2. Basic Information
• Artist Information
• I found my chosen artist on the website Jamendo;Jamendo offers that of a wide
variety of copyright-free tracks, available in an array of genres and regions. This is
due to the fact that it is tool used globally by both musicians, and listeners. My
Artist – Professor Kliq , is a composer of electronic music, and rarely includes lyrics
in his music. When listening to his music, I really enjoyed the constant association
with the season of summer, and that west-coast feel’ good vibe. Alongside this, I
was also impressed by the Artist’s desire to produce a constant batch of tracks,
which were met with constant praise from listeners.
• Ideas And Concepts
• When Listening to ‘Plastic And Flashing Lights’ the sheer pace of the tempo
encouraged me to compose a video that was slightly abstract, and out of the
norm. Firstly, I felt the need to construct something in an urban environment due
to the ‘techno’ genre. This combined with the fact that I have a few friends that
are passionate about the sport of ‘free-running’ simply added to the idea of
filming in a variety of locations. Including, Beccles, Southwold, and Norwich.
3. In What Ways Does Your Media Product Use, Develop, Or Challenge Forms
And Conventions Of Real Media Products
• Firstly, I do believe that, my music video does manage for convey certain aspects of Andrew
Goodwin’s Forms And Conventions. Goodwin states that the media product must include
effective images that are edited in time with the beat. My Music video achieves this, which is
evident within the Bridge scene, where there is a slight bridge/ gap in the music, adding
suspense to the video.
• Although, in contrast to Andrew Goodwin’s conventions, ‘ The Artist May Establish Their
Own Star Iconography’ there fails to be any footage of my artist within the music video. I felt
the need to avoid using the artist because of the type of music genre he represents, Techno.
As this form of music does not include any set lyrics, I felt it would be inappropriate to
include anyone representing ‘Professor Kliq’ in the final product. Not only this, but the lack
of images of the artists assists in adding a certain amount of mystery, and wonder to the
overall project. Finally, constructing the type of video that I eventually did, it would be
unrealistic for the musician to be performing something outside their profession ;such as
parkour. This particular motive also challenges Goodwin’s theory ‘There Is Demand On Part
Of The Record Company for many close-ups of the artist’ Although there fails to be any close-
ups of the artist in particular, there are many of the actor within the video, which adds to the
storyline, and direction of the product. Also, even though the artist fails to appear in my
video, I have created a video with urban athletic imagery, that would appeal to the target
audience, and produce an energetic, urban, edgy representation of the artist, and his music.
4. In What Ways Does Your Media Product Use, Develop, Or Challenge Forms
And Conventions Of Real Music Products?
• On the other hand, my music video does abide by one of Joe Gow’s ‘Central
Genres of Music Videos’ as it is a prime example of a video possessing that of an
‘Anti-Performance’ a production that which fails to contain a performance of the
song. This type of format has been used by artists such as Bruce Springsteen,
during the production of his music video for ‘Atlantic City’ .
http://www.youtube.com/watch?v=M3eu1gW-bQ8&ob=av2e Also, there may be
elements of a ‘Special Effects Extravaganza’ as there is some use of simplified
special effects, which may overshadow the performance of the actor.
• Finally, Theorist Steve Jones identified three narrative forms of music videos, a
mimetic narrative, analogue narrative, and Digital Narrative. My project
challenges the first of these concepts, as it fails to include any form of a live
performance. Although, it does conform to that of the digital narrative concept, as
my project includes a performance that appears impossible, and daring, something
that makes the video rather unique, beings the audience may not have witnessed
this type of approach before. Also, it conforms to aspects of an analogue
narrative, as it involves a non-concert performance, inter-cut with other material,
to create a rather abstract vibe.
5. How Effective is the combination of
your main product and ancillary Text
• My music video was specifically designed to promote the release of my DVD
Digipak, in conjunction with the digipak advert.
• During the early planning stages of my music video, I was forced to think of how
the video would portray the artist, coming to the conclusion that in a
dance/trance music video, the artist does not dominate the video, much alike
The Black Keys music video for both ‘Howlin For You’ and ‘Next Girl’ these two
videos include little, or no footage of the artist, and works to great effect, as it
produces a storyline for a particular character respectively. Therefore, My artist
simply appeared on the Digipak, with the ‘actor’ portraying the main character in
the video taking up a position on the inside of the booklet. I felt the need to
include the actor in the print due to the fact that a clear link had to be made
between both the music video, and the promotional material. Doing so, allowed
me to maintain a continuous brand identity throughout. Placing the actor within
elements of my digi-pak, as well as repeatedly using the same font for both my
digi-pak and the advertisement, created a highly recognisable vibe for the
audience; so that they were able to familiarise themselves with the style, and
representation of the song. Furthermore, there is a constant semantic field of
urbanisation, and youth subcuture throughout the whole project, this is
displayed within the images used for the Digi-pak, and the free-running that
takes place during the music video. It was of great importance that I maintained
a link between the stylistic imagery, and representations of both youth, and
youth culture, and appeals to the values, and aspirations of the target audience.
6. Mood Board
The basis of my project revolves around
the subcultural group of free-runners.
This particular mood-board is an
indication of what I have attempted to
create, all the images symbolize acts of
both urbanisation and a sense of
rebellion, hence the inclusion of the
phrase ‘No Future’ . This played a part in
the settings featured within the video
(most of which are filmed within urban
locations) and the attire worn by my
main character; all of which hopefully,
Reinforces the freedom, and creativity
of the ‘free-running’ sport.
7. Digi-pak
• When thinking about the presentation, and layout of my digi-pak, I did not
wish to present a grand amount of detail, which would drown out the
mysterious concept based around the artist, and the music video.
Therefore, I decided to use only two images of the artists, both of which
presented ‘him’ as youthful, and energetic. Also, the use of ‘photo-shop’
allowed me to darken and dim the images that I had taken, I was then able
to emphasise the youthful representation of the artist and his music, by
brightening the clothing sported. Furthermore, I created a small artist
logo, so that the work of my act could be easily defined. Although only
small and simplistic, this logo appeared on the digi-pak, the advert, as well
as the booklet.
8. Advertisement
Digi-Pak Main Cover
There is a correlation between Digi-Pak Booklet
the images used within the
Digi-Pak Booklet , and the
overall project. Firstly, the
image of input leads, is
symbolic of the type of music
Professor Kliq produces, and
the other two positioned in
polaroid's, display the actor,
and one of the settings used in
the video.
9. What Have You Learnt From Your
Audience Feedback?
• For a feedback on my music video, I produced a questionnaire
through the use of ‘Survey-Monkey’ and from my original
research questions, re-worded them in which to make it less
time consuming, and more intriguing for my audience. The
questions in general, included important requests and details
concerning their view on the use of ‘mise-en-scene’ ,editing,
and also if they were able to recognise any elements of my
music video that could be affiliated with conventional music
videos, or other media products. From my results I was able
to establish that, the music video appealed to an extremely
selective audience, and would be accepted as a widely as a
dance track.
10. Qualitative/Quantitative Data
The majority of
people that took
part in the survey,
felt that the music
video was aimed at
ages 18-21.
Surprisingly, a percentage
of the audience felt that
the video could appeal to
both males and females,
despite the fact that it
involved a mainly male
orientated sport.
In general,
according to the
audience, ‘Q’ is
most likely to
display the video.
11. As the song fails to
include any form of
lyrics, it was
inevitable that the
audience
considered it to be
of the ‘techno’
genre.
60% of the audience felt
that the video reminded
them of aspects of
films/videos, those that
declared so, stated that
the video had certain
links to British urban
films such as ‘Kidult
hood’
60% of the audience felt
that the video reminded
them of aspects of
films/videos, those that
declared so, stated that
the video had certain links
to British urban films such
as ‘Kidult hood’
12. It is thought by the
audience that, the video
lacks an overall story.
This is most certainly
true, mainly due to the
way in which the video
was shot, and the sole
focus on an individual,
and their performance.
The sole criticism of the
video was it’s lack of focus
on the artist. This particular
criticism is highly accurate,
although, as found with the
large majority of dance/funk
music videos, artists tend
not to include themselves, or
simply incorporate
themselves within a DJ
booth.
The majority enjoyed the acrobatics
of the leading man throughout the
course of the video, as well as the use
of an extended time change, which
took place. There was also use over-
cranking (slow-motion).
13. How did you use media technologies in the
construction, research, planning and evaluation Stages?
• Planning
• When preparing to shoot my music video, I was extremely conscientious about the
camera quality, as I wished to complete my music video to an extremely high
standard. Personally, I feel it is easier to plan using handwritten material rather
than create a form of storyboard.
• Construction
• Previous to beginning my music video, I was already aware of how to use the
camera equipment, simply because I had constructed rookie videos with friends
during my school years. Although, a new experience that I did have difficulty
adjusting to was the use of Adobe Premier; because of this the overall editing
process became rather time consuming, to the extent where I was forced to
conduct my work outside of college hours‘. Through constant work on the project
at the weekends, I do believe that, I was able to develop a few editing/camera
techniques such as the ‘Time- Lapse’ and ‘cranking’ in which to evidently create
an overall superior project.
14. How did you use media technologies in the
construction, research, planning and evaluation Stages?
Research
For both my ‘Digi-pak’ and Magazine advert, I spent a grand amount of time
researching my desired target audience, their sense of style, and what they had come
to expect from existing media products. I gathered results by using social networking
sites such as both ‘Facebook’ and ‘Twitter’, in which to gain reliable, and accurate
responses. In addition, when considering how to manipulate my images into
‘photoshop’ for my Digi-pak, I was forced to consider the type of clothing that my
artist would wear, and how they could maintain a constant link between the type of
video, and the photos. Therefore, I dressed my ‘Artist’ in urban clothing, and placed
him in a diverse environment.
Evaluation
During the evaluation stages of my work, I enlisted the use of ‘Survey-monkey’ and
‘Facebook’ in which to receive accurate responses. Although, due to the lengthy
period of time in which it took to edit my video, the time I had to collect responses
was regretfully, rather limited.
