Colmillo
Tainy, Feat. J Balvin, Young Miko and Jowell y Randy
Directed by Pau Carreté
Step into the extraordinary world of Colmillo by Tainy, featuring J Balvin, Young Miko and Jowell y Randy, where music, art and imagination collide in a groundbreaking music video directed by Pau Carreté. Divided into three distinct sections mirroring the song’s dynamic blocks, each segment unveils a mesmerising aesthetic journey. Seamlessly transitioning between black and white and vibrant colour palettes, the video sets apart reality from fantasy, offering a journey of visual stimulation. An unexpected twist with the inclusion of a hentai scene, adds a layer of uniqueness - a daring masterpiece, not to be missed.
Can you share your creative vision and how you interpreted the essence of the track in shaping the visual narrative?
Starting from the name of the song itself;
(Colmillo - Fang)
It all begins when two cats meet by chance in a street, we enter into a cross of glances.
An unrequited love at first sight.
We personify their thoughts, creating a similar situation between a girl and a boy sitting in the subway - also, two opposite spaces, black and white.
Explosions put an end to this untenable situation, and we cross another fictional dimension even further away. Discovering the interior world of each one.
The video seems to be divided into different sections, each with its own unique aesthetic. What inspired the decision to structure the video in this segmented way, almost like separate chapters?
From the beginning there was the idea of splitting the piece according to the three blocks of the song. To create completely different spaces within the same narrative. Since there is a notable change between each of the parts: Balvin and Miko, Miko’s solo and Jowell y Randy’s ending.
The video transitions from black and white to color and black, evoking a gritty 90’s feel. What inspired this aesthetic choice?
Separating reality from the imaginary.
We start from the initial sequence with a boy who holds up a small grocery store with an ice cream; just a few steps after leaving, he is chased by the police. We represent reality in black and white, with some touches of absurdity.
Until the crossing of gazes between the two cats where we enter an imaginary world in color, the scene in the subway is the personification of the look between the two cats.
As far as this more raw 90s look is concerned, there is no specific reference. It is probably part of the union of all my references, and what I like, so it came out organically. I like the contrast in the film.
“It was very clear from the beginning that we wanted a hentai scene; anime is a key element in the universe of Tainy”
The editing in the video is fast-paced and energetic. How did you approach the editing process to match the intensity of the music, and what challenges did you face in maintaining this high-energy flow?
It was a challenging process; I was very clear about the structure and the story we were telling. Although the challenge was to make the selection of footage only necessary, there was a lot of material.
We were working hard in express mode because the post-production time was very short.
The video takes a sharp turn with the inclusion of hentai elements. What inspired this shift to anime and how do these scenes contribute to the broader narrative and aesthetic of the music video?
It was very clear from the beginning that we wanted a hentai scene; anime is a key element in the universe of Tainy.
In the subway, the girl lights a cigarette in the shape of a firecracker, which leads to a series of explosions, symbolizing the height of this untenable situation. Putting a stop to what is happening. The explosions take us into the girl’s inner world.
What were some of the technical challenges you faced during the production and post-production, and how did you overcome them to achieve the desired visual impact, especially considering the diverse visual elements and styles employed in the video?
The idea was very ambitious. Certainly more than we could afford, so one of the challenges was to bring it down to reality. We found the formula of shooting the large number of shots needed without having to suppress practically any of the creativity.
The construction of the cat masks was a challenge at first; they had to be much more complex, although for a moment, other things took more weight, and we had to make cuts in this, so the option of buying some masks already built was raised. Finally, we found a workshop in Los Angeles that made us this magnificent work.
As for the Hentai part, we spent over two months working with the anime studio, Jumonji Studio. It was a great experience to work with them and see the real process of creating an anime.
For the 3D figure of the first part, we worked with Glassworks, which was another complicated process that they nailed.
We first shot the choreography with a motion control suit. Then the challenge was finding the shape and light of the figure we were looking for with our limited time. But in the end, I was very happy with the development, thanks to all of the team involved.
Director: Pau Carreté
Producer: Victor Mata
Production Company: CANADA
Production Company: WeOwnTheCity
Music video Producer: Anna Bacardit
Executive Producer WeOwnTheCity: Juan Vasquez
Producer WeOwnTheCity: Esteban Zuluaga
Cinematographer: Carles F Galí
Production Manager: Nicole Hansen
1st AD: Steve Valle
3D Animation: Glassworks
Hentai Animation: Jumonji Anime
Editor: Aitor Bigas
Grading: Julia Rossetti
Post Production: Álvaro Posadas
Post Production: Marta Ferrero
Post Production Coordination: Javier Botella
Post Production Coordination: Elisabet Meoz
Sound Design: IXYXI
Graphic Design: Lorena G. Oritz