IKEA Family
One of the most complex pieces I have done this year, a Frankenstein between jazz standards from 30s and my vision of 90s indie movies melodies.
Tessa get influenced by Magritte and I wanted to enter into that surreal world, but I also imagined music sounding in a 5* Hotel in Paris at the end o the past century, where a group of young people from Portland just arrived. How to represent it was my goal with the project.
Tessa get influenced by Magritte and I wanted to enter into that surreal world, but I also imagined music sounding in a 5* Hotel in Paris at the end o the past century, where a group of young people from Portland just arrived. How to represent it was my goal with the project.
It's part of my signature and methodology try to get a powerful sync between music and video even when I start working with edit locked like this time, and to achieve it, I usually need this weird tempo line.
The piece does not have lot of small breaks that I sometimes use to fit everything with image too, but instead I tried to properly defined the whole structure with totally different durations for each part, adapted to the needs of sync of the video. Knowing this was going to be challenging, and transitions between parts would be harder to sound compact, having in mind that after all I wanted a pop track with a jazzy dress but POP after all, and this route was risky.
What I did:
10bars intro,
3 bars pre chorus
7bars A part,
5bars A2 part
3 bars bridge
4bars Pre B
11 bars B.
I think is something that after all this years I never did with this level of depth and care.
The piece does not have lot of small breaks that I sometimes use to fit everything with image too, but instead I tried to properly defined the whole structure with totally different durations for each part, adapted to the needs of sync of the video. Knowing this was going to be challenging, and transitions between parts would be harder to sound compact, having in mind that after all I wanted a pop track with a jazzy dress but POP after all, and this route was risky.
What I did:
10bars intro,
3 bars pre chorus
7bars A part,
5bars A2 part
3 bars bridge
4bars Pre B
11 bars B.
I think is something that after all this years I never did with this level of depth and care.
DIRECTION & CONCEPT / Tessa Dóniga
PRODUCTION / Bosalay
AGENCY / MRM MCCANN
ART DIRECTOR / Aitana Gago
DOP / Iván Caso
DIRECTOR ASSISTANT / David Altamirano
AGENCY / MRM MCCANN
ART DIRECTOR / Aitana Gago
DOP / Iván Caso
DIRECTOR ASSISTANT / David Altamirano
SOUND DESIGN & MUSIC / Aimar Molero
