Ok Here It Goes Again Video Making of
The Making of That OK Get Video
Like many of y'all, nosotros're gobsmacked by OK Go's latest video, "This Too Shall Pass," the band's ode ot Reuben Lucius Goldberg. It manages to not just evoke the sheer delight of the elaborate treadmill choreography of the band'due south earlier video for "Here It Goes Once more," only also encourages ridiculous amounts of echo viewing, if simply to figure out how the motherfrackin' hell they did it. We met with OK Become's boyishly handsome frontman Damian Kulash for a beverage at the Soho Grand's bar, where he explained that, for the band, videos are art projects onto themselves — they aren't created to tell you more most the vocal. In fact, the song is chosen after they settle on the concept for the video. Kulash then enthusiastically spilled some of the secrets behind the making of "This Too Shall Laissez passer." Only before you read on, take a outset or second (or tenth) expect at the iii-and-a-one-half-minute video so y'all know what he'southward talking about.
How did you settle on using "This Too Shall Laissez passer" We had videos of various Rube Goldberg machines, and we'd play our songs along with them. Some were too upbeat or also slow. "This Likewise Shall Laissez passer" had an anthemic quality that historic the machine.
Were you inspired by that (totally existent) Honda Accord advertizing? It's impressive and thrilling, just it's so cute that you lose the element of I can't believe it worked! The more beautiful information technology is, the harder it is to believe CGI wasn't involved. My inspiration was PythagoraSwitch, a Japanese children's show — sort of their Sesame Street. They practise these crazily ingenious x or xx 2d Rube Goldberg machines — in that location'southward a twenty minute-ish collection of a bunch of them that I've watched a dozen times.
How long did the video take to brand, and how many people were involved? Nosotros started final August by posting an ad looking for someone to help us for a couple of months. Two days later, 18 people practical. We couldn't afford more than i staffer, then we dissever that salary up amidst everyone — though none of them were really in information technology for the money. There were a core dozen people, with almost 60 on the days we were shooting. Near of them had 24-hour interval jobs at NASA or Jet-Propulsion Labs and came from a group now called Syyn Labs, which is composed of people who have too much creativity for their jobs or whose projects don't fit into the academic art scene. Nosotros spent September looking for spaces; nosotros concluded upwards with a run-down place in Echo Park for $5,000 a month, which nosotros had to completely overhaul. We were also working on basic blueprint logistics, breaking the video down into six-second segments. Nosotros moved into the infinite in early November, and the build began subsequently that month. Nosotros were on tour in Dec and the first of January, just the engineers worked tirelessly to get the motorcar to happen; they'd ship us plans and videos for approval. Mid-January was spent finishing the machine. Nosotros had a couple of days of rehearsals, and and then 2 24-60 minutes days of actual shooting. At the terminate of the video you see some of the engineers, but we were doing it in shifts so unfortunately information technology's only about half of them.
Did you have rules for how to shoot it? Pages and pages of rules! The most of import was no magic, no adulterous. People had to run across how hard information technology was — you can't fake unlikeliness. But nosotros talked exhaustively through everything, similar debating what defines magic and or how constraints make creativity.
How many takes are we talking about? Over a hundred, though roughly 62 of what nosotros divers equally a successful take — which nosotros considered to be getting beyond the dominoes, the metal balls and what we phone call the Japanese table [which Kulash congenital with his dad], where you first see me. The hardest task was keeping the machine in time to the vocal — nosotros just couldn't spiral that up.
Well, you definitely managed to bring the magic. But come clean: How much editing did you lot take to do afterward? We did 3 takes of the segment with the h2o descent [which occurs at two:18 in the video], but only once did the water flow friction match the song. It pains me to say it but that role is edited in.
How much did the video cost? Our get-go video was financed by EMI and had a big-time managing director; the label called the shots and we got billed for over half a million dollars. Allow'south merely say nosotros could have fabricated three videos for "This Besides Shall" pass for that corporeality of money.
Your troubles with your label, EMI, are well reported, and you started going effectually them early on, making your videos for a comparative pittance. They had nothing to do with your latest video, either. How did you finance it? Land Farm gave us the money. They were looking for new means to get their message out online. They took a leap of religion and allow u.s. go for information technology with no micromanaging. They were a lot easier to piece of work with than a tape label, and they had no bug with the video existence embedded on websites. They only cared how their proper name would be used. [If you lot look closely at the little red truck that starts the video, there's a State Farm label on the side. Become Country Farm! Merely does that mean the future of the music manufacture is … insurance?]
Source: https://www.vulture.com/2010/03/the_making_of_an_ok_go_video_s.html
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