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Shamanica
Shamanica holds deep symbolism for those in the know. When Yura Icaro first reached out and introduced us to Shamanica, we thought it was just another mantra. But as we got to know Yura, we uncovered a world where 'Icaro' songs are deeply rooted in the shamanic ayahuasca traditions of Peruvian culture. These songs aren’t just sounds; they’re the living breath of ancient wisdom, guiding energy, healing souls, and opening doors to the spiritual realm.
Yura Icaro stands out as a true guardian of this art. His Icaro are like winds, reaching into the very core of existence. Each melody whispers like the breeze through forests and rivers, each note a touch of the unseen. Like a poet, he weaves nature’s power into his songs, guiding those who seek truth on a path of cleansing and light. Yura Icaro is a keeper of wisdom, a master whose Icaros bridge worlds across the ages. The elders know him as Shamanicaro.
The visual concept draws from Leonardo da Vinci’s "The Last Supper," with Yura taking on the role of a messiah for those still at the table. Initially, we cast 12 women, but one, after realizing the project’s depth, chose not to participate, leaving the table in a fitting parallel to reality.
To craft a powerful intro for our video, we went to New York to capture the essence of a city that makes you want to escape. Cinematographer Phil Konst used the Snorri Cam—a unique rig that attaches to a vest, immersing the viewer directly in the shot. The lightweight BMPCC 6K camera paired with a Laowa Nanomorph lens gave our scenes a cinematic, captivating feel. And as the cherry on top, there's a hidden Easter egg: Yura makes a brief cameo next to a Shamanica premiere poster on Broadway.
Shamaniсa is rich with references to ceremony and untouched nature, so we were careful not to overwhelm it with effects or CGI. However, in a few scenes, we did incorporate minimalist visual illusions to enhance the overall feel.
On set, some intriguing moments unfolded. During prep, someone mistakenly specified a black tablecloth, even though da Vinci’s was, of course, white—perfect for bouncing light and filling shadows for just the right balance. When the producer arrived on set and re-read the list, they were horrified. There was no time to get a new tablecloth, and it was a weekend—finding something suitable in Miami was a tall order. As they discussed options with the decorator, he casually pulled out a white tablecloth, saying, “I grabbed this as a backup just in case.” Yura smiled and said, “It’s the spirit; it’ll guide us.”
We chose a natural color scheme for The Last Supper, staying true to the main reference. While it might sound straightforward, this approach is rarely seen in music videos! To ensure the best accuracy, we used the Video Color Checker by X-Rite.
The amazing Marilia Moreno, a Brazilian model, was the perfect embodiment of Madre. Her final exit after the words "Gracias Madre" was a stunning piece of improvisation, much like the choreography itself. Yura purposely didn’t brief any of the actors, aiming to keep things natural, and it’s one of those rare instances where it paid off beautifully.
Yura Icaro stands out as a true guardian of this art. His Icaro are like winds, reaching into the very core of existence. Each melody whispers like the breeze through forests and rivers, each note a touch of the unseen. Like a poet, he weaves nature’s power into his songs, guiding those who seek truth on a path of cleansing and light. Yura Icaro is a keeper of wisdom, a master whose Icaros bridge worlds across the ages. The elders know him as Shamanicaro.
The visual concept draws from Leonardo da Vinci’s "The Last Supper," with Yura taking on the role of a messiah for those still at the table. Initially, we cast 12 women, but one, after realizing the project’s depth, chose not to participate, leaving the table in a fitting parallel to reality.
To craft a powerful intro for our video, we went to New York to capture the essence of a city that makes you want to escape. Cinematographer Phil Konst used the Snorri Cam—a unique rig that attaches to a vest, immersing the viewer directly in the shot. The lightweight BMPCC 6K camera paired with a Laowa Nanomorph lens gave our scenes a cinematic, captivating feel. And as the cherry on top, there's a hidden Easter egg: Yura makes a brief cameo next to a Shamanica premiere poster on Broadway.
Shamaniсa is rich with references to ceremony and untouched nature, so we were careful not to overwhelm it with effects or CGI. However, in a few scenes, we did incorporate minimalist visual illusions to enhance the overall feel.
On set, some intriguing moments unfolded. During prep, someone mistakenly specified a black tablecloth, even though da Vinci’s was, of course, white—perfect for bouncing light and filling shadows for just the right balance. When the producer arrived on set and re-read the list, they were horrified. There was no time to get a new tablecloth, and it was a weekend—finding something suitable in Miami was a tall order. As they discussed options with the decorator, he casually pulled out a white tablecloth, saying, “I grabbed this as a backup just in case.” Yura smiled and said, “It’s the spirit; it’ll guide us.”
We chose a natural color scheme for The Last Supper, staying true to the main reference. While it might sound straightforward, this approach is rarely seen in music videos! To ensure the best accuracy, we used the Video Color Checker by X-Rite.
The amazing Marilia Moreno, a Brazilian model, was the perfect embodiment of Madre. Her final exit after the words "Gracias Madre" was a stunning piece of improvisation, much like the choreography itself. Yura purposely didn’t brief any of the actors, aiming to keep things natural, and it’s one of those rare instances where it paid off beautifully.
But the all content for a clothing brand doesn’t have to be fancy with pricey models or exotic locations. The real key is consistency! But make sure you stick to your brand guidelines to keep your identity strong. For Fleet Ground, it’s all about that grunge, carefree feel—where anyone passing by can grab what catches their eye.
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