[FLNK MAGAZINE] INTERVIEW WITH KPOP M/V Director, NOVV KIM (Kim Hyunjae)
2023.05.19
“A video is a music video when it contains even a single sentence.”
Watching a well-crafted KPOP music video makes us love the artist and his music even more. Who makes KPOP music videos, which have become a strong link between artists and fans, and how?
We spoke to director Kim Hyunjae (NOVV KIM) about his work and the KPOP scene, including his latest video for STAYC's “Teddy Bear,” as well as videos for artists such as Stray Kids, CHUNG HA, KANG DANIEL, SF9, DAY6, and many more.
Hello! Please say hello to the readers of FLNK MAGAZINE.
My name is Kim Hyunjae (NOVV KIM), and I am a photographer and director of music videos, performance videos, and other videos that focus on music. I lead a creative team called “We are NOVV”.
Please provide details on your journey of creating KPOP music videos.
After finishing my photography and film studies, I made live clips and performance videos for a YouTube music channel for two years. I've been listening to different genres of music since I was a kid, and I've always been interested in dancing, so making music-related videos was a natural fit. It's like wearing clothes that cling to my body.
I started making videos for various artists, from indie musicians to KPOP idols, which led to connections with entertainment companies. I was approached by those companies and artists who liked my works, which allowed me to step into the realm of music videos. I was particularly drawn to the colorful KPOP music videos with diverse concepts. I’ve been working on them ever since because I'm fascinated by how they express the message of the music through dance.
🎬 Director NOVV KIM's M/V artwork with KPOP ARTIST
Do you have any favorite memories of working on KPOP music videos?
STAYC's “Teddy Bear” project, which was recently released, was the most memorable and satisfying, as I was able to create a video with the power of a “story” rather than a video full of incredible, colourful images that is often seen in the existing KPOP scene. The artist's agency is determined to explore fresh and revolutionary methods to break away from the conventional KPOP music video style.
The most memorable part of the shoot was filming the scene where the truck crashed through the convenience store wall. It was tense because we had to pull it off in one take. Thanks to the guidance and expertise of the stunt performers, we safely executed the scene where the actor portraying the part-time convenience store employee had to stand by the checkout counter near the wall. Thankfully, we pulled it off in one take, and I remember everyone applauding.
The most challenging shoot was on location for Stray Kids' “Lonely St.” music video, which we shot last winter, and I remember it was so cold that it was physically challenging for all the crews. We were shooting a night scene outdoors, and it was hard, with artists and staff shivering and runny noses in the bitter wind. A colleague from the production team suffered an unfortunate incident when their padding melted off due to standing too close to the stove.
I remember the “Right Through Me” scene from DAY6's unit group Even of Day. In the final scene, he breaks the window and throws himself out of the building. The location was filmed with the highest level of safety using “Sugar Glass,” a specialised type of glass. As a result of its expensive nature, the entire shoot had to be completed in a single take.
So we practised a lot without it beforehand, and when we got to the actual shoot, the members did a great job of performing it, so it turned out fascinatingly. We used a super-fast camera to shoot the scene very slowly, so I remember feeling the intensity as I monitored it on set.
As a director, what are your biggest concerns on set?
There are so many people involved in a music video shoot. It's always different to see so many people from other professions in one place. I like to think of music video directors as party planners you must be all over the place to ensure the “scene” runs smoothly.
One of the things I care about the most is the appreciation and recognition of the hard work of the crews involved. Recognising the multitude of individuals who work tirelessly behind the scenes to make music videos shine, despite the artist being the focal point, is crucial. I try to create an environment on set where everyone feels like it's been an enjoyable shoot and is fully engaged in their position, which also affects the outcome. Great results come from a fun and welcoming environment. It's the little things that add up to something huge.
If there's an identity that you try to take with you throughout your work, what is it?
I keep going back to the message, tone, and manner. There's more you can put into a video than in a photo because there's a temporality to it. I think A music video is a video when it contains even a single sentence, so I try to tell a “story” in whatever I'm doing. And I like heavy images in a single shot rather than flashy effects and quick transitions, so I focus on that when working on colour correction. I love rich, deep colours and try to keep that going.
Fans of the artists you've worked with have responded well.
When preparing to make a music video, I always look for information about the artist, his appeal, and the needs of his fans. By analysing a lot from the point of view of the actual fandom, I was able to satisfy the parts that the fans felt needed to be improved in the artist's previous work. We received many contacts from overseas fans, and as time passed, they liked how we look now, so I have a lot of grateful memories.
And once the music video is released, I like to read the comments on YouTube and the feedback from various communities to explore what I need to improve. Seeing someone have a heated discussion about something I've created, interpret it more interestingly than I intended, or even reinterpret it as a secondary work is one of my favorite moments.
I'm curious about your favourite artists.
My favourites are a British band called “The 1975” and “Troye Sivan”. In the case of The 1975, the style of music they create is the vibe I've always loved, and I like Troye Sivan because he tells his own real-life stories and emotions.
Among KPOP, I love Lee Hyori, 2NE1, and Brown Eyed Girls. These are all KPOP artists that I've loved to the point where I know every song on every album. Lee Hyori's "U-Go-Girl" is a song that I love so much. I even see the choreography of the song by heart. Another artist I've recently become interested in is STAYC. I have been collaborating with them at POPPY since it presented a fantastic opportunity. However, I must assert that as I continue working on the project, I have begun observing them with more scrutiny.
What is the KPOP content industry like from the perspective of a music video director?
As someone who loves KPOP, I'm enjoying that KPOP has become globally recognised in such a short period. It allows us to show our works to a broader audience, and I look forward to the public's feedback every time I work on a film. If the second-generation idols, with their diverse and unique concepts, were the KPOP I looked up to as a teenager, they’d grown into a more sophisticated and sensible KPOP culture now. There are trends in everything, so the culture that is widely known and talked about varies with each passing period.
As a producer, I experienced some regrets I never had when I was a viewer. When I started working on the project, KPOP culture was homogenised in some ways, and everyone was striving for perfection, so there was much diversity but many similarities. Recently, we're seeing much variety and change again, which is excellent for everyone else. Freshly, we've caught many cultures that combine with AI, and I think KPOP is one of those cultures that allows us to taste a lot of different cultures.
KPOP culture has multiplied and will continue to develop and show various aspects. I'm looking forward to a tomorrow where it doesn't stop being a fad but becomes more established as a culture. Producers like us need to keep up with that pace, or even ahead of it, and keep trying new things. I hope that KPOP, as a culture, will be able to deliver a positive message to people.
How do you want to be remembered in the KPOP scene in the future?
The motto of the “We are NOVV” team is to bring peace to those who are discriminated against in the world. I want to be remembered as someone who delivers warm messages such as “hope”, “comfort”, and “courage”, just like our team's slogan.
Finally, do you have any words of advice for KPOP fans?
It takes the efforts of hundreds of people to make a single music video, and it's the crew that focuses on the music and explores the artist's charm more than anyone else to make it look the best. For over 20 hours, they participate in running and shooting activities, with a mere 3-4 hours of sleep per day, while braving the harsh climate of scorching sun and bitterly cold winds.
Despite the shortcomings in the conditions of the music video set, we persist in pursuing it due to our unwavering passion. So let's give your warmest support and applause to the people behind the scenes who put in all the hard work and feel the love more than anyone else.
