MASTERCLASS
HOW TO MAKE A MUSIC VIDEO D
en Lennie from fstopacademy. com and James Tonkin from
Hangman Studios recently com- pleted Music Video Master Class 2011 in London, teaching 12 stu- dents from around the world how to produce a music video on a shoe- string budget in only four days. Here are their top 10 tips:
1. ARTIST INVOLVEMENT IS PARAMOUNT
The purpose of a music video is to promote the artist and ensure their music reaches its audience. This is crucial to the success of a project – and your chances of being hired again. But most important of all is the crea- tive concept. This should be clear in a one page-brief. Some artists like to be very involved, others less so, but it’s the director’s job to bring their ideas to fruition. It can be quite a challenge to do the idea justice on a tight budget. Diplomacy is required when dealing with sensitive egos. Realigning the art- ist’s ambitions with the realities of the time and budget takes some skill.
2. PLANNING IS EVERYTHING
The more meticulously you plan, the more smoothly everything will go on set. Arrange a location scout and take your DoP. We filmed in a Georgian manor in Surrey, a private home that is rented out as a location. Meeting prior to shooting decreases the likelihood of surprises and involves the vendor in a way that ensures a smooth shoot day. We were able to film in multiple loca- tions at the property, so we got more from the location than had been advertised. Be respectful of other people’s property – low budget or not, you’re filming in someone’s home.
Producing a music video on a tight budget in just a few days takes a lot of planning, skill and the right equipment.
Fstopacademy.com’s Den Lennie and Hangman Studios’ James Tonkin offer their top 10 tips
3. STORYBOARDS AND ANIMATICS
Storyboards are essential on one-day shoots, along with a detailed shot list and a plan for how long each scene will take. Write this out with sched- uled times that allow you to keep an accurate track of how far behind you are. Animatics are storyboards set to the music track and animated using key frames in your NLE. They help you get a sense of the pace of the shoot. Inevitably, you’ll be forced to drop shots, so knowing what you can afford to lose if you have to will save you much heartache in post.
4. LOCATION, LOCATION, LOCATION
When the budget is tight, choosing a great location can really make a differ- ence. A carefully selected building can save you having to bring in art direc- tion – we’re talking about £10-15,000 budgets to complete everything. With
24 | Broadcast TECH | November/December 2011
Picture perfect: Den Lennie (left) and James Tonkin line up a shot
little room for art and lighting, you need to be willing to compromise. We chose a Georgian manor that was already full of character and packed with antiquities – all we had to do was add light. An on-site recce helped as the owner of the house offered us many extra pieces to use as props. With so much to do in a 12-hour shoot day, the more you can get on location, the less expensive your production and the quicker you can get to work.
5. THE CRUCIAL RELATIONSHIP BETWEEN DIRECTOR AND DOP
Pulling off a performance with narra- tive in multiple locations is tough. We had eight scenes to shoot in one day, so the relationship between director and DoP was critical. On-site recce and planning the shot list is what will make the difference between success and failure. We opted to use Kino-Flo lighting for a majority of the daytime
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