Damien Blue's new video for Rahn Harper's "As of Late" is here to continue Milwaukee's music video renaissance.

There’s a cinematic renaissance currently underway in local filmmaking, evident from the quality of music videos that have been popping up on screens recently. Two directors leading the charge, Cody LaPlant and Damien Blue, splashed onto the local music scene in January 2015, co-directing the video for WebsterX’s “Doomsday,” and they didn’t look back from there, continuing to collaborate on the rapper’s next video “Lately,” as well as projects from IshDARR and Reggie Bonds.

Recently, LaPlant and Blue have really been showing off what they are capable of doing on their own. A few weeks ago, garage rockers The Living Statues premiered a music video for their song “Valicity,” which was directed by LaPlant. And earlier this year he also directed Lex Allen’s “Cream and Sugar.”

Now it’s Blue’s turn to showcase his directorial chops. He directed “As of Late” by R&B singer Rahn Harper (formerly RahRah The Savage), which was released today. The lovelorn lament, produced by Mic Kellogg and featuring a guest verse from D. Bridge, may be Harper’s first official music video, but enlisting the skillful Blue behind the camera means that the effort wasn’t some fly-by-night production. In fact, the shooting schedule was quite ambitious.

“We shot at about 9 locations, all within Chicago and Milwaukee,” Blue says. “To name a few, we shot at Loyola Beach, Kiss Kiss Cabaret Burlesque Theatre, a beautiful rooftop lookout in the East Edge Water Chicago area, Matilda’s Bar, a cool Chicago farmer’s market, and a couple red line train stops. The other locations remain undisclosed! Can’t let all my cats out of the bag.”

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The video opens with beautiful shots of a pre-dawn, purple-hued Lake Michigan beach that are juxtaposed with black and white frames of a lost love, which was a decision to evoke the timelessness of the track.

“There’s a period piece sound that ‘As of Late’ carries; I’m reminded of the ‘50s,” Blue says. “I decided to film a couple scenes with Kodak 16mm film stock, a type of film that came into public use around the 1920s and is still somewhat available today at a high price. I felt that this true film look would without a doubt work perfectly with the song’s classic sound.”

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