Analysis of previous student’s work
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The document analyzes shots from previous student music videos and how they convey meaning. It discusses various shot types like close-ups, mid shots, and long shots and how they provide insight into the artist's emotions, follow their movements, and give context about their surroundings. Film techniques like rules of thirds are also mentioned as ways to make shots more aesthetically pleasing.
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Analysis 1
The document discusses a music video for the song "House Every Weekend" and analyzes various elements of its genre, narrative, camera work, and conventions. It notes that the video has no main performer and instead focuses on the dance theme through various actors dancing in different locations. As the song's beat increases, the happiness and dancing of the performers increases as well. Standard camera shots and angles are used, and shot lengths become shorter and cuts more frequent as the song builds. The video follows conventions of the dance music genre.
Shot analyse
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
Music video conventions
The music video portrays the artist as a gang leader followed by members wearing drooping jeans and jewelry signifying they are rappers. This depicts how rappers in the streets look tough with friends. The swearing in the lyrics matches the swearing in the video. Most shots are medium close-ups to see hand gestures during signing. The video takes place in a backstreet with motorbikes and weapons where no one can pass, similar to Russian artist also featured. There is no performance, just hand swinging in the USA, which loves rap, behind a back garden.
Auteur study 2
Psycho and The Wrong Man are both black and white films from the 1960s that effectively utilize music, framing, and editing to set the time period and atmosphere. Psycho introduces the main character as a sexy woman in a retro nightgown to signal the era, and uses daunting music during the title sequence that turns more sultry for city shots. The Wrong Man first shows a vulnerable man looking up at a club, then cuts to a lively party scene where costumes and hairstyles indicate the 1960s. Both films establish settings through long pans and introduce non-diegetic music that fits the mood. Most of Hitchcock's films involve crime drama, and his signature style is recognizable through character
Task 4
The document describes several music videos and how their editing matches the pace of the music. It notes that the videos cut between performance shots more quickly at fast-paced parts of songs and more slowly at slow parts. The videos contain no overarching narrative and instead focus on shots of the performers. Descriptions of shots, cuts, and pacing in the videos are provided to illustrate how the editing follows the tempo of the songs.
The 1975 sex video analysis
This document analyzes the conventions used in an indie music video for the song "Sex" by summarizing the key points:
The video follows several conventions of indie music videos by showing the band setting up and using a handheld camera. It is a pure performance-based video that focuses on showing the band playing their instruments without a narrative.
The video also adheres to Goodwin's theory of highlighting the star image by using close-up shots of the lead singer. Archer's theory of using camera techniques like close-ups of band members is followed as well.
Finally, the video matches conventions in its genre through the band's dark clothing, background posters, and serious facial expressions that immerse them
LDNC - Zagada Case Study Final
This music video promotes the Afrobeat song "LDNC – Zagada" by Dr Smith. It shows a man downloading the song and playing it loudly around the city, causing various people to start dancing wherever they are. Scenes include a girl in college, a man after work, and children in a cafe. At the end, the band LDNC appears and dances with all the others to the "Zagada" dance routine featured in the song. The video aims to both promote the song and teach viewers the dance moves through these performance clips in various locations around the city.
Evaluation q1
The document summarizes how the creator of a music video conformed to and challenged conventions of the indie folk genre. They based their video on examples by Passenger and Vance Joy, employing typical shots like mid-shots of the singer and a sepia color tone. While mostly conforming to simplicity, they challenged conventions by changing from black and white to color at the start and end of the video to represent "walking in the wrong direction."
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Analysis 1
The document discusses a music video for the song "House Every Weekend" and analyzes various elements of its genre, narrative, camera work, and conventions. It notes that the video has no main performer and instead focuses on the dance theme through various actors dancing in different locations. As the song's beat increases, the happiness and dancing of the performers increases as well. Standard camera shots and angles are used, and shot lengths become shorter and cuts more frequent as the song builds. The video follows conventions of the dance music genre.
Shot analyse
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
Music video conventions
The music video portrays the artist as a gang leader followed by members wearing drooping jeans and jewelry signifying they are rappers. This depicts how rappers in the streets look tough with friends. The swearing in the lyrics matches the swearing in the video. Most shots are medium close-ups to see hand gestures during signing. The video takes place in a backstreet with motorbikes and weapons where no one can pass, similar to Russian artist also featured. There is no performance, just hand swinging in the USA, which loves rap, behind a back garden.
Auteur study 2
Psycho and The Wrong Man are both black and white films from the 1960s that effectively utilize music, framing, and editing to set the time period and atmosphere. Psycho introduces the main character as a sexy woman in a retro nightgown to signal the era, and uses daunting music during the title sequence that turns more sultry for city shots. The Wrong Man first shows a vulnerable man looking up at a club, then cuts to a lively party scene where costumes and hairstyles indicate the 1960s. Both films establish settings through long pans and introduce non-diegetic music that fits the mood. Most of Hitchcock's films involve crime drama, and his signature style is recognizable through character
Task 4
The document describes several music videos and how their editing matches the pace of the music. It notes that the videos cut between performance shots more quickly at fast-paced parts of songs and more slowly at slow parts. The videos contain no overarching narrative and instead focus on shots of the performers. Descriptions of shots, cuts, and pacing in the videos are provided to illustrate how the editing follows the tempo of the songs.
The 1975 sex video analysis
This document analyzes the conventions used in an indie music video for the song "Sex" by summarizing the key points:
The video follows several conventions of indie music videos by showing the band setting up and using a handheld camera. It is a pure performance-based video that focuses on showing the band playing their instruments without a narrative.
The video also adheres to Goodwin's theory of highlighting the star image by using close-up shots of the lead singer. Archer's theory of using camera techniques like close-ups of band members is followed as well.
Finally, the video matches conventions in its genre through the band's dark clothing, background posters, and serious facial expressions that immerse them
LDNC - Zagada Case Study Final
This music video promotes the Afrobeat song "LDNC – Zagada" by Dr Smith. It shows a man downloading the song and playing it loudly around the city, causing various people to start dancing wherever they are. Scenes include a girl in college, a man after work, and children in a cafe. At the end, the band LDNC appears and dances with all the others to the "Zagada" dance routine featured in the song. The video aims to both promote the song and teach viewers the dance moves through these performance clips in various locations around the city.
Evaluation q1
The document summarizes how the creator of a music video conformed to and challenged conventions of the indie folk genre. They based their video on examples by Passenger and Vance Joy, employing typical shots like mid-shots of the singer and a sepia color tone. While mostly conforming to simplicity, they challenged conventions by changing from black and white to color at the start and end of the video to represent "walking in the wrong direction."
Evaluation of the differences between final cut and i-movie
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Analysis of students music video
This document analyzes and summarizes a music video by Geeta Gohil titled "Crying for No Reason". The summary focuses on the editing, camera work, and how the visuals complement the music. Shots include a ballet dancer, close-ups of the performer singing, and different angles of the performer outdoors. Towards the end, the pace of the visuals speeds up similarly to the music. The document discusses how this music video provided inspiration for using various shots and camera angles to suit different parts of the author's own music video.
Editing
The document discusses the genres, editing techniques, and camera shots used in music videos by Emeli Sande, Leona Lewis, Eminem, Lifehouse. It analyzes how the editing matches the pace and lyrics of songs. Close-ups are used to identify artists and show facial expressions. Tracking shots follow artists and crowds. Fades are used to transition between memories in Eminem's narrative video. Edits help set the mood based on whether the track is fast or slow.
Bon jovi music video anaysis
This music video for "Livin' On A Prayer" by Bon Jovi uses a variety of camera shots including wide shots of the empty arena and mid shots of the band members looking into the camera. The shots are edited together quickly without transitions to match the fast, changing beat of the song. Filmed in black and white, the video depicts the band's energetic performance on stage, conveying the wild ideals of glam metal. Through personal eye contact and danceable music, the video appeals to fans and encourages audience participation.
Music video treatment #2
This music video treatment proposes shooting a performance-based video of a band playing the song "Vertigo" by The Libertines. The video will include various shots of the band performing the song in a garage rehearsal space, as well as "backstage" shots showing the band hanging out together. Throughout the video, the camera work and editing will match the fast pace of the song, using quick cuts and montages. The goal is to both promote the band and familiarize the audience with them through capturing their energy and style.
Documentary conventions amad
Voiceovers provide explanatory narration over archival footage and images to educate viewers about what they are seeing. Archival materials show past events as they actually occurred, making the documentary more believable and allowing viewers to experience events from the period. Reconstructions reenact past events to immerse viewers, while distinguishing itself from authentic footage through effects. Interviews incorporate eyewitness accounts and expert opinions to inform viewers and provide different perspectives on the topic.
A2 music videos
The document discusses two student music videos from A2 2013. For group 21's video, the summarizer liked the perfect lip syncing, animated outline of the artist, use of 5+ locations, narrative that kept viewers entertained, editing that changed with the beat, and variation in shot types. Group 3's video had controlled camera movement, clear distinction between chorus and verse shots, effective use of effects and transitions, good shot variation and backgrounds, and establishing shots that fit well, though there was overuse of some shots.
George ezra analysis
This document analyzes the music video for the song "Budapest" by George Ezra. It summarizes that the video has characteristics of a soft rock music video, including tight camera shots, close-ups, and a slow pace. While the lyrics and visuals are not directly linked, there are implied connections, such as a shot of a man holding a vase representing the lyric "my many artefacts." The pace of the music and visuals are also connected, with more movement when the music is high-key. The video includes close-ups of the artist to advertise him and his album. Overall, the document concludes that the video amplifies rather than directly illustrates the lyrics through the types of scenes used
Third analysis!!!
The video analyzes the music video for the Foo Fighters song "The Pretender". It discusses the mise-en-scene including the props, clothing, lighting, and setting of the warehouse. It also covers the camerawork using different shots and angles. The sound is diegetic from the band playing. Editing uses cuts between shots and pacing to match the music. The video depicts a confrontation between the band and riot police authorities.
Music video pitch ideas
The music video pitch proposes a video for the song "Da Vinci Riot Police" that tells a narrative story and incorporates the song's themes of perseverance. The narrative will follow several characters experiencing difficult family lives who run away and meet up. Scenes will be filmed in houses, along the beach, and streets of Weston-super-Mare, possibly including the famous pier. The performance elements will show the artist singing and playing guitar both inside and outside, representing being confined and free. The video will connect the narrative and performance through editing techniques and ending with the characters and artist looking at the sunset.
Analysing a music video using Narrative Theory
This video illustrates the song through visuals that match the lyrics. The singer uses physical gestures like making a phone symbol by his ear when singing lyrics about calling. Scenes of the singer by a pool reinforce lyrics about being "in the deep end." The structure of the video is circular, beginning with the characters waking up after a party and then showing flashbacks of how they ended up there through the night. Applying Levi-Strauss' theory, the binary opposites are day and night as the video transitions between morning and later times. Using Barthes' codes, the video contains action codes that establish through visuals like drinks that it depicts a party.
Types of music videos
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1) Narrative music videos tell an easy-to-follow story that relates to the song's lyrics, and are the most expensive to produce.
2) Performance music videos simply show the artist performing live or in casual settings, and are cheaper to make as they require no actors.
3) Abstract/concept music videos focus attention on a single odd idea throughout, keeping viewers entertained visually rather than through a story. They allow artists to express opinions but can sometimes confuse audiences.
Common motifs in music videos
This document discusses common motifs found in music videos, including fragmentation of the body through close-ups, mystical and mysterious settings like gothic mansions, scenes depicting horror like extreme violence, intertextuality by including shots of the music video production, ritual celebration through parties, impossible sequences using special effects and fast/slow motion, and other features such as bright lighting, breaks for the artist to sing, clips from associated films, and cross cutting between narrative and concert footage. Examples are provided from music videos like "Do It Like a Dude" by Jessie J and "Not Afraid" by Eminem.
Music video storyboard
The storyboard outlines shots for a music video featuring soldiers from different eras singing the same song. It includes close-ups of the singers' mouths and faces, cutaways showing a knight, cowboy and soldier, and shots of the band performing. The reveal at the end shows that the singers and cutaway actors are all the same person, with the soldiers from different times singing the same lyrics. Rapid cuts will match the rhythm of the music and shots will get more energetic during louder parts of the song.
Camera shots
The document outlines various camera shots that will be used for a music video, including wide shots, medium shots, and close ups of the singer, dancers, twins, and a boy writing on a wall. Shots of the singer include her holding bugs, in an ink room, and next to dancers. Shots of the dancers include them dancing, close ups of their faces and feet. Shots of the twins include them behind the singer and in the woods. Shots of the boy include him writing on a wall and pulling his hair in frustration.
Music video script_template_update_nov_2013
The document is a script for a music video for the song "AYO!" by Sam Binga FT. Redders. The script outlines 7 scenes that will make up the music video. Each scene provides the timing, shots that will be used which include close ups, mid shots and long shots, and what the artist will be doing in each scene, which is generally miming the lyrics of the song while going about daily activities. The goal is to create a performance based music video that follows the artist through various scenes.
All time low
This document summarizes and analyzes the music video for the song "Weightless" by All Time Low. It discusses several ways the video uses voyeurism, including showing words representing the band members' thoughts and showing behind-the-scenes footage. The video is classified as a performance video, showing the band performing on stage. It also focuses on each band member through close-ups. The words on screen sometimes mock other bands. The lyrics and visuals are well-synchronized through lip syncing. Finally, the editing pace matches the beat of the song as it increases for the chorus.
Grassroots Storyboard Plan
The document outlines a storyboard and shot types for a grassroots music documentary. It begins with footage of a live concert followed by a shot of a young artist in their room making music, showing the contrast between their dreams and current reality. It then shows behind-the-scenes music industry processes and includes statistics on new young artists. A montage of artists' photos and videos is accompanied by a voiceover of young musicians. The documentary will focus on one artist's story of starting out and using social media to build a platform.
Textual analysis
The music video for Arctic Monkeys' "Brainstorm" opens with an extreme long shot of the band from behind in a warehouse setting. The video cuts between close-ups and long shots of the band members playing, a green screen with pixels, shots of dancers, and unrelated black and white pictures. This fast editing creates a "storm-like" effect and suggests there is no narrative. The band wears casual clothes like jeans, giving them a relaxed alternative rock style. While the lead singer is featured most, he is never shown front-on, keeping the focus on the music over the band's image. The increasing pace of the editing matches the mood of the song. The video ends with the lone drum beat and long
Styles of music video
The document discusses different styles of music videos, including narrative, performance, homage, animation, inspiration, parody, pastiche, and surreal styles. Narrative videos tell a story through visuals connected to the lyrics, like Justin Timberlake's "Cry Me a River". Performance videos commonly show the artist performing, like U2's "With Or Without You". Homage videos acknowledge something from the past, like Tupac Shakur's "Ghetto Gospel". Animation replaces live action, seen in Gorillaz's "Feel Good Inc". Inspiration references other media, like Ashanti's "Foolish" referencing "Goodfellas". Parodies mock the original work comed
Tracking an artist through their career
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Digipack analysis4567
This document summarizes the key conventions of digipacks and analyzes the packaging of two albums. It outlines the standard elements included on the back and front covers of most digipacks such as the album name, artist, tracklist, and barcode. It then analyzes the 1975 digipack, noting its black and white color scheme suggests darkness and edginess while still appearing classy, and its use of neon lighting and band logo. Finally, it examines the George Ezra digipack, pointing out the colorful front cover featuring the artist in red, its simple fonts, and inclusion of the tracklist and record label logos.
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Analysis of students music video
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Music video treatment #2
This music video treatment proposes shooting a performance-based video of a band playing the song "Vertigo" by The Libertines. The video will include various shots of the band performing the song in a garage rehearsal space, as well as "backstage" shots showing the band hanging out together. Throughout the video, the camera work and editing will match the fast pace of the song, using quick cuts and montages. The goal is to both promote the band and familiarize the audience with them through capturing their energy and style.
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Voiceovers provide explanatory narration over archival footage and images to educate viewers about what they are seeing. Archival materials show past events as they actually occurred, making the documentary more believable and allowing viewers to experience events from the period. Reconstructions reenact past events to immerse viewers, while distinguishing itself from authentic footage through effects. Interviews incorporate eyewitness accounts and expert opinions to inform viewers and provide different perspectives on the topic.
A2 music videos
The document discusses two student music videos from A2 2013. For group 21's video, the summarizer liked the perfect lip syncing, animated outline of the artist, use of 5+ locations, narrative that kept viewers entertained, editing that changed with the beat, and variation in shot types. Group 3's video had controlled camera movement, clear distinction between chorus and verse shots, effective use of effects and transitions, good shot variation and backgrounds, and establishing shots that fit well, though there was overuse of some shots.
George ezra analysis
This document analyzes the music video for the song "Budapest" by George Ezra. It summarizes that the video has characteristics of a soft rock music video, including tight camera shots, close-ups, and a slow pace. While the lyrics and visuals are not directly linked, there are implied connections, such as a shot of a man holding a vase representing the lyric "my many artefacts." The pace of the music and visuals are also connected, with more movement when the music is high-key. The video includes close-ups of the artist to advertise him and his album. Overall, the document concludes that the video amplifies rather than directly illustrates the lyrics through the types of scenes used
Third analysis!!!
The video analyzes the music video for the Foo Fighters song "The Pretender". It discusses the mise-en-scene including the props, clothing, lighting, and setting of the warehouse. It also covers the camerawork using different shots and angles. The sound is diegetic from the band playing. Editing uses cuts between shots and pacing to match the music. The video depicts a confrontation between the band and riot police authorities.
Music video pitch ideas
The music video pitch proposes a video for the song "Da Vinci Riot Police" that tells a narrative story and incorporates the song's themes of perseverance. The narrative will follow several characters experiencing difficult family lives who run away and meet up. Scenes will be filmed in houses, along the beach, and streets of Weston-super-Mare, possibly including the famous pier. The performance elements will show the artist singing and playing guitar both inside and outside, representing being confined and free. The video will connect the narrative and performance through editing techniques and ending with the characters and artist looking at the sunset.
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This video illustrates the song through visuals that match the lyrics. The singer uses physical gestures like making a phone symbol by his ear when singing lyrics about calling. Scenes of the singer by a pool reinforce lyrics about being "in the deep end." The structure of the video is circular, beginning with the characters waking up after a party and then showing flashbacks of how they ended up there through the night. Applying Levi-Strauss' theory, the binary opposites are day and night as the video transitions between morning and later times. Using Barthes' codes, the video contains action codes that establish through visuals like drinks that it depicts a party.
Types of music videos
This document discusses three main types of music videos:
1) Narrative music videos tell an easy-to-follow story that relates to the song's lyrics, and are the most expensive to produce.
2) Performance music videos simply show the artist performing live or in casual settings, and are cheaper to make as they require no actors.
3) Abstract/concept music videos focus attention on a single odd idea throughout, keeping viewers entertained visually rather than through a story. They allow artists to express opinions but can sometimes confuse audiences.
Common motifs in music videos
This document discusses common motifs found in music videos, including fragmentation of the body through close-ups, mystical and mysterious settings like gothic mansions, scenes depicting horror like extreme violence, intertextuality by including shots of the music video production, ritual celebration through parties, impossible sequences using special effects and fast/slow motion, and other features such as bright lighting, breaks for the artist to sing, clips from associated films, and cross cutting between narrative and concert footage. Examples are provided from music videos like "Do It Like a Dude" by Jessie J and "Not Afraid" by Eminem.
Music video storyboard
The storyboard outlines shots for a music video featuring soldiers from different eras singing the same song. It includes close-ups of the singers' mouths and faces, cutaways showing a knight, cowboy and soldier, and shots of the band performing. The reveal at the end shows that the singers and cutaway actors are all the same person, with the soldiers from different times singing the same lyrics. Rapid cuts will match the rhythm of the music and shots will get more energetic during louder parts of the song.
Camera shots
The document outlines various camera shots that will be used for a music video, including wide shots, medium shots, and close ups of the singer, dancers, twins, and a boy writing on a wall. Shots of the singer include her holding bugs, in an ink room, and next to dancers. Shots of the dancers include them dancing, close ups of their faces and feet. Shots of the twins include them behind the singer and in the woods. Shots of the boy include him writing on a wall and pulling his hair in frustration.
Music video script_template_update_nov_2013
The document is a script for a music video for the song "AYO!" by Sam Binga FT. Redders. The script outlines 7 scenes that will make up the music video. Each scene provides the timing, shots that will be used which include close ups, mid shots and long shots, and what the artist will be doing in each scene, which is generally miming the lyrics of the song while going about daily activities. The goal is to create a performance based music video that follows the artist through various scenes.
All time low
This document summarizes and analyzes the music video for the song "Weightless" by All Time Low. It discusses several ways the video uses voyeurism, including showing words representing the band members' thoughts and showing behind-the-scenes footage. The video is classified as a performance video, showing the band performing on stage. It also focuses on each band member through close-ups. The words on screen sometimes mock other bands. The lyrics and visuals are well-synchronized through lip syncing. Finally, the editing pace matches the beat of the song as it increases for the chorus.
Grassroots Storyboard Plan
The document outlines a storyboard and shot types for a grassroots music documentary. It begins with footage of a live concert followed by a shot of a young artist in their room making music, showing the contrast between their dreams and current reality. It then shows behind-the-scenes music industry processes and includes statistics on new young artists. A montage of artists' photos and videos is accompanied by a voiceover of young musicians. The documentary will focus on one artist's story of starting out and using social media to build a platform.
Textual analysis
The music video for Arctic Monkeys' "Brainstorm" opens with an extreme long shot of the band from behind in a warehouse setting. The video cuts between close-ups and long shots of the band members playing, a green screen with pixels, shots of dancers, and unrelated black and white pictures. This fast editing creates a "storm-like" effect and suggests there is no narrative. The band wears casual clothes like jeans, giving them a relaxed alternative rock style. While the lead singer is featured most, he is never shown front-on, keeping the focus on the music over the band's image. The increasing pace of the editing matches the mood of the song. The video ends with the lone drum beat and long
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Styles of music video
The document discusses different styles of music videos, including narrative, performance, homage, animation, inspiration, parody, pastiche, and surreal styles. Narrative videos tell a story through visuals connected to the lyrics, like Justin Timberlake's "Cry Me a River". Performance videos commonly show the artist performing, like U2's "With Or Without You". Homage videos acknowledge something from the past, like Tupac Shakur's "Ghetto Gospel". Animation replaces live action, seen in Gorillaz's "Feel Good Inc". Inspiration references other media, like Ashanti's "Foolish" referencing "Goodfellas". Parodies mock the original work comed
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Ellie Goulding is an English singer and songwriter born in Herefordshire in 1986 who began her career by signing with Polydor Records in 2009 and releasing her debut EP. She studied at the University of Kent where she was discovered and encouraged to move to London to focus on her music career. Goulding's debut studio album Lights, released in 2010, was a commercial success that reached number 2 on the Billboard charts in the US, proving her widespread popularity. She has since released two additional albums and gained millions of social media followers.
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This document summarizes the key conventions of digipacks and analyzes the packaging of two albums. It outlines the standard elements included on the back and front covers of most digipacks such as the album name, artist, tracklist, and barcode. It then analyzes the 1975 digipack, noting its black and white color scheme suggests darkness and edginess while still appearing classy, and its use of neon lighting and band logo. Finally, it examines the George Ezra digipack, pointing out the colorful front cover featuring the artist in red, its simple fonts, and inclusion of the tracklist and record label logos.
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Evaluation question 4
The document discusses the feedback received during two screenings of a music video project by Sylvie Apps & Nia Dalton. The initial screening feedback indicated that more transitions and effects were needed. They then refilmed scenes and received more positive feedback. The second screening feedback helped them make final tweaks to secure a high grade, such as altering titles and transitions. Overall, the feedback process helped improve the project and resulted in no negative feedback for the final video.
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This document provides a risk assessment matrix for hazards during a film shoot. It rates probability of occurrence from 1-5, consequence from 1-5, and calculates risk exposure by multiplying probability and consequence. Risk levels are classified as high, medium, or low. Four hazards are identified and rated: trip hazards pose low risk; traffic accidents medium risk; dropping cameras low risk; and other hazards medium risk. Control measures are suggested to mitigate each risk.
A2 q3
The document discusses the various media technologies used at different stages of creating a video project. A Canon camera and tripod were used to film high quality footage. Blogger was used to plan, research, construct, and evaluate the project by embedding digital content in a creative way. Prezi, Voki, Google Drive, YouTube, and YouGov helped display and gather information about the work and target audience. Adobe Premiere Pro was used to edit the video, applying effects like cuts, speed changes, and black and white to focus on meaning.
Question 1
The document summarizes the key conventions used in the student's documentary project in the style of Channel 4 documentaries. It discusses using interviews, narration, background music, cutaways, facts, and mise-en-scene to tell the stories of two subjects - an aspiring dancer and her mentor - and guide the audience. While most conventions were effective at creating an informative piece akin to Channel 4's style, the student reflects they could have included more cutaways and improved the clarity of narration.
Question 3
In order to improve their documentary, the author created an online survey to get feedback from peers. The survey consisted of around ten questions rating different aspects of the documentary on scales from strongly disagree to strongly agree. Most feedback was positive, with over half agreeing or strongly agreeing that the documentary flowed well. Comments also provided suggestions for improvements like smoother transitions between interviews. The author incorporated this feedback in editing the documentary. Additional feedback from blog comments and verbally from friends and family on poster designs helped the author choose the best option for promotion. Through audience research, the author learned it is crucial to get perspectives beyond their own and confirmed they created a product suitable for their target channel.
Audience research
The document summarizes audience research conducted on two similar artists, Two Door Cinema Club and George Ezra. The research found that both artists' target audiences are primarily females aged 18-24 from lower social grades living in various regions of the UK, though they differ in top regions and professions. Additional psychographic research through polling questions found that most people value representations of sensitive and earthy masculinity over materialism, and there is a 50/50 split on identifying with mainstream vs. non-mainstream men. This research influenced the portrayal of male characters in Milky Chance's music video to be more earthy and sensitive to better connect with audiences.
Mainstream vs independent
This document compares and contrasts mainstream record labels like Syco Music and Columbia Records with independent labels like Bella Union. Mainstream labels have larger budgets that allow them to widely promote and merchandise artists, helping them gain global audiences. However, mainstream artists have less creative control and see less profits. Independent labels give artists more freedom and autonomy over their music, but provide less financial support and have smaller audiences. Overall, the document outlines the tradeoffs between the mainstream and independent approaches.
Christina perri – jar of hearts analysis
The music video for "Jar of Hearts" by Christina Perri uses visual elements like costume, lighting, facial expressions and editing to represent the meaning and emotions of the song lyrics. The artist wears a white dress with a black belt, representing innocence tainted by darkness. Her frown and lack of smiles convey her upset emotional state. Extreme close-ups of her face draw the viewer in, while negative space in mid-shots creates variety. Subtle effects during a kiss scene symbolize something being extracted, fitting the song's narrative. Overall the video uses visual storytelling to bring the feelings of the song to life.
History of music videos (2)
Originally, music videos were used to advertise music by filming artists performing songs. In the 1960s, the term "rock video" was coined as artists like the Big Bopper had their performances filmed for television. Music videos during this time period were typically shot of artists on tour or on location and loosely related to the song lyrics. The invention of video technology in the 1970s and 1980s led to more sophisticated music videos with heavy editing effects. In 1984, MTV was founded and provided a platform for artists like Michael Jackson to promote their music and careers through music videos.
Evolution of nicki minaj’s image (2)
Nicki Minaj's image and style has changed dramatically over her career. She started with minimal makeup and modest clothing but gained recognition with her debut single "Bedrock". Her style became more sexualized with heavy makeup and revealing clothing afterwards. She found success marketing herself as a sex symbol similar to Lil' Kim. Later, her outfits became even more outrageous to attract attention and promote her album. Recently, her style has become more sophisticated and simplistic, reflecting her maturity as an artist and the maturation of her target audience.
Producers
Dr. Dre is considered the number one rap producer who has helped launch the careers of many major artists like Ice Cube, Snoop Dogg, Eminem, and Kendrick Lamar. Kanye West is one of the most iconic rappers and producers who has worked with artists across many genres like Rihanna, Taylor Swift, Drake, and Jay-Z. Timbaland brought sexy and slow styles to rap through works with Aaliyah, Ginuwine, Beyoncé, Jay-Z, and Missy Elliott. DJ Mustard has produced chart-topping hits for Tyga and other relevant rappers with fun and funky beats.
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Similar to Analysis of previous student’s work
Textual analysis 3
This document provides a textual analysis of the music video for "What You Know" by Two Door Cinema Club. It summarizes the following key points:
1) The video is performance-based, featuring the band centrally framed on a single white stage set alongside various dancers.
2) There are fewer shots than typical for the genre, but tracking camera movements maintain audience interest within the single location.
3) Costumes remain consistent throughout aside from occasional changes to the dancers' outfits.
4) Some lyrics are visually depicted, perhaps about the singer dedicating time to music over relationships.
5) Editing matches the rhythm and changes in the music.
6) Close-
Textual analysis 3
This document provides a textual analysis of the music video for "What You Know" by Two Door Cinema Club. It summarizes the following key points:
1) The video is primarily based on performance, with the band centered on a white stage surrounded by dancing performers.
2) There are fewer shots than typical for a music video, but tracking camera movements maintain interest.
3) Costumes remain consistent except for one change by the dancers.
4) The lyrics relate somewhat to the visuals, possibly about the singer dedicating time to music over relationships.
5) Editing matches the rhythm of the song. Close-ups of the singer add emotional connection.
Codes and conventions of a music video 2
This document discusses various codes and conventions used in music videos. It covers different styles of music videos including narrative, performance, and mixtures of the two. It also discusses important technical elements like camera work, editing, sound, and mise-en-scene. Examples are provided to illustrate different techniques like the use of camera angles to portray emotions or lighting and setting to match the mood of a song's lyrics. Elements like costumes and props are also explained as ways to convey a music video's genre through visual cues.
Analysis 2
The music video for Ed Sheeran's "Small Bump" uses various shot types like close-ups, long shots, and extreme close-ups to convey emotion. It takes place largely in one long take through a hospital corridor, with fade outs to show the passage of time. The low-key lighting and ordinary costumes help viewers relate to the feelings of sadness and isolation. The realistic hospital props and diegetic sound design immerse viewers in the somber story being told through the song's lyrics. Overall, the video matches conventions of the folk rock genre by using a modest performance to tell a personal story.
Creative analysis of similar product 2
The music video for Ed Sheeran's "Small Bump" uses various shot types like close-ups, long shots, and extreme close-ups to convey emotion. It takes place largely in one long take through a hospital corridor, with fade outs to show the passage of time. The low-key lighting and ordinary costumes help viewers relate to the feelings of sadness and isolation. The realistic hospital props and diegetic sound design immerse viewers in the somber story being told through the song's lyrics. Overall, the video matches conventions of the folk rock genre by using a modest performance to tell a personal story.
Researching student music videos (2)
The document discusses two student music videos. For the first video, it notes the use of close-ups, long shots, and medium long shots using three split screens to show each performer. Faster camera movements are used when the song intensifies. Costumes signify the R&B genre through gold jewelry and tight clothing. Only one location is used but with different costumes and makeup. For the second video, it discusses the use of extreme close-ups and long shots of the band. There is no variety of angles, allowing the audience to feel involved. Shots match the lyrics, lighting, and narrative. Costumes and props fit the genre. Multiple locations are used to signify the genre as the band performs in each. The
Researching student music videos (2)
The document discusses two student music videos. For the first video, it notes the use of close-ups, medium long shots, and faster camera movements during intense parts of the song. Costumes signify the R&B genre through heavy gold jewelry and tight clothing. Only one location is used but with different costumes and makeup. The second video uses extreme close-ups and long shots of the band. There is less camera angle variety to make the audience feel more involved. Costumes and props fit the genre. A range of locations are shown to signify the genre. By the end, a live audience is shown enjoying the performance to draw the real audience in.
Question 1 evaluation
The document discusses the codes and conventions of electronic dance music videos and how the student's music video project incorporates and challenges some of these conventions. It follows conventions such as using slow motion shots, matching edits to the music pacing, low lighting, and close-ups of the artist. However, it challenges conventions by incorporating all three common music video types (narrative, concept, performance) into one video. The student aims to create a personal feel through the relationship portrayed and uses flashbacks to tell a disjointed narrative that engages the audience. Color grading also develops the main character from an initial cold state to one of rage.
Evaluation Task 1
In what ways does your media product use, develop or challenge forms and conventions of real media products?
Vic's Media - A2
Mv production assignment form 2019
The document provides guidance for a music video assignment. It includes a template PowerPoint presentation with sections for idea generation, research, and pre-production. Students are instructed to save the template under a new name and share it with their group. They should add their own work to sections like selecting a song, generating video ideas, and researching other music videos. Notes on camera work, editing, performance, and message are suggested for the research section. The document will be updated as the pre-production phase progresses. Students are given examples of sections to fill out, like including mind maps of song and genre options for their idea generation.
Mv production assignment form 2019
This document provides guidance for a music video assignment. It includes a template PowerPoint presentation with sections for idea generation, research, and pre-production planning. The document instructs students to save the template and share it with their group. It also suggests adding more pages and visuals as needed. The PowerPoint template includes slides for selecting a song, generating video ideas, researching other music videos, and noting potential techniques and conventions to use. A mind map example shows potential song selections, characters, recording styles, locations, and camera work ideas. The summary section lists 5 opportunities and 5 restrictions that the student's ideas could provide or face.
Music Video Analysis
The document provides an analysis of the music video for Hozier's song "Someone New". It discusses several features of the music video, including how the styling, lighting, camerawork/editing, and performance reflect characteristics of the indie rock genre and help illustrate the song's lyrics and narrative. Close-up shots of Hozier and the female actress are used to engage different audiences. The music video also develops motifs seen in Hozier's other videos, such as performance scenes and the inclusion of a female narrative role, to establish a consistent visual style and draw viewers to his other works.
Music video analysis
The document discusses the music video for the song "3 in the Morning" and how its visuals relate to the song's lyrics and narrative. It notes how the video's mise-en-scene and editing techniques illustrate the protagonist's drunken state and hallucinations, matching elements like the mirrored image telling him it's time to go home and showing missed calls on his phone. Special effects are used to represent his blurred and distorted vision from drinking. Overall, the visuals are crafted to directly relate to and represent the meaning and story told in the song.
Analysis Same Vids
The document analyzes and summarizes several music videos. It discusses the production elements, narrative techniques, and artistic qualities of videos by Chase and Status featuring Kano and Plan B, Nneka, Macy Gray, and The Noisettes. Common themes across the videos included a soulful feel, focus on the artists' performances, use of tracking shots and close-ups, and incorporation of vintage aesthetics.
Music video analysis
The document analyzes and provides feedback on several music videos. It discusses the effective use of close-ups, matching edits to the beat of the music, setting mood through lighting and camera angles, portraying settings and atmosphere through low angle shots and cutaways, and engaging audiences through contrasts and interpreting meaning from visuals. Overall, the document examines how various technical and directorial choices can effectively match the genre, story, and tone of different songs.
Question 1
The document discusses the conventions of music videos in the house genre and how the student's music video project adheres to and develops these conventions. Specifically, it discusses how the video uses close-ups, long shots, and establishing shots of the artist to promote them, as is typical in house music videos. It also adheres to conventions regarding costume, lighting, settings, and fast-paced editing to match the upbeat music. Iconography like stereos and watches are used to further the narrative and represent themes of dance and friendship common in the genre.
Textual Analysis of my product
The document discusses various cinematography techniques used in a music video, including medium shots, medium close ups, close ups, and long shots. It explains how each shot type was used to convey emotion, focus on key elements, and establish relationships. Costuming, props, editing techniques like cross dissolves and rhythmic cutting, and sound design choices are also summarized. The overall goal was to use conventional techniques to tell a narrative of heartbreak through visuals and connect it to the song.
Conventions of music videos
Music videos serve to promote and sell songs by making them memorable and entertaining for viewers. There are three main types of music videos: narrative videos which tell a story related to the song's lyrics, performance videos which simply show the artist performing, and concept videos based around a unique idea. Effective music videos use camera shots, themes, symbols, and lighting to reflect the song's genre and engage audiences.
Psw
1) A student-made music video for Beyoncé's "Run the World (Girls)" effectively uses green screen techniques, varied scenes, and visuals linked to lyrics to keep the viewer interested.
2) The video incorporates necessary dance scenes shot from different angles using good lighting to seem realistic and choreographed.
3) Shots are cut in quick succession according to the beat, with more gentle movements and lighting for slower parts and more aggressive movements for faster parts, following the emotions in the lyrics believably.
4) Different shot types like close-ups and mid shots featuring makeup, backgrounds, and themes keep the viewer visually engaged and reminded of the focus.
Codes and conventions of music videos
The document discusses the various codes and conventions used in music videos to convey meaning and messages. It covers technical elements like camera angles, shots, editing pace and style which influence the perceived genre. Symbolic elements like mise en scene, expressions and poses also shape genre associations. Common conventions include camera work, editing techniques, style, sound design and mise en scene. Performance videos mainly feature the artist, while narrative videos tell a story. Different shots and camera angles are used to portray different perspectives and messages. Sound can be diegetic or non-diegetic, and is carefully edited to enhance the music and video. Location and scene choices also influence the communication of genre and themes.
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Analysis of previous student’s work
- 1. Analysis of previous student’s work
- 2. The video opens on a close up of the artist in distress, which gives us an insight into the meaning of the video at the very start. The performance shot here links to traditional conventions of an indie music video - therefore is what is expected. This extreme close up of an instrument shows us th artists music is authentic, and also gives the audience another perspective on the music video. Here we see the rule of thirds being used in a performance shot, which makes the shot more aesthetically pleasing. This high angle mid shot makes the artist seem inferior, however body language shows him to be angry. This shot shows a time lapse of artist travelling through lane, which makes the video more interesting .
- 3. The video opens on a close up of the artist, indicating that the video will be heavily based around her. The video includes many pans of the artists body, adding an in depth understanding of the artist’s feelings through her body language. This low angle shows us the artists movement, and helps us follow the video. This mid shot uses the rule of thirds and therefore makes the shot more aesthetically pleasing. This establishing/long shot shows more detail of the artists surroundings, and gives us more understanding of what is going on. This closeup shot shows more detail of the artist’s emotions and enables us to empathise.