If you’re just starting on the path to becoming a Music Video Director, you might be wondering how to make this career happen. We got you!

Throughout this article, Alfredo Flores offers a wealth of knowledge and advice on what it takes to become a Music Video Director, which can be a career goal unto itself or a stepping stone to other professions.

Some professionals like Flores stay primarily in the music video world. But for others, they might transition at some point in their careers from this art form to another. For instance, did you know that Film Directors David Fincher, Michel Gondry, Spike Jonze, and Antoine Fuqua all began in the music video world?

Whether your goal is to work exclusively in music videos or use this industry as a jumping off point for another creative career, the following offers a few tips on how to start building out your professional path.

Being a Director for film, music videos, or otherwise takes training and acquired skill sets. It requires an understanding of both how a music video will look and how the music itself will play a part in it. Not to mention all the steps necessary both before walking onto a set and after you’re done with the shoot.

Film school is where you can learn all the skills and techniques key to pulling off a successful shoot. And because music videos have long been an industry all on their own, some film schools even include specific music video classes.

Whether you decide to go to college for filmmaking or not, nothing beats real-world on-set experience on student films, short films, features, and other music videos.

Jumping into the world of music videos for the very first time? This video offers a concise breakdown of what you need to know before you walk onto set.

All to say, pretty much every shoot can always use more Production Assistants or PAs. You might be kept busy grabbing coffee or lunch for the talent and crew, but you’ll also be learning exactly what happens on a shoot.

This tangible experience is valuable for two reasons. One, you’ll get an education on how to make a music video. And two, you’ll make connections with other creatives and technicians in the production world, which can help in securing jobs in the future.

Ready to take the leap for the first time? Odds are that if you’re looking to make a name for yourself in the music video industry, you just might have friends looking to make their name as musical artists, too. Why not pair up and help each other?

Even if you’re still acquiring the skills necessary to be a Music Video Director, it’s never too soon to try out what you do know with a friendly client like a friend. You might be doing the job for free, but it’s the experience you’ll gain that’s the payout.

Also, if you get enough experience creating no or low-budget music videos with your musician friends, you’ll soon build both the skill sets and resume necessary to move onto more high-profile and higher-paying projects.

Okay, let’s get down to the details of exactly how to make a music video. Just like directing a film, it always begins with pre-production.

Do not underestimate the importance of the pre-production phase! It’s when you will do most of the proverbial heavy lifting to ensure a successful shoot and post-production process.

Decide on a concept or storyline. A well-executed music video tells a story. The artist may already have an idea in mind or be looking for suggestions. Either way, it’s important to get on the same page both for creative reasons and to make sure that your agreed-upon budget can support that concept.

Agree on visual references. Visual references can be anything from other music videos to films to paintings and more.

Preparation is key no matter how simple that music video might be! Follow along as this video details how to plan ahead for a successful shoot.

Figure out budget. This is a biggie. Especially on a smaller shoot where there isn’t a Lead Producer per se, the Director may be directly involved with budgetary matters. Know exactly what funds you are working with so that you don’t end up paying out of pocket for the difference or asking the artist for additional funds, which could negatively impact your relationship with them.

Let’s say that one day you’re directing a video for a major music star like Lady Gaga or The Weeknd. When that day comes, you’ll likely have a full crew in place that includes even a Second Assistant Director, Second Assistant Camera, Best Boy, Caterer, Casting Director, and more.

But when you’re working on a low-budget music video, you might be wearing multiple hats or going without some crew members. Even on the most conservative music video shoots, though, try to have the following crew members:

Unless you feel extremely comfortable behind the camera, give the responsibility of working as the Cinematographer to someone else so you can concentrate on the many other responsibilities you’ll have during the shoot.

On a big-budget production, you would never have the 1st AC helping with the project’s lighting needs. However, both DPs and 1st ACs who have worked smaller shoots have usually learned the ins and outs of lighting, so to help your Cinematographer, have a 1st AC or proper Grip on hand to keep the project on time.

Music videos are all about style, so if possible, bring on board the individuals who are experts in it: a Costume Designer, Hairdresser, and/or Makeup Artist.

Like we mentioned, you can never have too many Production Assistants. From running errands to overseeing playing the song during takes, they’re invaluable for making a music video.

Location is important not only for helping to shape the look of the music video but also in determining if your budget will permit certain venues.

Working with a small budget for that music video? No problem! Learn how to create a compelling music video when you don’t have a big budget or big crew.

Multiple locations will typically mean more money, so try to stick with a single locale if possible. Also, don’t forget that you will need liability insurance for every location.

Again, in the interest of saving money, you may want to go with a concept where the Musician or band is the only talent. But if a particular concept calls for a crowd or the like, be sure to cast those individuals ahead of time—even if you just get your friends to be Extras on the day of the shoot!

You won’t have a music video if you don’t have the equipment to shoot it. Let’s say you plan to go ultra-low-budget and shoot on a device like a smartphone. Given how far technology has come, that’s not necessarily a bad idea, but make sure you have a backup in case anything should go wrong.

Otherwise, research your options around town for renting all necessary camera, sound, and lighting equipment. If you have a crew member who owns their equipment, that’s great, but keep in mind that they’ll likely expect a kit fee for it.

We’re not done with pre-production just yet! Before stepping onto set, have the following in order:

Even if you and the artist are in verbal agreement about the look of the music video, providing them with storyboards is vital to confirming that what you’re thinking is indeed what they’re thinking.

What mistakes do Music Video Directors often make and how can you avoid them? Find out from Cinematographer Justin Jones.

Storyboards will provide a visual reference as well as a storyline structure—and it’s much easier to tweak a storyboard while still in pre-production than make last-minute changes once you’re shooting or trying to create a new look in post.

A clear shot list is fundamental for making a music video.

Everyone involved with the shoot, from crew to talent and everyone in between, will need to know what is being shot on a given day, in what order and when they need to be on set. Don’t come to your shoot without one!

A shot list is a type of schedule, but you still need to create an overall day-to-day timetable that includes any scheduling matter that may not be part of that shot list.

All right, now you’re ready to shoot a music video! There might be nerves, but if you’ve put in the work during the pre-production phase, you needn’t worry about it being anything less than a success.

As you can see, the music video for Madonna’s “Vogue” clearly demonstrates cinematic qualities, which is why many Music Video Directors both attend film school and go on to have filmmaking careers. This particular music video was directed by David Fincher.

Keep in mind that each shooting day—if you have more than one—will go by fast, so stay on schedule. You are the lead on the shoot, so even as you’re trying to get the client to give their best performance for the camera, you likely will still need to keep an eye on your crew and any additional talent as well.

Congratulations on your shoot! Now it’s time to take all that great footage and make a fantastic music video from it.

When that day comes where you’re helming a music video with a high-profile client, odds are you may not be as involved with the post-production process. Why? Because for larger productions, other creatives and technicians will likely be brought on board to handle most post-production details.

When it’s a smaller shoot with a lower budget, though, you will likely lead the post process.

You’ve uploaded all your footage to a computer and are ready to assemble. As with having a dedicated Cinematographer on set, you may want to consider hiring a professional Editor to at least assist with this step.

Peter Gabriel’s “Sledgehammer” music video uses elements of claymation and stop-motion effects, which makes it both a visually stunning piece, as well as an exhaustive creative effort.

Editing is an artform and technical skill, and especially given the special considerations of a music video—such as syncing cuts to maintain the visual continuity of the artist singing—you could hugely benefit from having a pro at your side.

A lower-budget music video tends to preclude the use of green screens or special effects, but if you do have an effect that was created in post, now’s the time to drop it in. Same goes for any graphics.

Once you have a fine cut in place, lay the music over it. Hopefully, you’ll have a close match in terms of syncing the visuals to the lyrics and pacing of the song. This is the stage to make final edits to ensure that the sync is perfect by the time you get to picture lock.

Not totally happy with the color of the piece? Or perhaps you’re going for a more stylized look? In either case, once you lock picture on your music video and make no further edits to it, you can then address any coloring issues or needs.

Even musical videos for bands such as Nirvana – which some may think of as more minimalistic in nature – require an intensive pre-production process. Watch “Smells Like Teen Spirit” and carefully consider the extent of the production design.

Color correction can be used to enhance the visuals of your music video, and color grading can give it an elevated or altered look.

As the adage goes, time is money. That means a three-day shoot will be more expensive than a two-day shoot, which will be more expensive than a single-day shoot. Especially if we’re talking about a music video with a limited budget, you can—and should!—keep production to one day.

Thought of by many as the most famous music video of all time, Michael Jackson’s “Thriller” was directed by John Landis and used the talent and expertise of Oscar-winning Special Makeup Effects Designer and Creator Rick Baker.

However, the time it takes to prep for that music video and put it together in post-production will be significantly longer than a single day. Think weeks or even months. While it might seem like a big investment of time, a thorough pre-production phase is key to making sure your production goes by the book with no mishaps.

Another adage? Fix it in post. But what that typically means is that the post-production will be much more expensive than originally thought. Again, doing your prep can ensure that there aren’t any mistakes that need to be fixed. Plus, by putting in the necessary time, not only does making a music video become less stressful, but also you’ll likely have a happy client and great reference once your time on it is done.