Initial Ideas
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The document discusses three initial ideas for a music video. The first idea features a narrative of someone drinking to cope with loss, with domestic locations for the narrative and dancing performance. The second idea also has a narrative that crosses over with a ballet performance. Common locations would be a street and house. The third idea takes a lighter approach, showing teenagers hanging out but possibly ending on a somber note, with a performance included.
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The document outlines 4 initial ideas for a music video to accompany a romantic ballad song. The first idea involves lip syncing to the song in different scenic outdoor locations. The second tells a narrative of a girl reminiscing about a past lover through flashbacks while listening to the song. The third combines a narrative of a girl missing her cat while traveling with shots of a singing performance. The fourth shows a woman writing and singing the song alone in her home. Developing these preliminary concepts helps the author explore creative ways to represent the song through video.
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The document outlines Imogen McKeever's concept for a music video for the song "Paia" by Wild Ones. The concept involves a character, Laura, exploring places that hold nostalgic memories of a lost loved one. The video will be shot in black and white to convey a sense of loss. Laura visits forest and canal locations associated with memories. At the end, it is revealed to be Laura dreaming and longing for the person she lost. Conventions like relationships between lyrics and visuals will be used to tell the story through a narrative rather than just performance.
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The document discusses Imogen McKeever's plans for a music video presentation. The song she has chosen, "Paia" by Wild Ones, focuses on nostalgia and a recurring dream. Her target audience is those who enjoy indie music festivals. The concept of the black-and-white video is to convey the loss of someone important through her character Laura exploring meaningful places from the past. Shots will change with the song's tempo. Influences include using cutaway shots to set the scene and establish locations. Costumes will have an indie look. Conventions to be used are the relationship between lyrics and visuals, differences between lyrics and visuals, and prominence of close-ups.
Mv production assignment form 2019 1
Here are the key elements you need to cover in your visual planning:
LOCATIONS:
- Describe each location in detail and how it will be used. Include indoor and outdoor.
SHOT LIST:
- List each shot you need including location, camera angle, movement, and purpose.
STORYBOARD:
- Provide a visual representation of your shot list through a storyboard.
SCHEDULE:
- Create a schedule for your shoot including location, shots, and estimated time.
CREW BREAKDOWN:
- List the crew roles needed and who will fill each role.
EQUIPMENT LIST:
- Itemize all equipment needed including cameras, lights, audio gear
Q1 Convention and Theory Analysis
This document discusses conventions and theories related to music video analysis. It summarizes how the author's music video conforms to various conventions for indie pop music videos. Some key conventions it follows include having locations that are simple, like houses and gardens; having the artist lip-sync to promote their image and lyrics; and using filters and color grading to set mood. Narrative theories the video draws from include having an inferred story formed from explicit events, and having both a narrative and performance elements as defined by Sven Carlson's theory of music video structure.
Treatmentsheet1
This treatment sheet outlines a concept, narrative, and production elements for a music video for the song "A Car, A Torch, A Death" by Twenty One Pilots. The concept involves a dancer named Beth whose torch, representing her grief over a lost loved one, gradually dims throughout the video. The narrative follows Lola dealing with the recent death of her twin sister by dancing for catharsis. Key locations include an empty parking lot, dance studio, and graveyard. Beth will perform dancing, acting, and limited lip syncing. Props include a photograph, torch, lighting equipment, and flowers. Costuming involves black dancewear to symbolize mourning.
Treatment sheet
This treatment sheet outlines a concept, narrative, and production elements for a music video for the song "A Car, A Torch, A Death" by Twenty One Pilots. The concept involves a dancer named Beth whose torch, representing her grief over a lost loved one, gradually dims throughout the video. The narrative follows Lola dealing with the recent death of her twin sister by dancing, though she finds no relief. Key locations include an empty parking lot, dance studio, and graveyard. Beth will perform dancing, acting, and limited lip syncing. Props include a photograph, torch, lighting wires, and flowers. Costuming involves black dancewear to symbolize mourning.
Treatment sheet
The document outlines a treatment sheet for a music video for the song "Boulevard of Broken Dreams" by Green Day. The concept is to tell a narrative story that relates to the song's lyrics about being alone in the world, though with a twist of the protagonist's loneliness being solved. Various everyday locations like roads, parks, and beaches will be used for filming. The lighting will be dark and gloomy to reflect the atmosphere, and shots will include close-ups, mediums, and longs to show facial expressions and body language of the protagonist. Mise-en-scene elements like clothing will also help create a dark tone.
Treatment Sheet
1. The concept of the video focuses on two men who have both fallen in love with and been hurt by the same girl. They will be shown separately dealing with their depression and sadness through actions and flashbacks to good times with their former lover.
2. The narrative and performance will show how the men relate to the lyrics of the song through lip syncing and portraying their heartbreak. It will be an emotional story left somewhat open-ended for the audience.
3. Contrasting lighting will portray the men's present sadness through dark tones versus happier flashbacks with high key lighting to represent love and past happiness with their shared ex-girlfriend.
initial MV ideas final.pptx
This document outlines four initial ideas for a music video to accompany the song "Carinhoso". The first idea is a performance-based montage of the singer lip-syncing in different scenic outdoor locations. The second tells the story of a romance through a girl listening to the song and having flashbacks. The third combines narrative and performance by showing a traveling woman missing her cat intercut with the singer. The fourth shows the artist writing the song in her room while lip-syncing to it. Developing these preliminary concepts helps visualize suitable options for the final music video.
Evaluation task 3
The feedback received on the music video concept and early drafts was generally positive but also provided suggestions for improvement. Some friends thought the single-person concept could get boring, so performance shots were added. Class feedback indicated that including a naked scene at the end did not fit the storyline, so it was replaced with the artist stealing from a store. For the album artwork, feedback guided adding more pictures to the middle cover to develop a sketchbook theme in line with the diary-style effect.
A2 g324 media
The group plans to create a music video for the song "The Man Who Can't Be Moved" by the band The Script. The video will tell the story of a man who sits in the place he first met his love, hoping she will return to rekindle their relationship. It will be shot on location in Hartlepool at the Headland and the city center to showcase the beauty and bustle. Natural lighting and a variety of camera shots will be used to convey emotion and make the video look professional. Flashbacks and color/black and white effects may also be included to illustrate the happiness of the past versus the sadness of the present. The target audience is teens and young adults who can relate to the heart
Question 1
The document summarizes the key elements of a music video the author created. It discusses how the opening immediately introduces the characters and story to stick to conventions. Flashbacks are used to portray emotions, and locations are chosen to contrast happiness and sadness. Costumes represent everyday fashion or symbolize themes. Fast editing during climactic parts helps the story flow. Both performance and narrative styles are used to give deeper insight into the character's life. The story follows a typical narrative structure and genre conventions to appeal to a wide audience. Effects like black and white and slowed/sped up clips enhance the story without being overused.
Question 1
The document discusses how the author's music video challenges and adheres to conventions of real media products. The video uses a narrative style to tell the story of a girl who is bullied and ultimately commits suicide. It incorporates various techniques seen in other popular music videos, such as introducing the characters and conflict at the beginning, using flashbacks, and portraying the protagonist as vulnerable through camera angles and costumes. The author aimed to effectively portray emotion through editing, locations, and a balance of performance and narrative styles.
1. initial plans mv 2018
The document outlines three initial music video ideas for different songs, describing scenarios, themes, and visual concepts. Strengths and weaknesses are considered for each idea. Additionally, research targets are identified for finalizing a video concept focusing on the Oasis song "Songbird," including suitable locations, filming techniques, and camera equipment.
Initial ideas
This document contains the initial ideas from Kyle Edward Porritt for a music video. It includes several storyline ideas that reflect the lyrics of the song, including: 1) showing a self-hate storyline of a character with two sides through costume and makeup; 2) portraying a break-up storyline by speeding up scenes to match the fast pace of the music; 3) possibly including a small mosh pit or wall of death to reflect live shows, though safety would need to be considered. Various music videos provided inspiration for these ideas.
Focus group 8r
The document discusses conducting a focus group to provide feedback on a music video. 10 teenagers will be asked a series of questions about their impressions of the video and how it could be improved. Their individual responses will be recorded and analyzed. The document then presents 3 ideas for the music video narrative: 1) an animation where characters cannot cross to different areas until sunrise, 2) featuring two young rappers throughout the video with close-ups, and 3) casting the artists singing for the first half then rewinding for the second half to show they are always moving.
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This music video analysis document discusses several theories related to analyzing music videos. It begins by outlining some common characteristics of music videos like representing genre traits and having relationships between lyrics, music, and visuals. It then summarizes several theorists' perspectives on music videos, such as them representing modern mythic embodiments, having aesthetics similar to TV commercials, and containing performance and narrative elements. The document also analyzes the music video for the song "Rango" by Catfish and the Bottlemen, noting its animated concept involving sperm cells competing in a race and various symbolic elements it incorporates.
Story board the first six shoots
The document outlines a storyboard for the first six shots of a music video. The shots would show:
1) A person waking up in bed as the music starts, still in pajamas.
2) The person opening curtains on a sunny day while still in pajamas.
3) A tracking shot of the person walking into the bathroom while in pajamas.
4) A shot of the person's messy hair and frustrated expression in the bathroom mirror.
5) A shot of the person picking out boring, casual clothes in the bedroom.
6) A tracking shot of the person walking downstairs ready for the day in average clothes.
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Digipak Conventions
The document discusses conventions for different parts of a digipak album packaging, including the front cover, back cover, spine, inside covers, and behind disc covers. The front cover conventionally features the artist name and album title, as well as the artist image. The back cover conventionally includes the song list, track numbers, barcode, record label info, and copyright details. The spine conventionally displays the artist name, album title, record label logo, and serial number. While inside covers have flexibility, conventions include relating to the overall design and featuring lyrics. Behind disc covers are unconventionally designed with lyrics rather than images to add uniqueness.
Shots
The document summarizes shots from a music video about a character dealing with alcoholism and the loss of her father. It describes introducing her alcoholism through an opening shot of alcohol and her passed out. It also discusses using dissolves to show the passage of time and her life dissolving due to alcoholism. Close ups are used to portray her emotions and show her struggling to escape her pain.
Theories
The document discusses several narrative and film theories and how they relate to a music video the author created:
1) It goes against Laura Mulvey's Male Gaze Theory by not sexually objectifying the female protagonist and instead focusing on conveying her emotions after a loss.
2) It aims to fulfill Stuart Hall's Reception Theory by conveying a message of dealing with pain after a loss, while acknowledging audiences may interpret it differently.
3) It only partially fits Uses and Gratifications Theory as the protagonist's struggles may allow escapism but it does not fulfill other areas like conveying current events.
4) Many theories are discussed in analyzing the narrative elements, themes, and audience impact of
Creating My Ancillary Texts
The document describes the process of creating various ancillary materials for a music album, including a digipak, poster, and inside covers. Key steps involved using Photoshop and Publisher to design templates, crop and edit images, add text using various fonts for consistency, and combine elements together. Templates and assets were reused across materials to maintain cohesion. The goal was to promote a fictional artist and album with a theme of innocence and loss through the visual design elements and layouts.
Evaluation Question 2
The document discusses the creator's goals in maintaining consistency and cohesion between their music video and accompanying digipak. They aimed to portray themes of innocence and dealing with loss through simplicity in style and messaging. To represent depression after loss, they used a brown tint throughout the digipak. Feedback affirmed the clear continuity between pieces through shared color schemes and themes, though some suggested a fully consistent background color which the creator declined for symbolic reasons.
Evaluation Question 4
The document discusses how various media technologies were used at different stages of creating a media portfolio, which included a music video and ancillary texts. Blogger was used to plan and track progress, conduct polls, and host all work. YouTube, Wikipedia and social media helped with research, planning conventions and target audiences. Photoshop and Publisher aided text production. PowerPoint, Prezi and Slideshare supported research presentation. Premier Pro was used for video editing. Communication tools like Facebook and phones coordinated with actors. Different cameras, tripods and phones were used for filming. Overall, these technologies helped complete the portfolio.
Cast List
A teenage girl who has lost her father and started drinking to cope with the pain will be played by Sarah Baynes. Danny Dehdashty will play the performer who will be lip syncing to get the shot needed. Both actors were chosen because the director knows them personally and can trust them to be professional and available for filming.
Costumes
The document describes 5 costumes for a protagonist in a film. Costume 1 is a black dress and heels to represent a night of drinking and depression. Costume 2 is plain, simple clothing like a t-shirt and jeans to show lack of effort. Costume 3 includes a coat and leggings to represent winter weather during outdoor scenes. Costume 4 includes typical women's clothing for a classroom trashing scene. Costume 5 is a chunky jumper and black leggings to portray coming down from being drunk in closing scenes. The sole performer costume consists of a plain t-shirt, jacket, jeans, and trainers as common men's clothing.
Video Techniques and Ifluences
The document discusses various shots from different music videos that the author likes and wants to utilize in their own music video. Some of the shots highlighted include ones that use lighting techniques to silhouette or shadow figures, establish locations, introduce artists subtly, frame artists in contrast with their surroundings, and edit to the beat of the music. The author finds these shots effective in creating mood, atmosphere, and visual interest for the music videos.
Audience Research
The document discusses the results of several surveys the author conducted to help plan a music video. The surveys asked people questions about preferred video styles, elements to include, and how to structure and edit the video. The majority of respondents preferred a narrative style video that relates to the song lyrics and includes the artist. The author gained many responses by promoting the surveys on social media but most respondents were teenagers. The surveys provided useful guidance that the author plans to consider when creating the video.
Hypodermic Needle Theory
The hypodermic needle theory suggests that mass media in the 1940s-1950s had a direct and powerful influence on audience behavior by "injecting" them with messages designed to elicit a specific response. It views audiences as passive receivers who uncritically accept media messages. However, the theory is now considered outdated and invalid because it fails to account for variability in how people consume and interpret media messages.
Stuart Hall’s Reception Theory
The document discusses three ways that an audience can decode media texts:
1) Dominant/preferred reading: The audience decodes the text as intended by the producer.
2) Negotiated reading: The audience accepts the producer's views but also has their own interpretation.
3) Oppositional reading: The audience rejects the producer's intended meaning and creates their own interpretation, often opposing the producer's messages and ideology.
Genre Theory
Genre theory divides media texts into categories based on common elements to help study the texts and audience responses. Genres are dynamic cultural categories that transcend media and are used by industries to sell products to audiences using familiar conventions. While genres provide audiences with pleasures like emotion, visceral sensation, and puzzle-solving, they also evolve over time through stages like experimentation, classicization, parody, and deconstruction.
Tessa Perkin's Stereotypes
Tessa Perkins discusses stereotypes and identifies 5 assumptions that are commonly made but can be challenged. Stereotypes are preconceived ideas people have about others based on their appearance. Perkins notes that stereotypes are not always negative, are not just about minority or less powerful groups, can exist within one's own group, are not rigid and unchanging, and sometimes contain an element of truth. She provides examples of stereotypes for "geeks" and "jocks" and how media representations can influence stereotypes.
Textual Analysis of Boom Clap
1. The video for "Boom Clap" by Charli XCX uses cinematography and editing to connect the song to the film The Fault in Our Stars. It features locations and scenes from the movie through archive footage.
2. The lighting and costumes in the video also reflect the changing tone of the song, with darker lighting and edgier costumes used for the alternative portions of the song.
3. Cinematography techniques like shot types, location shots, and effects are used intentionally to match the mood and genre of the different parts of the song.
Textual Analysis of Best Day of My Life
1) The video analyzes the cinematography, mise-en-scene, editing, and sound used in the music video for the song "Best Day of My Life" by American Authors.
2) Shots establish connections between the protagonist and other characters while reflecting his gloomy mood at the beginning through framing and lighting.
3) Settings like the street and bar are used to portray the band and protagonist as ordinary while also conveying typical imagery like in a strip club scene.
Richard Dyer's Star Theory
- Stars are constructed by institutions like record companies to appeal to target audiences and make money, rather than being real people. They are crafted to fit audience expectations of an "ideal" star.
- Dyer's theory breaks this down into how stars are constructed for audiences and institutions, how they take on defined personas, and how they reinforce the dominant ideology and influence culture and audiences.
- In the end, stars are not truly human but constructed images and products meant to appeal to audiences and make money for their backing institutions.
Textual analysis of demons
The document provides a detailed analysis of the cinematography, mise-en-scene, costumes, editing, and sound design used in the music video for "Demons" by Imagine Dragons. It examines how various shot types, lighting, settings, costumes, editing pacing and diegetic/non-diegetic sound are used to convey the song's theme that everyone has their own "demons" or struggles, and to match the emotion and tone of the music. Flashback sequences for different characters are introduced through extreme close-ups and establish each person's specific issue through the visual elements.
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Initial Ideas
- 2. The locations I would feature in my video would be domestic locations that would relate to the everyday person to represent the fact that this is something everyone could go through. The location for my performance would also be normal but I would not have my performance and narrative cross over at all. Idea 1 My first idea is to feature a narrative about a person who has suffered through a loss and is now drinking to distract themselves from the pain. I would also feature a performance of the song alongside this.
- 3. The locations for this idea would again be domestic for both the performance and the narrative. For the dancing sections I would feature the location of a dancing studio to give the effect of someone rehearsing. Another location I could feature would be on stage as if the person is in the middle of a performance. This is something I would still need to decided if I use this idea. Idea 2 My second idea is to feature again both a narrative and a performance. The narrative would be similar and I would again feature performance from the artist. This time the two would cross and the performer would become part of the narrative, being someone around the main character of the narrative. However, in this idea I would also feature a dance performance, preferably ballet.
- 4. The bulk of this videos locations would be basic locations such as a street and a house. The performance would take place in simple locations also. Idea 3 My third idea is to take a fun prospective on the song. I would feature a few teenagers hanging around and having fun. At the end of the video I may feature a change in mood with something happening to one of the people but that is something I would need to decided. There would again be a performance featured.