Shooting a (Big) Music Video, thoughts/ideas to make it look really professional

C

Cieloent

Well-known member
The budget is low though ( less than $5K ) but I am more then confident I can make it look amazing. I have all the cars, locations, woman etc. everything I need. What I am asking for is more on the camera movement and shots that give it a very professional look. This has the potential to reach major online media sites as well ( hopes ) major music channels.

This will all be done on a Canon T2i..........

I'm thinking about using some simple jib shots, dolly and of course some lockdown shots. Since the budget is low and it will only be a couple of people helping me, what in your opinion brings out quality and professionalism?


Personally I do not like green screen work , but if I had the time and money would love to build a set. No problem though as I have plenty of great locations to shoot. Any ideas on lenses I should rent?


Thanks anyone for replies
 
if you have no idea of what lenses you want to use, you are going to have one HELL of a time with this...

see if you can borrow some, and i would take a few hours to very closely examine music videos that emulate the look you want; do you need shallow DOF? what are your shooting locations like? can you get away with using a few cheap readily available primes or do you need a superwide or supertele? what about fast lenses... will you have all the lighting you'll need, or need to make it up with fast glass?
 
Lighting! I think it is the one biggest things which separates the really professional looking music videos from the rest. Learn how to properly light both your subject and your background, and then your compositions will have much more depth - this depth will give extra weight to camera moves.

Use a 3 point lighting setup as your starting point but adjust it depending on the overall look of the video - do you want soft, romantic lighting for a love song or harsh, contrasty light for a death metal piece? Then design any specific lighting effects you might want in certain shots such as a silhouette, long shadows or a single spotlight (use smoke for extra effect!). Also think about any practical lights which will appear in shot and what type of effect you want from them (eg car headlights, stage lights etc). Figure out before the shoot how you will set the lights up for each take/angle of the song. This will reqire blocking of the whole song, so you know where everything and everyone needs to be on the day.


Alot of music videos are done on low budget and lights seem to be one of the first things left out. This is ok for some looks like a grungy rock clip but looks terrible in other clips like Rap/Hip hop videos where there are club scenes, nights scenes and other lighting-critical shots.
 
deltoidjohn said:
Lighting! I think it is the one biggest things which separates the really professional looking music videos from the rest. Learn how to properly light both your subject and your background, and then your compositions will have much more depth - this depth will give extra weight to camera moves.

Use a 3 point lighting setup as your starting point but adjust it depending on the overall look of the video - do you want soft, romantic lighting for a love song or harsh, contrasty light for a death metal piece? Then design any specific lighting effects you might want in certain shots such as a silhouette, long shadows or a single spotlight (use smoke for extra effect!). Also think about any practical lights which will appear in shot and what type of effect you want from them (eg car headlights, stage lights etc). Figure out before the shoot how you will set the lights up for each take/angle of the song. This will reqire blocking of the whole song, so you know where everything and everyone needs to be on the day.


Alot of music videos are done on low budget and lights seem to be one of the first things left out. This is ok for some looks like a grungy rock clip but looks terrible in other clips like Rap/Hip hop videos where there are club scenes, nights scenes and other lighting-critical shots.
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Thanks for the tips, also most of my footage is shot on the Kit Lens as it is perfectly fine during the day and at night I use lights. The only thing I think I might want is some type of fisheye lens. The song is an Artist with a Girl and basically having fun. I am being hired because of my work ( I know what I'm doing ).

Any thoughts on jibs or dollys? I would love to use a glide cam but honestly I have never operated one before. I am not interested in DOF shots, personally while I think they are col it is not something that I really care about doing as of now.


Thanks for the input
 
You could hire a DoP to do the fancy stuff and concentrate on getting the great performances. Many hands make light work etc.
 
You have to really ask yourself what kind of shots fit the feel of the music and style of video the artist is going for. Don't go for a variety of dolly, jib, steadicam, etc. shots just because they look cool. Only use them if they have a purpose.

I think a lot of people get caught up in things "looking cool" when they're not necessary in the scope of story or style of the piece they're shooting.
 
handsome pete said:
You have to really ask yourself what kind of shots fit the feel of the music and style of video the artist is going for. Don't go for a variety of dolly, jib, steadicam, etc. shots just because they look cool. Only use them if they have a purpose.
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Couldn't agree more.

You haven't told us much about what you will actually be filming. Is it performance based or narrative based? Outdise on a mountain side with a sweeping panorama or cramped inside a car?

What style of music is it? Sounds like a love song from what you've told us so far, so i'd be inclined to go handheld (with a stabiliser or shoulder mount) and tight to give it a nice organic, intimate feel, Then a very small number of dolly/slider shots.

I wouldn't want to use a fisheye lens for something where there is only one or two people because it will distort their faces. You will also lose any intimate feel that you would get with a standard or even a wide lens.

I'm just throwing assumptions out there though, these ideas could be way off depending on what you are actually trying to shoot.
 
The concept of the song is a Rap Artist talking how he loves a special someone and how he can give her gifts and the world.

Nice houses, cars, beautiful locations and just an overall feel good song. I'm thinking of having performance shots all around a mansion and some nice luxury cars and then have cutaways of the artist walking with his special someone through the park or just relaxing in doors getting massages and things like this.

I might have some daytime driving scenes by the beach and have some of the artist picking his love up at a local airport or something like that. I mean the idea isn't anything super original but I just want it to look real nice .

I love crane and job shots so I would love to try them out, but maybe if it's not needed than I can just do some nice slow dolly shots from left to right and in/out. They are actually going to higher some models for the shoot so I just need to record some very nice angles of the beautiful women.

Here is just a basic concept of something I would like to do,



Video starts around the 1:18 mark
 
I see a lot of wide angle shots from down low and a lot of shots with an 85ishmm lens. A lot of the wide angle stuff was on a jib it appears..hence how they move so close to the ground so smooth. Also note they were slowmo. Shooting the video in 720 in order to shoot the car rolling up at 720p60 and slow it down in post is an idea I'd be flirting with. Talk with the editor and director about that decision.
Most of the indoor stuff was handheld, I'd guess with a 42mm equiv.

Avoid the fisheye lens. It's a one-trick pony. Consider all the rap videos that use a fisheye lens..they use it for a few quick shots. A renticular wide angle will be for more useful. Worth noting, Canon's 15mm is only heavy barrel distortion on a T2i, not a fisheye. The APS-C sensor crops out the fishiest part of the image. 15mm fisheye on T2i = bad idea. I promise you.

Remember, I'm just some joe on the internet, but I'd say if you want to look like that video you're looking to rent a EF-S 10-22mm or a Tokina 11-17mm for your wide angles, a 35ishmm prime for indoors, and an 85mm f/1.8 for your one-shots. A jib would be a good touch too. Work those wide angles close to the ground looking up at the performer to make them look more important. Stroke these guys egos and I bet they'll soak it up.

If you're shooting outdoors have a reflector on hand. Or two. Or three. A nice soft bit of fill can be a great touch on a sunny day, and can really push you to a different level. Also, you said shallow DoF isn't your cup of tea..but do have ND filters on hand.
 
soundman1024 said:
I see a lot of wide angle shots from down low and a lot of shots with an 85ishmm lens. A lot of the wide angle stuff was on a jib it appears..hence how they move so close to the ground so smooth. Also note they were slowmo. Shooting the video in 720 in order to shoot the car rolling up at 720p60 and slow it down in post is an idea I'd be flirting with. Talk with the editor and director about that decision.
Most of the indoor stuff was handheld, I'd guess with a 42mm equiv.

Avoid the fisheye lens. It's a one-trick pony. Consider all the rap videos that use a fisheye lens..they use it for a few quick shots. A renticular wide angle will be for more useful. Worth noting, Canon's 15mm is only heavy barrel distortion on a T2i, not a fisheye. The APS-C sensor crops out the fishiest part of the image. 15mm fisheye on T2i = bad idea. I promise you.

Remember, I'm just some joe on the internet, but I'd say if you want to look like that video you're looking to rent a EF-S 10-22mm or a Tokina 11-17mm for your wide angles, a 35ishmm prime for indoors, and an 85mm f/1.8 for your one-shots. A jib would be a good touch too. Work those wide angles close to the ground looking up at the performer to make them look more important. Stroke these guys egos and I bet they'll soak it up.

If you're shooting outdoors have a reflector on hand. Or two. Or three. A nice soft bit of fill can be a great touch on a sunny day, and can really push you to a different level. Also, you said shallow DoF isn't your cup of tea..but do have ND filters on hand.
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Excellent post, thank you for your tips. I will try my best and take the tips everyone has given me, I am learning as well and look here because I do need help.

Next on my list is a Fader Nd,

Thanks
 
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