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Di­rec­tor Michael Mizrachi talks us through cre­at­ing the de­light­fully imag­i­na­tive and up­lift­ing video for Barak Feld­man’s lat­est sin­gle

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In­side the VFX of di­rec­tor Michael Mizrachi’s new mu­sic video

When di­rec­tor michael mizrachi first lis­tened to Barak Feld­man’s lat­est sin­gle One Day Love he felt an amazing sense of op­ti­mism, “the child­like pro­duc­tion and ar­range­ments gave me hope, i felt like any­thing was pos­si­ble.” mizrachi is a 22-year-old di­rec­tor from tel Aviv, is­rael who has been ex­per­i­ment­ing with film since the age of six and found the song mak­ing a strong con­nec­tion with this in­ner child.

“the emo­tions started driv­ing my imag­i­na­tion,” he ex­plains. “Vi­su­als of a tiny as­tro­naut started to form. i saw that kid trav­el­ling through sur­real land­scapes and dan­ger­ous en­vi­ron­ments, tak­ing him­self on a mis­sion to make peo­ple feel happy. i wanted the video to serve that same pur­pose and cre­ated a piece that will func­tion as en­cour­age­ment for the day, a video that will charge your spirit with hope.”

the video’s science fic­tion aes­thetic evolved nat­u­rally from these themes, pre­sent­ing view­ers with a light­hearted ode to films like 2001: A Space Odyssey and In­ter­stel­lar. “i wanted to reach ev­ery­body’s in­ner child. i felt that by cre­at­ing worlds with a re­al­is­tic aes­thetic even a 50 year old would be able to re­late,” adds mizrachi.

to bring his vi­sion to life mizrachi set about writ­ing a screen­play and work­ing with is­raeli con­cept artists, yali Keren and tal Rach­min, to pro­duce tons of con­cept art that de­picted the sur­real world of the video. mizrachi con­tin­ues, “we then de­signed style­frames that would con­vey the vis­ual ideas and guide­lines to martin nabelek, a 24-year-old ge­nius from Prague, who tack­led ev­ery CGI as­pect of the mu­sic video. martin and i worked purely via skype and Face­book mes­sen­ger.”

the project’s rel­a­tively low bud­get meant that the team had to work in a num­ber of in­ter­est­ing ways. this in­cluded a five-day drive around is­rael, in which the team and young ac­tor imri Agin­sky shot in the most sur­real and outer space-look­ing lo­ca­tions they could find. “while we were edit­ing and sharp­en­ing the fi­nal cut, martin was work­ing to ac­com­plish the CGI shots and we made lots of de­ci­sions around that,” ex­plains mizrachi.

By far the long­est part of the process was the com­posit­ing led by VFX artist saar oz – he and mizrachi took an un­pop­u­lar ap­proach. “we de­cided to let ev­ery shot evolve on its own by ex­per­i­ment­ing with the com­posit­ing, this way ideas emerged nat­u­rally, and we could fo­cus most of our ef­forts on the de­tails.

“the pos­si­bil­ity that peo­ple would come back and watch the video more than once in­spired us to work hard on

You have to be open to change and able to em­brace prob­lems solv­ing them to the best of your abil­ity

Michael Mizrachi, di­rec­tor

minute el­e­ments that would not nec­es­sar­ily be no­tice­able at first glance.”

mizrachi high­lights Corona Ren­derer as the most help­ful tool the team utilised on the project, as he ex­plains, “it al­lowed me to look at the fi­nal frames and an­i­ma­tion very quickly. Be­cause martin and i live in dif­fer­ent coun­tries i wasn’t able to over­see the process in per­son, but with Corona he was able to send me great look­ing ren­ders. we also had a 32-bit EXR, which al­lowed us to do any­thing in post, and it was re­ally easy to match colours and com­pose the CGI along­side the real shots.”

the only ob­sta­cle was that, at the time, Corona did not sup­port the ren­der­ing of smoke ef­fects, mean­ing the team had to reach to­wards Hou­dini and Phoenix FD to solve the prob­lem. mizrachi also faced chal­lenges when it came to re­al­is­ing his orig­i­nal vi­sion, “A big chal­lenge in di­rect­ing and pro­duc­ing Cg-based films on such a low bud­get is that you can’t al­ways con­trol the results. you have to be open to change and able to em­brace prob­lems, solv­ing them to the best of your abil­ity. For­tu­nately, this process can pro­duce much more cre­ative im­agery.”

De­spite the chal­lenges mizrachi has crafted a mes­meris­ing rep­re­sen­ta­tion of the song’s themes, one that he whole­heart­edly be­lieves in. “it’s a call for ev­ery­body’s in­ner child,” he says. “it’s that lit­tle whis­per that says ‘with hard work you can achieve any­thing’. some­times we face daily chal­lenges that seem im­pos­si­ble, this piece was cre­ated with the pur­pose of re­mind­ing you what you are ca­pa­ble of, it asks you to aim higher with your fan­tasies, to es­ti­mate your­self more and achieve your dreams.”

The re­al­is­tic feel of the vi­su­als was in­tended to coun­ter­act the child­ish and dream­like qual­i­ties of the mu­sic

CGI was avoided by Mizrachi and his team wher­ever it was pos­si­ble to do some­thing prac­ti­cally

Barak Feld­man en­listed the help of fre­quent col­lab­o­ra­tor Yoni Bloch to com­pose the mu­sic for One Day Love with Daniella Boss per­form­ing vo­cals and play­ing nu­mer­ous in­stru­ments

Mizrachi got his taste for film­mak­ing when he di­rected his first short Mov­ing in high school

An ex­am­ple of the con­cept art de­vel­oped by Yali Keren and Tal Rach­min that helped Mizrachi re­alise his vi­sion for the mu­sic video

One of the style­frames that al­lowed Mizrachi to com­mu­ni­cate his vi­sion to Prague-based VFX artist Martin Nabelek

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