Creating the “Wanted” Visualiser for Lila Iké
I was commissioned to create a visualiser for Lila Ike’s “Wanted”. A song lamenting the loss of young men to crime in Jamaica, where I served as director and cinematographer. I go in depth about the creation process of this visual we made in Jamaica
“Wanted” Visualizer, Performed by Lila Iké, Directed by Yannick Reid
I was commissioned to create a visualiser for Lila Ike’s “Wanted”. A song lamenting the loss of young men to crime in Jamaica.
When I first heard this song, the production reminded me of something I would have heard on my parents radios in the early 90s.
Jamaican Pantomime - credit: Jamaica Gleaner
In my youth my parents would carry me to the Pantomime; A form of local theatre with exaggerated and comedic tongue in cheek styles. This was my reference for the visual.
I wanted the whole video to feel like the viewer was watching a Pantomime. It’s exaggerated, there’s a lot of pretending, but it’s all deliberate for that vintage effect. For me it is also like pulling out the deep culture or Jamaican-ness of the song, without adding too much of a heavy layer to an already serious theme.
Most of this film used practical effects, to make it feel like true theatre. It was also plenty fun seeing how these turned out. The spotlight gives you that feel like you’re in a late night small cosy theatre, and the lights come on to reveal Lila, who I have as the ethereal narrator of the film.
When I conceptualised this film, I had our lead talent Karlon, in my mind. I don’t think he acted before, but the character I envisioned was him. Thankfully when we reached out, he was interested and I think he did a great job.
This is my favourite moment from the film. A key element where Lila as the Narrator, crosses unfortunate paths, and they both break the fourth wall, by looking right at the viewer. being able to incorporate narrative elements like these is personally so rewarding.
Which each phase of the films story I chose to play with the lighting. The almost inverted colour here in the beginning =, helps to communicate -the transition of the character, the almost other world state. At this point the character flirts with riches he has from his robbery. The colour is also a foreshadowing matching police colours, and again, Lila breaks the 4th wall talking to the viewer but the character (wanted youth) is not aware of her presence.
I don’t want to give away the whole video in this post, and leave some open to your own interpretation. This project wouldn’t be possible without the teamwork from my crew.
Yannick Reid - Director, Cinematographer, Edit & Colour
Habibi Bailey - Producer
Karlon Edmonson - Wanted Youth
Hasani Cole - Gaffer
Ayana Riviere - Stylist (Lila Ike)
Shaquiel Brooks - Photographer & BTS
Aaliyah Hinds - Stylist (Karlon) & PA
Osunya Rose - Style assistant (Karlon)
Tonisha Kong - Make-Up
Latoya Reid - Hair
WOF Tiny Space - Studio Location
Far Eye Films - Production rentals
Here Comes The Morning Music Video for Protoje
I was tasked as Director to create a visual for Protoje’s song “Here comes the morning”. of his sixth studio album “Third Time’s The Charm”. For the concept of the song that both Protoje & I worked on- He was to take his daughter to the first point of sunrise to find “Where the sun comes from” We went to the eastern most location in Jamaica, the Morant point lighthouse (Not an easy drive I might add). Through the night to catch the sunrise on film.
Song Artwork shot and designed by me (Yannick Reid)
I was tasked to create a visual for Protoje’s song “Here comes the morning”. of his sixth studio album “Third Time’s The Charm”
For the concept of the song that both Protoje & I worked on- He was to take his daughter to the first point of sunrise to find “Where the sun comes from”
We went to the eastern most location in Jamaica, the Morant point lighthouse (Not an easy drive I might add). Through the night to catch the sunrise on film.
This shot is actually a daytime shot, graded to look like night.
Photo by Shaquiel Brooks
Photo by Shaquiel Brooks
Photo by Shaquiel Brooks
This shoot had it’s unique challenges, such as filming at night into the morning, as well as the weather not being fully on our side, but we all made it work.
Going into this project, I wanted the visuals to look and feel tender. A relationship between father and daughter is often one of the most tender relationships.
I wanted viewers to feel the tenderness, and closeness between Protoje and Yara. I wanted it to feel like a memory - a goal that’s recurring in some of my work with Protoje. Nostalgia is a powerful and visceral feeling and I want to be able to trigger that in viewers because I believe it’s a way to create a long term connection with audiences. - If something feels like a memory, it may become one.
Having Yara in Protoje’s lap driving was one of those on location choices that suited the theme we were going for.
One of my favourite shots was unplanned, this herd of goats crossing the frame whilst the pair walk toward the lighthouse.
I love this frame for Proto, the worms eye view of him performing in front of the lighthouse. This comes from my love of Hip Hop Music, and this frame is so reminiscent of classic 90s hip hop angles.
Big Props to Yara. Her talent is authentic, working with children usually takes a specific type of direction, but she took direction very well and easily, without complaints. I believe I was more afraid of the height in the lighthouse than her.
Speaking a bit on the technical aspects as both Director and DP - I shot on the RED Komodo, shooting with the trusty Sigma 18-35mm. It’s low aperture and zoom angle allowed me to keep up with the pace needed for a time sensitive shoot like this. For the colour grade I went for a super 16 emulation to add to the nostalgic feel of the film. I especially loved how the blues in Protoje and Yara’s outfit popped out in the colour and the orange of the lighthouse.
Please enjoy the Behind the scenes video done by Shaquiel brooks from the day of our shoot.
I really hope you enjoyed this film, a lot of work went into it, not just by me but the team working alongside me.
Director/DP/Edit - Yannick Reid
Producer - Habibi Bailey
Production Company - YaH Made It
Art Director - Lindsey Lodenquai
Stylist - Ayana Riviere
Gaffer - DavyFrsh
BTS - Shaquiel Brooks
Production Assistants - Makeda Romanetti, Aaliyah Hinds
Special Thanks to KIG Jamaica for the Picture Car
MUSIC VIDEO: CAN'T FEEL NO WAY
Can't Feel No Way Music Video (Finally!)
Credits:
Directed, Shot and Edited by: Yannick Reid
Video Produced by: Diggy British (Protoje)
Song Produced by: Tracker John MD
Special Thanks to: VeganFoodShare and VeganDeeDee
(They took us to so many places in Cali)
Very proud of this video. It's been complete for two-months, sitting on my hard-drive. A lot of things came into place the way I wanted it for this video- I had been working very hard on getting a ronin-M to increase my production value. As well as I had doubled my efforts in studying colouring techniques. I was almost thwarted when Premiere Pro was just not cooperating with me. Depression was at my door! Then the silver lining came in the form of Final Cut Pro X! I willed myself to learn it in a short space of time, and despite some things I wished to be there, I managed to really churn out one of the best edits I've ever done (I think personally).
The feedback thus far has been really good, thanks to everyone who told me a job well done. I'm really, really glad you like it!