How to Direct a Music Video

 The one thing to remember…

Directing – is an exact science…based around your artistic taste.

What you will read – is a formula to guarantee a successful project while focusing on your creative angle.

TOOLS OF THE TRADE

• 3 large 4X8 black/white pieces of foam core. This is to hang up your visual work – storyboards – cast heads.
• A can of Spray Mount spray
• Note book of notes – with extra blank paper.
• A storyboard booklet.  This will be your boards in shooting order.
• A shooting Schedule booklet
• A working phone for the entire production.

 STEP 1:

Lock in your style.  Lock it in your mind.  For ME – each project has a new look or creative feel…with the undertone of my style.

When you have the opportunity to write a treatment idea for an artist – make sure to do complete research on that artist.  Make sure you implement these flavors of their lifestyle – that will attract the audience that they are aiming for; into that treatment. You can be as creative as you want to be but you have to marry these factors together.  Remember you are being paid for your artistic form – like Mozart.  Make it a piece of art.

Once the Artist/Manager/Record Label approves your vision for the track – and all paperwork is done and contracts are signed –

STEP 2:

Put the team together.

Like Mission Impossible – go through your Production Team files and select the best people to pull off the project with the budget allotted.  I like to keep 6 key team players on file.

KEY TEAM PLAYERS

PRODUCER – DIRECTOR OF PHOTOGRAPHY – ART DIRECTOR – WARDROBE STYLIST – ASSISTANT DIRECTOR – EDITOR

PRODUCER 

This is your production back bone.  Everything you need rests on this person.  You need a helicopter…talk to your producer.  You need a screaming chipmunk…talk to your producer. But – never, never, at any point – should your producer pigeon hole your creative style.  You’ll know this when your producer says to you “You don’t need that”.  The only person who should ever tell you – “you don’t need that”, is your Gaffer – because he/she can substitute lighting to get you your effect.  But the producer can tell you what you can not afford.

Your Producer should:

• Work out all logistic with the budget.  Your cut (10%) of the whole budget, the Production Company’s Fee, and the other money break downs.
• Make sure all contracts are signed.
• Hire all crew and staff needed for the project.  You can tell him/her who you want on the project and they have to work out the numbers with them.
• Become the liaison between Director and Record Label.
• Arrange all meetings and Casting dates.

Crew directly under the Producer are: Production manager, Production Coordinator, and PAs

DIRECTOR OF PHOTOGRAPHY

• This person is so very critical to your project.  He/she needs to be very creative and professional.  No matter what happens during your production the final visual look is what is going to matter – to clients, the artist, and you. Remember – each project is a stepping stone to the next project – make each one shine.
• Make sure the DP has an understanding of your visual feel. Example – I once told a DP I want a dark – moody look – but instead he gave me an under exposed – grainy looking piece. 
• They should know their F/Stops.  I come from a background of shooting in film so I became very picky about film stock. For daylight shoots I would use a 200 speed film and for night time shoots I would use a 400 speed film.  Today most people are shooting on HD – which is cool – but the DP still needs to have his F/Stops down.  For me – I like the DP to go one F/Stop up from what his light meter is reading – because – in Post – it is easier to make something a little darker – than to make something a little lighter– which will give you a grainy look in your music video.
• It is also important to select to a DP who can fit your needs.  Example – there are extreme DP’s – who will film going backwards – down a mountain – on a set of skis – to capture a skiing scene.  Love them.
• Sometimes it is great to find a DP with his own equipment – to help the budget. 

Crew directly under the DP – Assistant Camera, Loader, Gaffer, Key Grip

ART DIRECTOR

• Don’t ever underestimate the importance of this person.  This is your physical – on camera – visual – scenery creator.  On some locations – there may be scenery needs – to make an area pretty or different.  “The glass in that window is too dirty” – they would clean the glass and make it workable for the Director.  “I need this phone booth to be shinier” – they make it shinier.  “I need these 3 blocks to look like a 1930’s winter scene” – they would find a photo from that time and change the blocks to match it and get the fake snow making machines to create the winter feel.

 Crew directly under Art Director – all Prop Departments, Builders, all Set Dressers.

WARDROBE STYLIST

• This person works closely with your sense of clothing – for the Artist and the project.
• Many times the Wardrobe Stylist is in direct contact with the talent on the project – for look, sizes, and feel.
• It’s good to have someone in this position that has a finger on the latest trends and looks.

 Crew directly under the Wardrobe Stylist – all Wardrobe Assistants

ASSISTANT DIRECTOR

• This person is critical for the running of the set during production.
• For me – I like to use the same person – because they know what I expect to get out of my shoot days –and how I move.
• For more information on this duty please read my blog: ‘How to Assistant Direct a Music Video’.

 Crew directly under the Assistant Director – 2^nd Assistant Director, Casting Director, PAs

EDITOR

• This is the person to help incorporate the visual rhythm of the piece.
• For the Off-Line – the Editor should have a portable editing system – like a Mac book Pro – notebook computer – and know how to use the software.

 

STEP 3:

PRODUCTION SCHEDULE

 The Production Schedule happens in 3 phases:

Pre-Production – Production – and Post-Production. 

 Depending on the size of the project a maximum Production Schedule is:

2 weeks of Prep – 2 days of Shooting – 3 weeks of Post.  It is not always like that.  You may have only 3 weeks to do the entire project – which is then a challenge.

PRE- PRODUCTION

 You, the Director, should have a minimum of 7 major meetings:

1)    Artist/Label Meeting, 2) Production Meeting, 3) Full Production Meeting #1, 4) Casting, 5) Location Scout, 6) Full Production Meeting #2, 7) Artist Wardrobe Fitting and Rehearsal. 

 Sometimes 2 meetings could happen in 1 day.

 The days in between these meetings, you the Director, should be focusing on your artistic – visual execution of this project. Doing storyboards, looking at reference material, etc; gaining momentum on how the artistic look of this project is going to come out.

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(NOTE) The calendar days listed on the meeting dates are given to you as an example of how the week would run if your production started on a Monday

1)   Artist/Label Meeting – Monday Day 1 of Pre-Production

This happens before contracts are signed and the artist wants to meet you – based on your treatment. Be aware they are doing a music video of this

artist, to sell records, to make money.  Don’t go so off the mark with your style that you neglect their needs.

At the record labels, Creative Directors and A&R people have worked on the selling of this artist for months even before you came on board.  They have a set market in mind that will be their buying audience. This can happen in your production office or at the record label.  Only you and the Producer should attend.  Do research on label and person.  Remember – with these people you’re still building relationships – so be cool. Once artist arrives – don’t be nervous – be confident.  When talking be slightly excited about what you are going to capture from them.  Listen to their points and input. Be Aware: I have lost jobs – because of those meetings and not having my act together.

 2)      Production Meeting – Monday Day 1 of Pre-Production

• The Director and the Producer go straight from the last meeting into this meeting.
• Here is where the Director sits with the Producer and discusses the logistics of the project.
• Here – the list of team players are assembled to see who’s available to work within the time frame and with the budget.
• The producer begins to make actual calls.

 3)      Full Production Meeting #1- Wednesday Day 3

• Here is where the key players are physically assembled to discuss their professional usage to the project.
• Wardrobe – discuss the clothing look. They are given money to go shop and to send photos of the things they like – to the director.
• Art – discuss the art design and props needed for the project.  They should constantly send photo updates of their progress – to the Director.
• DP – discuss shots – angles – shooting format (Film/HD) – and lenses.

 

4)      Casting – Thursday Day 4

• For details of this duty please read my blog: ‘How to Cast a Music Video’.
• The Director doesn’t need to be at the casting – but once it is done – the casting director meets with the Director to show him/her the talent that arrived.
• The director makes his/her selections and sends this information and the other casting information to the artist/Record label – for them to make their selects.
• It takes a couple of days for everyone to agree on the talent – but once talent is selected – post those faces on the 1^st piece of 4×8 foam cord.

 

5)      Location Scout – Monday Day 8

 By this point – you the Director – should have created storyboards and reference photos to guide everyone – for the execution of the production – on their dates.  These storyboards are posted on the 2^nd piece of 4×8 foam core.

• Never be late.
• Everyone there is gathered to help the Director accomplish his/her vision.
• The key people for a location scout are – the Director, the Producer, the Assistant Director, the Director of Photography, the Gaffer, the Key Grip, and the Art Director.

HERE’S WHY: 

The Producer tells the Director “Here’s the location you got”.                           

The Director tells the DP “Here’s what I want to shoot.”

The DP tells the Gaffer “This is how I want to light this.”

The Gaffer tells the Key Grip “This is how I need to rig the lighting.”

The Art Director tells the Director “This is how I see the art working.”

Everyone tells the Producer “This is what I need – to do this.”

And the Assistant Director is to make sure all of this happens – on set.

• At the locations look for:  the best possible area to capture your vision.
• Compare location to the images you saw for the music video.
• Make sure the AD has selected – a holding area for the production team, a holding area for talent, an area set up for hair/make-up and wardrobe, a camera set up area, a craft service area, an area for lunch, the actual filming area, and a area for crew to store equipment and still operate with out interfering with the filming.
• If need be have AD draw an overhead diagram of the entire area and place these groups in them.
• Check out power supply.  This is important for the Gaffer because a generator may be required if there is no power supply to tie into.
• And lastly – make sure everything looks safe and will be safe.  The Assistant Director is totally responsible for all the crew and talents safety on the set.

After the location scout – back at the office – the Director and the Assistant Director have there 1^st official meeting.

• Director presents treatment and storyboards.
• Assistant Director does a shooting schedule and break down taking the storyboards and the treatment and cut them up in the order they can be shot.  Elements that help you design your Shooting Order are: the environment the Director needs to be in, talent for those shots, estimation of crews set up speed, the props needed, and how close to meal time you will be.
• Assistant Director then makes a booklet based on all of this information with the storyboards and treatment.  He also pastes this information on the 3^rd piece of 4×8 foam core – to be used on set.

6)      Full Production Meeting #2 – Wednesday Day 10

Everyone is assembled again – with the Assistant Director.  The DP does not need to be there. Make sure your team is on your page and moving to your beat.  You – the Director – should have kept your department heads informed and they should have kept you up to date with all information.  You will know when a team player isn’t on point…because you will be worried about their job – instead of working on your creative. Cut them off immediately and get someone new.

Producer –           Confirms all things are flowing – according to plan.

Making sure everyone is doing their part to bring the project together

Check – are we still on budget? Everyone and everything needs to get paid for – but the Director is always striving to make a profit.

Confirm Director getting to location.

Confirm Director’s 3 pieces of foam core are getting to location.

Make sure the final music has been transferred to Dat tape – which will be the numbers rolling on the Smart Slate – during shoot.  If you don’t do this – you will have a slight problem when you get to the editing portion of your project.

Know exactly how much film you have to shoot with.  This makes your shooting selects more critical – on set – because you’re limited to the number of takes you can get.  If shooting in HD – the editor needs to be on set to download footage from each memory card.

Wardrobe -          brings actual clothes to be viewed by the Director

DP -            By now should have confirmed that all equipment is ready and standing by for pick up.

ART -         brings photos and actual props for Director to see

AD –           make sure everyone has there call times and are called.

Discuss Director’s placement on location during shoot.  Director say, “This is where I’m going to be – make sure I have my bubble – only the necessary people should come close to me”.

Discuss artist treatment – client treatment – on set.  “When I go to talk to clients – stay on set.  When I go to talk to artist or department heads – you need to be by my side”.

Make sure production has television monitor for shoot.

7)      Artist Wardrobe Fitting & Rehearsal – Wednesday Day 10

• Everyone stays from the last meeting.
• When Artist/ Record Label arrive – make them feel comfortable.
• Have something for them to eat and drink.
• Go over all the latest logistic of the project.
• Have Artist try on several different sets of clothing and match which ones will look best in the different environments of the music video.  Take photos.
• Have a different area set up – a blank wall – with camera and lights. You are doing this to capture different angles of the artist – and to see which ones capture them best.  If it’s a band do individual shots of them – to see what they are doing – at which point in the song.

(NOTE) Tell the Artist – “You don’t have to belt out the song with your full voice – but give me the emotion in your face – as if you were”.

At the end of this day – this should leave you 2 whole days to fix any problems –before the shoot dates.

What makes a successful Director is to estimate everything that could go wrong before the shoot – and fix it – so that it doesn’t.

PRODUCTION

 SHOOT DAY

• As the Director – have AD and Production Heads – arrive on set 1 hour before you.
• Never be late.
• Once on set – check with AD about the progress of getting the 1^st shot ready. The AD makes everything run – but you, the Director should walk around making sure everything is getting ready. The AD should be standing next to you when you approach department heads. “So how long before this is ready?”
• Have the crew and talent move to your pace and have that pace be fast.  For music videos – you only have a certain amount of time to capture the desired shots so be the driving force to getting those shots.
• Make sure camera is being assembled in camera department. If shooting in film – make sure camera has a dark area for the changing bag.  Your footage can be exposed and ruined if there isn’t a dark area for them.  If shooting in HD – make sure Editor is setting up for memory card down load.
• Make sure Art Department is setting up for 1^st shot.
• Make sure Hair, Make Up, and Wardrobe are getting set up and ready for talent.
• Make sure Grips and Electrics are loading in while setting up for the 1^st filming area.
• Make sure Audio/Sound is setting up and knowing what cues are first.
• Have your Directing area set up: foam core – with shooting storyboards – in order.  Have each 4×8 piece of foam core – attached to individual grip stands.
• Go over the storyboards and shooting schedule with the Director of Photography and make him/her feel comfortable and on the same page.
• Once Artist arrives – get them to their holding area immediately.  Without embarrassing anyone – pull talent to the side and give them a Tic-Tac.  Explain: “This is your day – your shoot – and you should smell good.  You’re going to have extras and talent all around you.  You may even have a kissing scene.” 
• A Problem – this can happen.  Your Main talent is smoking pot in their holding area and it’s affecting others.

1)     have air freshener spray handy and spray often.  Not in their holding area but everywhere else.

2)     Tell them – police frequently visit the location – because they know the owner.

Don’t get me wrong – some talent thrives on this – so be diplomatic.

To smooth this over – is for them to see the creativity you’re bringing to the music video set and for them to see your control of the set.  They will take it more seriously – and cut back. Get them into Make Up and Wardrobe ASAP.

The Posse – which usually travels with the artist – can be useful.  Find one you can trust – and have them help you get the Artist to the shooting areas – when needed.  If they are unruly – explain: “Their pressure and behavior is an insurance liability.  I am contracted to film you – anything else – is a liability.”

• Once 1^st shooting area is set up:

 THIS SHOULD TAKE NO LONGER THAN 2 ½ HOURS – FROM YOUR ARRIVAL ON SET – TO GET HERE.

• Set up your monitoring area – with chair and monitor of the scene.  Create your bubble – where only the DP and AD can talk to you.  Have other chairs around – because no one, and I mean No One is to sit in your chair.  That is your – 0:0:0:0 space for this project.  Some times an artist sits in your seat. Whisper in their ear “Dude I need this seat clear.  I’m not trying to power trip but all control and ideas for this music video – for today – comes from this chair.  I need a chair over here!”  Get other chairs for them to sit in.
• Have AD get talent in place.
• You, the Director, need to do 2 rehearsals looking into the monitor.

Rehearsal 1): look at the Artist’s performance.  Tell them again they do not have to belt out the song with their full voice – but give you the emotion of that part of the song.

Rehearsal 2): eye the set and props behind and around the artist.

• Fix any Art problems.
• Look over to Camera department and know how much film or memory card space you have.
• Roll a take.
• The Assistant Director – holds up the time code smart slate and says “Roll camera.” The Assistant Camera man shouts “Speed” once the camera is rolling. The AD next shouts – “Roll sound.”  The numbers on the smart slate start to run and the AD reads out the artist’s name, title of the track, and the take number.  Make sure the camera picks up the images on the slate. The AD slaps the slate close and gets out of the way.
• Once everything is settled – you, the Director yell “Action” when the Artist is ready.
• Look through the monitor to make sure you are getting your desired shot.
• Make sure client has access to viewing monitor – while you shoot.  Make them feel comfortable and that their talent is looking cool.
• Within every shooting area – you can do many different angles and shots – making sure you get the most out of this area.
• On the set – there are going to be people with suggestions on how something should be shot.  All suggestions must come through the AD.  He/she is your pipeline to other voices trying to get to you.  Think of these suggestions and apply: Do they work? Does it interfere with my vision? Do I have time to do them?  Tell AD – “Tell them, I’m thinking about their ideas, and maybe if I have time, I will shoot that, but I have to capture what I agreed with in the contract – for now.
• Be aware when lunch is coming – squeeze in what ever final shots you have to capture – put don’t go over lunch break time.  Department Heads are strict with giving their people the proper break time.  If you need a few extra minutes to do your shots is cool – but an hour is not.
• Make sure lunch is going to be served on time. It’s usually 6 hours from the crew call’s time on set.
• Check with AD about – is the next shooting area being set up.
• If you have the equipment and crew ability, have some crew members

break away and start setting up the next location.

• If the company has to travel to get to location, make sure everyone who is suppose to ride in the transportation vehicle, are all accounted for and present. 
• Constantly check with camera department about film or video card supply. You don’t want to run out.
• After filming and all shooting is done in that area – take a red Sharpie and cross out your shooting storyboards on the foam core.
• The main goal is to be in as many shooting areas as possible – to complete your vision. Stay on schedule and make sure the AD is staying 4 steps ahead of everyone – in getting the next shot done.
• Call Lunch – on time and the last crew member on line – to get his meal is when the break really starts.  If you see lunch starting to run overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Repeat shooting process until dinner break – if any.
• An added comfort for the set – is to have the Craft Service PA walk around with appetizers – offing crew and talent a warm snack.
• If you see shoot running overtime – notify the Director, the Producer and the Department Heads.  Arrange next move but make crew and company comfortable.
• Let crew know when you are at the ‘Martini Shot’ – which is the last shot of the shoot day.
• Make sure Artist is comfortable with what was shot.
• Make sure everyone hears “That’s a wrap!” when you are done shooting for that day. The Director will call it -but make sure it is known to everyone.
• After shooting day is over – shake each and every person’s hand and thank them.  They helped you capture your vision.
• By the end of the day – 90% of your storyboards – for that shoot day – should have a red cross through it.
• The Director and the Assistant Director does not have to stay on the set until everything is packed up.  But – the AD must assign a PA to help clean up everything and restore the location to normal.  The Producer is the last to leave.

 

IMPORTANT:  If your shoot was in film – get your most reliable PA to drop off film reels to a Telecine House and have footage prepped for video.

POST PRODUCTION

• The day after the shot make sure the Producer is having everyone do their Wrap Folder – with receipts taped to paper and any Petty Cash – which was given – is handed back in to Production.

FILM TO TAPE TRANSFER

• After footage has been prepped – a couple of days later – now it’s time for your Film to Tape transfer.  There are post houses with equipment to run your film thorough it and help you lighten, darken, or even color correct it. You are here to prepare your footage into the editing format you need – either Beta, ¾ inch, DVD, or right into your hard drive.
• I like to make all my footage beautiful – in one sitting – so as the Artist and Client receive rough cuts – they’ll see the beauty.  Some Directors like to do the transfer after the piece is edited – so only the needed footage is done.  This can save you money.

 

EDITING

OFF-LINE

• Have time code music downloaded into editing system.
• Have your editor down load the transferred footage into their system
• Create individual bins – on the editing system – of the footage for easy access.  MEANING: each performance environment – becomes a bin.  Each different angle in this environment – becomes sub-bins – within the initial bin. Pick up shots, cut away shots, and extra shots – become their own bins.
• What I like to do is lay down one performance clip – over the entire time code music track. Next – start adding other footage on top of that – keeping the images in beat with the song.
• Find the best moments/ performances of the Artist.
• In 1 ½ weeks of time you should have a solid edited music video waiting to be viewed by the Artist and the Client.  Send them your 1^st rough cut.
• Make sure there is a visual – time code bar running through out the edited piece. This helps Artist/Client – pinpoint where they may want changes.  This also helps from anyone taking the rough cut and airing it on television.
• It should take a couple of days for them to get back to you.  They will have changes so write them down.  You can disagree with some of their changes – but do what they ask you to.  See it from their prospective. You can later create your own Director’s cut – but the main objective is to get as much as your visual talent on their viewing platform.
• Changes should take no longer than a week to do.  In 3 weeks time – from end of shot dates – you should be completely done with editing.  Send final rough cut to Artist/Client.
• Once Artist/Client agrees with final edit…

 

ON-LINE

• This where you take the Master Beta material of the raw footage – back to the Post House – where they assemble – the selected shots to match your edit.  This is done quickly with an EDL list. This list tells the machine – from which bins the selected material is taken from.
• When On-Line is done – make your Director Master Copy – which is usually Beta.  Put that in your Production Library for future use and copies.
• Deliver completed music video – on format requested by Artist/Client.  All material and film belongs to the Client.

 

• Start prepping for the next music video.

 

REWARDING

Here’s one of the best parts – as you relax at home – or working on the next project – your music video appear on television.  Many music videos appear on You Tube – but it’s nothing like seeing your work on MTV, VH1, or one of the main music video channels.

FINAL NOTE

Believe in your art

Believe in your craft

And execute it accordingly

Happy Directing

© 2011, Dwayne B. Perryman. All rights reserved.