Kyle White’s top five music videos

Despite his idiosyncratic productions characterised by encapsulating visual narratives and varying colour spectrums, White says his work is stylistically unintentional. The self-taught videomaker's repertoire continues to make waves globally, having worked with top local artists including Nasty C, Tellaman, Shekhinah, Kwesta and Master KG. White was recently called upon to deliver the visuals for global smash hit ‘Shine Your Light’ by Master KG, Akon and David Guetta, marking the biggest milestone in his video-making career.

Music videos have been a much-needed helping hand for musicians during the COVID-19 pandemic in a similar way they did in the 60s and 70s when they began replacing the need for bands to travel from one city to the next one to play live shows to promote their new music. Videos are filling the promotion-deficit gap with few live shows going around, shifting the focus from performance-based repertoires to more artistic, narrative and concept-based works. The move is propped up by the proliferation of several video streaming platforms in the past few years that have eased the barriers to accessing the medium. White sits at the helm of the music video scene with his impressive catalogue.

The director grew up in Qonce, Eastern Cape. His insatiable interest in music and video making became apparent to him during his early days when he was a TV presenter. Inspired by his elder brother who was a wedding photographer at the time, White scurried some money together, purchased an entry-level camera and filmed a few videos for free. White’s ensuing career would blossom after taking a big financial risk of quitting his job and he hasn't looked back ever since.

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

What’s the significance of music videos to artists?

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

How do you conceptualise your creative direction for each music video?

Sometimes you get carte blanche from the artist, like with ‘Whipped’ by Nasty C and Tellaman featuring Shekhinah. They gave me the song and asked me to conceptualise it. So, I started listening to the song in my hotel room in Cape Town and began envisioning the visuals. I recall that I wanted a progression – not just simple performances shots, I wanted to break up Tellaman performance shots where he was within the shots so that the scenes within the song would change. However, in other cases, the client comes to you and already has an idea that they would love you to execute.

Which video directors inspire you in South Africa and abroad?

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

What aspects do you think make the perfect music video?

Firstly, a great song makes a great video. And then professional talent as well as good editing, the timing of the edit, pace, colour, styling and camera movement. Also, don’t second-guess yourself while you’re filming. Don’t rush yourself, take your time. Appreciate your crew and treat them and they’ll treat you well in return.

What are some things that should absolutely be avoided when shooting?

A progression to a video that doesn’t make sense. Scenes that are not shot with an appropriate frame range or incorrect speed. Poor editing and choosing the right location is important. I also try not to film at the same location that I’ve filmed before, with the help of venue scouts.

What are your technical competencies, and what makes your work unique stylistically? 

I’m not just a director that directs, I edit and I operate as well. I do the lighting, I don’t change DOPs, I’m the DOP, so some videos end up being similar. Even a hip hop video could look similar to an R&B one, the lighting is going to be different, but it might have the same quality. I don’t have a style when it comes to pacing and editing, it’s just organic. I’m not doing things intentionally to create a particular style. There are certain things I like to do though. When I’m filming, there are certain lenses that I choose depending on what I’m looking for. I know if I want a detailed shot, and it's ad hoc I want a close-up, I’m going 15mm. If I want a mid-shot, I go for 35mm, and if I want a wide shot, I’ll go for 24mm or 21mm.

What makes Kyle White stand out from other local music video directors?

I consistently deliver good work and I've been doing this for many years. I love what I do and I’m extremely passionate about it. I think those 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 challenging experience. I got a call about the opportunity from someone from Master KG’s record label Open Mic Productions – a long-time friend, mentor and client Malou, but that I had to shoot that weekend. Three days later I was on a plane to The Dominican Republic – jet-lagged and disorientated with no crew, gear, or any confirmed set locations, and I didn’t know any locals. Because the Dominican Republic is close to the US. Americans always frequent the place, they’re strict about using local producers and most of them are Spanish speaking so I had to use translators. But eventually, I was able to pull the music video off by Sunday evening.

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 lovely, and it’s a beautiful song. Plus, I got to work with Akon and Master KG. The timing of the song was also great because we could really do with some good vibes with all the universal suffrage we’ve been going through. Watching the edit brought tears to my eyes. 

Whipped by Tellaman, Shekhinah, Nasty 

In this video, I liked the casting, styling, location, song and colour schemes. I was given complete creative direction.

SMA Vol 3 by Nasty C

I did two versions of this music video, and it was the first Nasty C music video I did. I also put the concept together. I loved the storyline particularly because I filmed it in Port Elizabeth, where I schooled.

Baby by OBT

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

Black and White Vol 3 by Nasty C

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