I started watching videos of Shane Warne sir, and that’s where I realized what leg-spin is. He was my idol, and I wanted to be like him, bowl like him.
I don’t want to make videos that come out looking like commercials or movie trailers.
Before blogs, it was all about physical presence. We used to send out videos and audiotapes to communicate. Blogging and the Internet allow us to engage in a lot more real time conversations as opposed to a one-way dump of information or a message.
I have some of the old videos of my performances on it.
When we’re obsessed with someone, it’s never about them. It’s about us hating ourselves. And that’s generally the tone of a lot of my videos, which is this desperate character who’s overcompensating with being super happy. But she’s broken.
I produce some of my music videos on a $200 budget. But I produce most of my videos on zero budget. I have a studio in my apartment – which is actually just a green screen I have tacked on my wall and some lamps to light everything.
My guiltiest pleasure? ‘Untamed & Uncut’. Videos of people being attacked by animals. Yeah. I don’t know why. I just love seeing guys who say, ‘I’m gonna stick my hand in that crocodile’s mouth and see what happens.’ And then it snaps down on them. There you go – that’s what you get! It’s a wild animal, my friend.
There’s always another press conference, another training session and more videos to watch.
Rodney King is a progenitor of all these cell phone videos that we have. It was unusual that a person had a video camera to take a picture of the Rodney King beating. Now, of course, everybody has a phone, and that has been one of the key factors in all the new attention to the issue.
Actually, it’s the beauty of independent music that the artist can feature in his own videos and be the face of it. It is unlike Bollywood movies, where one does playback singing.
The visual elements of the videos, the makeup and the costumes… these things have nothing to do with justice and truth, but nonetheless, it really changes the experience of the video.
I occasionally rapped along to some homegrown Korean rap. And then a friend introduced me to Wu-Tang and played me ‘Enter the 36th Chambers.’ It was very shocking. And then I started to look for different albums. This was pre-Internet, so it’s hard to find the music, and it was even harder to find music videos.
As a rapper, you sort of act in music videos and in the persona you adopt onstage. You kinda have to put yourself out there and be courageous even to be a rapper. So, to step into acting was not that difficult a transition to make.
My favorite thing to pass the time in the makeup chair is YouTube videos of talking cats. I don’t know why, but they make me laugh.
Well, ever since I started helping out my husband with the management of the company, I have been involved with the making of music videos.
When I was 3, my mom sent in a video of me singing George Strait to ‘America’s Funniest Home Videos.’
I’ve been studying, playing, living, breathing poker for eight to nine hours a day. Every day! When I’m between events and in New York, I’m reading, watching videos or live-streaming very good players.
Most of my avant garde fashion is saved for my videos and for the stage. In real life, I tend towards a classy, black Goth look. I love black, a few sparkles, false eyelashes and boots. But when I perform, I love fantasy and props.
My creative process is a bit manic at times, to be honest. I wake up Monday and Thursday stressed because I don’t have a video. I usually – with the exception of maybe a handful of videos – wake up, write the video, shoot the video, edit the video, release the video all in the same day.
My lifetime role model and hero is Freddie Mercury of Queen. His songwriting skills, I cannot even approach, but his showmanship, I learned it from videos.
In an age of social media and content being key, it’s important to change the mold where you have $100,000 to $150,000 for one video. I hired some guys that are young, just out of college, and we used some new, far-less-expensive cameras and technology to make videos.
The early days, when Vine was so special and innovative – I would wake up and immediately want to make videos. I loved it.
To me, getting to do music and videos, you work on a character. Being onstage is acting; you get to be larger than life and larger than yourself.
In selfie pictures, there is no human touch; it’s all about the pose. But selfie videos have sound, actions, and emotions.
I was doing Facebook comedy videos; then I moved over to Instagram, and then I hopped on Twitter. That is where I really was a master. That was the first place where I could go viral.
If you want to put out a million CDs and sell them and get them played on the radio, and even videos, or whatever, if that still exists, that kind of muscle can only come from a label like Columbia.
For all the different videos that we got to dress up in, I love fantasy stuff, so for ‘Radioactive,’ I felt like I was a warrior, and for ‘Daft Punk,’ I felt like I was a space warrior.
It is obvious that the Internet has become such a video-driven entity. With broadband becoming ubiquitous, viewers and advertisers are looking for professional-quality videos.
My production style is all about imagination. I want my audience to use their imagination when they watch my videos. My goal is for my voice to be that little hope of encouragement in your head when you walk out your door.
I wasn’t really big enough when I was filming at school for it to affect anyone too much, but I think my friends that were consistently in my videos during that time definitely got attention that they weren’t anticipating. I’m not quite sure how they felt about it to be honest.
When I film my music videos, I always try to fulfill a part of my dream of being a filmmaker.
I want to tell Miranda’s story more broadly than what I have been in these five-minute videos on the Internet. She can live in a longer format.
I create videos for my YouTube channel Chescaleigh and for ‘Decoded,’ a series with MTV.
One of my first videos on VHS, unknowingly at the time, was a stop-motion of a cup moving across a countertop on its own. I was pretending that I was performing some kind of magic trick. It was my way of doing effects without understanding how to edit.
I studied directing prior to acting and I’ve done music videos and documentaries and things that were sort of well-received.
I don’t watch a whole lot of television, to be honest, but I do miss music videos.
What is portrayed on stage and in my music videos is different from my everyday lifestyle. But I want to people to see me as CL on stage and in my music.
I don’t like the lip-syncing-type videos. I like for people to listen to the words and see the visual.
I have a P.O. Box that I get about 50 letters a day that my mom picks up, and a lot of weird gifts I like to show on my videos.
I was in a play called ‘Hood.’ I was an extra in ‘Passion of the Christ.’ I did corporate videos, commercials, little university short films. Just anything that I could be a part of, really.
We can talk and get feedback about our videos directly from some of our biggest fans. We can’t stress the importance of that connection enough.
My tutorial videos are educational, but they’re goofy – I’m just being myself.
I don’t like videos that explain the song. I like it to be kind of abstract, like a painting.
I’ve loved Michael Jackson, his music, his music videos.
People think we choreograph. We dance four years in clubs. We watch videos every day. We do a step, it ends up a sensation, and for us it was just a copy maybe of a Gene Kelly video.
No matter what somebody thinks about your videos or whatever, everyone can agree how much work it is.
I come up with the ideas for my videos, and I write the lyrics and choreograph them, and I direct them and tell everyone what to do and how I want them to sing the parts and do the tongue pops and eye rolls and stuff like that.
I think nowadays creating videos is a totally different industry and different career all together. Music videos are doing 100-plus, which is a lot.
My mom is a pretty private person, and if I was making Snapchat videos of her all the time, I think, A, she would hit me, and B, she just wouldn’t appreciate it. So I don’t do it a ton.
I think with the ‘Fred’ videos online, I prefer doing it by myself. I mean it’s YouTube. You want to have all the creative control because that’s the only place in the world where you get that.
I’ve written all of my songs, I directed all my videos. Every part of what I’ve done for music, from the visuals to the business, I did it. And I’m really proud of that.
When I started ‘DailyGrace,’ I was dating a 26-year-old guy I thought was the funniest person in the world. My creation process every day was imagining him watching my videos and wondering, ‘Will he laugh at this?’ But somehow that’s turned into an audience that’s mostly 15-year-old girls.
Dropping the news to my parents that I was skipping my ‘dream education’ at Chalmers to sit at home recording videos while playing video games was not easy.
If you watch home videos, at 4 years old, I was doing nothing but being the entertainer. Singing ‘Boot Scootin’ Boogie’ in the living room. Then, I guess, just by the grace of God I started writing songs, and somebody happened to like them.
