Daddy Yankee - "Shaky Shaky"
"Shooting scenes for "Shaky Shaky" (The first Reggaeton video to reach 1 Billion + views in less than a year) was an honor. I was able to unleash a lot of my creativity in this video. I got the call that Marlon Pena (Director) needed more shots and more footage for the video, and the first cinematographer Alvaro Rangel was busy filming on another set. Marlon called, so I stepped up to the challenge. Marlon told me that they have a colorful kitchen and that they could do the dance in the kitchen. I had the Gimbel, and decided to start from the T.V. and have shots of Daddy Yankee with the dancers on the T.V. This allowed me to pull out and reveal the women dancing in the kitchen, to show them as fans watching Daddy Yankee on T.V. to show how powerful the dance is reaching into people's homes. So the girls are doing the "Shaky Shaky" dance all in the kitchen.
The colors of the kitchen worked perfect. I captured all the kitchen dance scenes on one continuous shot. ( at :21sec) ... and at (:26 sec) decided to use the iphone as a modern touch that people were out all over the city watching Daddy Yankee on Digital Devices... that in turn encouraged people to watch the video as digital content.
I decided that the best look for this scene would be outside natural light, showing the North Miami palm trees. I wanted North Miami because that wall was not going to be distracted by a lot of passers by and it was more of a guerilla shot. I love the Miami scene and I like to roller blade. I've seen many women rollerblading these areas so I knew it would be authentic. I had a feeling Marlon and Daddy Yankee would like it. I was on foot while the ladies were skating, to get more stable shots. Each girl had their own scene as we moved on to different shots. (at :48 sec) these shots were when we picked the lifeguard stand because I like the elevated look. I wanted the shot to be elevated because it gives the shot a lot of power with the clear blue sky (symbolizing freedom in the background) as she's shaking to showcase the passion, and a reverse angle on the other side, and I have a close, medium, wide to cut to. People filming people capturing the artist.
At (1:19, 1:25-1:26, 2:23) I positioned the model right in front of the sun so I could catch nice flares in the lens. I let the flares mix in with her dance. I was filming on a Red Epic Dragon and we still got bothered and recorded by other people. There was a crowd of people forming behind us. When all the girls were dancing, a huge crowd of people started recording, and clapping. It was crazy! When the people heard the music, and I saw their response, I knew at that point this song and video would be a hit. It made me want to do even better (at 1:30) I filmed Magga Braco and her back up dancers. We were in a hallway in a studio here in Miami.
The hallway was big, we did the take 6-7 times, we did dolley in dolley out. I set it up with a back light, and key light, so it would glisten off the oil on their skin heating up the sensuality in the video. For that scene, I was focused on the girls dancing, so I wanted it to match Daddy Yankee's scene in the garage. I used the blue light to match. At (1:39) we had a nice prop background, so we had Marlon get us a Liko spotlight. We already had the dance routine, so we wanted to add variety and show models under spotlight. This would serve as Eye Candy to keep the viewers attention, 2 min in. It balanced all the dancing in the video, to keep the interest. I went with a hypnotizing mirror effect of the model in a double like binoculars to draw viewers in against a stripe background (at 1:56).
I set my shots with Magga Braco (at 1:38, and 3:41) and dancers in the hallway to be a freestyle danceout to the music, which turned out perfect to help the video to come to a finale. All in all, it was great contributing so many shots to this video, and seeing it skyrocket to success and go viral to gain over 1.3 Billion + views! I'm very happy with the creative decisions I made, lighting selections, and camera angles to help it go viral!" - Ido
FloRida - "Goin' Down For Real"
"This was a video that I knew storytelling would be important. Working together with the Director Malcom Jones and the other Director Photography, my task was to capture the surrounding scenes of the court, and get the reactions of the crowd (1:39 - 1:41)
Because of the time crunch on set, the crew had me come in and capture the details, essentially most of the B-Roll. The 1st Unit Cinematographer his Red Camera was set up on a robotic arm and crane to get smooth cinematic shots. But the crane limited them on quick movements. I covered all the quick movements.
Details are important because they can make or break the story. Without something to cut to, if we don't show a close up of the crowd the viewers won't feel like its a real game.
For example, from this shot of Flo Rida, we captured his expressions That "It's game time, this is a serious game, and we're here to win, so be ready!"
Because we were able to capture this energy of Flo Rida and the crowd cheering, as well as the other basketball players, we created a realistic feel that would be felt in pre-game moments all over the world. The idea that music and this video were tied with sports, I made sure we got that crowd, and now the video has over 300 Million views. I feel honored that Malcolm Jones trusted me with the responsibility to capture the moments that helped this video skyrocket to success!" - Ido
Kodak Black - "Skrilla"
"I met Kodak Black as a young 18 year old ready to take on the world. He was doing concerts anywhere he could, but he wasn’t doing every show. He held out for his value and price. I went to Pompano Beach to film Skrilla. I had a small crew. He was still getting used to the cameras. He did know what he wanted, and took direction very well. We filmed all day together, shooting performance scenes and b-roll footage. At the end of the night, we went to his concert.
When he got on stage, the crowd went wild! I decided to put that scene at the beginning of the video. I wanted his fans to see his other fans roaring screaming his lyrics word for word in the first shot. It was rare. He was a pure project baby. He understood the whole lingo of his hood forwards and backwards by age nine. He had a high intellect as a young kid. He created his own lingo that only his hood understood. They loved it.
I also toured with him to Jacksonville and caught footage of him doing road shows and concerts, and other videos. I worked with Kodak to help him tell his story in "Skrilla" and translate his idea of how he wanted to do it. It went viral and the video got millions of views fast. Skrilla recently surpassed 120 Million views! My idea to put the crowd in the first shot worked out. My edit captured his sound, imagery, and rhythm. The rest is history." - Ido
Christina Milian Feat. Lil' Wayne - "Do It"
"For me cinematography is not just a word, it's a responsibility on set.
It means a lot, most importantly, shaping light, it means controlling the environment, including space, distance, and ranges of camera angles.
In this "Do It" video, I made sure that we had appropriate lighting to highlight both Christina and Lil' Wayne.
In the scene when Christina was on the bed, I used 1K's, strip lights (which I got for the car), it was a directional spotlight driven video.
The whole video had a tone that was more moody and dramatic with shadows.
We created a temperature change to give the video a cool vibe with a cool blue for her performance shots.
For getting B-Roll shots it was a lot of fun because Lil' Wayne was skateboarding....
meanwhile... I was running beside him as he was skateboarding capturing the footage... It was cool a vibe and we a good time! " - Ido
Ivy Queen - "Por Mi"
"Por Mi means 'I'm the best, I'm the one you want basically.' Ivy wanted to express love to her L.A. fans. I just so happened to be working in L.A. on projects with Kelly Rowland, and Usher Raymond during his birthday weekend, and later Kendrick Lamar's artist Baby King.
So I got the call Ivy Queen was coming to L.A. This was the first time I filmed her in L.A.
The crowd turnout was amazing, the people really support her in L.A. On this video I did Assistant Directing on set with Director Bla G, and making sure the set was ready to go with the other cinematographer Philly Fly Boy.
I saw the opportunity to capture Ivy Queen in her glow in her essence, power, and glory. (2:40) I made sure to capture the moments as still frames and it gave her a boost of confidence. She really wanted the L.A. experience to be captured well. It changed the whole dynamic on the set. She went into another stratosphere, and she was really excited. In the editing at (2:33) I used a speed ramp with a blend mode to really bring out the excitement.
That translated into the music video... The vibe on set became another level after we got the initial shots. I had worked with Ivy maybe five or so times before that, so I was really glad that we were able to beat our personal best and make it special." - Ido
Baby Soulja - "Just Ride"
"I directed, filmed, and edited this video from beginning to the end with the the help of my brother Kufre Eyo and Bla G from Florida Film House.
Because it was a love story, the rebel guy from the hood dating the girl, I want that to be the focus of the content.
The idea was to capture the expressions of he and her in the car, as well as the mother who didn't like the rendez vous and the hood environment.
We used the drone for our extreme wide shots, and the car he was driving was nice even though he was in the hood.
When I was filming Baby Soulja from the passenger, it wasn't super hard shot, I really needed to stabilize my hands even the car was moving and creating vibration.
The shots turned out amazing. The performance footage of him in the middle of the street we shot with a steady cam with a smooth cinematic feel." - Ido
Red Cafe feat. Jeremiah & Rick Ross - "Making Me Proud"
"Red Cafe wanted to capture the essence of him in James Bond style themed element, especially with the Miami boats and palm trees.
I wanted to capture close up shots of him driving the smaller boat, to get to the yacht.
It was a better reveal for me to come from the sky and show the palm trees.
Most people would think that we're about to see palm trees and land.
But I knew that Red Cafe speeding on the boat would be great scenery with him on the boat in front of the trees.
On the night scenes I had a 1K and a 2K light step to get scenes on top of the yacht.
We had to switch boats to get Red Cafe shots on the smaller boat and on the Yacht. One false move would have been dire consequences!
We had some of the top Video Vixens at the time. We kept it very professional and being on top of the lighting, so that they were very open to make it a gorgeous video." - Ido
T-Pain feat. Tay Dizm - "I'm Fuckin' Done!"
"This was a very interesting and exciting video. I was the assistant camera and the editor. This was my first time being on set with a star of T-Pain's caliber.
T-Pain had this idea of him rapping in between mannequins with paint being thrown on them.
This was one of the first times I put my techniques and "The Yo Yo Effect" on a major mainstream celebrity star. I was trying to change the rules back then.
Because this was early in my career, I wanted to break the rules of what the traditional effects were on music videos.
Everyone loved it, I threw in all kinds of double exposure, speed ramp, dolley in and dolley out.
The DP Ricardo shot an amazing video, the mood of magenta coloring gave the video a cold vibe, which represented T-Pain's emotions of being fed up. As I heard the lyrics and emotion, I made the edit match the volatile and fast paced attitude and anger.
On this music video I learned techniques from Ricardo, and even got into a friendly challenge with my colleagues, because Ricardo set the bar so high, they challenged me to shoot videos as good as this going forward, as Ricardo did on this one.
From that point on I always wanted to outdo my own personal best. These early lessons defined my standards, and led to so much of my later success, especially the work ethic, the attention to detail, filming for the edit, throwing in my YoYo effects. This video always will have a special place in my mind." - Ido
I have a very demanding schedule and my time is limited, if you would like to inquire about me directing your music video, filming your corporate event, or a photography shoot, I have a standard process and selection criteria for clients I work with. Please contact me here so we can begin the first step...