The document is a lyric breakdown of the song "Schoolin' Life" by Pitbull. [1] It addresses different age groups and experiences at various stages of life. [2] The lyrics celebrate living freely and suggest that a degree is not necessary to learn from life experiences. [3] It encourages making the most of the present and being relentless in pursuing one's goals.
The song lyrics discuss different stages of life from youth to older age. It emphasizes living freely and following one's passions rather than being constrained by expectations or a conventional path. The lyrics suggest making the most of life and living it on one's own terms through lines like "Who needs a degree when you're schoolin' life?" and "It's up to you, the rest is unwritten."
The document is a lyric breakdown of the song "Schoolin' Life" by Pitbull. It consists of 87 lines that make up the lyrics of the song. The song discusses living life to the fullest without concern for others' expectations and enjoying oneself without needing formal education. It mentions partying, relationships, and ignoring critics to define one's own path in life.
Bronte Rose Ainsley completed a personal skills audit to assess her skills for her A2 project. She learned editing skills using Final Cut and Photoshop which helped ensure her film ran smoothly. She acquired skills using camera, crane, tripod and other equipment which enabled her to get professional shots. She researched film noir conventions from movies and used inspiration from them while also being creative and unique. Thorough planning helped the smooth filming process. She will continue developing her skills with new technology and applying conventions and creativity.
The document provides historical case study notes about two films: Quadrophenia (1979) and Clockwork Orange (1971). It analyzes how the films represent youth culture and subculture through the characters' identities, fashion, behaviors, and conflicts with authority. Stan Cohen's theory of "moral panic" and "folk devils" is applied to both films to explain how they portrayed rebellious youths in a way that frightened the mainstream.
This document provides direction for a music video shoot featuring a female actress. It outlines specific shots and actions for certain lyrics. For example, in line 2 the actress will blow bubbles to portray time moving fast, and in line 12 the camera will focus on her shoes and then pan up her body. Throughout the video different costumes and settings will be used, and techniques like fast forwarding, close-ups and dance routines. The goal is to have the actress' movements complement and emphasize the beats and meaning of the lyrics.
This document discusses key aspects of service tax in India such as definitions of taxable services, reverse charge mechanism, negative list of non-taxable services, point of taxation and due dates for payment. It provides details on categories of services taxable under reverse charge and joint charge. It also lists various services exempt from tax under the negative list and rules for determining point of taxation depending on when the invoice was issued and payment was received.
The song lyrics discuss different stages of life from youth to older age. It emphasizes living freely and following one's passions rather than being constrained by expectations or a conventional path. The lyrics suggest making the most of life and living it on one's own terms through lines like "Who needs a degree when you're schoolin' life?" and "It's up to you, the rest is unwritten."
The document is a lyric breakdown of the song "Schoolin' Life" by Pitbull. It consists of 87 lines that make up the lyrics of the song. The song discusses living life to the fullest without concern for others' expectations and enjoying oneself without needing formal education. It mentions partying, relationships, and ignoring critics to define one's own path in life.
Bronte Rose Ainsley completed a personal skills audit to assess her skills for her A2 project. She learned editing skills using Final Cut and Photoshop which helped ensure her film ran smoothly. She acquired skills using camera, crane, tripod and other equipment which enabled her to get professional shots. She researched film noir conventions from movies and used inspiration from them while also being creative and unique. Thorough planning helped the smooth filming process. She will continue developing her skills with new technology and applying conventions and creativity.
The document provides historical case study notes about two films: Quadrophenia (1979) and Clockwork Orange (1971). It analyzes how the films represent youth culture and subculture through the characters' identities, fashion, behaviors, and conflicts with authority. Stan Cohen's theory of "moral panic" and "folk devils" is applied to both films to explain how they portrayed rebellious youths in a way that frightened the mainstream.
This document provides direction for a music video shoot featuring a female actress. It outlines specific shots and actions for certain lyrics. For example, in line 2 the actress will blow bubbles to portray time moving fast, and in line 12 the camera will focus on her shoes and then pan up her body. Throughout the video different costumes and settings will be used, and techniques like fast forwarding, close-ups and dance routines. The goal is to have the actress' movements complement and emphasize the beats and meaning of the lyrics.
This document discusses key aspects of service tax in India such as definitions of taxable services, reverse charge mechanism, negative list of non-taxable services, point of taxation and due dates for payment. It provides details on categories of services taxable under reverse charge and joint charge. It also lists various services exempt from tax under the negative list and rules for determining point of taxation depending on when the invoice was issued and payment was received.
This document provides historical case study notes on the 1979 film Quadrophenia. It discusses the representation and ideological values of three main characters: Jimmy, Steph, and Kevin. Jimmy struggles to balance his strong mod identity with his family and work life. Steph seems to use her sexuality to gain status but lives a normal life otherwise. Kevin realizes earlier than Jimmy that it's impossible to have a truly unique identity. The document also examines examples of mise-en-scene that reinforce youth culture stereotypes and discusses how Jimmy struggles with having multiple, conflicting identities. Finally, it draws parallels between past and present youth representations in media and analyzes how Stan Cohen's theory of "folk devils" relates to the
This document provides professional feedback. It likely contains constructive comments and suggestions aimed at helping improve performance, skills, or knowledge. The feedback may highlight both strengths and areas for development or growth.
Riesling font was chosen for the artist's name on the digipak and magazine ad to fit the retro theme while portraying the artist's feminine persona. The font was given a retro color treatment and set in all capital letters to express femininity but also convey women's empowerment in line with the products and artist's image.
The document tests out several fonts for an artist's name in a retro-themed video. The first font, Bellerose, was too simple and wouldn't draw attention to the artist. The second font, Airstream, was too bold and could distract from the artist. Riesling was selected as a classic, feminine retro font with delicate curves that would portray the artist well and match the song's connotations. Blake was also tested but deemed too modern for the retro theme.
The document provides instructions for editing a photo in Photoshop and adding motion to video clips in Final Cut. It describes 4 steps to edit the photo by adjusting curves, brightness, contrast, and adding layers of color. It then describes 4 steps to add a repeating motion sequence to video clips by copying, resizing, adding motion paths with keyframes, and adjusting center points. The instructions are intended to create retro-styled imagery and smooth motion between clips for a class project.
The document discusses feedback received from audiences on a music video. It notes that feedback was gathered from various sources like social media and focus groups. The feedback indicated that the editing fit well with the song and scenes in a diner were good, but could have benefited from more narrative. Overall the mise-en-scene and editing were seen as professional. Some feedback suggested adding more movement to shots to make them more interesting. The end shots with projections were viewed as very professional. The lip-syncing and stylistic consistency were also seen positively.
The combination of the main product (Jenny's debut album) and ancillary texts (advert and digipak) was effective because they established a clear brand identity centered around a 1950s diner theme. All aspects of the products, from the album and record label name to the visual design, reflected this theme to present a cohesive package. By linking the different products visually through consistent use of fonts, colors, settings, and props, the audience could easily identify them as promoting the same artist. This unified branding strategy makes the products more recognizable and saleable by associating a strong, consistent style with the artist.
The producer discusses how their music video for Jenny's new song follows media conventions. They based the post-production editing on Beyoncé's "Countdown" video and used a projection effect over Jenny's face seen in Rihanna's "We Found Love". Dance routines were included as typically seen in pop videos, taking inspiration from Beyoncé's "Love on Top". Camera movements were designed to change with the music's beat. A lingering male gaze was also included to attract more viewers. The producer developed a 1950s theme inspired by Beyoncé's "Why Don't You Love Me?" video to portray Jenny as strong and in charge. While having a retro style, the video does
The document describes 87 shots from a music video. Each shot lists the shot type, action, and mise-en-scene details. The shots include close-ups, medium shots, and long shots of the actress lip-syncing, dancing, and acting out different scenarios while wearing various costumes that change throughout the video.
The risk assessment document outlines several risks for an upcoming film shoot including: ensuring the tripod is stable to prevent falling and damage; making sure the battery is fully charged for adequate filming time; watching out for flying golf balls while filming on a golf course; being careful not to trip on loose wires in the studio; taking regular drink breaks to avoid overheating from bright studio lights; and having the actress take care in her long dress and heels to prevent falling and interrupting filming.
Layla Cooper posted a new profile picture and wrote about meeting Beyonce the previous night. She is excited to see Beyonce in concert in one week and wishes she could be Beyonce, who she considers perfect. Aliesha Scott commented that she is going to the Beyonce concert with a friend and is very excited.
The document summarizes Rachel Harriman's personal skills audit for her A2 project. It outlines the digital technology, post-production, research and planning, and creativity skills she acquired and how they contributed to creating her previous product. It also describes how she will further develop these skills, such as using editing software like Final Cut and Photoshop, during her upcoming A2 project.
This document provides historical case study notes on the 1979 film Quadrophenia. It discusses the representation and ideological values of three main characters: Jimmy, Steph, and Kevin. Jimmy struggles to balance his strong mod identity with his family and work life. Steph seems to use her sexuality to gain status but lives a normal life otherwise. Kevin realizes earlier than Jimmy that it's impossible to have a truly unique identity. The document also examines examples of mise-en-scene that reinforce youth culture stereotypes and discusses how Jimmy struggles with having multiple, conflicting identities. Finally, it draws parallels between past and present youth representations in media and analyzes how Stan Cohen's theory of "folk devils" relates to the
This document provides professional feedback. It likely contains constructive comments and suggestions aimed at helping improve performance, skills, or knowledge. The feedback may highlight both strengths and areas for development or growth.
Riesling font was chosen for the artist's name on the digipak and magazine ad to fit the retro theme while portraying the artist's feminine persona. The font was given a retro color treatment and set in all capital letters to express femininity but also convey women's empowerment in line with the products and artist's image.
The document tests out several fonts for an artist's name in a retro-themed video. The first font, Bellerose, was too simple and wouldn't draw attention to the artist. The second font, Airstream, was too bold and could distract from the artist. Riesling was selected as a classic, feminine retro font with delicate curves that would portray the artist well and match the song's connotations. Blake was also tested but deemed too modern for the retro theme.
The document provides instructions for editing a photo in Photoshop and adding motion to video clips in Final Cut. It describes 4 steps to edit the photo by adjusting curves, brightness, contrast, and adding layers of color. It then describes 4 steps to add a repeating motion sequence to video clips by copying, resizing, adding motion paths with keyframes, and adjusting center points. The instructions are intended to create retro-styled imagery and smooth motion between clips for a class project.
The document discusses feedback received from audiences on a music video. It notes that feedback was gathered from various sources like social media and focus groups. The feedback indicated that the editing fit well with the song and scenes in a diner were good, but could have benefited from more narrative. Overall the mise-en-scene and editing were seen as professional. Some feedback suggested adding more movement to shots to make them more interesting. The end shots with projections were viewed as very professional. The lip-syncing and stylistic consistency were also seen positively.
The combination of the main product (Jenny's debut album) and ancillary texts (advert and digipak) was effective because they established a clear brand identity centered around a 1950s diner theme. All aspects of the products, from the album and record label name to the visual design, reflected this theme to present a cohesive package. By linking the different products visually through consistent use of fonts, colors, settings, and props, the audience could easily identify them as promoting the same artist. This unified branding strategy makes the products more recognizable and saleable by associating a strong, consistent style with the artist.
The producer discusses how their music video for Jenny's new song follows media conventions. They based the post-production editing on Beyoncé's "Countdown" video and used a projection effect over Jenny's face seen in Rihanna's "We Found Love". Dance routines were included as typically seen in pop videos, taking inspiration from Beyoncé's "Love on Top". Camera movements were designed to change with the music's beat. A lingering male gaze was also included to attract more viewers. The producer developed a 1950s theme inspired by Beyoncé's "Why Don't You Love Me?" video to portray Jenny as strong and in charge. While having a retro style, the video does
The document describes 87 shots from a music video. Each shot lists the shot type, action, and mise-en-scene details. The shots include close-ups, medium shots, and long shots of the actress lip-syncing, dancing, and acting out different scenarios while wearing various costumes that change throughout the video.
The risk assessment document outlines several risks for an upcoming film shoot including: ensuring the tripod is stable to prevent falling and damage; making sure the battery is fully charged for adequate filming time; watching out for flying golf balls while filming on a golf course; being careful not to trip on loose wires in the studio; taking regular drink breaks to avoid overheating from bright studio lights; and having the actress take care in her long dress and heels to prevent falling and interrupting filming.
Layla Cooper posted a new profile picture and wrote about meeting Beyonce the previous night. She is excited to see Beyonce in concert in one week and wishes she could be Beyonce, who she considers perfect. Aliesha Scott commented that she is going to the Beyonce concert with a friend and is very excited.
The document summarizes Rachel Harriman's personal skills audit for her A2 project. It outlines the digital technology, post-production, research and planning, and creativity skills she acquired and how they contributed to creating her previous product. It also describes how she will further develop these skills, such as using editing software like Final Cut and Photoshop, during her upcoming A2 project.
1. Lyric Breakdown- Schoolin’ Life
This is for them 20 somethings 0.09-0.11
Time really moves fast, you were just sixteen 0.11-0.15
This is for them 30 somethings 0.16-0.18
That didn't turn out exactly how your mom and dad wanted you to be 0.18-0.24
This is for them 40 somethings0.24-0.26
Well raise up your glass and laugh like a motherfucker0.27-0.31
This is for them 50 somethings0.32-0.34
Hell, you're halfway there, baby take it to the head0.35-0.38
Mom and dad tried to hide the world0.40-0.42
Said, the world is just too big for a little girl0.43-0.46
Eyes wide open, can't you see0.47-0.50
I had my first heels by the age of 130.50-0.54
Mom and dad tried to hide the boys0.55-0.58
I swear that just made them want me more0.59-1.01
At 14 they asked me what I wanna be,1.02-1.05
I said "Baby 21, so I'd get me a drink."1.05-1.09
I'm not a teacher, babe1.09-1.10
But I can teach you something1.11-1.13
Not a preacher1.13-1.14
But we can pray if you wanna1.14-17
Ain't a doctor1.17-1.18
But I can make you feel better1.18-1.21
But I'm great at writing physical love letters1.21-1.25
I'm a freak, all day, all night1.25-1.28
Hot, top, flight1.29-1.31
Boy out of sight1.31-1.32
And I'm crazy, all day, all night1.32-1.36
Who needs a degree when you're schoolin' life?1.37-1.40
Oh ohwa, oh ohwa, OH ohohohh 1.41-1.44
Oh ohwa, oh ohwa, OH ohohohh 1.45-1.48
Schoolin' life...1.46-1.47
Oh ohwa, oh ohwa, OH ohohohh1.49-1.52
Oh ohwa, oh ohwa, OH ohohohh1.52-1.56
Schoolin' life...1.54-1.55
This is for them pretty somethings1.57-1.59
Living in a fast lane, see you when you crash babe2.00-2.04
This is for them sexy somethings2.05-2.07
That body ain't gon' always get ya out of everything2.08-2.12
This is for them bitter somethings2.13-2.15
Stop living in regret, baby, it's not over yet2.15-2.19
And this is for them chipper somethings2.20-2.22
That's high on life, baby, put me on your flight2.23-2.26
2. I'm not a teacher, babe2.27-2.28
But I can teach you something2.29-2.30
Not a preacher2.30-2.31
But we can pray if you wanna2.32-2.34
Ain't a doctor2.35-2.35
But I can make you feel better2.36-2.38
But I'm great at writing physical love letters2.38-2.42
I'm a freak, all day, all night2.42-2.46
Hot, top, flight2.47-2.48
Boy out of sight2.48-2.50
And I'm crazy, all day, all night2.50-2.54
Who needs a degree when you're schoolin' life?2.54-2.57
Oh ohwa, oh ohwa, OH ohohohh 2.59-3.01
Oh ohwa, oh ohwa, OH ohohohh 3.02-3.05
Schoolin' life...3.04-3.05
Oh ohwa, oh ohwa, OH ohohohh 3.06-3.09
Oh ohwa, oh ohwa, OH ohohohh 3.10-3.13
Schoolin' life...3.12-3.13
You know it costs to be the boss3.14-3.17
One day you'll run the town3.17-3.20
For now make your life what you decide3.21-3.25
Baby, party 'til the fire marshalls shut this sucker down3.25-3.29
I'm not a teacher, babe3.28-3.30
But I can teach you something3.31-3.32
Not a preacher3.32-3.33
But we can pray if you wanna3.34-3.36
Ain't a doctor3.37-3.37
But I can make you feel better3.38-3.40
But I'm great at writing physical love letters3.40-3.44
I'm a freak, all day, all night3.44-3.48
Hot, top, flight3.49-3.50
Boy out of sight3.51-3.51
And I'm crazy, all day, all night3.52-3.56
Who needs a degree when you're schoolin' life?3.56-3.59
Oh ohwa, oh ohwa, OH ohohohh 4.00-4.04
(Who needs a degree when you're schoolin' life?)4.04-4.08
Oh ohwa, oh ohwa, OH ohohohh 4.04-4.07
Oh ohwa, oh ohwa, OH ohohohh4.08-4.11
(Who needs a degree when you're schoolin' life?)4.11-4.15
Oh ohwa, oh ohwa, OH ohohohh4.12-4.15
There's not a real way to live this... for real4.17-4.23
Just remember stay relentless... oh yeah, oh yeah4.24-4.31
Don't stop running until it's finished, yeah yeah... yeah4.33-4.39
It's up to you, the rest is unwritten4.40-4.44
Yea, Yea, Yea4.45-4.47