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July/August 2019

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Page 25 of 43 24 POST JULY/AUG 2019 MUSIC VIDEOS M U S I C V I D E O S BY MARC LOFTUS W hile the big screen is currently being dominated by summer blockbusters, music videos are a perfect short-form escape that can be enjoyed on your mobile device. Once again Post presents its annual Music Videos feature, where we hear from those working with some of music's best-known artists, as well as with up-and-comers. Visit to see all of these videos, and more, in their entirety. MILEY CYRUS — MOTHER'S DAUGHTER Miley Cyrus' new Mother's Daughter video has both social and political messages. The singer offers support to the LBGT community while demanding that those in power don't 'F' with her freedom — or anyone else's. The video (photo, left) features a simple, pink- hued background that Cyrus dances in front of while wearing a form-fitting, red-vinyl suit. Intercut with her performance is imagery of marginalized individuals from the LBGT community. Good Company produced the project, which was directed by Alexandre Moors. Moors worked with Cyrus as a creative director on her European tour earlier this spring and felt he was in tune with the message she wanted to convey in this project. "I think it was an ambitious project in logistics, politics and message," says Moors, noting that the shoot took place in LA over two days. Approximately eight individuals were flown to LA from across the country to participate in the shoot. The cameos were shot during the first day, leaving the second day to capture Cyrus' performance. Natasha Braier served as DP, shooting in 3.6K with an Arri Alexa. For the sequences where Cyrus' performance is sped up, the effect was captured in-camera, shooting at 18fps. The quick-motion wide shot was captured at 14fps. Good Company's Ralph Miccio served as executive producer on the project and headed up post pro- duction. The video had a 10-day timeline from shoot to delivery, and as such, Miccio says grading and retouching took place right up until the deadline. Moors edited the video in Adobe Premiere run- ning on a Mac, cutting in LA, on a plane, and even during a cab ride in order to make the deadline. "I don't like to share things too early," says the di- rector/editor, who spent four or five days fine tuning

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