REDVELVET ‘PSYCHO’ HORROR ART review | ART LESSON EP 5


hello everyone today’s art lesson ep.5 we will be discussing art composition in red velvet’s song this MV uses a lot of muted tones black, white and muted tones with low contrast on top of that, the camera work is not flashy devoid of fast panning, special effects, 3D epicness like their past music videos however this song still captures the eye it feels strangely inviting the thing that gives it that feeling is from good composition colour selection and good timing in editing looking at the grid for designing motion i’d like to call this the invisible gridline but before that, let me explain what a grid line is to put in simple terms, a grid is.. an imaginary grid line that has been created to simplify a designer’s placement of objects on a frame grids are often used to aid the design of layouts like posters, you can use grid on any kind of design these posters consist of a bunch of fonts and lines but they are interesting to look at because they were composed with a grid the teaser posters for this mv used the same concept not only that, they also broke the rule of poster design 1. don’t use more than a few font types 2. the text need to be aligned to make them “pleasing” but all three posters have several fonts, and almost no alignment but in making them unaligned they’ve already considered to keep the grid for example this green one, “YERI”, “L”, “K” and “M” align for the pink only “L”, “S”, “M” align, and aren’t even the same font but to keep everything in line, they added a thin frame red doesn’t seem to have anything, however, but they’ve actually composed a triangular shape like a christmas tree and incorporated good negative spaces kept center texts aligned the name, camera angle, and colour palette of this song reminded me of a film from 1960 it was called “Psycho” in 1960 there was a famous horror film about murder it was titled “psycho” the iconic scene from this film, is the scene where the lead female is taking a shower and a murderer approached if this was today, i’d feel this wasn’t that scary, or taboo but back then, hollywood was very conservative you cannot show murder, knives, blood, nudity so many things were forbidden so they had to depict a gruesome murder with a long list of restrictions and what they chose to do was the edited away the specific things that were forbidden with quick cut transitions and violent angle changes i feel this is what red velvet do a lot in their MVs towards the ending, the cimax of the video, the camera work and transition get more violent and there’s always a murder theme in red velvet’s MV but the murder never gets told directly for a filmmaker if you can create a horror film you can do very well with other genres because horror films are the best of camera work usage you have to trick viewers with the camera and if you can scare viewers you can make them feel anything another highlight of this MV that i want to talk about “honourable mentions” is how they managed to make “less more”, “more less” one thing we see a lot in K-pop MVs are the usage of vivid colours and the songs are usually dance music overwhelming with instruments and everything which makes me feel uncomfortable but in this work they’ve managed to make more, less for example the cotton threading scene which has so many components there are five people but there’s only one person with movement on the right and one on the left, at different intervals it’s easier for us to take in information that work is going on in this room but it doesn’t feel overwhelming imagine how chaotic it would be to see everyone peddling the machine all at once next, making less more making less more in this MV is entirely about composition for example, this scene has almost same focal range and almost evenly parallel, it’s almost flat the used lighting to manipulate depth the white sculpture looks big and wide which makes that space look empty like it’s very close to the camera mid range is the only one with colour which makes it stand out and it’s also in the middle of the frame the background looks like a whirlpool creating an illusion of a never ending abyss when it’s actually very flat another similar scene but with superiority in composition is this scene the scene where Joy is whispering to Seulgi and the beam of light in the back aligns with her back so when we see the depth of the image following Joy’s motion and look at Seulgi your eye movement stops with the motion of her back and again even more pronounced with that beam this forces viewer’s eyes to focus on what Seulgi is doing, feeling, and reacting and finally, a simple scene that i really like is this the cutting of the string the string acts as a visual guideline, it starts off as a straight line once cut, it moves away to open to the face it is clever, simple, and beautiful and in another scene this uses only a mirror’s reflection but with an infinity reflection and a trick shot where a reflection looks back it’s like a classic horror scene which is inexpensive, compared to finding a long hallway to film this is more clever and gets greater effects let me mention the telephone scene once more it think this is cleverly use grids and colour and that forest wallpaper because the colour matches Seulgi’s hair which makes the mid rage, although flat similar to the previous one but because the background is a forest with depth it gives the illusion of more space which de-clutters the frame and that’s the interesting composition of this MV this is a short and quick episode, the MV just aired thank you so much for watching until now merry Christmas and Happy New Year i’ve got to go now, see you!

Dereck Turner

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