HOW IT’S MADE - TEON GIBBS MUSIC VIDEO “BIG MONEY”

Oct 1

Cooperation is a strange commodity in the arts. It’s part purpose, part fascination. Of dreaming of a vision no pair of mortal hands could build on their lonesome. Of giving way to personal preference, and allowing a fluid hierarchy of creativity to reign supreme for the duration of its process. A subject. A director. And the hands to make it a reality. And it is within these three facets that we see our favorite visuals forged and quenched for our eternalized pleasure. In an age, where we may access all, consume all, and spit it back out into the world for all to see, till the end of time.

That’s where we’ll begin this conversation, for it’s maestros are due such regard. They’ve been quietly sharpening their teeth, honing their skillsets, and revealing facets to the world, and to themselves in the process. For Hannah Yang, and Abdo Megahid are creatives bar few in our illustrious coasts, yet it’s nearly criminal they’ve never had a venue to spit their case. And so, this was the dual opportunity to interview one of my Music Video GOAT’s within our hollowed streets, and the man who cuts and sews his masterpieces, like the savants of old, on Premiere Pro.

That’s where we’ll begin. The meeting of twin titans, and talents, as they merged their momentum to craft Teon Gibb’ a music video milestone.

Teon Gibbs - Big Money ft. Director Duo, Hannah Yang, and Abdo Megahid

With both of you sharing directing duties, how did you balance each other's ideas while maintaining a cohesive vision for the project?

HANNAH - First off, I think co-directing is very difficult. Everyone talks about there being one voice in charge, a single vision…I understand that. To be able to co-direct with someone, you need to have the utmost trust, chemistry, and respect for each other. We’re so lucky that we just “happen” to be those kinds of collaborators with each other. I think one of the keys to us directing something we’re proud of and actually enjoying the process, was to play to each other's strengths. Abdo has an extensive background in post-production and is a killer Editor. In my day-to-day life, I’m usually in the production office or on shoots, so I’m well versed in prep work. On set, Abdo focused more on shot composition and worked closely with the camera team, while I focused more on giving direction to the actors. However, we always checked in with each other to make sure we agreed with the creative choices and that we were serving the vision that we came up with together!

ABDO - Honestly, to Hannah’s point, co-directing is hard. I’ve had the luxury of co-directing with several great directors, and I always find value in it because you can bounce ideas off each other. You bring your strengths to the table, while your co-director fills in the gaps or masks any weaknesses you might have. With Hannah, she’s got such a good grasp on the production side of things, which allowed me to focus on the details of how the visual effects would work and how the video would come together from an editing standpoint. She’s right—I do come from a post-production background, so I was literally on set with my laptop open, already starting the edit in Premiere Pro while we were shooting, auditioning takes in real-time. That’s something I wouldn’t have been able to do if I was directing solo, and Hannah wouldn’t have done herself since she’s not an editor by trade.

Hannah was able to focus on working with the actors and really getting the best performances, while I concentrated on how the effects, shot transitions, and the overall edit would work. So, it was a cool back-and-forth dynamic, with each of us handling different aspects but constantly checking in with each other.

What was your process for interpreting Teon’s music and translating the emotional core of his lyrics into a visual medium?

HANNAH - We asked Teon to send us a few unreleased tracks for which he could envision a music video. Big Money was easily our favourite. Even before it was completed, it already had an incredibly cinematic sound to it. For example, you can see the visuals playing to the sounds of the song such as the Faceless Homies banging their fists on the table to the beat…the silence then the riser as we flash into what we call the “Limbo” scene, where a light moves back and forth across the screen with cuts to alternate Teons haunting our main Teon. So those sonic cues allowed us to pinpoint certain moments of the video where we needed a big “oomph”. Also, Teon wrote Big Money like a lyrical story:

This the shit I used to dream of

Used to have visions of goals that was scene from

That one movie - where wood Harris had that Beamer

Gold BBSs and a certified team of

Go getters who ain’t afraid to go the deep route

But jealousy’ll have these n*ggas cleaned out

Pinching every penny tryna squeeze out

An image, that I could never be about

At this point of the song, Teon isn’t celebrating “Big Money” anymore. He actually points out the toxicity of “clout-chasing” and how he has realized he can’t be about that life. Teon made it easy for us to imagine different visuals because he created such a powerful character arc in his track.

ABDO - I’ll leave most of this answer to Hannah because she summed it up perfectly, but yeah, like she said, Teon sent us a few unreleased tracks, and Big Money was easily our favorite. For me, a huge part of the process was pre-visualizing the edit even before we hired anyone or went to camera. Since I knew I’d be editing it, I wanted to get a feel for how the visuals would match the beats of the song from the start. One thing I do with all my music video projects now is to time everything in the edit before we shoot. Hannah and I sat down, deconstructed the song lyric by lyric, and mapped out the timing for the visuals based on the music cues. That helped us go into production with a clear vision of what we were going to do, which made the whole process a lot smoother.

The video plays with complex symbolism, such as the image of an elder Teon eating his younger self. How did you approach creating such striking imagery together?

ABDO - The concept of elder Teon eating his younger self was actually an idea Hannah had early on, and it was in our initial treatment. We knew we wanted this striking visual, and it came from this absurd yet symbolic idea of rich people snacking at the dinner table—except here, Teon is literally consuming himself. It plays into the theme of how greed and the pursuit of wealth can consume a person.

We executed it with the help of an amazing camera team who lit the scene perfectly, and our VFX supervisor, Zee Khan, was on set to guide us through it. Kevin Ang, who did the VFX, was even FaceTiming with us on the day to give pointers. A fun detail was that we had this 3D-printed figurine of Teon that Hannah’s friend, Kelvin, made for us. It looked like a Fortnite character, which was hilarious. We actually lost the miniature on set, but it served as a great practical reference for the scene, and it’s just one of those funny memories from the shoot.

HANNAH - It’s so interesting to hear peoples’ interpretations of the story because no two opinions are the same. The life-size Teon actually represents his new self, basking in the luxurious setting with esteemed guests; the miniature Teon represents his old, humble self. We actually asked Teon how he would dress his “down-to-earth” self. If you look carefully at the mirage of the “red Teon” in the limbo scene, you can see that it’s the same one as the miniature. As Abdo said, early on I just had the thought, “what if your greed ate you alive?” which inspired my idea of down-to-earth Teon being consumed by his new self.

Can you describe a specific moment on set where your collaborative dynamic really came into play and elevated the production?

ABDO - There were two big moments that really showed how well Hannah and I worked together on set. The biggest one for me was during the limbo scene. I had Premiere Pro open, with the timeline and song markers all laid out. I knew exactly where I wanted the cuts and transitions to happen. Meanwhile, Hannah was totally focused on the performance, guiding Teon to get the best out of him in that scene.

That dynamic between us—me focusing on the technical aspects of the edit while Hannah worked with Teon—was huge. It freed me up from worrying about the performance, and I could lock in the edit exactly how I wanted it. And it freed up Hannah to make sure Teon’s performance was on point, so everything came together smoothly.

HANNAH - Another big moment was directing the fans scene. A bunch of friends came out to act as fans in a grungy warehouse scene. Energy and vibes are infectious on set and you need to be able to create that accordingly as a Director, especially for non-actors who may not be comfortable on camera. The scene was also complicated as we needed lots of movement and enthusiasm from the fans so that the slow shutter shots would be successful. Abdo was carefully watching the takes from the monitor and ensuring things translated properly on screen and I was behind the camera, yelling out the lyrics and dancing with the fans. Again, letting the other person play to their strength was how we were able to cover our bases.

What were some of your favorite behind the scenes moments? Are we likely to see a little BTS video?

ABDO - The fan scene was definitely one of the best. We had all of our closest friends come out as extras, and Hannah was just hyping them up like crazy—getting them to move in sync with the beat, going left, right, left, right. Meanwhile, I’m sitting at the monitors just laughing because I’m watching everything come together in real time. It was such a fun day, and the energy on set was electric. That scene turned out to be one of my favorites in the final video, purely because of how much fun we had shooting it.

HANNAH - Oh man that clip of me yelling lives in my head rent free haha. That was also my favourite scene to shoot. I have to hand it to Ali Heraize, our DOP, and Titouan Fournier, our camera op. We didn’t have as strict of a shot list with that scene and we wanted to let them just run with it and “cook”. That’s where we saw some magic happen, when we encouraged our trusted creatives to have fun with the shots and do what they felt right! I was happy to see them so excited to be able to try things out, which led to some awesome shots like Teon grabbing the camera!

The VFX were simply sublime, capturing the surreal, yet provocative scenes and themes effortlessly. How did you two approach the VFX, and how did it allow you to better capture Teon’s vision for the project?

ADBO - For Big Money, we knew from the start that the VFX needed to capture the surreal experience of being consumed by money. The most critical part of that was the faceless effect, which represented people who had lost themselves to greed. Originally, we were thinking about making them headless, but that ended up being beyond our scope. The faceless idea worked just as well, though, because it gave off this eerie, soulless vibe—like they’d completely lost their identity.

We were heavily inspired by Edgar Wright’s Last Night in Soho, which had this unsettling, uncanny feel to it with shadowy, faceless figures. We wanted to bring that same discomfort into Big Money. That faceless effect really became the core of the VFX. Everything else, like the 3D world and the apocalyptic imagery, was built around it. A lot of that was inspired by films like The Matrix, especially with the red pill/blue pill symbolism and the grim, dystopian atmosphere.

Working with the VFX team was such a learning experience. We had Dorodango, run by my good friend Carlo Quicho, and other talented artists like Davané, Zee Khan, Steele Turner, and Kevin Ang. Each one of them played a crucial role in making the VFX come together. There were definitely challenges, like figuring out how to work with Unreal Engine and understanding the limitations of 3D on set, but we learned so much in the process. In the end, we were really happy with the result, even though there’s always more you wish you could have done.

How did you each contribute to balancing the blend of fantasy and reality in the video? Were there specific parts of the narrative where your individual strengths stood out?

ADBO - The approach was always about keeping things grounded, but with an element that felt just a little bit off. That’s why the first minute of the video doesn’t feature any VFX. We wanted the audience to feel like it’s a normal dinner scene, with people sitting around a table while Teon raps. You don’t even realize something’s off until we jib down during the first chorus, and then it hits you—everyone’s faceless.

HANNAH - Ditto this! We intentionally left the homies’ faces off screen which (hopefully) should feel unsettling to the audience because as humans, we look to each others’ faces for information.

ABDO - We played with that balance of real and surreal throughout the video. We kept the audience on the edge of their seat, waiting for the next reveal. Then, when the blue pill version of Teon shows up, the whole thing shifts. Suddenly, we’re in this post-apocalyptic, black-and-white 3D world where Teon faces the consequences of picking fame and money over reality. The blending of fantasy and reality was all about holding back those surreal elements until the right moment, and then unleashing them in a way that shocks the viewer.

Abdo, you’ve worked with a variety of artists and brands, while Hannah has a background in narrative-driven projects. How did these experiences inform your approach to this music video?

ABDO - This was my third music video as a director, but I’ve edited quite a few others—maybe seven or eight in total. The difference with Big Money was the scale. This was the first time we had a proper production team, lighting, and all the technical support we needed. I’ve had other music videos with small teams, and you end up wearing multiple hats, which can be overwhelming. But this time, thanks to the grant funding, we could pay people properly and focus on the nitty-gritty details.

One thing that stood out to me was that no matter the scale or budget, you’re always punching above your weight class with music videos. Even with more resources, it always feels like you’re pushing yourself to the limit to get the best result. It’s humbling, but it’s also a reminder that no matter how much money or gear you have, the drive to make something great is what matters most.

Also, since I’ve worked with Ali (our cinematographer) and Hannah before, the working relationship felt second nature. We’ve built up a level of trust, and that familiarity allowed us to push ourselves even further with this project.

HANNAH - Even though Abdo has done a lot of branded work, he is always story-driven and makes sure there is some kind of narrative development. He was actually more into hashing out the character arc and building a story behind the Big Money video while I was initially more into visual metaphors. We ended up implementing both and it worked beautifully. There are definitely some formal processes in the narrative world that I appreciate implementing in music video shoots, such as working with a 1st AD (shoutout to Carl Figueiredo) who can lead your crew through an intense shooting schedule. Abdo is so collaborative and has no ego whatsoever and trusted me with doing things a certain way if I felt it made the process more organized.

Looking back on the project, what’s one key takeaway or lesson from your co-directing experience that you’d apply to future collaborations?

ABDO - Honestly, after this experience, Hannah and I both felt like we made a really great team. I was really happy with how things turned out, and I definitely see myself co-directing with Hannah again in the future.

Directing, in general, can be a lonely job. As someone who thrives in collaborative environments, having someone to bounce ideas off of, and someone whose opinion you trust, is incredibly powerful. It builds up your confidence, not just in the project but in yourself. I could see myself solo directing in the future, but there’s something special about co-directing—especially when you have that kind of chemistry with your co-director.

One of the biggest lessons I learned is how fulfilling co-directing can be when you have a partner you’re close with, like Hannah. It’s rare to find a co-director who complements your weaknesses and who you can have those heart-to-heart moments with on set. That level of trust and friendship made the process so much more liberating. Honestly, I don’t think I could have done Big Money on my own, and I don’t think Hannah could have either. It was such a collaborative experience in every aspect, and that’s what made it my favorite project I’ve ever worked on.

HANNAH - One key lesson from this co-directing experience for me was to co-direct with the right person for YOU. Every Director does things differently, and there’s nothing wrong with that. It just means that you need to get to know your working style, where your strengths lie from a technical and creative perspective, and who will compliment those things. You and your Co-Director should be like two puzzle pieces that fit together. My takeaway is that Abdo and I are great Co-Directors hah, and I’m glad he feels the same way!

FINAL THOUGHTS

It’s a rare commodity to get artists of their caliber to have a chat, and for them to divulge more details and fascinating moments than 3 dozen of my interviews combined has me reeling at the sheer potential of them, and this scene. It’s a cardinal truth within B.C that our talent pool is second, fuck that, bar none, in this country. And in my opinion it leans heavily away from musicians, into the photographers, videographers, directors, and fashion nerds that dot our scene. Each crafting niches befit for biographies that I only wish I had the time to read.

Yet, this is the case, I will, and I have made; three dozen times over throughout my career. And yet, it still pains me to see my contemporaries never get a budget of their dreams, to cast all our doubts asunder. Zeus… New Parallel, Micky, fuck I could name another half a dozen and i’d still be true. But times change, as all times do; as the old guard shifts into disparity, and the new knights of a new age fill their ranks three times over.

And I hope I was able to reveal, just a fraction of two. For Hannah Yang, and Abdo Megahid, are on a path, like no other. Crafting universes with cast offs, and the knowledge that with enough hands, and enough will power, a path is forged, through fire, or fear, only if you never dare to kneel. To reality, or your betters, or a fated end, that may never come due.

As only when you play to your strength, may you build upon. Yet, only trust that those blocks build into empires of their own. And yet, this is a place to shout out the rest of the team that brought this masterwork to form.

Song by: Teon Gibbs @teongibbs100

Produced by: Tapatio @tapatiomuzik

Mixed by: Gabe Miller @jubapatow

Director: Abdo Megahid @abdomegahid

Director: Hannah Yang @hannahyangfilm

Producer: Darci McDonald @darcimcdonald

Production Manager: @mikhaela.bea

1st AD: @carl_the_ad

2nd AD: @sahil_arya_94

3rd AD: @omarsidani18

Director of Photography: @aliheraize

1st AC: @dayton__lewis

2nd AC: @jamiejptm

Camera Operator: @titouanfournier

Steadicam Operator: @steadi.zee

Stills: @hannahdolisss

Stills: @johnstolzle

Stills: @jjustinhilll

BTS Videographer: @daljindermunday

Gaffer : @krystal.chn

Key Grip: @microwave_massacre

Dolly Grip: @everme_media

Swing: @dani.billington

Swing: @blazef_arts

Swing: @tristan.miura

Swing: @antoni.mp3

Swing: @mattosullivan.rekt

Swing: @indiana_wilson_films

Swing: @justincahyadi

Swing : Clara-Marie Nowicki

Production Designer: @productiondesignhotline

Art Director: @morfxmakeup

Hair & Makeup Artist: @bruna.contin

Stylist: @ab.williams

On-Set Stylist: @camillecandia

Key PA: @sr.dfmoreno

PA: @simon_hoebert

PA: @alhemusic

PA: @_andrewlo

PA: Bella Lee

Editor: @abdomegahid

Colourist: @camthecolorist

VFX Services: @dorodango

VFX Supervisor: @carlo_quicho

On-Set VFX Supervisor: @zeekhan__

On-Set VFX Supervisor: @davaneh

VFX Artist: @davaneh

3D Artist: @carlo_quicho

Compositor: @zeekhan__

Compositor: @skyloreang

Compositor: @steelej.fx

Match Move Artist: @emiko0

Cleanup Artist: Austin Oh

Cleanup Artist: James Carriere

If you don’t hate this scene you’ll reach out, throw a follow, or even hire out a few of these wonderfully talented artists in their own right. But in lieu, i’d like to thank them for a labor of love that took uncountable hours, a dumpster full of bloody rags, and tear tracks that stay longer than the tears themselves. And yet, all art asks of its creator more than we are often willing to give. But to stand proud with a Music Video that will stand the test of time, is a moment to be cherished. And so, worth it all.

I’ll conclude the rest of this with a final heartfelt call, but as a final note, shout out Teon Gibb’s for continuingly push the boundaries this scene has to offer.

AND FINALLY. I wish Abdo Megahid, and Hanny Yang a bone deep godspeed; may your movements follow the ever wayward winds, and your sails only still to capture its fleeting epiphanies.

As always, written by hashnain

Hashnain

My name is Hashnain Patel, writer, photographer, sycophant.

https://intothesublime.ca