Music Video Round-up #6 Music Video Round-up #6
Music Videos

Music Video Round-up #6

Easy Way Out by Gotye

Director Darcy Prendergast of Melbourne, Australia-based Oh Yeah Wow had one golden rule for this music video: “Nothing should be created in a computer. All of the elements were created in camera, then masterfully assembled by visual effects wizard Andrew Goldsmith. We animated the plasticine blood, the cat, the flames, the smoke–all in stop motion with a motion control set up. Andrew then composited all these elements together.”

Rock It For Me by Caravan Palace

French artist Ugo Gattoni came up with the concept for this boldly art directed video that was directed by Gattoni, Guillaume Cassuto, and Jeremy Pires.

Love Is Making Its Way Back Home by Josh Ritter

This stop-mo video was created with over 12,000 pieces of construction paper, shown as it was shot, with no effects added in post. A collaboration between director Erez Horovitz and animator Sam Cohen.

Romantic Crap by Some Toir

The animation for the Russian video blends pixel, stop motion, and live action. The director is Yegor Lymarev, and the animation is by Alexei Medvedev.

New Sum (Nous Sommes) by Hey Rosetta!

Using a roto-scoping technique similar to Waking Life or Scanner Darkly, Jesse Davidge directed this video at Blatant Studios, in Vancouver, BC.

  • Ryan

    Oh Yeah Wow!
    Melbourne Australia!
    Darcy! Sam! Greaney!

  • John

    Easy Way Out has some of the best pixilation I’ve ever seen

  • m(_ _)m

    Although that one’s cool, I think I prefer this music video for Easy Way Out.

    • Matt

      Aye m(_ _)m,
      That’s the live performance music video / the backing visuals for when Gotye performs Easy Way Out at a live show somewhere. That Gotye Easy Way Out Akira inspired music vid was made entirely by this fine young fellow, @benbenjidr aka Benjamin Drake, and produced by The Cat Piano’s @EddieWhiteJr, who is currently again working with Ari Gibson on something that will hopefully be very big for e’m & crew. ;-)

  • Trent

    I just watched the live visuals one- pretty cheap and loopy. Doesn’t come close, although I imagine it would would work well behind a band.

    I dont mean ‘doesnt come close isn’t an insult’- the Oh Yeah Wow is just so dang amazing. Unlike anything I’ve seen in a long time. Big respect!

    • Matt

      Remember that the Akira inspired live visuals vid was just one guy on a tight deadline. You’re gonna use loops to save time and get some extra mileage with your footage.

      The stop-motion vid was done with a large team over a 9 month period that includes set construction and asset creation time, animating, shooting all the different elements, re-shoots, time spent on other projects, etc. There may be no CG anywhere in the video (IE: all the sets & things are REAL & life-sized), but I can guarantee you there are an obscene amount of video editing and compositing tricks stitching multiple in camera passes together. It’s Old school.

      • Trent

        Too many people cheap out in animation. The Akira copy, has that cheap ‘hearts not in it’ quality about it. They had 2 guys too, according to above ;)

        The stop motion pixilation one, is what people love- when you see the blood sweat and tears. Its made from passion and commitment, which shines through on screen. From what I’ve read the Oh Yeah Wow guys arent a very big team- more a boutique Australian Studio.

        I agree there is an obscene amount of video editing and compositing involved- but every bit of that hard work is what makes this one a winner and the other one just a backdrop.

      • Matt

        No doubt. I wasn’t trying to belittle anyone’s work here or over rate it either. It is what it is, and quality is always subjective because, for the audience the time it takes to craft something or the amount of folk involved is generally irrelevant. It’s the results they experience, judge and in the end hopefully care about. I’ve got mates down in Melb who’re part of Oh Yeah Wow and know their story pretty well. Likewise, as far as I know the live performance vid was just Ben & Eddie, one’s an animator & the other is a writer & producer. There’s a clear definition of the division of the legwork there.

        But I’m not trying to lift either piece or party over the other here, because we’re all Aussies animators ;-). I’m only trying to give you some of the perspective and insight that I know about both productions.

      • Trent

        Well said. Understand they were probably under massive time restrictions. I always like to see people produce work we’re you can’t tell the budget/ time against them. I guess that great work rises above it to a certain degree, thats all.

  • Never have a guy playing a little keyboard as the front man. Even with this souped up rotoscope version of the footage the lad looked as if he was working in a post office.