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MUSIC VIDEOS www.postmagazine.com 28 POST MAR/APR 2020 Karissa Ella — More Like Her NASHVILLE — CMT recently premiered rising coun- try star Karissa Ella's new music video for her single More Like Her. The track is off her EP "Blossom" and shows Ella (karissaella.com) as a younger version of herself, as well as at her present age, singing about wanting to be the little girl she once was. Quinton Cook directed the video, which was produced by Glitch, LLC (www.glitch.video), with Jonathan Marzolla serving as director of photography. "When I first heard the song from Karissa's team, I immediately had the vision," recalls Cook. "I quickly wrote my thoughts and off I went to meet with her. I wanted to show the innocence of a child and how we lose it so quickly. When Karissa looked into the mirror we had on-set, I wanted her to see the little girl she used to be. The little 12-year-old that never had to worry about things we do today. Once we had our story locked came the fun part." Richard Peterson served as Steadicam operator for the project. "I knew I wanted a bright video with darker tones," Cook reveals. "I wanted Karissa to shine like the star she is, but communicate the story in a dark- er way. The studio location we ended up shooting in was perfect for this. Located in Inglewood was a white room with natural light flowing in from every angle and allowed us to make the vision happen. "My DP (Jonathan Marzolla) and I have worked closely on several different projects. At this point he can read my mind, and did just that in this video," Cook continues. "We spent two hours crafting this look and once we were locked, we brought in Karissa and the rest was history." The video's second location was an old, aban- don house. A mirror was placed outside, where the viewer would see it as being out of context. As the sun began to set, the production crew raced over an overpass to shoot the final scene. "This scene was massive," recalls Cook. "It really ac- complished the goal of taking the mirror out of place." The project was shot using two cameras — an Alexa Mini LF and a Red Helium. Cook edited the video himself using Adobe Premiere Pro 2019, and Marzolla handled the color grade using Blackmagic Design's DaVinci Resolve. Overall, Cook says he is thrilled with how the video ultimately turned out. "Getting to work with Karissa was amazing! She had all the trust in my crew and I to make it happen, which made the day so much fun! I can't wait for the next one!" Meek Mill — Believe NEW YORK CITY & LOS ANGELES — The bi-coastal Good Company (https://www. goodco.tv) recently produced Meek Mill's new Believe music video featuring Justin Timberlake. The video presents the track as a gripping story of struggle and triumph between a beleaguered man and his daughter. Maxime Quoilin directed the project for Good Company. In it, a family patriarch is arrested, and his daughter driven to overdose as a result. His journey of redemption and freedom overlaps with her push to recover and succeed as a boxer. The song is driven by Justin Timberlake's hymn-like chorus and Meek Mill's verse. The video makes use of both color and black & white footage. "The whole process was a great experience," says Quiolin, who also edited the piece. "Coming from a post and creative direction background, I'm amazed I get to learn doing jobs like these, surrounded by so many talented people. The shoot took place over three days, entirely shot on film, which was a totally different way to di- rect, with less experimenting and more rehearsing. The post production was fun too, and it's incredibly rewarding to discover footage after the shoot all at once." Nice Shoes (www.niceshoes.com) colorist Ron Sudul balanced monochromatic shots of the artists with the cinematic narrative, which was shot on 16mm. William DeSena served as DP. Alex Frankland assisted Sudul with the color. The video had nearly 5M views in a little over a week from its release. Red and Arri cameras were used on-set. Believe was shot entirely on film.