Inside OK Go’s Latest Record-Breaking Music-Video Marvel

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Power-pop outfit OK Go have been experimenting with concepts of strain placement for years, though they’ve been best famous for their innovations in video, from a desirable synchronized-treadmill slight shave for “Here It Goes Again” that put them on a viral-clip map a decade ago to a elaborate Rube Goldberg–machine-themed brief film that accompanied 2010’s “This Too Shall Pass.” For their latest video, they took a judgment underlying a strain pretension – “The One Moment,” from 2014’s Hungry Ghosts – and stretched it, both figuratively and literally.

“The One Moment,” that premiered currently on Facebook, uses usually 4.2 seconds of footage to make a indicate – a shortest volume ever filmed for a strain video – and rest positive there’s a lot tangled into that blink-of-an-eye instant. A sum of 325 dissimilar events start in that time span, from bursting guitars to rope members entrance alive around flipbook. Those 4.2 seconds are afterwards stretched out to a song’s full length, with some of a moments slowed down by 20,000 percent from genuine time. It’s a sleight-of-frame-speed that turns even a many teenager movements into elaborately choreographed moments.

“I’ve always had a mindfulness with slow-mo footage – it roughly feels like intrigue since all in slow-mo is beautiful,” says OK Go frontman Damian Kulash, chatting with Rolling Stone while on mangle from sharpened a Late Show With Stephen Colbert shred that front tonight.

The grandly unconditional “The One Moment,” with a dreamlike imagery (“Won’t we stay here with me/And build us some temples/Build us some castles/Build us some monuments/And bake them all right down”) and themes of reflection, was a healthy fit for a video celebrating slow-motion grandeur. “When we were perplexing to come adult with a thought of a video for ‘The One Moment,’ [we wanted to] keep a clarity of tension and earnestness,” says Kulash. “We adore that a videos are so mostly joyous and wondrous, and that they have this arrange of irresolution to them. But this strain is a some-more romantic strain … and it was like, ‘This is a ideal time to do something that is different though also magical, and even a small bit sentimental or melancholy.’

“Honestly, we adore a song,” he adds. “I can’t pronounce for anyone else. But to me a strain has a some-more pithy participation to it. It’s meant to make we consider about those few moments in life that unequivocally matter. We didn’t wish a visible thought to undercut that, so hopefully this shave helps give it a clarity of majesty.”

The Kulash-directed shave took roughly 7 weeks to complete, start to finish. While it looks like a product of one take, it was indeed shot by several ultra-high-speed cameras merged to robotic arms – a usually setup that could hoop holding in so most information in such a brief time, nonetheless even that was a trick.

“I was operative on [the video] as a filming practice for a integrate months before that,” says Kulash. “The hardest thing was mostly a approach we were pulling a boundary of what a robots could do. We know what [a robot’s] published fastest speed is, though we don’t know if it can do that fastest speed right after it’s finished this other thing, right after another thing. As distant as we know, no one’s attempted to film something with this formidable of a transformation in delayed motion.”

Orchestrating a shave entailed Kulash and his film group violation down movements into elaborate calculations that “an violent garland of computing and drudge technology,” as he puts it, could understand.

“When we’re operative in a star of half a second, we can’t do choreography,” Kulash explains. “Choreography usually turns into math. What we’re doing is sub-dividing that into beats – a fastest intervals in this thing are on a area of about dual milliseconds, and dual milliseconds is impossibly fast. Things have to be ideally accurate dual milliseconds detached and they have to ideally accurate dual milliseconds detached after they’ve depressed from 8 feet adult in a air. So, we breeze adult with a lot, a lot, a lot of math.”

Ten years ago, OK Go’s shave for “Here It Goes Again” illuminated adult a then-nascent YouTube with a perplexing choreography and punchy chorus. Since then, a band’s mini-movies have usually grown in range and ambition. According to Kulash, who followed visible art in his girl and worked in striking pattern before doing OK Go full-time, a band’s ambitions have shifted as their filmmaking has grown some-more sophisticated.

“We’re always perplexing to consider of something that feels usually on a other side of unfit to us,” says Kulash. “The line between between probable and unfit is a hairline, and if we can get a tip of a finger over that line for usually 3 minutes, awesome.

“That felt a same 10 years ago – it’s usually where a line is has shifted a lot.”

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