Following The 10 Music Video Directors You Should KnowThe 5 Artists With the Most Expensive Music Videos of All Time and The 5 Artists With the Most Controversial Music Videos of All Timewe focus on five artists who are currently changing the game in music video production.  The Buggles' hit “Video Killed the Radio Star” pointed out the pros and cons of the impact of 20th-century technical inventions on the media arts, stressing a nostalgic remembrance of the past and how modern technology would forever transform the way people experience music. But this was back in 1979, when the dawn of the music video and the MTV era were revolutionizing the way artists communicated and marketed their music to the world, some even owing their entire success to the popular visual medium.

But now, thanks to the internet, the reliance on television premieres and staggering production costs (to a degree) are a thing of the past. Yes, big artists will continue to be awarded big funding, but the notion that expensive equates impressive is obsolete. Now that the medium has become something of a free-for-all, artists are looking for new ways for their fans to visualize and interpret their work - an “experience” rather than a “spectacle,” if you will. While groundbreaking feats in technology do play a significant role in most of our roundup selections, what these recent videos demonstrate is a new form of visual consumption - one that aims at interacting and communicating with its audience members on a more immersive level.

Artist: Azealia Banks Track: “Wallace” Game Changer: Interactive Webcam Control

Harlem-bred spitfire Azalea Banks took webcam surveillance paranoia to new heights with her trippy video for the Broke With Expensive Taste track “Wallace.” The wildly inventive black-and-white clip was made viewable exclusively via Google’s Chrome browser, creating an interactive experience in which the viewer is able to manipulate Banks’ expressions through their own facial movements, even appearing in the video’s background intermittently throughout.

Produced by Collins and co-directed by Nick Ace and Rob Soucy (who worked with Banks on her video for “Heavy Metal and Reflective” video), the clip was made possible by Google’s Cloud Platform, specifically their App Engine and Cloud Storage services. “I’m such a huge fan of technology and creative new ways of interacting and engaging with fans, so this collaboration was perfect for me. Music videos are as much of an art form as the music itself," Banks noted. “Working side by side with this incredible team of tech-creatives was a truly unique and enjoyable experience, and I’m thrilled to be part of a potentially groundbreaking new 'norm' in the future of making music videos."

Click here to get the full psychedelic experience.

Artist: Björk Track: “Stonemilker” Game Changer: 360° Virtual Reality

Icelandic pop experimentalist Björk has been changing the game in music for decades, but the video for the track “Stonemilker” from this year’s chilling break-up opus Vulnicura may be one of her greatest feats yet. Directed by Andrew Thomas Huang, the 360-degree virtual reality video - first exhibited at MoMA PS1 and Rough Trade shops in New York and London - allows viewers to navigate the visuals by dragging or clicking the arrows located on the screen’s top-left corner, watching the singer from different angles as she roams around a desolate beach outside of Reykjavik.

Shot on location in Iceland and employing innovative 360 camera technology, Huang told Dazed, “Intimacy was the goal of this project, giving Björk the open, unrestricted stage on which to perform, and giving audiences a one-on-one experience with her through [virtual reality].”

Artist: OK Go Track: “I Won’t Let You Down” Game Changer: “Multi-Copter” Drone Cinematography

Notorious for their highly imaginative video concepts, Chicago power pop outfit OK Go reached new levels of eye-popping ambition with their video for Hungry Ghosts’ “I Won’t Let You Down.” Similar to many of the band’s previous efforts, the video was shot in one continuous take and features the quartet riding around on omni-directional UNI-CUB scooters while synchronizing with an army of umbrella-wielding back-up dancers. Co-directed by frontman Damian Kulash and Kazuaki Seki, the video employed octocopter drone technology which permitted seamlessly sporadic ground-level and aerial shots during dance routines, concluding with a nosebleed-inducing high altitude pan of the scenic Japanese landscape.

Filmed in Japan’s Chiba Prefecture, the project was kickstarted through talks with Honda’s creative director Morihiro Harano. Harano linked the band with Honda’s internal ad agency which lead them to Japanese choreographer Airman, who helped them plan out the intricate routines. Filmed over the course of four days, the events were recorded at half the speed of the song and then sped up for the final video to allow the group to complete the complex choreography. The grand finale was sewn together from 44 separate takes and featured over 2,300 people.

Artist: Pharrell Williams Song: “Happy” Game Changer: First 24-hour music video

Dubbed “the world’s first first 24-hour music video,” Pharrell Williams launched the website to unveil the visual concept for his Despicable Me 2 hit “Happy.” Directed by French collective WeAreFromLA, the day-long video shows a series of people dancing and miming to the looped track around Los Angeles and features a slew of star-studded cameo appearances - Odd Future, Jamie Foxx, Jimmy Kimmel and Magic Johnson, to name a few. Shot on a steadicam camera stabilizer, the video made very careful use of edits in order to give a seamlessly continuous flow and enabled users to navigate to various points in the 24-hour timeframe. An official four-minute edit of the video was later released on YouTube, but if viewers can withstand the test of time, the 24-hour “Happy” experience is still available on the video’s website.

Artist: Beyoncé Track: Beyoncé (album) Game Changer: First-ever visual album

A bit different from the previous videos mentioned as this inclusion features no particular technological accomplishments and comprises of not one, but 14 videos. But moving on…

The surprise release and extreme secrecy that went into Beyoncé’s self-titled album was certainly an impressive feat, being the most celebrated and public figures of pop music and all. Like a thief in the night, the singer spit out a monumental album comprising of 14 new songs and 17 videos, dubbing it the "first-ever visual album.” Filmed from June to November 2013 during the “Mrs. Carter Show World Tour,” the videos were shot on locations such as a roller-skating rink Bey frequented as a child, a Brazilian beach, the Cyclone at Coney Island in New York, a Parisian château and a South American church.

Todd Tourso, who directed the videos for "Jealous" and “Heaven,” was appointed creative director of the project, which, according to a press release, was “designed to be consumed as a comprehensive audio/visual piece from top to bottom.” Featuring a roster of top-tier directors including Terry Richardson, Jonas Åkerlund and Hype Williams, many of the videos were shot unrehearsed and, to maintain secrecy, employed small crews and earphone music playback when shooting in public to ensure that none of the tracks were heard by any surrounding onlookers.

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