As per our good friends at Wikipedia, “Synesthesia […] is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.“ In other words, the ability to see music in shapes can colors or another way to experience the intersection between music and visuals.
From a simple perspective, one may think that a music video has some similarity with synesthesia. It’s inevitable to think of Michael Jackson’s Thriller without transporting yourself to the Thriller video itself. Although there’s many ways of thinking visually when listening to music – or the other way around – music always had a strong relationship with visuals. And our spotlight member – Santiago Ortegon – knows just that.
With a background in art and film, Santiago began his career in Colombia and later in Argentina. There, he had the chance to explore audiovisual techniques, film making, cinematography and history.
Some of his first gigs were more for corporate clients. However, he found a way to blend both the music experience with what he liked best: video. After a brief stint at Sofar Sounds, he got involved with Redbull. The brand behemoth that lives and breaths relevant and culturally-focused content.
Much of his audiovisual content was used as part of the content strategy for their social media channels. RedBull has a keen focus on local music scenes. Especially Facebook and Instagram, where a substantial amount of their traffic was related to music, artists, and visual creatives.
Another content and beer king – Anheuser-Busch InBev – has been drafting an in-house agency for some time now, dubbed DRAFTLINE. This creative agency works across all 42 AB InBev brands “offering a range of services including TV production, packaging, out-of-home, radio, email marketing and data collection and fulfilling all programmatic media buying (which accounts for 10 percent of AB InBev’s media spend).”
Santiago works directly with the agency at their Colombian subsidiary, Bavaria, and has been working on very interesting projects that includes both music and visuals. These range from stop motion, short-form content, while also having some time to work on his own particular set of experimental projects. Especially, music-related ones.
We love creative teams at Stereotheque, which is why we’ve dedicated our product to understand and analyze how creative skills can be quantified in order to find that perfect gig.
Santiago’s view on audiovisual teamwork focuses on 3 main action steps:
- Find references like other brands similar to these and start with a mood board;
- Be very specific about deliverables (quantity, length, effort, time, pricing)
- Format is very important (think about if this will live on Instagram Stories, or perhaps a YouTube series)
A point he highlights is the tools and gadgets he uses. This is key when identifying the full scope of the project and the team members he will work with. Some of his favorite gear includes the Sony FS7 (he says no brand beats Sony in terms of luminance and night-shooting) and the WEEBILL Lab (camera stabilizer).
Among this personal, freelance projects, he directed and edited this video for Fundacion Futbol Pazifico, a non profit working with vulnerable communities through soccer in Colombia.