You For Me Victoria Horne in new Video ‘You for Me’, cinematography by Mourrice Papi

Here is the video for Victoria’s new Summer hit song “You For Me”, enjoy!.

Some Process Notes on Victoria Horne’s “You For Me” New Music Video

by Mourrice Papi

Bringing it back to our first video together—we shot Victoria’s Maefield sections on July 8, 2024. At that point, we were still figuring out what Maefield would be—stylistically and structurally—but we knew we’d be integrating AI visuals. The day she came to review our footage for Maefield, Victoria passed me footage for another track, You For Me. It had already been shot remotely in Key West, Florida, with dancers from CoffeeMill Dance Studio performing to the song.

She wasn’t sure what to do with it yet—just wanted to see if I thought there was something we could build from or if it was worth editing. I backed up the media, tagged it for later, and we set it aside while we continued work on Maefield, which took us through October.

Once we had Maefield launched and going well, we jumped right into You For Me, and I filmed Victoria on November 11, 2024, here at my live-in studio space at Westbeth in NYC. She brought a range of wardrobe and character options—including backup singer versions of herself—but we decided to remove her backup singer section so we could focus more on the actual dancers as characters and give more screen presence to Victoria as the lead.

We shot Victoria’s footage in Opengate 4.2K RAW at 60fps on the Sony FX3, using Zeiss CP.2 Full Frame lenses. Working in RAW allowed for a much wider dynamic range and detail, which was crucial—not just for preserving skin tones and subtle lighting cues, but for blending with the brighter, high-key dancer footage from Key West and the variable color schemes of the AI-generated sequences.

Before that shoot, I had gone through the dancer footage from Key West—syncing everything and organizing it into sections based on the track. At that point, only a few of the scenes were edited into the timeline, but the footage was already showing strong visual chemistry between Victoria and the dancers—even though they had been filmed in completely different locations. The juxtaposition actually worked well. The choreography by the CoffeeMill dancers was beautiful—clean, expressive, and full of warmth—which gave us a lot to work with visually.

Victoria, who has her own deep roots in choreography and performance, took the time to study all of the dancers’ videos beforehand. She came into the shoot fully prepared to match their energy and rhythm. Even her vocal performance takes—which we captured in one take per part—were done with complete presence and precision. That level of preparation really showed up in the edit. It helped make the entire piece feel cohesive and grounded, even though everything had been filmed separately.

Victoria comes from a long background in performance—singing and dancing, especially in live environments like cruise ship shows—but very little of that history exists on video. So as we developed the visual layer for this piece, I started incorporating elements of that world into the AI prompts. We used tools like Runway, Kaiber.ai, and Kling Pro to build out those environments. That became the foundation for the look of her lead sections—cruise-inspired, warm, and layered with performance context.

Altogether, the edit was intense. This was a multi-format, multi-camera build across a range of media sources. I spent close to 100 hours just on auto masking in DaVinci Resolve, isolating Victoria in twelve takes—each one a different focal length, costume, or scenario. We ended up cutting four layers from Victoria’s performance set, but the remaining material still required heavy compositing. Sometimes I’d go back into Resolve and the timeline just wouldn’t take to the rendered cache files—so I’d have to redo the entire masking set from scratch, which took about 10 hours each time just for the auto mask passes alone.

In total, we spent just over 300 hours on the project from edit to finish, also the Key West Shoot. We ran through around 600 AI prompts and generated over 200 4K clips, many of which were refined, matched, and integrated into the final cut. All of it came together into a layered, cinematic piece that really captures the spirit of Victoria’s song.

Here are the Credits from the video: