This animated music video, by Felix Colgrave (animation) and Fever the Ghost (music), brings a meticulous mess characters and a continuous shift in scope as it progresses. The entire piece is 2D fluid animation with a distinct style for its characters with soft and bulging eyes. The animation rarely, if at all, stutters. Each motion moves well to the next and shifts between scenes with ease.
Muted greens paint the hills covered by shadows as the sun rises. A few fixed shots of these hills establish normalcy before one of the hills has eyes (and friends). We start to see different colors of several caves depicted through fixed shots with the dragon moving through them. Noticeably the cut is often indicated by one element of the music but not always the same one. The major set pieces, the disco ball dropping and turning on the light switch, fall in sync with the hook. The light switch introduces that element of music well and when the shot is widened by a pull also introduces the light bulb, very much the inciting incident of the video. This leads into a swift pan back up to the hills which begin emitting light from their orifices. Up until this point the shots have been mostly fixed. Once the disco-ball lights up the planet a series of cuts introduces new characters in short pushes in toward the subject and finally pans right to a couple of dancing shadows. When the disco-ball is raised up as the second hook starts the color palette also changes to more diverse coloring for a moment. One peculiar choice was the choice to raise up colorful building that didn’t fit within the established color palette. Why this was done? I can’t be sure, but it is minor and overall doesn’t detract from the rest of the piece.
After the midpoint of the video the shots mostly reflect their earlier counterparts as many of the shots are revisited and unchanged, save for a couple. The shots in the cave are the same fixed angle but are different in how they manage to depict movement this time around. The shots separate the foreground and the background and move across both in different speeds. The person sitting with a fishing pole pans up to the sleeping frog but all without movement from the subject, instead it stems from the surrounding features shifting in front of the subject at a higher speed.
(The pan uses the foreground to overlay the subjects and move from one to the next.)
Transitions are the least noticeable part of this video and that’s what makes them the best part too. The animation is not only in animating the characters but animating many of the transitions. This may be one of the biggest advantages of animation. Each seamless transition is unique in its details but often is also accompanied by a specific pan or zoom. Each transition as already mentioned is also dependent on the music, each transition synced with a beat in some element of the song.
Symmetry has a tremendous presence in the video, but not until the light bulb has entered frame. The fixed shots with the dancing twins are all symmetrical. As is the entirety of the video, we start and end on the hills, the disco-ball returns to the ground, . The day begins and ends in front of us. Not only the composition of a lot of these shots but also the structure that the content is delivered in is symmetrical.
Source is a manageable mix of differing artistic elements whose secrets dive deep under the radar and leave you with a colorful story of someone’s daily task with their friend dragon.