By the Zonagirante.com team @spinning zone
For some time now, we have heard musicians expressing their doubts about strategies for promoting their recordings, amidst so many suggestions. whether it's worth investing in what has been known for decades as music videos.
A music video, as Wikipedia literally defines it. «"It is a short film made primarily for distribution on video, television and through internet portals, which offers a visual representation or interpretation of a song.". In other words, it's giving visual form to what an artist performs sonically for promotional purposes. Some believe it's an overrated resource, while others believe that, since everyone has a camera on their cell phone, Creating a video project is simply a matter of clicking and recording. Some say that if there isn't enough money, it's not worth getting too creative, and then there are the exaggerators who say that if the budget isn't available to do something like what Michael Jackson or Beyoncé did, it's better not to waste time.
Therefore, we decided to invite 6 prominent Latin American directors, to get their opinion on the matter. They come from all walks of life in audiovisual production. Some work almost exclusively with music superstars, while others work in the independent music scenes of their respective countries. We asked them the following:
1. Are music videos still important to the music industry at this stage of life?
2. How do you feel the Latin American video industry is doing right now?
3. Does a music video need to have a high budget to have a satisfactory result?
Wanda Quintero (Colombia)
1. Music videos are a very important tool in promoting a song, It is the perfect artistic complement and helps to spread a musical work on different platforms. I think there are now many audiovisual ways to showcase a musical production (live sessions, lyric videos, live acts, etc.), but music videos definitely still reign supreme.
2. In Latin America there is a great deal of talent and directors of all styles, It's just a matter of choosing what type of video you want and what your budget is.
3. It depends on the video you want to make. Right now, the lyric video option seems like a good possibility for bands that don't have a big budget. From there, you can do things in a studio with post-production, or if there's a bigger budget, videos with several locations and several characters, or even in VR. In short, I think there's a wide range, and now the idea carries more weight than the big-budget productions.
Michel Paxariño (Mexico)
1. I think they are much more so now because the media now allows you to reach a global audience. Before, with MTV and video channels, you only saw what the network decided to show. Now, for example, I can go online and watch the most popular music videos from Serbia. Therefore, even though the music industry has changed, artists' way of reaching their audience is more direct, making the music video one of the cornerstones for doing so.
2. We will never get rid of the influence of countries like the USA, England, or Germany. But I believe that due to the ease of technology and the resourcefulness we Latin Americans have to supply resources with ingenuity. Right now, one of my music videos can compete with, and sometimes even surpass in impact, something another artist made with 20 times the budget. To answer your question more directly, I think we're at a point where the established media still don't understand the current visual evolution, so as creators, it gives us control. In short, it's an ideal time.
3. I think right now The originality and the way it was made are more appreciated, how many cars we blew up in the video.
Matías Mera (Argentina)
1. More than ever. Although the income from record sales, which used to finance music videos, has fallen, today the audience has increased and is on demand. The need to build an aesthetic identity linked to the musical work is more important than ever. Let it be on demand This means that all day long one has the possibility of being approached looking for audiovisual material from the band. There's no need to wait for a random from a music channel.
2. It is in a moment of transition, under a budget crisis. Record labels no longer finance videos and it has become up to the band. At the same time, technological advances have reduced production costs. We need to see how this dilemma facing the industry is resolved.
3. It is necessary that it has minimum conditions for its development. An art department, a costume department, a good producer, a good post-production team, a good director of photography. Then it's like a house. How much does it cost to build a house? Well, it depends on the kind of house you want. It can be a well-designed, economical house. But generally speaking, the budget will have a significant impact on the final result.
Rodrigo Astaburuaga (Chili)
1. Videos are essential for any musical group. They are a real asset in showcasing what the band wants to communicate to its audience. These can be of the most varied styles, and it's very likely that if you like a band, you'll also enjoy their music videos. Today we live in a world of images, and bands cannot afford to miss out on this language. Any creative contribution from a band, whether it's an album, a video, a live session, or another type of creation, seems incredible to me. It's much easier now than it was 10 or 20 years ago. I think there's more diversity of styles than ever before, at least in Chile, but we still need to break the molds that are outdated and make good use of the tools available to showcase new things and keep the distribution channels for artists alive.
2. It seems like most bands have music videos these days, but it's not like in the '90s and '00s when VH1 or MTV showcased new styles and music. Now, that window is through highly niche, specialized music websites. Therefore, it becomes very difficult for you to see new proposals or broaden the spectrum of what we are seeing or hearing, without anyone telling you to do so. Today, your video is simply something for people to watch on their cell phone screens, and that's something we didn't expect. It's a bad format, but very widespread. Times are changing, and so are the distribution channels and ways to reach audiences. I think Latin America still hasn't built a solid scene that brings together musicians from different styles. There are few examples of exchange (but they are good), but I do think the cultural richness and social conflicts are very interesting compared to other parts of the world, and that's a potential that musicians and their videos should reflect. I think there should be something like a Latin American cultural mountain range to see what divides us and what unites us.
3. For me, this isn't necessarily a direct correlation. I think it depends on the styles and aspirations of those involved. A director will always want to work with a larger budget than they have, and it's true that some ideas require more funding than others. Besides, bands always want everything for nothing! (hahaha). That's why I think it doesn't make sense for a band, especially one just starting out, to spend too much on a music video. I think they can get more views on their own with their phones and creative ideas than a mega-produced video. Personally, I've never received a salary for working on a music video, and I've always liked the idea of being able to produce bigger ideas for music videos, but the life of musicians is usually an uphill battle. I think if the band believes in the project and is willing to give it their all, beyond just the money, and if I like the song, those are the really important factors when deciding to make a music video and being happy with the result. If your band is successful, or you aspire to be, and you can finance an excellent music video, go for it.
Alejandro Guerrero (Costa Rica)
1. Of course. Extremely important, but it's a different kind of importance than they had in the past, when bands filmed super expensive music videos to be shown on major television networks and these videos reached a specific audience that watched those channels. Now there is a democratization (to call it something) of video clips. On the one hand, for bands, thanks to digital cameras and current editing software, they can record music videos for a much lower cost than 20, 15, or even 10 years ago, when it was necessary to rent expensive cameras, pay a large crew, and so on. Now, a single person can record and edit a video. And on the other hand, there's democratization for the audience. It's no longer necessary to have access to cable TV to watch videos on MTV, for example; now we have them at our fingertips on our cell phones, on YouTube. That's why we see music videos from Latin artists, in particular, with up to 1.5 billion views. So yes, I do believe that music videos are relevant today. Even more so than before.
2. Pretty good. But I do feel there's been a pretty big change in the landscape compared to what it was like 10 years ago, or more. Before, as I mentioned in the previous answer, artists were forced to invest large amounts of money in the production of their music videos, not only in equipment rental but also in paying fees to large crews. Now, because of digitization and the portability of equipment, a single person can film and edit a music video. So, it seems to me that video clip directors now face a rather interesting challenge, since artists are now looking for directors who also do cinematography, editing, color grading, etc. A good example of this is director Fernando Lugo, who works exclusively with reggaeton artists (urban genre, as they call it). He has some of the most-viewed music videos on YouTube right now, and he usually does everything himself, with just his camera and a gimbal (stabilizer). I feel that, as this field has become more accessible, there's also a lot of competition. You have to stay current and do your best work to compete with other colleagues.
3. No, not at all. I think I unintentionally answered this question in the previous ones. Nowadays, the director's talent and vision matter more than the budget. The best example is Tato Quesada's video. The only expenses we had, for instance, were gimbal rental, because we didn't have one, and food for the crew. The camera was ours, and I got the location for free. The crew was also free; they were friends who helped us. It doesn't even have lighting, because there wasn't any money, and besides, the whole location was a set; there was nowhere to put lights. And in the end, the result was very, very satisfying, so I don't think budget is synonymous with quality. What is synonymous with quality is the director's vision, the talent of the crew (whether it's 1 or 20 people), and their commitment.
Percy Céspedez (Peru)
1. Absolutely, with the rise of social media, the ability to reach the public no longer depends solely on traditional media and The artist needs more than ever engaging content for their audience, therefore music video It remains the best promotional tool Because it amplifies the idea, the vibe, the concept of the single, and enhances the artist's image. These days, even record labels tell you: "The most important promotional vehicle for us is the..." music video, Not only for promotional purposes but also for recouping investment through monetization. Today, as always, video remains vital for the artist; it's their calling card, their identity document.
2. New technologies have brought tools that were previously unimaginable to the average person. Before, filming was done on film, and the processes and costs were extremely high. Today, in the digital age, good images of very high quality can be achieved at a much more affordable cost. This has allowed many videographers to experiment more, and that's fantastic. It has led to a surge in production, with far more videos being created than in the previous decade. But it's not all sunshine and roses. As certain costs decrease, the average person can produce footage that automatically meets a certain quality standard, but that doesn't mean they know how to handle the audiovisual genre, lighting, editing, and especially the visual style and image that corresponds to the artist. Thanks to the democratization of our times, anyone assumes they can direct a video, which isn't true, as it's an area that requires specialization. Therefore, you can see work on social media that lacks the appropriate technical and conceptual level. We can say that the tool doesn't automatically make the product: "The scalpel doesn't make the surgeon, the surgeon relies on their experience." And if you want quality work, you need to turn to a professional who can responsibly manage the artistic vision, the investment, and the client's marketing objectives. On the other hand, there's a low-fi trend that's very popular due to its affordability for alternative artists. However, there are also large budget investments in production for artists. mainstream precisely to differentiate themselves in the market. music video It will continue to evolve, and I don't think it will be dethroned as a promotional tool until the hologram appears.
3. That depends on the target market and the desired audiovisual quality of the final product. The term "high budget" is too vague. What might be a large budget for an independent filmmaker could be very small for a mainstream one. Often, audiences believe that "simple" ideas cost nothing or that everything can be solved by pressing a button on a computer. That's FALSE. Any video that aims for a high-quality, industrial-level production will always involve a team of professionals behind the scenes, adequate technical resources, art direction, and production resources, etc. If you're going for a more alternative product, you'll probably make it with less fuss and minimal technique. I think the market mainstream The alternative and mainstream music industries handle very different audiovisual product decisions. In that case, the possibilities are endless. I always say that what matters most is the single itself. Some songs need high production values because they musically require it; others demand simplicity; others let you explore something unusual and creative; and still others have specific requirements from, for example, the record label, which relate to how you want to present your artist to the market. What constitutes a high budget? It's very relative. Artists and audiences generally misunderstand the concept of simplicity in a video. What some might consider "cost-free" can actually represent a high production cost to achieve the necessary quality and technical standards. Ultimately, it all comes down to the type of finish and look the artist wants for their video to complement their song, and what you, as the director, offer to amplify their image and the concept of the single.
