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IHAVEANIDEA.ORG > articles >  Catching up with the Tomorrow Awards Winners // SOUR ‘Hibi No Neiro’

Catching up with the Tomorrow Awards Winners // SOUR ‘Hibi No Neiro’

Posted on September 20, 2010 and read 1,943 times

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rafikcreditpic Catching up with the Tomorrow Awards Winners // SOUR ‘Hibi No Neiro’ Rafik Belmesk
Operations, AKOS

The call for entries deadline for Winter 2011 of the Tomorrow Awards is fast approaching. It has always been our mission at ihaveanidea to not only celebrate incredible, forward-thinking work through the Tomorrow Awards, but to help educate the industry about what goes into creating such work. In that spirit, we have been featuring interviews with the winners and shortlisted entries, to give you all a little taste of what’s needed to stand out at the Tomorrow Awards.

 Catching up with the Tomorrow Awards Winners // SOUR ‘Hibi No Neiro’

Beyond celebrating the best and most innovative work our industry has to offer, the Tomorrow Awards set up to let everybody know and understand the how behind every winning and shortlisted campaign.

After we spoke to AKQA’s James Hilton about Fiat eco:Drive, we now get a chance to catch up with, Hal Kirkland, Masashi Kawamura, Magico Nakamura and Masayoshi Nakamura, the team behind the ‘Hibi No Neiro’ music video for Japanese band SOUR. Now unlike, James, who helped develop eco:Drive as part of his Chief Creative Officer duties at AKQA, Hal, Masashi, Magico and Masayoshi created this video during their own time, with virtually no budget to speak of. Here’s what they had to tell us about the making of their wildly successful piece…

Tomorrow: How did you guys collaborate on this? Could you take us through each of your responsibilities for the video?

Hal: I’ll first give you a bit of background. Masashi and I are both creatives working at an agency by trade, while Masayoshi and Magico are a duo of directors. For this project though, we really considered ourselves four directors working as a team. We concepted and shot everything together.

Masayoshi was the main editor, so he was the one who put it all together, but everything else was a team effort.

Tomorrow: How did you guys get the word out for the fans to be part of this?

Masashi: We had made videos for the band before, so we gathered a database of the people who had already given us feedback and others from their fan base. The first bit of communications we sent out was a post on the fans blog site. We asked them whether or not they’d like to be involved in the music video. We then asked some people we already knew who were interested in the band, and then it just spread out.

The band was also quite helpful in fielding interest and finding people who wanted to be involved.  So from all these sources, we started to put together a much larger list and then figured out how many people we could use, and where exactly they needed to be from. After that we had to divide them up according to the scenes we might need them for.

Tomorrow : And from there how did you prepare the whole choreography?

Hal: We had it first scribbled on a piece of paper and each went on our separate ways and kept on finessing it. All of us figured out what we wanted to do by literally drawing it on paper and then taking it to Photoshop and experiment by doing some very simple animations like turning layers on and off and stuff.

We then shot a whole prototype of the scene to see what it’d look like. We had a version of the music video using just ourselves. So we broke this extremely rough version of the video into smaller segments and that’s what we sent the fans so that they could understand which part of they were going to be in. They used that as a reference they could follow to move at the right timing while they were getting filmed.

The good thing about using such a simple medium like a webcam we could pretty much experiment on the fly. We could literally just do it and figure out what works.

Masashi: All of us would go away and come back with “hey I’ve got an idea of how we can do this scene. And then we’d bounce it off one another. And the good thing about that was that even when we had a pretty tricky scene to begin with, someone would come in and start to add on it and try to push it or add more people. That level of collaboration was what really made everything good. There was a lot trial and error and back and forth.

There were some ideas that looked good on still, but in a movement it just wouldn’t work so we’d go back and try something else. There was a lot of figuring out to do before we started filming with the cast.

sour team Catching up with the Tomorrow Awards Winners // SOUR ‘Hibi No Neiro’

Tomorrow: Which program did you guy actually use for the filming?

Hal: The one you see at the beginning of the video doesn’t exist; we kind of had to fake it! We tried to get in contact with Skype but they weren’t interested in supporting it. (laugh)

So we had to mimic one that doesn’t really exist. We used different things depending on the connection speed, which played a lot into the filming quality. It was a mixture of whatever worked I guess. All in all, we used some pretty basic recording technology to record them while they were doing it live.

Tomorrow: What commercial benefits did the band get from this? Did they end up getting more gigs or selling more albums? Or was it just a great exposure sort of thing?

Hal: We don’t really have accurate numbers but it did give them a lot of presence in Japan and outside. They’re still an up and coming indie band in Japan, so for zero budget, they ended up on Japanese TV shows after this, and there’s been a couple of offers from music festivals for them to play in.  Obviously a lot of new fans also got in touch with them through the video.

Ordinarily, it’s very hard for a Japanese band to get their product known in other markets, especially English speaking ones, which tend to be some of the biggest.

But thanks to the video, their music started to get picked up more on iTunes in the US and throughout Europe so in many instances they broke into those markets, which is a massive achievement, considering their size. And a big part of that success was the international exposure that they wouldn’t haven gotten had it not spread on the internet. They ended up on news networks in more than 50 countries, which is pretty impressive.





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