Mackenzie Sol - The Other Side - Music Video

Music Video

Mar 18

Objective

Create a continuous, one-shot music video for Mackenzie Sol’s “Other Side” without cuts, visual effects, or green screen. The camera would move through three sets, live wardrobe changes, and precisely timed performance beats within a compressed eight-day schedule.

The production used a high-speed Cinebot Max on 20 feet of track. More than one million programmed data points coordinated camera position, zoom, focus, talent, wardrobe, lighting, and practical transitions.

Strategy

Pre-Production and Previsualization

The team broke the 3:52 track into a frame-accurate timeline at 23.98 frames per second. Each performer position, set change, prop, piece of furniture, and camera movement was planned before filming so the entire song could unfold as one continuous move.

Camera Technology

The Cinebot Max is a seven-axis robotic arm capable of carrying a 50-pound camera package and repeating precise camera, zoom, and focus moves in three-dimensional space. Programming the final move took four days, but the performance still needed to feel natural rather than mechanical.

Set Design

Three sets were built around the robot and its track to support uninterrupted transitions. At the end of the video, the camera reveals the full studio, showing the practical sets and confirming that the sequence was captured in-camera without green screen.

One-Day Shoot

After four days of programming, the shoot was completed in one day. Each set was built, dressed, and lit with a distinct look while remaining connected to the continuous camera path.

Working with Mackenzie Sol

Mackenzie Sol performed alongside the high-speed camera system, hitting precise marks and coordinating closely with the technical and creative teams to remain synchronized throughout the take.

Result

The finished video combines repeatable robotic camera movement with a performance-led, continuous visual sequence.

Creative Concept

In Color Studios creative director Ed Gregory developed the concept for “Other Side” around a single moving shot that would pass through changing sets, locations, wardrobe, and talent without green screen or computer-generated transitions.

Four days of programming and rehearsal prepared the camera path for one focused shoot day. The final turn of the camera reveals the full studio and the practical production environment behind the sequence.

Performance and Camera Coordination

Mackenzie Sol rehearsed the timing and marks required to work safely beside the Cinebot. The repeated camera move captured small performance details while maintaining the larger choreography of the set changes.