02.09.19 by jeffhamada

The Exploitation of Music Video Directors Ends Now (Hopefully)

Last Labor Day, director Daniel Kwan sent out a series of tweets, venting his frustrations with the music industry’s exploitative treatment of music video directors and the apparent normalization of these behaviors. He painted a very bleak picture of a system which is able to take advantage of young motivated creators because they have no union, no protections and not a lot of other options.



Kwan is one half of the acclaimed director duo, DANIELS, who directed the feature film, ​Swiss Army Man,​ as well as a slew of iconic music videos, including DJ Snake & Lil Jon’s internet-breaking, “Turn Down For What”. At the time of his tweets, “Turn Down For What” had amassed nearly 800 million views (it currently has 892 million) which Kwan estimated would translate to between $200,000 and $3.2 million in ad revenue (​source​). To put those figures in perspective, he revealed that he and his partner Daniel Scheinert “conceptualized, directed, edited, performed, and did VFX for two months and made a total of about $1-2k each. That’s about $4/hour and that doesn’t include the weekends or overtime we worked”.



The response on Twitter was immediate—other music video directors began sharing their own horror stories from working in the industry, and it quickly became clear just how unprofessional and unsustainable the music video process had become. “Music video directors always leave”, says Kwan, “No one ever stays. Six percent of all music video directors make a living off of it. They either succeed out, or they fail out.” And this is happening despite the fact that 90 of the 100 most viewed videos of all time on Youtube are music videos (​source​/​source​).



In case you are wondering, the music video process often goes something like this: A label sends the same song to as many different directors as possible. Directors are expected to provide fully realized video treatments to the label, often responding to a vague brief that may or may not have even been shown to the artist before being sent out. Directors are not told who else they’re pitching against or even how many others there are. Directors are not paid to conceptualize their ideas, often working days, weeks, sometimes months, without ever hearing from anyone.

If a director’s idea happens to be selected, their “prize” is to create a video with no guarantee they will be credited for any of their work, and no opportunity for a share of the video revenue (despite calling in favors from friends or often waiving their own fee just to stretch the budget). The icing on the cake is that when a director uploads the finished video to their own channels (because they haven’t been credited in the official video), it is often taken down by the labels.



Kwan explains, “There’s an unspoken handshake between directors and music labels—the labels have these really cool artists who need music videos but they don’t have money, and the directors really want to make videos for cool artists but no one’s giving them a chance. So there’s a relationship built on free labor, but the handshake has leaned a little too far in one direction, and it’s no longer a handshake. Directors are basically being dangled off a cliff.”

So Kwan decided to do something about it, he created ​We Direct Music Videos​, a volunteer organization of directors and producers determined to hold everyone involved in the music video process accountable. Their goals are simple: They want respect. They want transparency. They want to minimize free work.

How are they going to do it?

WDMV are specifically focusing on the pitching process, and have created a simple set of guidelines (which you can read in full, ​here​). If enough people involved in making music videos pledge to follow the WDMV guidelines, the hope is that this becomes the standard. Directors like Spike Jonze, Hiro Murai, Emily Kai Bock, Paul Hunter, Alma Har’el and nearly 1,800 others have already signed the pledge for follow these guidelines. Things are already starting to change.



Why should anyone other than music video directors care about this?

Kwan’s response to this question was “whether you’re a graphic designer, a photographer, videographer, or anyone else working in a creative industry, creative labor isn’t seen as labor. And it’s a dangerous precedent to set—to undervalue creative labor and the arts in general”. So even if you don’t work in music videos, or care if great videos continue to be made, this has the potential to affect the larger creative community. Kwan’s hope is that these efforts to change the music video industry will encourage people in other creative industries to come together in similar ways.

Respect, transparency, and a little less free work—that’s not too much to ask for, is it?

If you want to add your name to the list of people who are supporting these guidelines, head to We Direct Music Videos to learn more. There are other great resources on there for young directors, like the growing ​database of treatments​ so you can see exactly what the treatment looked like for some of your fav music videos.

01.05.19 by jeffhamada

Documentary: “The Day Don Died”

Steve J. Adams and Sean Horlor (aka Nootka Street) have a unique vision when it comes to documentary filmmaking. Commissioned by STORYHIVE — a platform which supports BC and Alberta-based creators — their latest film, “The Day Don Died,” explores the idea of memory, specifically the way stories can shift and change each time they’re told. You can read our interview with Sean and Steve here.

STORYHIVE is currently offering 30 x $50,000 grants for documentaries! So if you’re a filmmaker based in BC or Alberta head here for more information!

09.02.19 by jeffhamada

The 15 Best Music Videos of 2018

In addition to our 2018 Booooooom TV Awards we wanted to share our picks for the 15 best music videos from 2018! Now this is just our opinion but we did spend a lot (a LOT) of time watching music videos this past year. We’d love to hear what videos made your list! Send us a tweet! Enjoy.



Prism Tats — “Daggers”
Director: Jonny Look

Director Jonny Look’s delightfully absurd portrait of singer Garett van der Spek’s brother Mike, who eagerly shares his new obsession with throwing knives.



TwoPeople — “Something To Talk About”
Directors: Cooper Roussel + Dimitri Basil

Terrific editing transforms something quite mundane into a tense experience. The sequence at 1:44 with slow zoom and the jittery movement is magic.



Young Fathers — “Holy Ghost”
Director: Oscar Hudson

Director Oscar Hudson finds an interesting tone here that is playful and sinister at the same time. Love the energy in the very extreme camera movements, the whole thing felt utterly original.



Kali Uchis — “After The Storm” ft. Tyler, The Creator, Bootsy Collins
Director: Nadia Lee Cohen

Flawless styling, set dec and overall art direction here, pretty much what we’ve come to expect from any Nadia Lee Cohen project. The kitschy 70s suburbia she presents here isn’t quite as dark as some of her other work, there’s a playfulness that really works with the song.



Ateph Elidja — “Burn October”
Directors: Ed Braun + Justo Dell Acqua

Gorgeous cinematography in this fairly abstract look at life and death inside a unique little community in the Argentinean jungle where Ukrainian, Polish and German families settled.



Chaka Khan — “Like Sugar”
Director: Kim Gehrig

It is impossible to watch this and not wanna sweep everything onto the ground and get up and dance on your desk. Spectacular editing really accentuates the groove here. Best replay value of maybe any video on this list.



Josh Pan — “Take Your Time”
Director: Daniel Henry

Director Daniel Henry explores the themes of adolescence and repressed desires, capturing a really bizarre energy throughout. Major Yorgos Lanthimos vibes here in the best way.



A$AP Rocky — “Fukk Sleep” ft. FKA twigs
Director: Diana Kunst

Director Diana Kunst has a sense for creating images that exude a raw energy and an explosive attitude. Flawless styling and art direction here – pure eye candy. Rocky had a slew of good videos this year, this was our favourite.



Alaskan Tapes — “Places”
Director: Andrew De Zen

Andrew De Zen’s final video in a three-part series for Alaskan Tapes is a beautifully understated short following a man determined to find a way to see a lost loved one again. Stunning work by cinematographer Cole Graham.



Hurray for the Riff Raff — “Pa’lante”
Director: Kristian Mercado Figueroa

There’s a lot to live up to trying to create a visual for a song that stirs up so many emotions on its own. Kristian Mercado Figueroa’s response is a powerful portrait of a Puerto Rican family’s struggles amidst a community trudging on after Hurricane Maria.



LCD Soundsystem – “oh baby”
Director: Rian Johnson

A simple love story with a sci-fi twist. Director Rian Johnson’s understated approach to the story is the perfect accompaniment the song. Each elevates the other and if you hadn’t heard “oh baby” prior to the video, you wouldn’t be able to tell which had been created first.



Rosalía – “Pienso en Tu Mirá”
Director: CANADA

Catalan artist Rosalía blew up in Spain this year thanks in large part to two videos “Malamente” and “Pienso en Tu Mirá” both of which were directed by Barcelona-based collective, CANADA. The visuals in each brilliantly and beautifully collage the new and the old of Spanish culture in the same way her music does. There’s just something magical about this one, we could watch it over and over (and we have).



Indochine — “Station 13”
Director: Bouha Kazmi

Similar in many ways to “This Is America”, the much less discussed “Station 13” presents racism and violence through the lens of magical realism. Director Bouha Kazmi examines the fears people have of what they don’t understand. Jaw-dropping cinematography and flawless work by the art department here.



Florence + The Machine — “Big God”
Director: Autumn de Wilde

Less is more and this is beautiful proof. Director Autumn de Wilde allows the striking movements, choreographed by Akram Khan and Florence herself, to do all the talking. A round of applause for the stylists on this, Aldene Johnson and Vanessa Coyle. An absolute stunner.



Childish Gambino — “This Is America”
Director: Hiro Murai

The most horrifying moment of this nightmare presented to us by director Hiro Murai and Donald Glover is when the viewer realises what they’re seeing is the confusing and frightening reality that is daily life for black people in America. While black culture is continuously co-opted and commodified, the response to racism and violence toward black lives is little more than an apathetic swipe of a thumb on a mobile phone. This is a masterpiece that will be discussed for years to come (unless of course we let the world burn to the ground before then).



06.02.19 by jeffhamada

“City Undiscovered” by David Ehrenreich

Really enjoyable pilot by director David Ehrenreich for Herschel Supply. Beautifully captured by cinematographer Norm Li, “City Undiscovered” shares the stories of 4 creative people who live in different neighbourhoods around Vancouver. We’ve seen a lot of portraits made of our city but this one really feels like the city we know!


Directed by David Ehrenreich
Producer: Matt Prior
Cinematographer: Norm Li, CSC
1st AC: Ryan Ermacora
Editor: David Ehrenreich
Sound Designer: Humberto Corte
Wardrobe: Tianna Franks
Still Photography: Agnes Ciaciek
Graphics: Sung Lee
PA: Ana Petre

Appearances by Donald Glover, Antosh Cimoszko, Chris Chong,
Snarf, Tyler Warren, Issa Braithwaite, Jules André Brown, Malik Ali,
Tamara Grünberg, Anolea Gemberling

Music: Horsepowar, Nick Krgovich, ZDBT, NAP, USD


This film was shot on location in Vancouver, BC  — the traditional territories of three Local First Nations: the Musqueam, Squamish and Tsleil-Waututh.

05.02.19 by jeffhamada

Premiere: “E_GO” by Alimzhan Alan Sabir and Eric Cheung

Director/cinematographer Alimzhan Alan Sabir and dancer/choreographer Eric Cheung describe this film as “an analysis of the dualistic nature of the ego mind and its role in shaping one’s identity and perspective on oneself”. Drawing directly from Eric’s personal experiences and struggles to find himself, “E_GO” quietly and honestly captures this mesmerizing moment of vulnerability. The film premiered at Vancouver’s exciting F-O-R-M festival, which celebrates recorded motion of all kinds, and provided funding for the project.

We had a chance to ask Alan and Eric a little bit about their film project. All the photos below were shot by Sebastian Palencia.


E_GO / Photos by Sebastian Palencia


How did you guys first meet each other? Are you both from Calgary?

Eric / Alan: We met in passing through the street dance community in Calgary. Where Alan is apart of a breakin’ crew called “Grim Reminder” that is close to a popping crew that Eric is currently in called “Unknown Elements”. Eric was born and raised in Calgary, Alberta, and Alan originally grew up in Kazakhstan but later moved to Canada in 2012.


In what ways would you say you are similar and different creatively?

Eric / Alan: We have similar artistic tastes when it comes to collaboration. Even though we come from different individual pasts we are able to pool our creativity into one unified idea. We are both solid listeners when it comes to exploring concepts and ideas, we are patient with each other’s thoughts and expressions. One of the most helpful similarities is that we both have a dance background which allows us to understand and communicate simply through movement and music.

Our difference is where we pulled our inspirations from. Eric is able to tap into many different outside influences such as form, current culture, personal experiences and his surroundings.  Alan fuels his inspiration from fashion, the combination of movement and film, photography, and music. With the combination of each other’s strengths, we are able to compliment one another when we collaborate on a project together.


E_GO / Photo by Sebastian Palencia


What were some of the things that inspired the film?

Eric: The main inspiration for creating “E_GO” was to bring attention to the issue of mental health as an artist. By observing my fellow peers through their struggles with mental health, this observation ultimately led me to explore and reflect upon myself. Focusing on the idea of ego and its role it has in someone’s psyche, which questioned what kind of relationship I have with my own ego. Something that I quickly discovered I have to continuously keep in check after I decided to drop out of university to pursue dance.  A big inspiration in the thought behind “E_GO” was a speech given by Caroline Hughes entitled, “The art being yourself” where she goes about explaining how to be the truest version of yourself and to find balance with your ego. A term she coined as “interiority”, the equilibrium between the two points of ego. Which the film revolves around as the central theme and final destination.


What were some of the challenges of the shoot?

Eric / Alan: Majority of the film was funded by F-O-R-M through their commissioning funding film grant program and through personal funding. We had a limited budget in relation to what we wanted to achieve as our final result. The mirrors were a challenge to set up in order to avoid seeing any of the gear or the camera itself. Shooting solely on 35mm film introduced a lot of financial and logistical challenges, but was worth it in the end to get the look and aesthetic we were going for. Overall, it was a huge learning experience creating this film and we were pushed to think of creative solutions to overcome many of the problems we faced in the creation of “E_GO”.


E_GO / Photo by Sebastian Palencia


The idea of the mirrors obviously plays into the theme of ego, can you talk a bit more about the set design?

Eric: “E_GO” and the use of the mirrors symbolizes the act of “looking yourself in the mirror”, the intention of confronting who you truly are as an individual.  In the film, we use multiple mirrors is too expose the different sides my ego and set the stage for self-exploration. Shedding light on different aspects of ego such as superiority and inferiority complexes. We wanted the set design to have a sense of vulnerability and give a greater impact to the viewer emotionally. We wanted the film to promote the importance of self-awareness and the importance in finding balance or “interiority” in their ego.


E_GO / Photo by Sebastian Palencia


Who are some other creative people whose work we should be looking at? Dancers, filmmakers, photographers…

Eric: Right now I’m mainly inspired by dance groups who are bringing an authentic voice to street dance and bringing this culture to the theatre. Groups like Ouro Collective which I am currently apart of, Tentacle Tribe and Wang Ramirez are continuously pushing the perception of street dance and its possibilities in the contemporary dance world.

Filmmaker to look out for is Jonas Freudenberger from Germany, who I recently just shot a one-take dance video to be released in the new year.

The photographer Sebastian Palencia who shot and edited the photo set to go along with my film is extremely talented and well versed in his work. Ranging from fashion and lookbooks to producing more abstract photos through post editing and posing. He’s a long time friend of mine and collaborator, definitely stay lookout for his future work.

Alan: DDG and META are a collective full of inspirations and amazing creatives. I look up to them hugely and they constantly push me creatively. Their work is phenomenal and this film wouldn’t be what it is without them.

Matthew Addington who is based out of Atlanta. We worked closely together as a Director and DP duo on a couple of projects out in ATL.


What’s next for the two of you?

Eric / Alan: We hope to produce more compiling works in the near future ranging from different topics and concepts in the new year. Also to see where we can take this film as well, and distribute it in different mediums such as film festivals or different art & film online platforms.



Directed and Shot by Alimzhan Alan Sabir
Choreography by Eric Cheung
Visual Effects by George Georgeadis
BTS photography by Sebastian Palencia

Special Thank You
Megan Choh
Darion Trotman
Gomo Cabarroguis
Tommy Nguyen
Fiona Chang
Deluxe Design Group

28.12.18 by jeffhamada

“Cake” by Alan Friel

Some terrific writing made even better by some stellar performances by Maxine Peake (Black Mirror) and Letitia Wright (Black Panther) in this short directed by Alan Friel. “Cake” throws us into a barren wasteland with two women trying to figure out their options. We thoroughly enjoyed this one.

27.12.18 by jeffhamada

AJ Suede – “Gas Light”

Director Omar Jones stretches time and space in this surreal little journey from Chinatown NY to Gotham Forest, PA, with rapper AJ Suede.

24.10.18 by jeffhamada

Post Radical: An Interview with Alex Craig and Rick McCrank

VICE’s new show Post Radical follows legendary pro skater Rick McCrank as he explores skateboarding’s varied subcultures. From fingerboarding to freestyle, the series strikes a nice balance between humour and heart. We recently had a conversation with McCrank and director Alex Craig about making the show. Full interview below.


Rick and Alex, Ethiopian lake — photo by Dave Ehrenreich


How did you guys first meet? I’m assuming you knew each other long before you made Machotaildrop with Corey Adams.

Alex: I think we met about 15 years ago, something like that. Before Machotaildrop we made another film called Harvey Spannos, which Rick was in, so we started hanging out more while working on that. I was still living in Scotland at the time.

In what ways are you similar and different creatively?

Rick: I’d say our similarities are much greater than our differences. I think our strengths compliment each other. We have similar tastes and influences.

Alex: We definitely share a similar sense of humour. Rick is more of a performer than me, he seems to work best in the moment. I’m more of a shaper, i need take my time and experiment and think about process and stuff like that. Basically, I’m very comfortable behind the camera and Rick is very comfortable in front of the camera.


Rick, coffin crew — photo by Brian Cassie


Beyond exploring the fringes of skate culture, what is Post Radical really about? What’s at the heart of the show?

Rick: I think Post Radical is just about people, people doing what feels right to them and we try to explore why that is.

Alex: Yeah, It’s a study of the subcultures and cliques humans create in order to connect with one another. Like extended families. You could just as easily base the show around different genres of dancing or what not. In this case we chose to take a deeper look at the weird and wonderful world of skateboarding as its evolved over 50 plus years. I kind of like the analogy that skating is closing in on its golden years, so it seems like a good time to sit down and asses the health of its internal organs.

In the Fetishist episode, we spent some time with the Barrier Kult whose thought process seems to be about stripping back the act of skateboarding in an attempt to understand its true essence. One of the kult members came to the conclusion that when you deconstruct it down to its most basic feeling, it’s simply “rolling on a bearing.” Nothing more nothing less. I like this simplicity a lot.


Alex & Dave, Addis Ababa — photo by Rick McCrank


Can you talk a little bit about the process after you’ve identified an interesting idea or person to actually identifying a story?

Rick: I think Alex is better suited to answer that, he has a rare talent for story.

Alex: We actually go to quite a lot of effort to not overly script the episodes, by which i mean we try not to force a story. We focus on shaping a natural a discourse within a loose framework and then let that inform how the story should flow. Or at least that’s the idea, it doesn’t always work out that way. We try to shoot in order and in real time and things like that to help keep it all feeling as spontaneous and natural as possible. It can cause some headaches in the edit because we’re not designing the beats beforehand which is more normal in episodic TV. It’s a producers nightmare as its hard to schedule efficiently, but our team is solid. We’re all friends and we trust each other and for the most part we’ve got the process dialed now. Props to Dave Galloway and Dave Ehrenreich, they have to deal with my dithering all the time. I’m continually editing in my head while we’re shooting to try keep it on track, which ends up being successful about 50 percent of the time. The other 50 percent, where I’ve blown it, it just comes down to pure graft in the edit suite. It’s kind of the opposite of how we shoot. It can be delicate and laborious but when it works, I prefer the overall vibe.


Almir Jusovic’s studio, The Dreamer episode — photo by Josh Marr


The Dreamer episode maybe more than any of the others, follows a sort of hero’s journey and it was clear how much you guys were rooting for him to succeed. Was it tricky at all to find a balance of really honest moments without embarrassing any of the subjects?

Alex: Yeah sometimes it’s tricky and especially so in that episode, but I don’t think we would ever intentionally embarrass anyone, except for maybe ourselves. We had this kind of principle we called ‘no malice’ that we tried to follow. So long as we present the characters truthfully, then we can let the audience decide for themselves what to make of it all. It becomes more tricky when we’re trying to add a bit of humour to certain scenes, cause there’s a fine line there, but really we just try to keep integrity at the forefront, and try not take ourselves too seriously as the same time.


Almir Jusovic — photo by Dave Ehrenreich


Rick: We try to look at everyone with a compassionate non-judgemental eye. There were times when we left some real entertaining moments on the editing room floor so not to embarrass people.

Who or what makes for the best interviews?

Rick: I think for me the best interviews are with people who can look me in the eye and have a normal conversation, sometimes we can get lost in a conversation and forget that there’s two camera operators and a producer watching us and I think the audience appreciates honesty. I like the interviews that help people articulate what they’ve been feeling but haven’t been able to put it to words yet, you can feel the energy when someone sort of figures their shit out as opposed to someone that may have an agenda and some talking points. It’s happened to me many times where I just start talking about something and I really don’t know where I’m gonna go with it and I come to some sort of realization or conclusion, half surprising myself.


Joyce Wheldrake — photo by Benny Zenga


Alex: I personally just like honesty. If someone can articulate themselves honestly then I think no matter who’s watching you will find some level of connectivity. I don’t necessarily care what character traits someone might display, I’m not there to judge them, but if they have honesty and a sense of humour then that’s a winning combo. In the Dreamer episode, i thought Almir Jusovic was incredible on camera. He opened up to us in a way not many people would, which I thought was a beautiful thing. I’m not even sure he realised how funny he was either. Pure gold. Rick is also a natural at reflecting his own thoughts back to camera honestly, which I think is a really hard thing to do. He’s not coming at it like a typical host or a journalist, he has this kind of self effacing lack of ego or something. And a quick wit. It’s actually quite refreshing to watch.


Team downhill — photo by Benny Zenga


You guys explore everything from fingerboarding to freestyle, did the investigation of any of these niche scenes change your opinion about them?

Rick: Not really, other than gaining more respect for the Downhillers, i didn’t realize how fast they actually go and how much fun they have.

Alex: I don’t think my opinion was changed necessarily, as i’m not sure i had much of an opinion on something like fingerboarding for example. It was definitely illuminating and kinda trippy sometimes but more often than not it was just stoking to hang out in these worlds for a bit. I’m just happy that there’s people out there who deeply care about things outside of what’s considered the norm. Amen to that.


Rick, downhillin’ — photo by Brian Cassie


Rick, were you more nervous to go 70km/h on a longboard or perform in that freestyle contest (especially after the announcer hyped you up)?

Rick: I was much more nervous doing the freestyle contest actually, which is funny because I’ve done many other skate contests but there’s something more naked about a freestyle contest, you can’t hide behind any ramps or obstacles, you just have to go out there in what feels like a spotlight and be you.

Yeah, it seemed like that was the one where you felt more pressure, ha! This is your second show for VICE (the first being Abandoned) do you have another project planned? What’s next? Any plans for another feature?

Alex: Not exactly sure what’s next, but I’m working on a few ideas including some features which I’d love to get going in the new year.

Rick: No plan as of yet for me, I’m just a leaf floating down the river waiting for the right opportunities. I’m down for anything interesting with my friends.


Post Radical on VICELAND

Created by Alex Craig & David Galloway
Host: Rick McCrank
Series Director: Alex Craig
Producer: David Galloway
Associate Producer: Dave Ehrenreich
Cinematography: Alex Craig & Dave Ehrenreich
Production Manager: Michelle Whiting
Production Assistants: Benny Zenga & Josh Marr
Researcher/Writer: Cole Nowicki
Editors: Alex Craig, Dave Ehrenreich & Tony Kent
Post Sound: Eugenio Baglatelli
Composer: Scott Morgan
Executive Producers: Alex Craig, David Galloway, Lauren Cynamon,
Mickael Kronish, Eddie Moretti, Shane Smith & Spike Jones

25.09.18 by jeffhamada

“Round-Up” by Benjamin Heath

San Francisco-based photographer/director Benjamin Heath and cinematographer Kris Rey-Talley shot this portrait of a rancher family in Western Montana. Wrangling their herd of horses as they do each year, “Round-Up” offers a beautiful little glimpse into an increasingly rare way of life. Watch the film above and have a look at some more photos by Benjamin below!








Benjamin Heath’s Website

Benjamin Heath on Instagram


08.07.18 by jeffhamada

Noble Son – “Joy in Violence”

Directed by Kasey Lum and shot by Cole Graham, Noble Son’s latest video “Joy in Violence” is described as “a wild homage to the people we love and the ways they destroy us.” Vancouver’s Adam Kirschner aka Noble Son channels a young Jim Carrey in what is quite a memorable performance and one that captures the unique energy of his album as a whole.

24.04.18 by jeffhamada

Noble Son — “Aces”

This video for “Aces” is part of artist Noble Son’s project Noble Daughters, a live event in which eight women listened to songs while their images were projected to an audience in the next room. The performance forced the viewers to stare into a stranger’s eyes as they experience a range of emotions. You can watch all the videos below.


Artist: Noble Son
Album: Joy in Violence
Director: Adam Kirschner / Brian Van Wyk
DP: Brian Van Wyk


Nesta – Love You Back

Cassandra – You Are Your Mother

Kaylah – Don’t Stop (Stay Inside Me)

Maddie – Joy in Violence

Emily – Jessi

Alex – Above the Dirt

Julia – Problem Daughter

Catherine – Aces

29.03.18 by jeffhamada

Premiere: Clara-Nova — “Echo”

This playful video for Clara-Nova’s “Echo” is comprised of 230 sets of images, each containing 4 frames taken simultaneously using a retro “Quadrascopic 3D” camera (the Nishika n8000). Each frame was scanned individually and then “animated” by hand and the resulting boomerang-style loops bring to life a song which describes how we humans relate to one another. According to director Clara Aranovich it’s also an homage to some of the earlier works of experimental filmmaker Ken Jacobs.



“Photography does not create eternity, as art does; it embalms time, rescuing it simply from its proper corruption.” -André Bazin

Aranovich writes, “This has long been my favorite quote about cinema; it gets to the heart of the nostalgic power of film, a power that overcame me at a very young age and has led me to pursue it ever since. Celluloid has always carried a mythical quality to me, from my first foray into (terrible) 35mm photography as a child, to shooting/cutting/splicing 16mm as the age of 15, to my very first job on a feature film set as a camera loader. Needless to say, I adore celluloid, and for this track I proposed a return to it.”

Clara-Nova was excited about this idea and the chance to spend a few days exploring Los Angeles and meeting people in their community. “I love to wander around the city without a set destination and this video reflects that.”



Official music video for CLARA-NOVA’s “Echo”
Directed and shot by Clara Aranovich

Colorist: Jack Caswell
Negative Scanner: Jeffrey Hsueh
Film processing: Samy’s Camera

Maija Knapp
Kenzie McClure
Calvin Tolbert, Jr.
Ryan Spencer

Stream, download, or purchase “Echo” by CLARA-NOVA: HERE



Clara Aranovich’s Website

Clara Aranovich on Instagram

CLARA-NOVA’s Website

CLARA-NOVA on Instagram


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