At Daily Planet ltd. we recently finished another music video for the Indie band the Headlights. The video is for their song Love Songs For Buddy, off the Wildlife album. I’ll be posting the video here as soon as I can but first I wanted to share with you our process and give you an insight into how we went about creating the video. The idea and concept of the video was by Scott Marvel. He heard the song and instantly knew a story that would work perfectly for it. I love when that sort of thing happens. Scott began by drawing out all the artwork in pieces so they could be scanned in.

After everything was scanned in, it was brought into photoshop to be colored. While it was being colored, Scott Marvel and Matthew Hane worked on a cut of that video to the original sketches.

After each scene was colored it was brought into After Effects to be animated. Most of the animation for the characters were done using the puppet tool.

Using Cinema 4D, Jess Donofrio took on the task of incorporating a bit of 3D into the graphics in order to add some dimension into specific scenes.

Final shots were rendered at 1920 x 1080 and brought into Final Cut Pro where the final edit was completed.

The music video should be officially released in the next few days and as soon as I can I’ll be posting it here, so keep an eye out.

Lately I’ve been working on a music video for a few weeks with Maeve Price and Erik Jensen. We are still working on it but I wanted to share with you how it’s been going and give you some information on the process. The video is for KJ52 and was shot on green screen by Joel Kapity and Dreams On Screen. The video was shot all on green using the the Panasonic P2. Maeve handled the green screen edit in Final Cut Pro; there was a few back and forths between the artist and label with small changes.

There wasn’t anything major to change just a few shots that they weren’t in love with. After the edit was locked I started keying and rotoscoping the footage in After Effects.

Erik then started adding some 3D televisions to some of the shots.

Since some of the shots were hand held, I had to track them with PFTrack so Erik would have the camera data to bring into 3ds Max.

We have pretty much locked down the look for the video but it is still evolving as we move forward. I almost have all the shots keyed and rotoed which is always a much longer process then you plan for it to be.

Stay tuned soon for the final, hopefully soon!