Despite his idiosyncratic productions characterized by the encapsulation of visual narratives and varying color spectra, White says his work is stylistically unintentional. The self-taught videographer’s repertoire continues to make waves around the world, having worked with top local artists such as Nasty C, Tellaman, Shekhinah, Kwesta and Master KG. White was recently called upon to deliver the visuals for Master KG, Akon and David Guetta’s global hit “Shine Your Light,” marking the biggest milestone of his career as a videographer.

Music videos have been a much-needed helping hand for musicians during the COVID-19 pandemic, much the same way they did in the 60s and 70s when they began to replace the need for music bands. traveling from city to city to play live shows. to promote their new music. Videos fill the promotion gap with few live performances, shifting the focus from performance-based repertoires to more artistic, narrative and conceptual works. This decision is supported by the proliferation of several video streaming platforms in recent years that have relaxed barriers to accessing the media. White is leading the music video scene with her impressive catalog.

The director grew up in Qonce, Eastern Cape. His insatiable interest in music and video making came to him in his early days as a television presenter. Inspired by his older brother who was a wedding photographer at the time, White scraped together some money, bought an entry-level camera and shot some videos for free. White’s next career would blossom after he took a big financial risk by quitting his job and he hasn’t looked back since.

In this interview, Kyle White talks about the top five videos he’s created and his first steps in producing a stellar music video.

How important are music videos for artists?

Music videos are the best form of marketing for musicians: they give the artist a platform to show more of the story as well as their individual styles. They play a few other roles, like completing a song if someone has listened to the track but hasn’t fallen in love with it yet. Videos can also help the viewer fall in love with the song and the artist.

How do you conceptualize your creative direction for each clip?

Sometimes the artist gives carte blanche, as with Nasty C’s ‘Whipped’ and Tellaman with Shekhinah. They gave me the song and asked me to conceptualize it. So, I started listening to the song in my hotel room in Cape Town and started imagining the visuals. I remember I wanted progression – not just simple performance shots, I wanted to break up Tellaman’s performance shots where he was in the shots so that the scenes in the song would change. However, in other cases, the client comes to you and already has an idea they would like you to execute.

Which videographers inspire you in South Africa and abroad?

I don’t watch other local content because I don’t want to imitate the directors’ style of shooting. However, a few that stand out for me would be Studio Space Pictures’ Eliseo and Ofentse Mwase, both from South Africa, and internationally, Matt Alonzo.

In your opinion, what aspects make the perfect music video?

First, a good song makes a good video. And then professional talent and good editing, editing timing, pacing, color, style and camera movement. Also, don’t question yourself while filming. Don’t rush, take your time. Appreciate your crew and treat them and they will treat you well in return.

What are the things to absolutely avoid when filming?

A progression towards a video that does not make sense. Scenes that are not shot with an appropriate frame range or incorrect speed. Bad editing and choosing the right location are important. I also try not to film in the same place that I have already filmed, with the help of scouts.

What are your technical skills and what makes your work stylistically unique?

I’m not just a director who directs, I also edit and operate. I do the lighting, I don’t change DOP, I follow the DOP, so some videos end up looking the same. Even a hip hop video might look like an R&B video, the lighting will be different, but it might have the same quality. I don’t have a style when it comes to rhythm and editing, it’s just organic. I don’t do things intentionally to create a particular style. There are some things I like to do though. When I film, there are certain lenses that I choose depending on what I’m looking for. I know if I want a detailed plan, and it’s ad hoc I want a close-up, I go to 15mm. If I want a medium shot, I take 35mm, and if I want a wide shot, I take 24mm or 21mm.

What sets Kyle White apart from other local music video makers?

I consistently do good work and have done so for many years. I love what I do and am extremely passionate about it. I think these qualities emanate from my finished products.

Can you tell us more about your opportunity to film “Shine Your Light” in the Dominican Republic?

“Shine Your Light” was quite a difficult experience. I got a call about the opportunity from someone at Master KG’s Open Mic Productions label – a long time friend, mentor and client Malou, but who I was due to shoot this weekend. Three days later, I was on a plane to the Dominican Republic – jet lagged and disoriented, without a crew, without equipment or a confirmed filming location, and I didn’t know any locals. Because the Dominican Republic is close to the United States. Americans still frequent the place, they are strict about using local producers and most of them are Spanish speaking so I had to hire translators. But finally, I was able to remove the music video on Sunday night.

What did you learn from the experience?

Believe in yourself.

Below are Kyle White’s top five videos, in no particular order:

Shine Your Light by Master KG, David Guetta and Akon

I love this one because we shot it in the Dominican Republic. Working in a foreign country was fun, and it’s a beautiful song. In addition, I was able to work with Akon and Master KG. The timing of the song was also great as we would really need some good vibes with all the suffrage we went through. Watching the edit brought tears to my eyes.

Whipped by Tellaman, Shekhinah, Nasty

In this video, I liked the cast, style, location, song, and color schemes. I received full creative direction.

SMA Vol 3 by Nasty C

I did two versions of this clip, and it was the first Nasty C clip I did. I also built the concept. I loved the story especially because I filmed it in Port Elizabeth, where I was educated.

Baby by OBT

I loved this video because it was just me, my assistant Mbulelo and two cast members. I enjoyed that because I liked shooting on the fly. I held the camera and did the lighting myself.

Black and White Vol 3 by Nasty C

This video is very special to me because I was able to work on it with Ari Lennox’s team. I developed the concept and filmed it when we got there. It was overcast but we made it work.