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MUSIC VIDEOS www.postmagazine.com 29 POST JULY/AUG 2022 ALICIA BLUE — DOG DAYS IN LA Indie folk singer/songwriter Alicia Blue (aliciablue.com) recently debuted the first single/video off her new EP, "Inner Child Work," which was released July 15th via Magnetic Moon. Dog Days in LA is about Blue's realization that she didn't yet have her life in California figured out. "Each song on 'Inner Child Work' is really just about the difficulty of navigating this life and not having all the proper tools to live it in the most successful way," she explains. "And by successful, I mean the 'healthiest.' I like to think that getting this all out helps me in some way." The new music video was directed by Tyler Dunning Evans, and was shot in and around the outskirts of Los Angeles and Joshua Tree. In the video, Blue rides around in a convertible — top down — with the warm California air washing over her and creating a pleasurable sensory overload. Imagery of the LA skyline and picturesque cityscapes surround her. "For Dog Days In LA, we rolled with a pretty light setup since we were constantly chasing daylight over our two-and-a-half-day shoot," director Evans ex- plains. A Sony A7Siii with a Sony 24mm GM lens on a Tilta Alien car mount was used for the shoot. In addition, a few shots were captured using a hand- held Ronin, all with the goal of achieving simplicity for each scene. "Post was all done in Adobe Premiere," Evans notes. SABRINA SONG — DOORS Alt-pop singer/songwriter Sabrina Song (IG: iamsabrinasong/Facebook: @ sabrinasonggg) recently shared her first single, a contemplative track titled Doors from her forthcoming EP, set for release this winter. The track sees the artist gently exploring toxicity and reckoning with ways to address a relation- ship that has remained unsustainable. The Doors music video was directed by Zac Dov Wiesel and shows Song reliving high-school moments, including birthday parties, football games and prom preparation. The football players appear throughout the video, represent- ing a underlying tension in her life. "We wanted to capture this time in adolescence that is filled with such an odd mix of feelings," explains the director. "We imagined a lot of these scenes like moments frozen in time, like photographs." Wiesel says everything was shot locked down and in slow-motion, mostly using 18mm Super Speeds, keeping everything mostly wide in an effort to cap- ture a mixture of both a warmness and a coldness. "We wanted to capture more than one tone in what would be these interpre- tations of adolescent memories," he explains. "We would use a frontal spotlight for the football and trophy room scenes to evoke the qualities of a strange dream. This would juxtapose the more warm, natural lighting employed in the scenes that took place in the home." Performance set-ups were shot using varied frame rates. "When we would play it back, the movement would sync to the song but have an almost eerie, smooth look." YASMINA — HERE YOU GO AGAIN Yasmina's new music video Here You Go Again uses the 4:3 aspect ratio to cre- ate a vibe that compliments her retro sound. The project was directed by Reece Daniels and Jivensley Alexis of New York City's Kairon Pictures (kaironpictures. com), with Aashish Joshi serving as producer. According to the directing duo, the goal was to capture the reverie of the song, so they opted for a sun-heavy, exterior shoot. The shoot day, however, was plagued with random clouds, so they had to be quick when the opportunity finally presented itself. Daniels and Kim Johnson served as cinematographers, shooting with Blackmagic Design's Pocket Cinema Camera 4K and Ursa Mini 4.6K. The Pocket Cinema Camera 4K tends to be their go-to camera, thanks to its compact and efficient design. Here You Go Again was edited in Adobe Premiere Pro and colored in DaVinci Resolve. "This was a very low-budget production," note the directors, "so we couldn't afford any filters like glimmerglass or pro-mist. Most of the look of the video was created in post during coloring. DaVinci's grain and halation effects are really solid." Keith Leung acted as assistant director and Nick Knezevich was production assistant on the project.