Showing posts with label Shannen Ashcroft. Show all posts
Showing posts with label Shannen Ashcroft. Show all posts

Sunday, 10 April 2011

Evaluation

1. In what ways does your media product use, develop or challenge forms and conventions of real media products?

I believe that our music video for the song “Headache” by “Wolvves” uses the forms and conventions of music video seen with most indie rock genres, but challenges the connotations of real media productions. This is because of the montage sequences and multiple locations that we used in it, making it seem conceptual and more artistic, supporting our research into indie rock themes and connotations. This gave us a new creative edge that we, as a group, believed would encourage the band’s success. We avoided a narrative format because we found that to be most commonly used when making music videos, especially in pop genre songs, which our band didn’t fall under. Instead we chose to use more performance styled locations as it made the band seem less ‘labelled’ and more realistic, relating to our target audience.

We tried to use as many camera angles as we could to capture the excitement and adventurous nature of the band, ranging from long shots to extreme close ups to enhance the individuality of each member yet the bond they all have together as a band. The intensity and skill that we tried to show using extreme close ups was supported by the synchronicity of the long shots we used of everyone together, especially when members were playing instruments. Like the Avenged Sevenfold and Sum 41 videos we analysed in our second proposals we were inspired to use P.O.V. shots to show the crowds during one of the bands live gigs to show the audience that their music is enjoyed by others.

The editing methods we used for our music video were far from similar to those of real media products due to the fact that we hardly needed to use continuity editing. The amount of lip and instrument synchronicity we purposely avoided deviated the perfect timing seen within every other music video our audience would be aware of, giving us an almost dominating, artistic edge; great for the vast majority of indie rock fans. Shots were de-saturated to contrast the lighting of other parts and we increased the speed during fractions of the timeline yet had to slow others down to intensify the actions occurring. Nearly every shot will oppose with another, yet harmonizes with it at the same time. It is this contortionist style that has appealed to our audience.

2. How effective is the combination of your main product and ancillary texts?

Our main product was solely based on our subordinate texts to make sure the combination between the two was successful. We used our research to aid in the creating of our music video to make sure that it suited our target audience and genre.

Our primary research texts suggest that our bands theme of Indie Rock would connote them as a band seen different to others; wearing makeup or piercing themselves, but not to the extent of the connotations of those within the rock genre. The members within our band were styled to be “stereotyped” as normal individuals as they wore casual clothing and styled simple haircuts. However, one of the members had his ears pierced and another portrayed a slightly rugged look (with a beard), connoting a more rebellious stereotype, but not one to an extremity.
Other suggestions we researched state that the style of song and music video for an indie rock band would contain multiple attributes of an artistic style yet would not breach into the form of a piece of conceptual material, as some find this style to be confusing and more suitable for a more foreign or techno genre. Most points we learnt about the Indie Rock genre were opinions and preferences showing us how broad the spectrum for this particular style is. We originally understood from our interviews that very controversial videos will be disliked by many but will gain the most publicity, just like the current debates with the ideology of Indie Rock.

Through the learning and understanding of the Indie Rock genre we were able to create our advertisement and Digipak Cover/Insert. Reflecting the edgy, artistic persona of our chosen genre we each came up with designs that were self explanatory for the band - Wolvves. We chose to use traditional media methods when creating the initial images which we then scanned and used Photoshop to further manipulate. We thought that not using a photograph or Clip Art would make our products stand out against real media products.
However we did try to create a very simple yet bold digital at first that used the contrasting tones of Black and White. We figured that this cover would provoke curiosity within our audience but as our band are only starting, we realised that we should be promoting them as much as we could at this stage and show their creativity to excite new audiences.

Our video analyses led us to become inspired greatly when creating our main product. The text we used to explain the detail of each video helped us visualise our own ideas and grow an understanding of what lighting, camera shots, editing techniques, etc, would give our products more promotional success. For example, we were inspired by the diary-like format seen in Sum 41's music video, as well as the P.O.V shots looking onto the crowd that we later on used ourselves.

3. What have you learned from your audience feedback?

From our audience feedback I have learnt that a music video can help promote a band e.g. via YouTube, Facebook, etc, but people may not be encouraged to realise the effort behind the video if they don’t enjoy the song, making it important for us to advertise to our target audience. However, our initial research rebuts this view, as it’s through the music video that some songs and bands/musicians become discovered.

The quality and technology used shows the audience an approximate budget, allowing them to be more critical or more sympathetic with their judgement, depending on the person. As we filmed using a Canon XM2 the quality of our video enhanced the quality of our band.
Setting/scenery is more important than I initially thought. Some people enjoyed the shots that were filmed outside because it made the band seem more open and sociable, helping me understand that a location can input certain connotations onto the band.

Effects put onto shots can sway audience appreciation of the music video too. The shots we turned into monochrome made the music video look more artistic, supporting our research into Indie Rock music ideologies, much to the pleasure of some. Yet the colourful lighting of other shots took a selection of others’ interest because they liked how playful and creative a shot could appear, just by adding in some colour.
I believe most of our feedback was positive and has given me the reassurance that our concept/performance style of music video, involving multiple scenes, lighting and shots, appeals to a greater audience than that stereotypically involved with the genre we originally tried to appeal to. Supporting the forms and conventions of our chosen genre (Indie Rock) whilst challenging the forms and conventions of real media products made our music video unique and created a lot of debate, making the song gain publicity.

4. How did you use new media technologies in the research, planning, construction and evaluation stages?

New media technologies involve better quality cameras and computer software, the use of internet and better sources of research, giving us greater opportunities to promote our music video.

For our research stages I used search engine, via the internet, Google as I knew it would supply me with reliable secondary research. I used Wikipedia when gathering specified and detailed information, nonetheless I made sure that I had my own understanding of the data I researched.
I handed out questionnaires, containing quantitative questions, for the reason that this is the most trustworthy source of information. Quantitative questions gave me easy to analyze, statistically reliable results to, which I used when comparing results with certain age groups or stereo types.
I needed a solid foundation of research so chose to interview a selection of people as well, using qualitative questioning through face to face involvement, as I could note the opinion, attitude and behavior pattern of the individual I was questioning.

When filming our music video we used a Canon XM2 camera which established high quality videos and greater definition when concentrating on certain objects. The audio level indicator was used to distinguish shots from interior locations to exterior. The exposure dial and white balance meter helped us obtain the correct lighting as the harsh natural sunlight differed from the dark and dimly lit pubs at night. As a result of using extreme close ups we used the zoom controller that permitted us to flow between different camera shots and angles whilst filming. Auto focus was used when filming, even though the non-square box position/mode is not suitable for all kinds of lighting, because the fast paced, quick changing shots that were used to accompany the bands characteristic were difficult to manage along with manual focusing. We tried to use as many angles, scenes, movements and camera shots as possible to gain some form of audience’s interest to promote the band Wolvves. During our research we learned that controversy can still be perceived as publicity.

When editing our music video we used Final Cut Pro on a Mac. This program enabled us to log our tape and timeline and capture it to the computer’s internal hard drive. We used the razor tool to cut a preferred shot down to the millisecond, allowing, in our case, perfect discontinuity in addition to giving us the ability to add in effects after filming.
To establish each location we added an after effect to some of them. The inside shots were de-saturated to monochrome, dominating black and white, whilst we increased the vibrancy of the live performances inside to enhance the lighting. Furthermore, I believe we should have used sepia tones for the fast paced, outside, establishing shots as it would have aided the audiences understanding to the use of monochrome shots.
We used jump cut transitions to demonstrate the active personalities of the band as well as display the meaning behind the song, which we later found out from our audience feedback was a successful trait.
To obtain the best possible audio quality we used an mp3 file as opposed to the live recordings that accompanied our performance shots. We had to synchronize the mp3 song file to the video file using the preview viewer box to visually match our shots to the lyrics and used layers to separate the files and match them to our logged timeline. Our completed video needed to be formatted to suit our chosen output (YouTube, DVD, TV, etc) yet compressed if we wished to transfer the video file via USB. We changed the resolution and file format to suit the multiple media formats used today (Quicktime, Windows Media Player, VLC, etc) and took the risk of using more gigabyte space to save a video of greater quality.

When creating our adverts and Digipak Cover/Insert we scanned our traditional media drawings in and manipulated them using Photoshop. This software allowed us to manipulate images together, putting each image into a specific layer and overlapping it with the others to create new and different designs. When creating the Digipak insert I was capable of copying the original JPEG file of the background spiral design to place above and behind the wolf drawings I had created.
I was similarly able to put text and writing over the top of images or around them, in any font and colour to suit what I thought would be necessary to compliment the other designs we agreed on.
I selected a faux brush and lowered the opacity to create the textured background that appears with both light and dark tones of grey whilst I used the Brightness/Contrast adjustment to make the outline of my wolf drawings bolder to stand out against the font.

Access to the internet allowed me to promote our video globally using video websites (e.g. YouTube), blogging websites (e.g. Blogger) and social network sites (e.g. Facebook) by uploading it, allowing public viewing and allowed audiences to freely comment their views and concerns about the music video and spread it to others themselves, promoting the band.
When updating our blog with certain documents, I used the websites Slideshare for .doc files and Slide for multiple .jpg files to create show reels that allowed neat presentation and easy browsing for my audience. I uploaded photos and screen shots from our actual music video to analyse and support, using primary sources, specific statements or opinions from myself or my audience feedback.

Music Video - Final



This is the final music video for the song "Headache" by Wolvves.

Saturday, 9 April 2011

Digipak Insert - Final

This is my final design for the Digipak Insert that includes information on the band the title and lyrics to the bands main featured song: "Headache". The band information allows the audience to briefly understand each member with the music video feeding them additional information that the insert doesn't give them. A photograph of each member 'in action' promotes the professional ambition that they posess yet a small hint of their interests have been mentioned within their "Likes" section. I contacted each member of the band personally to obtain each element of information I needed as I know primary research is the most reliable. I inserted the image I drew of four wolves to mimic each member of the band and relate them to their name. Each wolf has been shaded and textured using a different colour to make each one unique and I used the spirals and lines as additional background features to match the digipak cover and advert the others have made with the same grey pattern to mould everything together.

The other page contained the lyrics of the bands headline song. I used one of the initial idea sketches I created because the positioning of the wolf compliments the text and background imagery with it, with the wolf appearing to gaze up toward the writing. This will hopefully point the audiences gaze toward the text if they haven't happened to already read it. I used elements from both the digipak cover and magazine advert so all three contained similarities that joined them together, making the audience relate them to each other. The main image (the wolf) was situated at the bottom of the page so I tried not to put too much detail toward the top of the composition, as it would also take away attention from the heading and make the image seem unbalanced.

Friday, 25 February 2011

Development - Sketches for Digipak Cover/Magazine Advert

We began to draw up some initial ideas for a Digipak cover, insert and Magazine advert image to see which one would work best with the forms and conventions of our chosen bands genre and style. We chose not to use a photograph of the band members because they were going to be displayed in the music video itself, so too much of them may bore the audiece or cloud their judgement on the creativity of the band, escpecially since the ideology of the term "indie rock" means a music genre with an understanding of the principles of art. We decided to use the obvious choice of a sketch of a wolf, or wolves, to represent the name of the band. Image association helps people to remember the name of a band when searching them, making the band more likely to be promoted. This image was an initial idea for a simple logo; something with the ability to modify and manipulate text around i.e. the name of the band. However, we all agreed that this image didn’t represent the band properly and a more clearer image of a wolf should be drawn to create a more attractive image for the audience to be drawn to. This image was created to depict a clearer image of a wolf. I trued to make position the wolf into something unique and something that makes the product seem more humorous. But the image was determined too complicated to be placed with text and not original enough to stand out.


These images were drawn to see if a stylesized/cartoon like wolf could possibly be suitable yet, after deliberation, we agreed that although this may appeal to a wider audience, it could also make the band seem more childish and less serious than they actually are about their music.

I created this image to try and portray the band through their name. There are four members of the band, so I drew four wolves. Each wolf is different (although more difficult to see in a black and white image), reflecting the uniqueness of each member, yet when all put together they create a harmony; a whole. We agreed that this image could possible be successful, but only for other merchandise possibilities, not for the actual digipak colver or magazine advertisement.

Although these images are similar to that of the cartoon like images, these have their own qualit. The positions that both wolves are in allows them to be imported with a lot of final products e.g. the Digipak insert with information. I created these images to specifically be manoevered underneath or beside more important information/images, making them more useful to us.

The last two wolves I drew were designed to fit what we wanted as a group. The realism of each wolf creates a dynamic impact on audiences and makes it clear what the image is trying to represent. I chose to do both wolves completely different so it was possible for us to use either one (or both) depending on what we wanted.

Friday, 3 December 2010

Proposal - New Song

Due to unfortunate circumstances our group had to create another proposal and storyboard using a new song with a different band, but we made sure that it was classed into the same genre as Arms of Mexico. We are now creating a music video based on the song “Headache” by the band Wolvves. When first listening to this piece of music I became embraced with many ideas, but none that seemed to match the original narrative style we had for our primary song, which lead me to believe that our new video could be of a conceptual format. However, based on our research with Indie music conventions and representation issues a concept video would have most likely been unsuccessful. Although we do wish to challenge certain forms of music videos, bands within the genre of indie rock don’t have enough publicity to take such a risk, so should keep to the conventions and style of an indie rock video that brings something new and artistic to the audience.


After searching through a lot of music videos, I came across one for the song “Over My Head” by Sum41. This one really inspired me because of the creative simplicity behind it. The video is almost like a visual diary of the band that shows the audience what each member is like as a person on and off the stage. It consists of day and night shots, indoor and outdoor locations, all quickly edited in a montage sequence to create a fast paced and upbeat video that reflects both the song and band, supported by the music video itself.

Friday, 19 November 2010

Storyboard


This is a slideshow of the storyboard that I drew out from Becky's Script.

Wednesday, 10 November 2010

Proposal

Based on all of the research that our group has documented, the genre of our chosen band and the lyrics in the song we have chosen to use for our music video, this is my personal proposal for our music video. This won’t necessarily be the final idea but some aspects of it may be used along with ones from my group members.
As our chosen band can be categorised within the rock/indie genre I initially looked at bands like You Me At Six and 30 Seconds To Mars. But after listening to the song and realising that the song didn’t actually include many vocals I started looking at bands such as The Prodigy and Pendulum because they’re both widely known bands with more than one music video for their songs and compositions. Most of their videos are surprising and outrageous; out of the ordinary which, based on our research, can actually help gain publicity. Controversial videos and ideas have the majority vote as a way of gaining publicity due to the audience being curious to see why a video could be so shocking or amazing.
The lyrics, even though simple, still have an importance within the song so I have tried to base some of my idea around them. “Self addicted pain. I fed you again and again.” Now, at first I thought of a drug addicted or someone that self harmed but that may offend some viewers which is not what I want to achieve. So like The Prodigy, I begun to think out of the box and slightly obscure. Our chosen song would suit a Contemporary styled music video so I didn’t think it would necessarily have to tell a story. I thought about the idea of using a pet, preferably a dog, as a main subject. The lines “I fed you again and again” brings across, to me, a message of anger toward the dog for having to look after it. Someone could eat the dog or mess around with it’s insides, creating a slightly horrific and gory show. As crude as this sounds it’ll definitely get publicity. Toward the end of the song you’ll see the dog walking around again like nothing has ever happened, attempting to bring the audience at ease as well as leave them in shock.
I understand that this idea seems a little vague, but I’d like to share the views and discuss the ideas with my group members before going into details.

Tuesday, 9 November 2010

Censorship of Music

Censorship of music is the restriction of complete freedom in musical works. This censorship may stem from a wide variety of motivations e.g. moral, political, military or religious reasons. Censorship can be authorised from a huge range of sources, such as government-enforced prohibitions, or the voluntary removal of personal content. A prime example of these being the radio edit. In order to allow songs to be played wherever possible, it is common to censor certain words, particularly ones promoting vulgarity. Some music labels or artists produce censored versions themselves, sometimes with alternative lyrics, to oblige the rules set by the specific radio and television programs that they wish to broadcast on. Some stations decide to censor songs themselves using one of several methods:


- Blanking: When the volume is muted for all or part of the word.


- Bleeping: Playing a noise, usually a "beep", over all or part of the word.


- Resampling: Using a like-sounding portion of vocals and music to override the offending word.


- Resinging: Replacing a word with a more appropriate word.


- Backmasking: Taking the offending word and reversing the audio, sometimes the whole audio is reversed (often because it is a home-made job), but more usually only the vocal track is reversed.


- Repeating: Repeating the word just said before the explicit word was used.


- Skipping: Deleting the word from the song without a time delay.


- Echo: Instead of saying a word, it echoes the last word(s) said in the line.


- Disc scratching: In hip hop, scratching on the word, making it sound like another word, or make the word said faster or slower.


- RoboVoicing: Making the word totally non-understandable by overpowering a robovoice effect (usually used as a last resort for home-made jobs).


- Distorting: Usually in Hip-Hop, less offensive words such as "shit" or else is distorted. It is usually done by shifting down the pitch.


An example of radio censorship would be with Rage Against the Machine's 1992 song "Killing in the Name," towards the end of the song, the frontman, Zack De La Rocha, screams out "Fuck you, I won't do what you tell me!" sixteen times before the screaming of "Motherfucker!". Some radio stations block out the whole part, some just censor the word "fuck", and others play a shortened version (clocking at 4:06) which removes this section (going straight from the end of the guitar solo to the outro) along with the intro. However in the same year, BBC Radio 1 was flooded by 138 phone call complaints by offended listeners after DJ Bruno Brookes accidentally played the uncensored version of Killing in the Name on BBC Radio 1's Top Forty Countdown show on a Sunday afternoon.



Censorship can occur for many other reasons as well. These include:


- Censorship of misheard words: When all or part of a word is mistaken for an inappropriate one, thus being censored.


- Censorship due to copyright infringement: Sampling without permission from the original material's copyright holders and record labels are forced to reissue material with anything ruled to infringe on existing copyrights removed.


- Political censorship: When more authoritarian governments censor music deemed critical of the government, the military, stores, TV stations, or other authorities.


- Censorship of artwork: When album artwork or additional artwork for a single/album is deemed explicit or unsuitable it is either censored or changed.


- Self censorship: When artists or record labels choose to censor themselves in order to avoid negative publicity or a Parental Advisory label.


- Criticism: When the total censorship of a song is reported in the mass media and often has the effect of drawing more attention to the song than it would have received, had it not been banned.


Examples of artists/bands that have received some form of censorship:


- Marilyn Manson: His release of (s)AINT is banned in many countries due to its content including BDSM, cunnilingus and drug use along with masturbation.



- Rolling Stones: When they were to perform the song "Let's Spend the Night Together", Ed Sullivan famously challenged the Rolling Stones to change the line to "Let's Spend Some Time Together."


- Bad Religion: Often singled out by religious groups for their logo.

Thursday, 4 November 2010

Representation Issues - Ideology of "Indie Rock" Music

Indie Rock, originating in the United Kingdom and the United States (1980’s), is a sub-genre of alternative rock. The term is challenged today by many musicians, fans and commentators as no one is entirely sure whether musicians/bands using the genre of “indie rock” really deserve to become successful.

It is used to describe any rock music produced by artists working within a network of independent record labels and underground music venues or by artists that are unsigned and wished to class themselves within a specific genre. Others see indie rock as a distinct genre of rock music with a specific artistic set of principles, and care less about the context in which it is made. Many believe that both re intertwined; that the art and the meaning behind the music production are paired.

Indie rock artists are known for making it a priority to maintain complete control of their music and careers, releasing albums on independent record labels and relying on touring, word-of-mouth, airplay, independent radios and, in more recent years, the internet for promotion and fame. However, in recent years, many acts with a musical style identified as “indie” have signed themselves us with major record labels or their subsidiaries and began promoting themselves through more traditional media outlets, ones used by famous bands/musicians within other genres.

This has led to the confusion of the meaning of the term, resulting in the ideologies of “indie rock” being something of a more personal opinion rather than a stated, factual meaning. After reading multiple forums and personal views from others, the true ideology of indie rock music is inconclusive. Some people don’t agree that indie rock should be considered a genre altogether, whilst others believe that the greatest indie rock artists were created in the 1980’s during the time that indie rock began with many following on in their footsteps today.

I personally believe that the creation of indie rock music has allowed many more artists to be discovered, opening new opportunities and musical cultures. For example, a new band may not be “rocky” enough by rock music fans, or “poppy” enough by pop music fans, so wouldn’t have been promoted enough if classed in either of those genres. But if their songs were a mix of the two then the introduction of “indie rock” music would allow their music to be listened by people who would really appreciate their style.

Wednesday, 3 November 2010

Role Research - Producer

A record producer works within the music industry and oversees/manages the recording i.e. the production of an artists music.

The professional record producer's aim is to produce a recording which will appeal to many thousands of paying customers. To achieve this aim the producer requires:

- Good judgement
- An understanding of the type of music
- Awareness of current trends in the industry
- Knowledge of the market

A producer has many roles that may include gathering ideas for the project, selecting songs, selecting musicians/bands, coaching the artist in the studio, managing the recording sessions and supervising the entire process through mixing and mastering. A producer also often takes on a wider role by taking responsibility for the budget, schedule and negotiations.

Today, the recording industry has two kinds of producers: executive producer and music producer; they have different roles. While an executive producer oversees a project's finances, a music producer (who can be compared to a film director) oversees the creation of the music.

There are numerous different technologies utilized by the producer. In modern day recordings, recording and mixing tasks are centralized within computers. However, there is also the main mixer, outboard effects gear, and the recording device itself.

During the recording and “mix down“, a producer will also work closely with the sound engineer and should be aware of his or her objectives.
An experienced producer will:

- Use the expertise of the sound engineer
- Incorporate most suggestions from that source
- Not interfere with the operations of the recording
- Only overrule the engineer if absolutely necessary

In the process of contributing to the creation of a sound recording, a producer may have to acquire a variety of legal rights. Shared ownership of the rights in a recording could make it difficult for a record company to effectively exploit a recording which it has commissioned. A record producer's contract will therefore, among other things, assign any rights they might acquire in the recording to the record company.

Tuesday, 2 November 2010

Interview 2

Gender: Male

Age: 28

1. What do you think makes a music video effective?

Well... The editing has to be fast paced; preferably the same as the tempo of the music otherwise it just gets boring or confusing. Something that works with the music allows me to get a feeling of the song and the message or vibe it’s trying to give off. Special effects also help in this modern day and age because it’s new and brings something that the audience has never seen before. Technology is improving, not just for games or for movies, but for music as well. Showing that within a music video can show how creative technology can be.

2. Do you think a music video needs to be controversial to gain publicity?

It doesn’t necessarily have to be controversial. Publicity is key, yeah, but universal websites and mainstream methods of publicity may be more successful. You Tube, chain e-mails, social networking site posts, etc; spreading it around! It also depends on how famous or well-known the artist/band is to be fair. An unsigned band won’t get the publicity that say, Madonna would.


3. What’s your favourite music video?

O.K. Go – “This too shall pass”.

- Why?

Because... I can’t explain... I’m not even sure why I completely like it; you can just tell that a great deal of planning has been put into it. It’s so creative and you just can’t keep your eyes off of it! The idea seems so simple but the method used to make it shows difficulty, with practise behind it. The band has performed for their fans and has given them a truly entertaining video, making the song it has been used for unforgettable.

Interview 1

Gender: Female
Age: 22

1. What do you think makes a music video effective?

When there’s a storyline.

- Because?

It makes you pay more attention to the lyrics and, at times, you can connect with the artist, band or characters. Becoming so engrossed with what you are watching allows you to really remember the song that goes with it. I mean songs are used for advertisements, film soundtracks, TV Programmes, etc, which make people remember them and be more likely to buy them.

2. Do you think a music video needs to be controversial to gain publicity?

No. If it’s a good video, it’s a good video! The song also plays an important part, as well as the artist or band singing it. It’s harder for an unsigned band to get loads of hits on their music video because not many people would have heard of them.

- What do you think would make music videos gain publicity?

If there were loads of naked girls! *Laughs* You know how men can be! No, I mean if it’s a shocking video, for example, “Telephone” by Lady Gaga. I get that it seems I have contradicted what I have said for the previous question, but being creative and exciting doesn’t necessarily mean having to be controversial. You have to get people to talk about it! The greatest way to gain views and a larger fan base is by word of mouth.


3.What’s your favourite music video?

Oh my god, I haven’t got a clue what my favourite music video is – Oh wait! “Larger than life” by Backstreet Boys because they dance like robots. I understand that doesn’t go with what I answered for the first question, but the reason I like it is because it makes me laugh and I enjoy watching it. This could be because I had the typical teenage crush on the band when they first came out, so seeing them dance like robots just made me think they had a sense of humour, thus increasing my girlie fandom. Maybe it’s because people don’t usually do the robot when they choose to do dance routines in their music videos? Usually it’s the mainstream dance of the moment, or whatever’s “coolest”, like break dancing, but the robot is seen as something silly, so a band to use it and play around with it shows that they’re enjoying what they’re doing.

Questionnaire - Conclusion

After reading the analysis to every question we have put everything together and summed it all up, aiding up with our research. The majority of people that listen to music are based within their early teens and late twenties and, although they listen to many genres of music altogether, Rock/Indie appeared to be the favoured one. Like most Rock/Indie music videos the convention of using a performance type video was preferred by just a few more people than the narrative and concept type videos. However, it was strongly agreed by all of our participants that a music video should try and attempt to challenge the conventions of that specified genre. This brings a trivial decision whether to go against the conventions like some people recommend yet may not like, or to stick to the conventions of a Rock/Indie genre music video that others prefer, but may not be interested or attracted to. Special effects aren’t a necessity when creating a music video because the likeability of them in a music video is fifty-fifty, based on the results from our questionnaire. Music videos are watched extremely frequently, using the internet as a source for viewing, so that form of promotional content will probably be the most successful, also agreed on by our participants. Music videos inspire most people to buy a song from a new band, discovered via their music video. Unsigned bands weren’t too popular within the random sample of people we chose to question but we believe that this could be based on the lack of funding to create a music video in the first place. For the people who did listen to unsigned bands and artists, the Rock/Indie genre proved to be the most popular, which aids our motivation to research ideas for our chosen band. A selection of the people we questioned believe that their housing location influences them to listen to a certain genre of music which tells us that people within a certain radius of Harrow-On-The-Hill have become influenced to listen to Rock/Indie music, in particular, for some reason. This shows us a location that will be more popular and successful to promote our video and band after creating the video.

Questionnaire - Analysis

Similar Text Analysis - "Savin' Me": Nickelback

-


The music video begins with a low angle, establishing shot of city buildings which shows their dominance, showing how dangerous the city can be for the people within it, to a mid-shot of another set of buildings decelerating the height of the scene to a high angle shot of the traffic below to show the inferiority of the public. A mid shot of a man looking around, almost confused, shows that he will be the main focus of within the next few shots. A close up point of view shot reverse shot shows the man looking at passers’ by, particularly at their heads. A mid shot shows a man on the phone walking into the foreground with the confused man from the beginning walking past him into the background, creating a connection between the two.


A multiple series of fast paced shots builds up the tension as the confused man sprints toward the man speaking on the phone, leaving the audience eager as the man’s life is saved, reflecting the title of the song to then be shown a long shot of a bus driving past and the man on the phone flabbergasted as the man who saved his life runs off, denoting to the audience what he was in danger of.
A wide shot of the band followed by various different shots of each member establishes who the song is sung by as the music starts.


The same hand held mid shots used for the confused man at the beginning are now being used for the man who was just saved, showing the audience that from being saved, he now has the same actions as the man who saved him, creating an enigma for the audience and keeping them interested. An extreme long shot from a high angle shows the man still searching above other people’s heads but shows that he is the only one doing it, confirming that it is because his life was saved. After a close up of the lead singer and a mid shot of another band member as he looks down at his arm as the camera jump cuts to it to show a close up of his tattoo showing a name with the date of “2003”, clearing in memory of someone close to him. A tracking P.O.V shot shows the man travelling the streets as he continually searches people’s heads. Various fast paced shots occur as he tries to work out what’s wrong, making the audience empathise with him, as they are puzzled about mystery as well. A close up of the man’s face as he sits down on a bench and rubs his eyebrows shows his agitation and frustration, which by this point should be similar emotions that the audience is feeling. A woman sits down next to him, shown in a long, two shot which then cuts to yet again another P.O.V shot of the woman looking at him; however she has a countdown visible on the top of her head. The shot cuts back to the man reaching above her head, exactly the same way as he did with everyone else showing the audience that this is what he has be seeing the whole time.



Hand held P.O.V shots cut between shots of the band and shots of the main character that the audience has been following as he looks at the countdown above everyone else’s heads, still confused as to why he can see them or what they mean. A long P.O.V shot of a parked Ambulance and paramedics rushing into a building cuts between different shots of the band and close ups of the man’s expression, back to the paramedics bringing out an old woman.


A mid shot of the pensioner lying down show’s her countdown at the number “11.25” seconds and decreasing. This denotes to the man and the audience that the countdown is nearly at zero. As she is placed into the back of the ambulance, a mid P.O.V shot from her eyes shows the man running up to the doors of the ambulance, curious to see what will happen once the countdown finishes which then cuts back to a shot of his P.O.V, showing the countdown reach “0.00” and flickers away as her eyes close, connoting that the end of the countdown means the end of her life. A tracking P.O.V shot is shown as the ambulance drives off, the paramedics unaware that they are already too late.
A high angled P.O.V shot shows a woman with another timer, only this time it’s by her stomach, it’s only after closer inspection that it’s because she is pregnant and the timer belongs to her baby. A mid shot reverse shot from inside a shop window to behind the man shows that he is trying to look for his own countdown to which shows the audience that he is unable to see his own. Yet another P.O.V shot shows a long shot of a business woman walking toward her car with her number rapidly decreasing the closer she gets to it. A mid shot of the woman in the foreground and with a long shot with the man in the background shows him running toward her as she enters her car, replicating one of the first shots, where the confused man ran toward the man in the shot now, linking them together. After a few long shots, mid shots and a close up of an industrial piece of equipment falling onto the business woman’s car and her reaction toward it, a shot from her P.O.V shows the man walking off into the crowd with all of them having a countdown on their heads. This shows that she can now see what he saw, because of her being saved, concluding the story. The music video finalises with an establishing shot of the man walking down the street, tracking upwards to link the beginning of the music video with the ending, almost looping the two together to represent how continuous the events can be.

The editing for the music video begins with a fade in from black to almost a beginning or introduction to a story. Fast cut montages occur mostly throughout the early stages of the music video, creating atmosphere and building up the tension of the scene. It appears that the exposure and contrast of the shots have been increased to enhance the luminosity of the characters and the mystical aura that the story involves, also making the lightest features of the people and objects stand out and the shadows of them appear softer and smoother, bringing a calmer appearance to the video. The saturation seems to have been slightly decreased as well, making the setting look like a state of limbo. A CGI is used for the countdown to place them above people’s heads and angle them in the direction the head is pointing and showing that only the man can see it as there are no strings or objects used to hold them up. The same fast cut montages are used throughout the middle and ending scenes as well to echo the intensity of the situations being shown. The music video ends with a fade out to black, joining the beginning with it, giving another method of showing the possible loop and continuation between the two.

The setting of the main storyline is based in a busy city. Somewhere bustling with people and the central of the business district, where people are less aware of things around them. This location also contains many health hazards, a perfect place after understanding the meaning behind the story. Fast traffic, falling apparatus’ and the overcrowding of people are only a few of the issues within a busy city. The other location used would be the room where the band is as they sing the song. It’s a remote room in a high location, noticeable due to the lack of cars and windows passing by the windows. It has no wallpaper, carpet or lighting and the only furniture within it are the chairs and radiator being used by members of the band. Everything about the room is simple and minimal, to make sure that everything is natural, like the narrative, and prohibits the shots set in that location from taking any attention or importance away from the story.


The lighting being used throughout the music video is natural lighting, deliberately used to make everything look normal as the video is like a story based in an everyday location, relating it to the audience. It could possibly be used because of a low budget, but as this video is mostly based in an outside location, it is more likely to have been used as a natural lighting. The lighting within the room where the band is located is also lit due to the natural light. This shows simplicity and can also create a silhouette effect on the band members, creating dynamics and a powerful, masculine feel to their presence.


The first person seen in the video is a tanned man with dark hair, including facial hair, wearing a beige shirt, hat, jacket and trousers that are slightly scruffy and dirty, denoting someone of a lower social status and class, yet the repetitive use of the colour beige brings strangeness to this character. He is wearing many layers of clothing in an attempt to keep himself warm, clearly seen as the weather in the video looks slightly muggy and wet. The second main character seen is a Caucasian male, cleanly shaven, wearing a buttoned shirt and a large jacket with trousers, representing someone of a working class, relating to most everyday people and the majority of the audience watching the video. The band members are also wearing casual clothes to make everything realistic and simple. However, one of them is wearing ragged and ripped jeans whilst two others wear black clothing, conventional for member s of a rock band. The women with slightly smaller roles within the video (the pregnant lady, the pensioner and the business woman) are all wearing the colour grey. This could possibly be a coincidence or could also emphasize the simplicity or limbo like state of the location. This could be due to the slight de-saturation effect used in the video. The business woman has her hair tied up in a tight bun, showing her professional approach to everything yet she still cares for her appearance as well as her higher working class and status. She wears a matching skirt and blazer which emphasize her figure, with short heels to show her practicality yet fashion interest, stereotypical for a woman. This shows why her character walks strongly and rapidly, unaware of the dangers around her, just like others within the busy city life.

Saturday, 23 October 2010

Interview - Template

1. What do you think makes a music video effective?

2. Do you think a music video needs to be controversial to gain publicity?
- If yes, ask Why
- If no, ask what would make a music video gain publicity

3. What’s your favourite music video?
- Why?

Questionnaire - Template

1. Gender?

Male [ ]
Female [ ]

2. Age?

4 – 10 [ ]
11 – 15 [ ]
16 – 24 [ ]
25 – 30 [ ]
31 – 40 [ ]
41+ [ ]

3. What genre(s) of music do you prefer? (Tick as applicable)

Pop/Chart [ ]
Blues, Soul and Reggae [ ]
Rock/Indie [ ]
Classical [ ]
Dance/Techno [ ]
Urban/R’n’B [ ]
Jazz [ ]

4. What is your favourite Artist/Band?

_______________________________________________

5. What is currently your favourite music video?

_______________________________________________

6. What type of music videos do you prefer? (Tick as applicable)

Narrative [ ]
Performance [ ]
Concept [ ]

7. Where do you usually watch music videos? (Tick as applicable)

Internet [ ]
Television [ ]
Phone [ ]
MP4/iPod [ ]

8. Do you prefer a music video which includes special effects?

Yes [ ]
No [ ]

9. Do you feel that special effects are important in making a music video effective?

Yes [ ]
No [ ]

10. How often do you watch music videos?

Daily [ ]
Twice a Week [ ]
Weekly [ ]
Monthly [ ]

11. Do you think that where you live affects the type of music you listen to?

Yes [ ]
No [ ]

12. Do you think it is important for the music video to reflect the lyrics of the song?

Yes [ ]
No [ ]

13. Do you think a music video should challenge the conventions of the specified genre?

Yes [ ]
No [ ]

14. Do music videos inspire you to buy the song?

Yes [ ]
No [ ]

15. Do music videos help you to discover new Artists/Bands?

Yes [ ]
No [ ]

16. Do you think that music videos are an effective promotional tool?

Yes [ ]
No [ ]

17. Do you listen to unsigned bands?

Yes [ ]
No [ ]

18. If yes, what genre are they?

_________________________________________