The end result was that it dramatically increased how long everything took, but also allow us to create the moving painted style.

As I added more detail on the 3D side, Danae would then have more detail to work within the drawing. One of the biggest examples of this is the ending scene in the video. Luckily my hand got well and we finished everything in time.On average my goal was to make about 100 frames per day.

You just roll around this pearl in your hand every night and just look at it, like it’s a pretty thing. “A Pearl” is a song from Mitski’s fifth studio album For me, it was actually about when you have some kind of toxic relationship to yourself, or to another person, for so long that it becomes your identity.

Even if it becomes quite intuitive after a while, I spent a lot of time building color palettes for each scene. His renders kept getting more and more detailed over time.Throughout the project, colors and mediums were chosen very carefully. Motionographer spoke to the creators of this piece to get some insight into their process. “A Pearl” is a song from Mitski’s fifth studio album Be the Cowboy (2018).
Motionographer spoke to the creators of this piece to get some insight into their process.

How did Mitski approach you and what was the initial brief? Even though you’re in this great relationship with somebody who loves you and wants to take care of you, you still don’t talk to them about what’s toxic in you.

Danae would handle everything on the 2D side, and we would communicate closely on art direction, visual treatment, and any places the 3D design needed to change to reinforce the 3D design and vice versa. Mitski, “A Pearl” “I fell in love with a war and nobody told me it ended” — now there’s an all too relatable image for twenty-something emotional dysfunction. This test was the first time we achieved a more “painted” effect in the animation, where both 3D and 2D lived in harmony rather than opposition.To me it was a turning point in the project, from there on out I started to spend extreme lengths of time on the modeling, lighting, and coloring of each scene to try and push the painted effect.

[Intro] Eb [Verse 1] C Ab Fsus4 You're growing tired of me C Ab B Eb You love me so hard and I still can't sleep C Ab Eb You're growing tired of me C Ab Eb And all the things I don't talk about [Pre-chorus] C Ab Fsus4 Sorry I don't want your touch C Ab B Eb It's not that I don't want you C Ab F Sorry I can't take your touch [Chorus] Eb F C It's just that I fell in love with a war Eb Bb Ab Nobody told me it … Can you talk about the creative decisions you made along the way, the choice of mediums and techniques, as well as the challenges and limitations you faced through such a demanding production?Thank you Danaé and Saad for this interview and congratulations for such an amazing undertaking! Mitski: A Pearl Posted March 27, 2019 by Daniel Coutinho With a very appropriate title, “A Pearl” is a stunning music video showcasing beautiful storytelling and a unique combination of techniques. A Pearl Art Camp would focus a lot on the musical qualities of the piece, how the overall thing made you feel, and the rhythm and emotion of the character. Our contact with Mitski over the course of the project was off and on as mentioned because she was on tour.

The ocean scene, for example, was so intense I could only do 50 frames a day.

That song is about likening that sort of toxicity to a pearl.

Mitski self-released her first two albums, Lush (2012), and Retired from Sad, New Career in Business (2013), while studying at Purchase College 's Conservatory of Music. However, the input she did give very much helped us shape the project. The culmination of these techniques and explorations is in the Ocean scene at the end.Daniel lives in Los Angeles, CA, with his wife. As Danae and I continued to produce tests, we began to make more and more promising results.

Based on that test, I created a fully colored Mitski character with skin tones and explored different ways to light the skin in 3D that I felt would translate well into the physical process.

Initially, the plan had been to just have the character land directly back into the landscape with her shadow.

We’d all come together as frequently as possible whenever Danae and I had finished creating anything new to review and talk about what we’d made as a team.We made about 4000 frames worth of tests prior to even starting the final frames which ended up in the final video.

Vulnerability so delicate it makes porcelain look like steel, often mixed with raw, raging musicality to make for searing, gut-wrenching moments.

I’m sure there are plenty of stories about the making of this project! I got really anxious I wouldn’t be able to push through until the end.

That meant that I had to catch up with the schedule on the more subtle scenes and produce more on those days. I think it’s a scene that very much shaped the feeling of the video.Eventually, we moved on from brainstorming into the actual production. After we made the first test of her passing through the white paint house (below), I noticed that the 3D lighting and color palette actually had a pretty big influence on the final visual quality of the piece.Up until that point, we’d been using a grey character; the plan had always been to make the character resemble Mitski but we weren’t sure at what capacity and detail.
It was quite amazing how different the 3D renders felt based on how they were printed.

What was that collaboration like?For this project, how were the tasks and responsibilities split between the directors?The mix of techniques and the process involved in this video is something that really stands out.

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