Tag Archives: Dance Monkey music video

Visible Studios produces, posts Dance Monkey music video

If you haven’t heard about the Dance Monkey song by Tones and I, you soon will.  Australia’s Visible Studios provided production and post on the video to go with the song that has hit number one in more than 30 countries, went seven times platinum and remained at the top of the charts in Australia for 22 weeks. The video has been viewed on YouTube more than half a billion times.

Visible Studios, a full production and post company, is run by producer Tim Whiting and director and editor Nick Kozakis. The company features a team of directors, scriptwriters, designers, motion graphic artists and editors working on films, TV commercials and music videos.

For Dance Monkey, Visible Studios worked directly with Tones and I to develop the idea for the video. The video, which was shot on Red cameras at the beginning of the song’s meteoric rise, was completed in less than a week and on a small budget.

“The Dance Monkey music video was made on an extremely quick turnaround,” says Whiting. “[Tones] was blowing up at the time, and they needed the music video out fast. The video was shot in one day, edited in two, with an extra day and a half for color and VFX.”  Visible Studios called on Blackmagic Resolve studio for edit, VFX and color.

Dance Monkey features the singer dressed as Old Tones, an elderly man whisked away by his friends to a golf course to dance and party. On the day of production, the sun was nowhere to be found, and each shot was done against a gray and dismal background. To fix this, the team brought in a sky image as a matte and used Resolve’s match move tool, keyer, lens blur and power windows to turn gray footage to brilliant sunshine.

“In post we decided to replace the overcast skies with a cloudy blue sky. We ended up doing this all in Resolve’s color page and keyed the grass and plants to make them more lush, and we were there,” says Whiting.

Editor/directors Kozakis and Liam Kelly used Resolve for the entire editing process. “Being able to edit 6K raw footage smoothly on a 4K timeline, at a good quality debayer, means that we don’t have to mess around with proxies and that the footage gets out of the way of the editing process. The recent update for decompression and debayer on Nvidia cards has made this performance even better,” Kozakis says.