In this three-part series of posts, I’ll take you through why and how to make one of those charming multi-screen, multi-track musical videos, based on my own experiences. I’ve used software that’s freely available online, and I’m very much coming at this from the perspective of an amateur video editor, in the hope that my tribulations might make life easier for anyone contemplating putting one of these together.
You can’t escape them, it seems. Open your social media account of choice and there they are: serried ranks of faces, at once charming and somehow alien, singing directly at you. It seems almost magical, like they’re under a spell.
These kinds of videos aren’t new, but Covid-induced lockdowns have prompted a remarkable surge in interest in this quintessentially 21st-century form of performance. But how hard are they to produce? Do you need to hire a professional video editor, or can it be done by anyone with a bit of time on their hands and a taste for masochism? More importantly, is this a bandwagon worth jumping on?
I’m going to try and answer those questions over three posts, from the perspective of a musical professional but a technological amateur. My hope is that it will be a helpful resource to anyone thinking about doing this over the next few months, or beyond.
Let’s begin with the philosophical, before moving on to the technical.
Why make a video?
First things first: ‘because everyone else is doing it’ probably isn’t a good enough reason. I’ve joked about the bandwagon, but ultimately I think it’s only worth doing if it satisfies certain criteria: will my ensemble enjoy it? will it serve our mission/purpose? does this format serve us? Let’s address them in order.
Will we enjoy it?
If you’re working with an amateur ensemble, you presumably want this to be an enjoyable venture, or at least not an actively disagreeable one. The difficulties for the amateur contributor are not inconsiderable and shouldn’t be underestimated: 1) noone is at their peak of technical or vocal health during lockdown 2) not everyone has the same technology, or aptitude for it 3) there’s nowhere to hide and no safety in numbers, and 4) hearing/seeing yourself alone can be a very disheartening experience – even for professionals! Not to mention that everyone is adapting to different demands on their time and energy.
My solution has been to be upfront about these difficulties – to stress that the final product will be worth it, and that noone is being judged on their performance. As I’ve said numerous times, I wouldn’t anyone judging me on the current state of my lockdown-lapsed breath control! I’ve encouraged members of my ensembles to just give it a go, and promised that most things can be fixed in the edit.
Additionally, I’ve put in the caveat that if we as an ensemble don’t think it represents us as we wish to come across, we won’t release it publicly. Which brings us to the next criteria: what does it do for us?
What does it do for us?
Ultimately, once things are out there in the public domain, it’s pretty hard to close the box. You’ve got to be fairly sure that what you do put out there is going to reflect positively on the group.
There have been some terrific videos, which will certainly have long-lasting reputational benefits to those ensembles. This one is effective. And this one, below, from my old choir, is really slick and shows the group at home in their core repertoire. But it’s probably fair to say that not all the groups that have put videos out there are going to want them to stay there for time immemorial. So take a moment to think about reputational benefit vs risk.
Perhaps there’s a particular repertoire that’s under-recorded that your group specialises in. There might be a unique interpretation you can bring to bear, or a piece that says something about your identity as a group, or about the current situation. I think these are the most compelling reasons (and incidentally, I think they apply to commercial CD recordings too).
Ultimately, the way I’ve framed it to my groups is this: we’ll challenge ourselves to have a go. If we think it represents us well or is of value in some way, we’ll release it. If not, at the very least it’s generated something that we can keep and share internally, a memento of a bizarre year.
There’s a solution to the current situation which is group-shaped, by which I mean there’s no one-size-fits-all approach. Each of my main choirs has come at it differently, and come up with approaches to addressing it which suit them. Some will involve remote recordings, but not all. There’s no shame in not doing these, and they’re not right for all situations.
Now we know why we’re doing this and what we hope to get out of it. Next comes the fun part.