SPOTLIGHT MUSIC VIDEOS
WORDS Katie Kasperson
S ome might argue that music videos have had their heyday, first with the advent of MTV and then again on YouTube. Many of these works were iconic, with artists like Michael Jackson, Madonna, Britney Spears and Katy Perry still touted as leaders in the music video movement. The medium manifests in a different way today; budgets have shrunk, new platforms have arisen and phones have largely replaced TVs and desktop computers as our preferred viewing device. To keep pace with the evolving industry, music videos have migrated over to TikTok and other social media platforms, with lots of artists releasing ‘visualisers’. “These are essentially one
or two images that are held for a long time, or loop, which gives us a visual presentation without the expenses of a three-minute-long video,” explains director Bailey Tom Bailey. “But there’s still a hunger for people to define their image through full music videos,” he adds – so the medium lives on in new ways. FIRE AND ICE Music videos serve various purposes, from cementing an artist’s brand and look to “elevating and adding to the experience of listening to a song,” according to director Yoni Ben-Haim. “Fans are typically watching the video to hear the song, so it’s an exciting
Definition sits down with two directors – Yoni Ben-Haim and Bailey Tom Bailey – to find out what distinguishes music video production
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