Lines Blur Between the Real World and Editorial World in Dynamic The Kid LAROI Music Video

A catchy track like 'Too Much' from The Kid LAROI, featuring Jung Kook of BTS and rapper Central Cee, requires an equally appealing music video. Rising to the challenge, Magnetic Field director Ramez 'Mezzy' Silyan developed and executed high concept visuals inspired by the world of magazine editorials. The resulting music video brings together three global pop stars in a dynamic, stylised way, with each artist spotlighted for their unique talents. 

From the get-go, Ramez envisioned the project would bounce between two distinct settings: the real world and the editorial world. After being given the greenlight, production began almost immediately, with main unit filming taking place in a Los Angeles studio over two days. 

“It’s never easy to get the schedules of three extremely busy artists to line up, but we managed to have them all together across two days in downtown LA. Physically being on set is very important to me and my process,” noted Ramez.

Shooting on 35mm film with very little VFX, Ramez crafted the editorial world in camera by capturing the performers in dynamically lit simplified spaces art directed by Ava Villafane and shot by his repeat cinematographer Marz Miller, to evoke magazine covers and editorial spreads. Each performer is initially defined by a colour palette – red for The Kid LAROI, purple for Jung Kook, and orange for Central Cee – with background elements subtly nodding to their respective cultures, before quick cuts begin shifting toward a high-fashion aesthetic. After the initial shoot, b-roll of the magazine covers was captured, with each one physically created by the art team.

In the real world setting, actions are mirrored in the performance setups of the editorial world, almost as if the magazines were voodoo dolls. When a glass of water is spilled on a magazine in the real world for instance, it begins raining in the editorial world, loosely threading the two realms together. Similarly, wind blowing pages of a magazine in the real world is reflected in the editorial world. 

“Projects almost always move quickly in this industry, and this one was no exception,” concluded Ramez. “The reality is that no matter how much time you have to begin with, you always use every last second to make sure that you’re delivering at the highest level possible.”