The group decided to create a performance-based music video to fit their deep house song and genre. They filmed various performance clips but realized they didn't flow together or make sense without context. So they added a narrative to provide meaning to the artist's actions and locations. They also considered Goodwin's music video conventions like relationships between visuals/music and lyrics. Close-ups of the artist's performance allowed them to showcase her style at different locations. Their 'Opium Records' production company aims to produce music like 'Geko' for 15-24 year olds, the target of both the real song and their video. They will showcase their video on TV music channels, radio stations, and online platforms like

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

2. As a group we decided to have a performance based music video as we felt this worked best with
our genre and song. There is such a wide range of music videos with all different codes and
conventions we found it quite hard to fit it to everyone's preference. Whilst in the process of editing
our video we found that the performance was really good however there was no sense of why she
was where she was doing what she was doing, the music video just didn’t really fit together when
finding this problem we decided to add a narrative into the music video just to make everything
flow and for the audience to understand that that was why she was there doing what she was
doing. Our main focus throughout the video is the artist and how we can play around with her many
styles and aspects of her. To me this was a main part of the whole music video as I feel this would
bring a wider audience.
Along side thinking about what we want to do with have also taken Goodwin’s theory of music
videos into consideration. Goodwin states that there are 6 main conventions of a music video.
These are the relationship between visuals and lyrics, relationship between visuals and music,
genre characteristics, star image, voyeurism and intertextuality. We decided to try and work
along these conventions and add as many of these things and follow the rules when editing and
filming our music video.

3. • Because we decided to make our music video mainly about the main star, we have added as many close up
shots as possible. This then follows the conventions of a music video and also allows us to show the star to
the audience a lot more and with more intimacy as it is so close to her face. This also allowed us to play
around with the urban look of the video adding different costumes and having different make up in shots,
this also then allowed us to she the different sides of the artist which we wanted to show at each different
location.
Close Ups

4. Performance
taking on board Goodwin’s theory and the idea of our music video being a performance video, we came to the
idea of including a dance routine and a lot of movement. We felt that the performance of the main star was
really important thought out the whole video. I feel this was very important as our genre was deep house which
the audience sees as edgy and quite outgoing, to portray this in our video we decided to have many different
locations and costume changes. We felt that doing this helped us portray the different sides of Tomi and how
she can come across as classy and also urban. We tried to make it location and costume interesting and work
well with the genre of deep house. For each location we tried to show an urban vibe and the more gritty parts
of London. Along side this we chose our commutes carefully to have a contrast with the location but also
allowing the use of costume to show Tomi’s image to the audience.

5. Lyric and Visual Relationship
Before going out and filming our music video as a group we collectively all worked on creating a story board
and animatic. This allowed us to think about getting shots to relate the lyrics and visuals throughout the
video. We went through the lyrics and came up with ideas of shots we could film that would work and fit in
well with that particular lyric. After coming up with ideas and sketching them out we created a animatic. This
allowed us to out each shot in the exact section of the song we wanted after doing this we all watched it and
made the changes we wanted to where we felt that things didn’t work. Once we had all decided on what
shots we wanted where and what we wanted to relate to in the lyrics we arranged and organised a shooting
schedule and went out to film. Some of the lyric and visual relationships we included where:
- ‘I get the feeling that I want to explode’ for this lyric we had our main artist in a
mid shot with paint on her face we felt this linked well with the ‘explode’ in the lyric.
- ‘you and I and no one else’ we added Tomi shaking her finger, we filmed this what
in a close up this allowed there to feel like there was some sort of connection
between the viewer and her.
- ‘take me to another dimension’ for this lyric we added a special effect, we layered
the frottage on top of each other creating the effect of going to another dimension
and there being more than one figure in the shot.

6. Disrupted or discontinuous editing
Our music video used disrupted cutting and editing the whole way thorough with no match on action. We did
this as we feel that music videos don’t tend to have match on action the whole way through in comparison to
something like and opening sequence that would.
However when editing our video we found that not all of the shots made sense together with out having a
story/ narrative behind it therefore we did decided to add narrative to our performance, we felt this would then
help our video make sense and make the visuals more interesting to the audience. Once adding the narrative we
reviewed the hole video and found that everything felt like it fitted together and would allow the audience to
connect with the story and have a better understanding of the music video.
Application of Vernallis
When editing our video and selecting each clips we wanted in each segment then watching the clips together we
realised that we didn’t have much camera movement in our video, picking up on this we decided to add in more
camera movement. We tried to add in more camera movement to match the performance and the fast upbeat
tempo of our song . Once we had added more movement we felt that the music video looked more professional
and more of a video that would be in the chart appose to a video that was made by students.

7. Applying intertextuality, codes and conventions
of the Deep House genre to the music video.
Deep house music video are known for the edgy and urban look on society. In a typical house music video you wouldn’t
except to see as much lip sync as you would In a different genre such as pop of rap. In our video we decided to focus
mainly on showcasing the artist urban and edgy look. When researching other dance and deep house music videos we
found that they had use a lot of different vibrant colours, engaging the audience and making things lively, vibrant and eye
catching. We wanted to incorporate this into our music video and did this through the many different locations and
costumes. We tried to show the urban look through the locations, we chose locations that are well known in London and
again look urban and more gritty, which will again link with the genre of deep house. We also stuck with locations in
London as we thought this was the best place t showcase the dance deep house genre, as this is one of the places it is
most popular. Although in deep house and dance genres it is not typical to have a lip sync we decided to add lip sync in our
video as our song is not always fast beat there are parts where it will slow down, because of this we decided to add lip
sync to the parts In the song where it isn’t so up-tempo as if there was no lip sync we felt the audience may have got board
as the song slows down a fair amount in comparison to the fast beat of the chorus.

8. Our Production Company
Our group production name created was ‘Opium Records’.
Our company would produce and create songs such as ‘geko(overdrive)’ and other songs in the
deep house/ dance genre.
Or production company and the actual company for the song ‘Geko’ was both aiming for an
audience of young people/ adults of 15-24 year olds. When getting feedback from the music
videos in research we went out and asked people these ages to look at the real music video and
then our music video I thought this was a good thing to do as it is showcasing the real product
to who there target market is and then showing our to what we thing our target market would
be, this gave us a sense of making the video more realistic and making it seem more
professional as it is being compared to the real thing.
Spinning records (the record label for ‘geko’) is a Dutch independent record label that produces
deep house and dance music. It has become successful with track such as ‘geko’.

9. Showcase of The Music Video
Our music video will be showcased on many different media platforms such as:
Tv channels such as- mtv, viva, the box and smash hits. As these music channels all have around the
same target audience and play up to date chart music. Along side this radio stations such as kiss,
capital and radio one will be playing chart music such as our song. As these stations will not be
playing the video the video will then also be accessible on line on sites such as youtube, vevo and
vimeo.