Jack Cannon is an 18-year-old artist with a primary focus on lighting design. He has designed and programmed for artists and influencers all around the United States. Since the Covid-19 shutdowns, Jack has centered his work around creating designs for architecture, music videos, film, and live streams.
Music Video Design Montage
The above video contains segments from three music videos. More on these videos can be found below.
Mayn Music Videos
These videos were shot on October 24th, 2020, at Mack Sennett Studios. Jack was requested for this project by producer Helen Sartory of The Rattle LA. Music artist Charlie Maynard wanted lighting that felt captivating, immersive, and illusive. The design was built around three music tracks, lighting was then programmed to continuously run thirteen minutes straight.
Building The Design
The producer and artist wanted to draw inspiration from Nonotak, a studio focused on creating dreamlike experiences with video, audio, and light. The first idea was to use fourteen Astera Titan Tubes to light up translucent curtains/cycloramas. However, with being unable to find two forty by fifteen-foot translucent curtains within budget, Jack began rethinking his design. Jack decided upon using heavy haze in place of curtains to fit the budget. He also determined that he wanted to incorporate movement within his design. This led Jack to explore the usage of moving light bars such as the X4-bar by GLP and the Chorus Line by Elation. After testing different effects, Jack decided upon using six GLP X4-20 bars that would be mounted vertically on six-foot steel pipes. Within a heavily hazed environment, the X4-20s were able to fill the atmosphere with their 50-degree zoom and create detailed lines with their 10-degree zoom. To aid the design as eye-candy, Mark Ravenhill of German Light Products (GLP) provided Jack with twelve prototypes of the CL1+ wireless/magnetic lighting fixture. These fixtures came with a clear and a diffused cover. To create a better ring-like eye-candy look with them, Jack built onto the fixture with magnets as seen in the image to the right. These fixtures were on their first field test during this music video and became a great detail within the final design.
Creating a design for this production was the easy part. The difficult part was the programming. The design was programmed completely within Capture 2020 pre-visualization. It was programmed on an MA2 Light over the span of three weeks. To assure lighting lined up on film, all thirteen minutes of music were timecoded. Lots of trial and error played into fine-tuning a program that visualized the intent and story of the music. By the time the programming was finalized, 351 effects were programmed, 3,109 cues were stored, and fifteen Starbucks Vanilla Lattes were consumed.
Two of three videos have been publicly released, all three are available to view below:
Call & Response: Youtube Link
You Got It: Youtube Link
Polyphonic (Unreleased): Vimeo Link
Equipment provided by Kinetic Lighting, Cann Light Productions, Los Angeles Audio Rentals, and German Light Products.
Final Design (minus CL1+)
CL1+ with Magnets
Hotter Than Your Instincts Music Video
This video was directed by Christopher Parsons, a famed photography who has toured with Kendrick Lamar and has shot for Nike, Under Armour, and more. After seeing Jack Cannon's work on Mayns' Music Videos, Khushi, a music artist who is signed with Warner Music Group, requested Jack to design for his experimental music video -- Hotter Than Your Instincts.
The video was shot at a dance studio in East Los Angeles on November 16th, 2020. Since its release, the video has reached a global audience of over five million. The video has been posted on the Instagrams of James Blake (517k Followers), Jameela Jamil (3.4m Followers), and more. The full video is available in 4K by clicking here.
Jack was contacted by Khushi and Parsons one week before the video shoot was scheduled. It was requested that Jack create a design that would be paint like on the dancer. Jack knew that he wanted to use moving gobos and animation wheels to accomplish this feat. To find the right shapes, Jack spent hours within pre-visualization testing the gobos of different fixtures on a humanoid model. He landed upon using the GLP Impression S350 Spot, which has the gobos seen on the right. To aide the S350, Jack incorporated four versatile GLP FR1s, one ETC Source Four Lustr LED, and one Generic Par Can. The pre-visualization shots on the right show the design intent.
For the twenty-second time in Jacks' career, the fire department decided to stop by the show. The haze used to amplify the lighting caused an occupant of the building next door to pull the fire alarm. Due to this, we had to shut down our use of haze halfway through the shoot. To compensate for the lack of haze, the creative team used a sourced black curtain to project lighting effects onto.
Equipment provided by VoltLites, Preston Productions, and Cann Light Productions
Director: Christopher Parsons
Hair + Makeup:
Chris Akerlinds' Light Lab Class