the deaths of George Floyd and Breonna Taylor, as well as the ongoing black Lives Matter protests, with tough political performances through Beyoncé, Alicia Keys, Public Enemy and DaBathrough.
But Megan Thee Stallion stole the screen with functionality through Mad Max and Girls In The Hood and Savage.
The video was made with the assistance of a “Covid-19 group of brokers” who made sure that protection regulations were taken into account, but the audience was not informed.
“Megan is such a creative artist, so talented,” Orlando says. “It took a lot to make plans and meetings, but in the end, the functionality is so epic that you don’t even realize that everyone was socially distant, you’re just surprised by the fact that it kills the screen.”
One of the pleasures of locking to take a look at the houses of in-house celebrities and judge their curtains. There is even a Twitter account committed to comparing the salons of the rich and famous (Barbra Streisand has earned the highest compliment for his cushions).
Music videos have fueled our voyeurism, with Ariana Grande, Justin Bieber, Sheryl Crow and Jessie Ware among the artists opening their doors for a musical edition of Through The Keyhole.
But Drake took the glove with the toosie Slide video, which follows the star by a Toronto mansion that is the length of the British Museum.
Along the way, Drake presents his collection of basketball shirts, a series of musical awards, a portrait of Andy Warhol through Mao Zedong, an eye-catching grand piano and a gigantic indoor pool.
It all ends with a fireworks demonstration for one, which is potentially the saddest thing ever.
Climbing up and down an abandoned escalator is one of children’s ultimate dreams; however, in the midst of the alienation of confinement, the act of solitary repetition becomes infinitely more melancholy.
That’s the vibe that Canadian alternative pop artist Jessy Lanza captured perfectly in the Over and Over video, which was recorded early on a Friday morning at an empty mall in downtown San Francisco.
“Jessy played the song on the headphones and did four shots up and down the escalators,” recalls Winston H Case, Lanza’s spouse and collaborator. “Once I chose the shot, which turned out to be the take of the moment, I put markers on the clip where I think I can adjust the time to the moments to make them seem more in sync with the music.”
Case says running from a single blocked plane is “therapeutic” compared to the difficult procedure of mounting a general music video. And Lanza also discovered the restorative video.
“I was terrified of escalators when I was a kid, so I’m glad I got this far,” she says.
Level Of Concern written as a direct reaction to the pandemic, with singer Tyler Joseph expressing his emotions of panic and depression to his wife and newborn daughter, who arrived a few weeks before the lockdown.
The video is necessarily a “making-of”: the two members appear filming and recording their respective parts, and then showing the effects back and forth on a flash drive.
These sequences are interspersed with familiar clips of Joseph and drummer Josh Dun spending time with their partners and decorating their homes with flashing lights and fluorescent stars, undermining the song’s anxiety with a message of hope and positivity.
The singles’ earnings were used for the band’s touring team. And there’s also a smart joke at the end.
Originally, Phoebe Bridgers was scheduled to travel to Japan to film the Kyoto video; However, this was cancelled after missing your flight due to a puncture (only jokingly, all holidays were cancelled due to the pandemic).
Not to be left behind, the singer jumped in front of a green screen and made a virtual tour of the country, acting as an archive of Kyoto Station and Fushimi Inari-taisha Shrine, before flying over Lake Biwa and defeating Godzilla by firing lasers. with his eyes.
The song itself is about imposter syndrome, written after Bridgers’ excursion to Japan and felt that she “lived someone else’s life,” and the artificiality of the video underscores that sense of detachment, without getting bogged down in feelings.
Remember when almost every single video clip featured a scene in which the main character suddenly woke up from a nightmare? Well, in 2020, the equivalent is for your enthusiasts to sync with one of your songs.
You know the format: there will be a precocious girl, dancing a little out of time, a mother dueling with her daughter and a boy who learned the chords and makes it a wonderful show.
Tove Lo’s music video for Matthew manages to bypass all the clichés, in part because it has won more than 1000 performances (the song is a fan favorite of his 2019 album Sunshine Kitty), and partly because his left-wing pop logo attracts. to an audience. marginal and foreign.
“A lot of the last few months have been devoted to what can’t happen,” he said. “Participating in the quarantine karaoke challenge is a way to stay in touch with my enthusiasts and give everyone something to do safely when locked up.
“[I was] so pleased to see all their faces and places, it makes me feel like we were in a combination while we’re separated.”
Duval’s haunting and pianoy song Timothy Slave explored the difficult dates of the music industry with black musicians. At its center is a Pharrell Williams pattern discussing how record corporations are pressuring artists to give up the rights to their own music.
The clip, which Timothy created with artist Max Valizadeh, goes even further in this concept: it represents an audio record that becomes sensitive, before managers and stamps capture and multiply it.
“After creating the story, we spent a week in combination with clay to create the characters and scenarios for the shot: the tough procedure of creating a motion prevention animation that echoes the told story,” Timothy tells the BBC.
“Many artists who have talked about the importance of artists possessing their teachers and who have also assimilated elements from the music industry to slavery such as Prince and Nipsey Hu$$ are represented in the most sensitive mountain I climb to sign me up. in the final sequence, ” he adds.
“The story is an adaptation of my own delight in the music industry and in 2019 I bought my masters.”
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