production assignment

1. MUSIC VIDEO
ASSIGNMENT 2
ERIN STEPHENSON

2. TASK 1 Idea Generation and
Research
2

3. RESEARCH &
IDEA
GENERATION 3

4. MUSIC VIDEO
RESEARCH
The NBHD
4

5. FLAWLE
SS
The NBHD
https://www.youtube.com/watch?v=Cs9M0a

6. ANALYSIS
This visualette is effective to the audience as it allows
them to focus on the lyrics on the track. The common
occurrence of cars appears in this video. The video also
keeps the monochromatic feel with the black and white
filter eliminating colour.
6

7. SWEATE
R
WEATHE
R
The NBHD
https://www.youtube.com/watch?v=GCdw

8. ANALYSIS
With this being the NBHD’s first music video, this sets an
impression on their target audient and give them an idea
of what to expect with their following music videos. An
editing technique used in the video is the blending of
two clips into one layer. One of the clips is the band with
their logo projected onto a sheet and the layer blended is
one of palm trees shot directly looking up. Similar to
previous videos, they also use the same model car.
8

9. R.I.P 2
MY
YOUTH
The NBHD
https://www.youtube.com/watch?v=vKH-

10. ANALYSIS – MUSIC
VIDEO
One way in which this music video is effective is the use
of imagery and what it infers to the audience. A specific
example of this is that for the majority of Rutherford’s
scenes he is sat in a wooden coffin. By using this image
in the music video, it is referencing death which links to
the title of the video being ‘R.IP. 2 my youth’.
10

11. DADDY
ISSUES
The NBHD
https://www.youtube.com/watch?v=_lMlsP

12. ANALYSIS
A choice of editing technique used in the video for ‘Daddy
Issues’ is in the chorus in which we see a scene involving
young girls vandalising the car of Rutherford referencing
the lyrics ‘go ahead and cry little girl’ to which we see the
girl making eye contact with Rutherford. This could also
be Rutherford’s way of presenting his childhood issues
without directly using himself.
12

13. POTENTIAL SONGS
All for us – Labrinth, Zendaya
Borderline – Tame Impala
Feel something – Bea Miller
Right Back – Khalid
Reflections – The NBHD
13

14. POTENTIAL
TECHNIQUES
•Cutting to the beat – links to aesthetically pleasing
approach
•Intertextual References – Allows the audience to have
something to reference but also will give them a sense of
nostalgia.
•Wide Shots -
•Close Up Shots –
•Establishment Shots – shows scenery, variety of shots
14

15. CONVENTIONS YOU
PLAN TO USE
The genre for the song I am intending to do is in the
genre ‘Physchedelic Rock’ which is a diverse style of rock
music which is representitive of psychedelic culture –
centred around pereption altering hallucinogenic drugs.
Music videos incorporating the genre often use vibrant or
contrasting colours which can be done in post or
depending on good lighting which will help. The
psychedelic genre is also a form of art which tends to be
‘surrealistic or otherwise whimsical imagery that isn’t
necessarily realistic.’ and often have extreme detail
within the illustration. Looking at the history of rock
music, psychedelic rock is a bridge from early blues-
based rock to later progressive rock and heavy metal,
but also drew from non-western sources an example
being Indian music.
15

16. MIND MAP OF IDEAS
[SUMMARY OF IDEAS]
16

17. A SUMMARY
OF IDEAS
17

18. SUMMARY
Location – some areas for locations for filming are limited,
also getting to areas may be difficult due to cost and
transport.
Weather – when there is more sun, the lighting is naturally
better however when there is rain; lighting tends to get
worse and give a ‘grim’ look on camera, this would mean
settings would have to be adjusted to fit lighting to give a
good result that will not need to be fixed in post-
production. Also consider golden hour.
18

19. TAME
IMPALA
-
Tame impala is an Australian
psychedelic music project led by
multi-instrumentalist Kevin Parker. He
originally conceived the project in
Perth in 2007 and in 2010 the band
released their debut album ‘Inner
speaker’ which certified gold in
Australia. His music is heavily
influenced by the late 1960s and early
1970s psychedelic rock which is
achieved through various production
methods. Parker says that he has a
“fetish for extremely sugary pop
music” from artists such as Britney
Spears and Kylie Minogue. Another
influence of Parker’s is electronic
music – “the way we do music, its
organic, but it’s meant to be quite
repetitive and hypnotic, almost in a
kind of electronic nature. Using our
playing as though it was a living
sample” Parker also said “I’m
obsessed with confusing people as to
the origin of a sound.”
19

20. ARTIST
-
CONTIN
UED
Parker was inspired to take up
various creative endeavors at a
young age, “I used to draw a lot
when I was very young, and I used
to get the most immense feeling of
satisfaction from finishing a picture
and looking back at it, even though
I wasn’t actually that good. When I
started playing music I got the same
feeling from making a song, even if
it was just a few noises or drum
patterns put together. It was all
about the buzz from making
something to nothing
20

21. FINAL IDEA –
BORDERLINE BY TAME
IMPALA
While immigration and borders
continue to be prominent topics
on a global scale, here he uses
borderline as a personal
metaphor for the ‘rocky in-
between spaces of a turbulent
relationship’. The word also
carries connotations of
uncertainty and risk. The word
can also connote borderline
alcoholics which is a theme that
comes up in the line “starting to
sober up” and there is also
borderline personality disorder
which is said to often causes
problems in relationships linking 21

22. FINAL
IDEA –
BRIEF
SONG
DETAILS
Song duration – 4:34
Artist – Tame Impala
Song released –
premiered on Saturday
Night Live on March 30
2019 but the full song
was leaked on April 11
2019.
22

23. FINAL
IDEA –
CONCE
PT
The idea of the music video is that it
will be classed as more of a lyric
video since I am wanting to
incorporate the lyrics into the songs.
The vast majority of shots will be
what is referred to as establishment
shots as I am mainly focusing on
using scenery to cast my message
and idea rather than using ‘cast’.
23

24. TASK 2 Pre-production
Assessment
24

25. GUIDANCE:
PRE-PRODUCTION
ASSESSMENT
You need to assess the viability of your production and
investigate what is required to enable you to make your
music video
Much of this task is hypothetical, which means you will
need to investigate standard costings for such a
production and apply these to your planned production
considering which equipment you would need and
resources, etc.
Resources to support this are in the Pre-production
assessment folder on Blackboard
Delete the questions on each slide and insert your
responses
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26. COLOUR
PALETTE
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27. COOL/WARM TONE
CONNOTATIONS
VIA – LIFEWIRE.COM
Cool colours tend to have a
calming effect. At one end of
the spectrum, they are cold,
impersonal, antiseptic colours. At
the other end, the cool colours
are comforting and
nurturing. Blue, green and
the neutrals white, grey, and
silver are examples of cool
colours. n nature, blue is water
and the sky while green is grass,
trees and other plant life — a
natural life-sustaining duo.
Combine blues and greens for
natural, watery colour palettes.
Heat up a cool colour palette with
a dash of warm colour such as
red or orange. If you want warmth
with only a blue palette, choose
deeper blues with a touch of red
The warmth
of red, yellow, or orange can
represent excitement or even
anger. Warm colours convey
emotions from simple optimism
to strong violence.
The neutrals of black and brown
also carry warm attributes. In
nature, warm colours represent
change as in the changing of the
seasons or the eruption of a
volcano. Tone down the strong
emotions of a warm palette with
some soothing cool or neutral
colours or by using the lighter
side of the warm palette such as
pinks, pale yellows, and peach.
27

28. TITLE OF
PRODUCTION/P
RODUCTION
OUTLINE
Summary of intended production
Detail here what you are going to make
and the intended outcome
Detailed breakdown of the music track
chosen and your interpretation of it
[remember the questions in the
workbook, e.g.
pace/mood/tone/structure]
Specific outline your intended
technical/equipment requirements
Include any details that you think [you
could use material from your pitch]
28

29. PRODU
CTION
OF
BORDE
RLINE
For me as I have only limited time to
film with my work schedule, I will
have 3 full days to gather all my
footage
29

30. IDEAL
LOCATI
ONS
Fountains Abbey? – Ideal location for filming as
it has the ‘vintage’ feel that I am wanting to
incorporate into my video. However in terms of
the location itself, it is not as easily accessible
as it isn’t nearby to me.
My field - this location would work for my video
as it is quiet and peaceful and in terms of where
it is, the field is backing onto my house meaning
it is very accessible.
The seaside (specifically Scarborough) – the
amusement lights will add a nice touch and is
easily accessible through buses or cars and is
nearby compared to other seaside locations.
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31. 31

32. 32

33. EQUIPM
ENT
Video camera
Tripod
Graphic Pad – this will be used to
draw in not only the lyrics but also a
few minor drawings in certain parts
of the video.
33

34. FACILITI
ES
In terms of editing my video, I will be
able to edit at home as well as
college as all the editing will be
happening on my laptop which
makes everything easily accessible.
This way I can access my footage
both at home as well as college.
34

35. PERSONNEL
In terms of crew, I will be using some of my friends and
my family to help with my family. When location
spotting, I had help from my friend Abigail. She helped
me find good spots that had decent lighting for different
times of the day. One of her weaknesses however is she
doesn’t communicate very well and isn’t able to identify
which camera angles. She also doesn’t know much media
terminology which is a barrier in our communication. For
cast, I will not be requiring any as my video is scenery
focused however I have more people able to help me film
and be a part of the production crew.
35

36. PROPS/COSTUME/ETC.
As my music video has no ‘cast’ my need for costume is
limited and therefore I will not need it.
For props however they can be utilized in my video. For
some of the scenes my dog will be featured in the shots
making him a ‘prop’
36

37. TASK 3.1 Visual Planning
37

38. PRE-PRODUCTION:
VISUAL PLANNING
This section is concerned with the visual planning of your
music video
You should use this section to develop the sequencing or
your video, establish the relationship between the visuals
and the track itself and create a structure for you to
follow when filming
It is important that you ‘pre-visualize’ the video before
you make it; it will make filming and production a more
streamlined process
The following tasks are part of your visual planning
 Pre-visualization and concept boards
 Storyboarding
 Shot list
38

39. LAUR MEDLEY BAD GUY
ANIMATION
INSPIRING MY CONCEPT
Typically I have watched this persons content on
YouTube for a long period of time as her work inspires
my lifestyle, fashion choices etc however she uploaded a
video which was linked to her coursework showing a
stop-motion animation video to the song Bad guy by
Billie eilish. When all of the projects were being
discussed and the topic for music video was brought up I
was initially stuck on first my song but also my concept
for a video. But by watching this specific video it inspired
me to go down the lyric video route and pursue adding
lyrics to my video making that the main concept along
with the visuals. What is also nice about being inspired
by this persons adaptation of a song is that this isn’t the
artist themselves but rather someone who has used that
song and created their own video. The person behind
this video is Laur Medley and she is also a UK creative
media production student making this form of
inspiration different than the artist as it is not the person 39

40. WHAT DO YOU MEAN –
LYRIC VIDEO
WHY DID THIS VIDEO
INSPIRE ME?This video is part of the inspiration behind my concept
with the use of the handwritten lyrics appearing on
screen and also the use of graphic designs on frames to
create animation. This inspired my idea due to the
simplistic look to the video, however still tells a story
with a simple approach. However this is not easy to do
because to create the animation look the graphics have
to be drawn digitally frame by frame which can take a
long period of time in post production. When choosing
my music video, for the song borderline, initially I wasn’t
going to go down the lyric video approach however I
found that when I personally would watch music videos, I
would be drawn to lyric videos as I am someone who
tends to focus on the words of the song rather than the
melody as I look for meaning behind that song.
40

41. PRE-
VISUALISATION/CONCEP
T BOARDS
Tool for exploring the direction and visuals
Provides inspiration and information for the “look & feel”
Presents key moments in your video
A means to sketch/plan ideas
Information on colour/lighting
Defining the “mise-en-scene”
Include as much here as you like, but keep it relevant to the
production, the following slides have been left blank for you
to approach in your own way, add more as you need to
Extension suggestion: edit a short sequence of clips that
have inspired or influenced your video [similar to this:
http://io9.com/5941145/this-directors-video-pitch-for-
hunger-games-might-be-better-than-the-real-movie]
41

42. PRE-
VISUALISATION/CONCEP
T BOARDS
42

43. STORYBOARD VISUALS
43
Honestly, I was a bit unsure of the timeline and where I wanted
clips to line up even though I already had my structural
breakdown, so I created a rough storyboard of a few of the
clips. The one thing I was certain of was the introduction to the
video and the clips and animations needed in order for that to
work.

44. RIP-O-MATIC
You should also construct a 15-20second Rip-o-matic
test reel using existing footage to convey the type of
video you want to make
44

45. When creating my rip-o-matic I decided to use
after effects as that is the programme I was most
familiar with and will be using ae to create my
introduction to the song.
45

46. 46
Ah
Gone a little far
Gone a little far this time for somethin'
How was I to know?
How was I to know this high came rushing?
We're on the borderline
Caught between the tides of pain and rapture
Possibly a sign
I'm gonna have the strangest night on Sunday
There I go
Quite a show for a loner in L.A.
Askin' how I managed to end up in this place
And I couldn't get away
We're on the borderline
Dangerously far and all forgiven
There's gonna be a fight
Gonna be a price to pay on Monday
(If you and I get comfortable)
We're on the borderline (on the borderline)
Caught between the tides of pain and rapture
Then I saw the time (saw the time)
Watched it speedin' by like a train
Like a train
Will I be known and loved?
Is there one that I trust?
Starting to sober up
Has it been long enough?
Will I be known and loved?
Little closer, close enough
I'm a loser, loosen up
Set it free, must be tough
Will I be known and loved?
Is there one that I trust?
If there's room, room for doubt
As within, as without ya
Will I be so in love?
Gettin' closer, close enough
Shout out to what is done
R.i.p. Here comes the sun
Here comes the sun
Chorus
Pre -
Chorus
Introductio
n
Verse 1

47. STORYBOARDING
Your storyboard should bring your idea to life
Provide an idea of the sequencing of you video
Provides a basis for production
Suggested online storyboard creators are:
 https://www.storyboardthat.com
 http://www.pixton.com [very complicated]
 http://www.storyjumper.com [allows you to insert your own images]
Alternatively, hand draw or photograph your storyboard and
scan or copy to insert it onto your slides
There are lots of tips collected together on Blackboard!
47

48. SHOT LIST
48

49. TASK 3.2 Organisational
Planning
49

50. PRODUCTION GROUP
INFO
For my production team, it is solely myself and one of
my friends, Abigail Johnson. However my family,
specifically my mother and stepdad, are helping me film
the sequences by my house.
Abigail Johnson – ‘assistant’ she will be helping me by
checking if my shots are visually appealing and will also
help me spot my locations for filming. Location –
Huntington, York
50

51. LOCATION 1 –
MY FIELD
51
This location is
ideal as it is easy to
access and I cant
get to it at any time
of day. Another
positive about this
location is that it is
a quiet area with
there being not
many houses
neighbouring ours
and very few cars
passing by.

52. LOCATION 2 –
FOUNTAINS
ABBEY, RIPON
52
This location is to give
a change of scenery in
my videos and also
give a different sense
of time as this abbey
is Cistercian and gives
a vintage feel which
works with the
concept. The ruins
give an old look
however in terms of
transport and cost,
this location might
prove to be more
difficult to get to
compared to local
areas. Another issue
would be that tourists
regularly visit
meaning timing would
have to work so that
there are less people
in my shots

53. LOCATION 3 –
TOWN ABBEY
53
This location is a
backup for
fountains abbey in
case cost and
transport doesn’t
work out. It is
similar in the fact
that there is the
‘ruins’ look to the
scenery and gives
the vintage feel
that was intended
to be in my video.
But this location is
more convenient
and local to me.

54. RISK ASSESSMENT
Seaside – a danger to this location is being surrounded
by water, and by using expensive camera equipment that
is not waterproof or even water resistant, there will have
to be extra precautions taken to make sure all equipment
is safe and isn’t at risk of being damaged. A way to
prevent this is when using the camera, to keep the
camera strap around the neck when using hand-held
shots as it ensures that the camera is at less risk of
falling.
Fountains Abbey – one of the risks is that this is a world
heritage site and the site is protected by UNESCO and is
a valuable historic location.
My field – a problem with this location is that due to the
increase in rainfall, the field itself has got muddy which
can be a risk as you can easily fall or slip, a way to
prevent this is hard as the most you can do is predict the
rain. 54

55. CONTINGENCY PLAN
55
Contingency Planning
Project Title: Borderline Music Video
Consider: 1. Technical [camera, equipment, etc], 2. Organisational, 3. Logistical and 4. Personnel
Ideally 4 or 5 for each
Pot. Problem Effect on
Production
Solution/Control Person Responsible
Water damage –
seaside location
Camera unable to
film
Keep at distance from
water
Myself,
cameraman/camerawoman
Unable to visit
locations
Loss of footage Find similar locations
that are accessible
Myself, the driver for
transport
lighting Not ideal footage Different time of day n/a
Crew unable to
attend
Loss of crew, more
work for other
people
Find more crew
Pick up more work
crew
Bad weather Bad lighting
Not desirable look
Check weather app n/a
Unable to get
equipment
Not correct
equipment
Book beforehand or
use phone camera
myself
Timing schedule Not able to get all
shots filmed
Plan a schedule Myself, partially crew
Not enough editing
time
End up being rushed Plan beforehand myself

56. SCHEDULE
Day of
week
plan Crew
available
timeframe equipment
Monday 28th Film walking
scenes
Work course 1-
2pm
Just myself
dog
9am – 1pm Camera
tripod
Tuesday 29th Check footage –
morning
Film - afternoon
Myself
Mother stepping
in to help
dog
10am – 12pm
check footage
1 – 3pm film
remaining
Camera
laptop
Wednesday 30th Film morning
dad afternoon –
car scene
Myself
Father
Abi - morning
9am – 3pm fim
4pm – Thursday
dads
Camera
car
Thursday 31st Film morning Abi - morning Morning shots
Work 5-10pm
Camera
tripod
Friday 1st Unable to film none Work all day
12-9pm
none
Saturday 2nd Film bonfire
party
All and guests
who have agreed
to film
All day Camera
tripod
Sunday 3rd Unable to film none Work all day 56

57. PERMISSIONS FORMS
57
LOCATION RELEASE FORM
Dear Sir/Madam
I agree that Students of York College UAL L3 Diploma Creative Media
Production Technology may enter the Property to film and hereby give all
consents necessary for the reproduction, transmission, broadcast and
exploitation of the material in the programme without time limit throughout the
universe by all means and media (whether now known or hereafter invented)
without liability or acknowledgment to me.
Yours faithfully Read and agreed by
Erin L Stephenson David Rhodes
----
For and on behalf of Production Owner

58. TASK 4.1 Production
Record/Log
58

59. PRODUCTION
RECORD/LOG
Keep track your filming and production work with the
camera here
You could add stills of your work with annotations
You should include any specific details about how your
filming went and what you did on set to enable you to
complete the work
You should include Call Sheets and relevant production
documents here
All my production records are stored on my progress log
proforma
59

60. CALL SHEETS
This links with your schedule
Complete a call sheet for each production activity
Forms are on Blackboard
Insert into Powerpoint here
For me and my schedule, I did not require a call sheet
60