A Quote by Jon Oringer

It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects. — © Jon Oringer
It's typical for video customers to often use licensed music - whether a soundtrack, background music, or sound effects - to complement their video projects.
I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn't been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.
We're trying to make the music service a cultural point of reference, and that's why we're making video. We're making video for our Apple Music customers and our future customers.
The music video, Lil Nas X, he asked me to be in the 'Panini' music video. It was crazy. I was just listening to the song and I was like, okay, this is going to be my first music video but it was really fun.
I learned from making random little personal projects, like school projects or little GoPro montages with music. Then once I made my channel, I really improved just by making video after video.
My work is entertainment, and I look at what entertains people, whether it's a selfie video or a music video.
You get to actually see the music video on the TV in the pilot and we have the soundtrack playing at this big party. I thought that was sort of a cool moment, to actually have the A-Ha video is pretty cool.
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
When you're animating a music video, you have to animate to some set music. You're somewhat restricted by that, but you're also inspired by that. The animation becomes secondary if you're animating to a music video. Either way, it's important. Music has really helped my animation, that's for sure.
There's only one music video that had an emotional impact on me, and that's 'Hurt' by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.
There's only one music video that had an emotional impact on me, and that's "Hurt" by Johnny Cash. That's exceptional. There is no music video I can think of apart from that one that really reaches you inside.
When I did 'Happy Birthday,' I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.
I have a music video I was in coming out for M83 for their song 'Claudia Lewis.' It's directed by Bryce Dallas Howard, and I play opposite Lily Collins. It's a pretty edgy intergalactic music video.
We have tons of live performances that we're putting on there. We have music videos. There's a music video for the song called I Am Jesus what is one of the funniest music videos, like we just could not find a place for it in the movie, but it's like crazy funny. And we have the whole video.
My wife Juliana and I first saw Eurovision while on our honeymoon in Greece in 2006, and we were amazed by it. They basically recreate a music video onstage, and pyro cannons, LED video screens, background dancers, fireworks, costume changes, and wind machines are their tools.
"St. Lucia We Love" is actually a song produced by Stratosphere music (also St. Lucian). The CEO of Stratosphere music approached me and wanted me to produce a music video for this song which was already a hit in my country. I felt privileged to have been chosen to do such a video. So every time I went out to shoot a scene from the video, I would get a still shot from the scene to tease the public. The photo of the amazona versicolor is is an actual scene from the video which was released on St. Lucia's Independence day (22nd February, 2013).
Directing music videos, especially ones that are concept/narrative driven is challenging in itself, but Directing a music video within a digital video environment is even more difficult.
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