Music videos are a chance to tell a story without dialogue, but instead with tone and tempo. Creating a piece of work to translate the artists musical vision into a visual medium gives us an opportunity to collaborate with other creatives. At the base of every video is a well-written song to be expounded upon by a beautifully executed and well-spoken visuals.
Filmed on a cinematic Red camera, the video compares the life of a party animal to that of a reckless circus act. Created for Baltimore EDM/Pop Artist, Bret Sears, the story of one man’s rash reaction to reality creates unforeseen casualties. As the director, I chose a very saturated palate based upon contrasting colors to emphasize the extreme loss of rationality in our main character’s ethos.
We have all seen a thread unravel, but here we watch one wind itself back up. This salmon-swimming-upstream portrayal of a woman’s kidnapping challenges both film maker and viewer to build a case around an end result. Clever editing and cutting edge Sony FS 700 slow motion technology depict the feeling of putting pieces together.
Embodying the stimulating feeling of new music touching your ears for the first time, Everyone was There grasps the concept of creative artificial lighting schemes to create an overwhelming euphoria. The high energy anticipation translates into jump cuts, flickering lights and swift camera movements. Exposed fluorescent lighting creates a raw look and adds depth through placement throughout the set.
Working with large LED screens and classic stage design, Heart and Thunder plays to the tune of large studio production. Utilizing Blue Rock Studios in Maryland, we chose this video to experiment with anamorphic lens flares, emblematic of famed director J.J. Abrams. Frenetic editing and color theory play a role in contributing drama with a Hollywood production flair.
Follow Us On Social Media!