American Cinematographer - November 1999 - 90

According to Sam Aslanian,
producer of music videos
at David Naylor & Associates, the
disappearance of medium-sized
videos dates back about a year and a
half, to the time when MTV began
restricting their playlist. Bigger-name
acts, Aslanian says, will always get
airplay, so record companies can
justify spending $500,000 or more
executive

on one

of their videos.

Low-budget videos (those that
require little
risk, so they are made as well. Record

cost

less that $200,000)

executives have to debate whether to
invest moderate money

into a prod¬
substantial
airplay. More often these days, they
spurn the mid-budgeted video.
uct

that may never get

Commercials, too,
either

one

While

some

extreme

or

are now at

the other.

spots have multimillion-

dollar

AC takes

a

have estab¬
lished themselves as legitimate genres

budgets, others cost far less.
president of A
Band Apart Commercials, says that
the
trend
toward
low-budget
commercials has been led by the
"dotcom" companies. "The great
thing about the dotcoms is that they

with their

aren't

Michael Bodnarchek,

look at the

ever-changing realm of
commercial and music
video production.

training ground for upa place for

Music videos and commercials
-

a

and-comers and

the

more

experiment
own

established

to

-

trends, styles and

problems.
One of the most

by Stephanie Argy
recent

significant
developments in the music

to

don't have

an

take

risks,"
people

audience,

whatever it takes

video and commercial fields has

86 November 1999

afraid

Bodnarchek offers. "These

to

get

so they'll do
attention."

Stylistically, both music videos

been the division of the markets into

and commercials

very

high-budget projects and very
low-budget ones, with few remaining

relatively lighthearted phase. For
commercials, comedy is what many

in the middle.

ad

agencies

are

seem

to

be in

a

seeking. Director Jim



American Cinematographer - November 1999

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