A lot. We have a team of six full-time staffers working at our New York offices, which means we’re recording and editing about 60 videos a year on average. We’d put our best budget at $5 million, which would cover the full set of footage we shoot, and that’s for us and a crew of six.
How much music do you record?
It’s an evolving topic. Some videos we do for other brands, like Pepsi or Nike, are relatively straightforward to record. We are trying on some new video style this summer that I think will be our own genre. Some of them are more experimental or more interactive. I have a friend who does some incredible video work in the vein of the ’90s, or maybe postmodern, with a lot of CGI effects. They would make a great video for us, as well as a very challenging video for other brands, if we found the right style and the right director or director’s assistant.
Are you considering doing music videos for any other brands?
We’re not sure yet but it’s certainly a possibility. We have a team of about 15 music professionals who all are music professionals and we are always looking for someone who can help out and we can’t think now just from a musical standpoint but from a technical and creative standpoint and how you approach the video. The challenge is a collaboration between a creative director, director, and artist (if you’re creative and the video has a story, you definitely have that as an element to it that is not necessarily being utilized), as well as an engineer who can help you find those shots that are not captured and which are just different enough from their previous shoots to not go against the flow of the scene. If you want a video that is going to be shot to perfection, you need three or four people with super-talented video and sound skills and it’s also necessary to have a producer who is able to help you put the creative pieces together.
Do you have any suggestions on how filmmakers can get the best sound for their music videos?
It’s absolutely not just the sound, the music has to have the same effect on people seeing it. If we do not find a director to help us with the sound, in the editing room, and a sound artist who can bring it to life—they will never be able to capture how a scene is going to come across to them. If a person wants to go in and put together what they want to see
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