Industry 101
MOTION FAMILY
With music fans increasingly changing their music video viewing habits from the television to the computer, many artists are scaling back on trying to make extravagant videos like the ones Busta Rhymes and Missy Elliot used to SpLURGE ON. While technology has opened up the door for virtually everyone with the money to afford a nice camera to call themselves a “director,” Motion Family is setting the standard on how to make potent music videos in today’s climate. The three-man team consisting of photographer Diwang Valdez (RIGHT), videographer Sebastian “C Bass” Urrea (LEFT) and graphic designer David KA (CENTER) are emerging as the go-to team for music videos and OVERALL ARTIST IMAGING. After shooting careeraltering videos for the likes of Lil Boosie and Pill, Mo Fam are set to revolutionize music videoS. OZONE caught up with the team at their Atlanta headquarters to find out how it all started and where it’s going. Can you start off by telling us how the Motion Family got started? David KA: It started in 2004. C Bass and I were at Savannah College of Art & Design (SCAD) and we had the idea to start a full service agency. We graduated, C Bass moved to Tampa, and we had the dream to do videos. I convinced C Bass to move back here when I was working at Dapper Magazine. Diwang was there too; that’s how I met him. From there we connected and formed MF as an agency. We linked up with Yancey Richardson [at Atlantic Records] and he believed in what we were doing. He brought some work and videos to the table like Yung Joc, Gucci Mane, and Yung Ralph. Joc’s song “Posted At the Store” was our first major look. After that we did Pill’s “Trap Goin’ Ham,” and that’s the video that got us recognition. With three people being on the team, how do you stay on the same accord creatively? C Bass: It’s a natural vibe that occurs, because MF was formed off natural occurances. Everybody plays their part and respects each other and trusts each other. There’s not a moment where I can’t tell them to do what they feel. When it works it works. We just flow with it. MF has been together since college, it just worked. Diwang: When we’re on set, I know David and C Bass’ work and what they capable of. So there is no question. We have 3 different perspectives
but the same goal in mind. David KA: We all shoot, so if we’re feeling a shot, one of us might hop in. All our videos are like a collaboration of 3 different visions. If you sit down and look, I can tell who shot what, but others won’t be able to. But when we do our videos it’s 3 different visions. We might do 3 different looks per verse. Diwang: If the 3 of us are shooting, out of all of us, we always know what shot is the best. We’re non-biased. If it’s dope it’s dope. How long did it take you to research things and really get in the game? David KA: Technology has changed recently. When we started in 2004, film was real big and digital was just hitting the scene. With film you still need that 25 person crew. But with digital, depending on how you work, you can pull it off. We have a documentary style. We like to shoot real life, with no set-ups. If you know how to work your cameras, you can take advantage and the possibilities are endless. Back in the day you needed $150k to even get started, but now you might only need $5k to $15k. It’s crazy. If you’re into technology and how shit works, everything is at your fingertips. Diwang: Plus, we’re fans of the culture and we listen to the music already. This is what we like to do. We already have a good grasp on what we like to see. David KA: We’re getting in the game when budgets are the worst ever, but we have a love for this. The money will get better, but we love to do this. Do you think you’re changing the game? People don’t seem to want to do big budget videos anymore. David: It’s hard to say. We don’t want to put it out there that you can just do it for nothing. But we’re proving that you don’t need the $100k budgets to do videos that pop. If you have a vision and a feeling, and confidence in what you put out, it can work. Diwang: It’s about keeping true to the artist. With Yelawolf and Pill, we went to where they’re from. We didn’t stage anything or set up anything. This is his hood, these are his friends, these are his
parents, everything was really natural. C Bass: None of us set out trying to prove a point that you could shoot videos for less. We were just on a grind and trying to do our best with what we have. With technology switching, it’s been in our favor. It can be said that we made the point, but we weren’t trying to prove it. Do you write treatments? David: I hate treatments. C Bass: I don’t like treatments, but I respect the planning of it. For MF it’s been the plan of events; we’ve done treatments and executed. As long as we’re on the same page, we deliver. We’ve gone to Louisiana with Boosie and we won’t know what song we’re shooting for until we get there. We show up, listen to the song, bounce some ideas and locations around, and then “Mind of Maniac” is delivered. Diwang: Boosie trusts us. He’s all about doing the work. That’s what’s great about working with him. He’s been the easiest artist to work with. Everybody seems to trust you. Do you talk with the artists directly all the time? C Bass: Sometimes it works how it’s supposed to. Most times we do our thing; sometimes Yancy brings some work. But most times it comes down to the vibe with the artist and MF. When we work directly with the artist, they really open up. Diwang: We get a feeling of who they are and how they want to be portrayed. We’ve talked and built rapport with them, so it works more naturally that way. A lot your videos are shot in dangerous ‘hoods. Have you ever been worried? David: At any point you do have to realize that people might snatch the camera, but we don’t really think about it. Diwang: We usually aren’t worried because the artist we’re with is respected. We feel completely comfortable in the hoods and situations because the guys are really from there. So we don’t worry about security when we know we’re with somebody that’s respected. // Words by Maurice G. Garland OZONE MAG // 61