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.

 

“E_GO”

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.

 

Credits:
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

Dancers:
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

 

20.03.18 by jeffhamada

Ad of the Day: ARRI “Visions”

Director Merlin Camozzi teamed up with ARRI to make ‘Visions’, a short about the commitment that it takes to chase your dreams. Their pitch to the brand was simple—”filmmaking is like chasing ghosts”.

Camozzi says, “That’s something we really believe. It’s true in terms of story, because you have to catch your vision and lock it down before it vanishes. It’s also true of career, because it’s all a journey, with many ups and downs, and the struggle to get up every day and keep creating can be extremely real.

In order to do that, you need to face your fears and keep going, finding the magic that pushes you forward. This piece is a love letter to the struggle, joy, pain and elation of the creative process, straight from our filmmaking hearts, and getting to work with ARRI was a dream come true.”

 

Client: ARRI
Agency: Tongal
Director: Merlin Camozzi
Director of Photography: Julia Swain
Producer: Kris Cvijetic
Production Designer: Rick Perry
Costume Designer: Molly Irelan
Make-up Artist: Lauren Uptegrove
1st AD: Stephen Jangro
1st AC: Jamila Koch
2nd AC: Colvin Ang
Gaffer: Carlos Lopez, Teodora Totoiu
Key Grip: Mark Lecky
Key Set PA: Justin Gilbert
PA: Sarah Henry, Robert Cossak
Edit: Marcus Chan, Minh Bui
Grade: Robert Crosby
Sound Design and Mix: Jay Nierenberg
Score: Julian Scherle

 

15.03.18 by jeffhamada

Premiere: “Oh Son of Man” by Tyler McPherron

This lovely little artist profile by director Tyler McPherron is the antithesis to all the usual talking head art docs we get sent. McPherron foregoes the voiceovers, the over-bearing soundtracks and the unnecessary editing and allows the viewer to simply exist with the artist.

In early 2017, musician and artist Chaz Bear (Toro y Moi) noticed the work of a young painter from Atlanta named Zach Garrett. An online exchange followed, and plans were made for Zach to visit Chaz’s Oakland studio to hang out and work for a week.

From there, the idea to document Zach’s week in California was born. With no specific agenda in place, Tyler documented Zach painting, skateboarding, giving his friend a tattoo, and creating some impromptu art. The resulting short film, “Oh Son of Man” offers an intimate and meditative view into the process of a talented emerging artist.

 

Featuring Zachary Garrett
Directed by Tyler McPherron
Produced by Company Studio
Camera Assistance by Hunter Huston
Music by Farrad Thomas

companyrecordlabel.com/
tylermcpherron.com/






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