Momaya says that the difficult feelings that we see up-close within the music video had been prompted by questions that Gai despatched out to the individuals, based mostly on her personal interpretation of the music. ‘Think about your first love’, goes one query. ‘Your hardest break-up’, is one other. You virtually overlook that is telephone and laptop-camera footage. The idea, he says, stemmed from the truth that proper now everyone seems to be one another via a digital display screen.
- Use an object for framing and focus: “You have to touch the exact points on your phone to get the exposure right,” says Vasu Dixit. “I learned from my wife [Bindhumalini] to place an object where you’ll be taking position, lock your focus and exposure and take the place of the object.” On auto-focus, the telephone usually adjusts shifting objects in focus.
- Post-production: Dixit factors to DaVinci Resolve and Adobe AfterEffects for pro-touches, but additionally faster results accessible on apps like InShot. “A basic edit can be done with iMovie as well.”
- For enhancing ease: Rohit Singh Bhau recommends Adobe Premiere Pro as a straightforward enhancing software program, that enables him to mess around with layers. He provides, “I also like using vintage VHS-type filters like VHS Glitch Effect. It hides a lot of noise from phone videos.”
- Embrace the constraints: While taking pictures on a telephone could be simple, it could additionally include restricted options. But each Sunderrajan and Dixit agree that each one limitations can be utilized to benefit. ‘Akele’ used a whole lot of out and in of focus pictures. “A music video is the only place where you can experiment. Some technical flaws can become intellectual symbolism,” Sunderrajan says.
The latest music videos to emerge through the pandemic, regardless of repeated lockdowns curbing motion, are an train in creativity. While some singers proceed to have minimal involvement within the course of, leaving it as much as the specialists, many are releasing both animated or lyric videos, or recording materials on their mobile telephones. Of course, such phone-shot videos are on no account a brand new phenomenon. Pre-lockdown, rapper Divine’s music video for ‘Jungli Sher’, was shot totally on an iPhone. For artistes like progressive rock band Coshish, it might have been thought of a strategic partnership to create footage on a telephone. Pune-based post-rock band Aswekeepsearching teamed up with OnePlus over three years in the past to create tour efficiency videos (though none of their music videos had been absolutely shot on a telephone). In January 2020, they launched a video for ‘Aitbaar’ off their 2019 album Rooh, utterly shot on OnePlus telephones.
Storytelling over tech
Today, there are examples a a lot. Kolkata rock band Pelican Shuffles had a extremely enjoyable video that includes animal companions for his or her music ‘Foolish Beings’, whereas Ritviz’s video for ‘Thandi Hawa’ can be crowdsourced as followers and dancers exhibit their strikes. Mumbai rock band Pull known as on their followers to offer them footage from their pre-lockdown travels for his or her new music video ‘Ticket’. Composing duo Rahul Kannan and Kaushik Ramachandran launched ‘Akele’ on June 23, a minimal but hopeful monitor concerning the future. Hosted by media platform Terribly Tiny Tales as a part of their ‘Songs from Home’ music sequence, a monochrome video portraying house life was filmed by Srinivas Sunderrajan and Prerana Manker (of Mumbai-based Enter Guerrilla Films). While it was shot on a 2017 mannequin Google Pixel 2 XL, Sunderrajan (also called Vaas, bassist for hardcore band Scribe) says he’s “old school” sufficient to wish to put it via an enhancing software program like Final Cut, which he downloaded on an previous laptop computer.
Sunderrajan has beforehand labored on music videos however had been focussing extra on movies. All he used was a selfie stick, experimenting with focus and frames to inform the story of ‘Akele’. “I think phones are the perfect thing for lockdown. It works much better than a drone or any other camera you may not have easy access to at this time. It doesn’t matter if it isn’t 4K resolution. At the end of the day, it is what you want to shoot,” he says. Ramachandran, an previous pal of Sunderrajan, admits he did have some convincing to do for the mission, however the monitor itself drew the filmmaker. “If it’s Vaas, I don’t care even if he’s using a Nokia 6600. Because I know he doesn’t need a camera or technology to tell a story,” the musician says of their long-standing friendship.
Momaya says the medium of filming has by no means mattered a lot to the crew at Jugaad both, whether or not they use a DSLR digicam or drones or huge units and even visible results. “It is always the story and the concept, and really, the attitude that lends itself to a certain type of treatment,” he says.
- Swarathma’s vocalist-guitarist and filmmaker Vasu Dixit says, “The only way we could all shoot in a similar format and resolution was through our phones. We know more than half the people would also likely watch this video on their phones. Plus, I’ve observed that when you make a horizontal video, many of us are too lazy to make it full-screen to watch. I myself do that sometimes. To keep it simple and apt for the medium, we shot it vertically.”
A one-off experiment?
Bengaluru folk-fusion band Swarathma’s heartfelt new music ‘Mushkil Mein Jeena’ additionally characteristic the band members (and their households) in a DIY music video. They shuffle via cue playing cards with lyrics, making a easy concept efficient. Interestingly, Swarathma caught up with an already growing side-effect of telephone shot videos — the vertical viewing format (see field). Also based mostly in Bengaluru, Jammu-origin artist Rohit Singh Bhau launched a Dogri music ‘Kelli?’ (‘Why?’) in April, with a VFX and filter-adorned video.
Unlike the quantity of planning and storyboarding that goes into a daily music video, Bhau tells us that taking pictures free-range on the telephone allowed the conceptualisation course of to be “on the spot and a lot of fun.” He provides, “My roommate, Oran Brahma, shot it with his Android phone, mostly at dawn to avoid people. I had to do a lot of experimentations with the overlay graphics and stop-motion animations.”
At current such music videos work for indie musicians on a price range. But manufacturing homes would possibly see it as a one-off, not eager to be restricted by a telephone. With Jugaad usually busy with film tasks, Momaya says they’re “very selective” concerning the videos they do, not simply as a result of price range calls for, but additionally the constraints of the format. “Then there are the caveats, especially with the bigger labels. Their singer needs to be featured, so you can’t tell a story which is completely independent of the artiste,” Momaya says. Nevertheless, that is the crew that additionally put collectively Kuhad’s ‘Cold/mess’ and shot on telephone for producer-singer Ritviz’s ‘Raahi’. Momaya recommends flexibility in the case of taking pictures. “The videos we’ve designed are around the limitations that we faced during the pandemic and the Indian version of lockdown. We wrote these stories lending themselves to be shot on anything. We try to find what fits best for that specific time,” he concludes.