The document discusses conventions used in acoustic music videos and how the media product challenges or develops those conventions. It analyzes conventions related to camera shots, locations/settings, lighting, costumes, props, music video structure, and editing. It discusses using conventions like close-ups, outdoor natural settings, casual clothing, and incorporating both a narrative and performance sections. It also discusses challenging conventions like using tracking shots atypical for acoustic videos. The goal was to create a media product that was recognizably of the acoustic genre while also being interesting.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
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Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
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240529_Teleprotection Global Market Report 2024.pdf
Media Evaluation 1
1. 1) In what ways does your media product use, develop or challenge forms and
conventions of real media products?
As our chosen artist’s music is of the acoustic genre, I started to look at
existing music videos of the acoustic genre. I studied, analysed and took note of
recurring themes that could be conventions of music videos. As I have a keen interest
in music anyway, I already had a basic understanding of conventions of different
genres from watching music channels and watching music videos on Youtube. I also
carried 4 music video analyses, 2 of the acoustic genre, and 2 of different genres.
From these analysis’ I developed my knowledge and expanded my awareness of
conventions of existing music videos of both the acoustic genres and other music
genres. I have written about some of these conventions below.
Goodwin’s music video theory consists of a number of features applicable to
most music videos. These are as follows:
1) Music videos demonstrate genre characteristics: In our music video we
included several aspects that associated our music video with the
characteristics of acoustic music. (More detail about how we did so in the
convention breakdown below).
2) There is a relationship between music and visuals: As we wanted our
music video to be able to tap into this convention of music videos we
decided to include some matching lyrics and visuals. For example one
section of the song’s lyrics is “ And I’d take my time, to show you that I
care”. During this part the visuals are of the narrative couple walking and
holding hands in slow motion to match the lyrics and the themes of time
and caring. However we did not want to overuse this convention as a
literal music video where visuals consistently match the visuals looks
unprofessional and tacky.
3) There is a relationship between music and visuals: When there is the guitar
playing in the track, quite frequently throughout our music video we
showed clips of Lewis playing the acoustic guitar. Also we edited out
music video in a way that matched the beat of the music to the beat of the
cut of visuals, again enhancing the relationship between music and visuals.
4) The demands of the record label will include the need for lots of close-ups
of the artist and the artist may develop motifs which recur across their
work: In our music video we included many close ups of Lewis singing
and close ups of him playing the guitar to abide with this criteria. We also
had Lewis wearing his key chain necklace, which is a reoccurring theme of
his as he wears it during live gigs and promotional photographs.
5) There is frequently reference to the notion of looking and particularly
voyeuristic treatment of the female body. We included clips of Lewis
looking around and looking up to the sun as he sings to represent him
looking for his loved one. The only female in our music video is of the
narrative actress, however in the casting process we thought that as she is
an attractive woman she would fulfil this feature.
6) There is often intertextual reference: As previously mentioned we planned
for Lewis to wear his key chain necklace as it is a reoccurring theme of his
as he wears it during live gigs and promotional photographs.
2. Camera Shots
From studying existing music videos of the acoustic genre, it was made
apparent that the use of close ups are quite conventional. James Morrison’s music
video of “Broken Strings” and Joshua Radin’s music video of “Brand New Day” are
both of the acoustic genre and both consist of close up shots. In order for my music
video to be able to tap into this
convention I decided to use several
close ups throughout both the
performance section and the
narrative section. It would also
enable the audience to see what the
artist looks like, which could help to
increase his popularity and
awareness. An example of one of the
close ups we used can be seen to the right. This is a close up of Lewis who is sitting
under a willow tree playing the guitar and singing.
Having watched music videos of other genres such as rock music I found that
the use of tracking shots and pans are very common. For example in one of the music
video analyses that I carried out was that of Francesqa’s music video of their single
“Ghosts”. In this video tracking shots are used several times, mainly in the
performance section of the music video. From watching rock music channels such as
“Kerrang!” “Lava TV” and “Scuzz”, I have found that the use of tracking shots in
performance sections of rock music videos is very popular. Hence I drew the
conclusion that the use of tracking shots is a convention of rock music videos. Despite
this when it came to storyboarding, a few of the panels we constructed included the
use of a tracking shot. As I knew that this was a convention of rock music videos and
not used commonly in acoustic music videos I was a bit apprehensive in using one in
the music video. However we it came to shooting we tried out the tracking shots and
we thought they worked really nicely. Hence we decided to leave the tracking shots
in, which could challenge the conventions of an acoustic music video. However I feel
that despite challenging the conventions of an acoustic music video I think it fits well
into our music video and acts as an interesting shot.
Many acoustic music videos including Jason Mraz’s music video of “I’m
Yours” and Never Shout Never’s music video of “I love you 5”, consist of handheld
camera movement. As we got the opportunity to use a Sony HDV-100E video camera
as apposed to the smaller Sony HD Handycams, we decided incorporate some
handheld shots into our storyboard. When we shot our music video with the Sony
HDV-100E video camera, we were able to use handheld shots in the music video and
come out with reasonably steady and interesting shots. It is difficult to do a handheld
shot using a Sony HD Handycam as when viewing the captured footage back you can
really notice the shakiness, which looks unprofessional. By using handheld shots we
were able to incorporate this conventional camera movement of acoustic music videos
into our music video. On a different note we felt that the use of static shots might
challenge the camera movement convention of acoustic music videos. Also we felt
that repetitive use of static shots could make a very dull music video so we tried to
minimise the use of static shots.
3. Location and Setting
One important issue we had to face was the choice of location to film our
music video. From studying existing acoustic music videos we found that the majority
of them were filmed outdoors in beautiful scenery. We wanted to develop this
convention in our music video and also film in beautiful scenery. Hence we came to
the decision of filming in “The Walks”, a
park in West Norfolk (see picture to the
right). The park consists of a river, a huge
amount of trees and plants, a bandstand, a
castle, hills and fields, all of which would
benefit the mise-en-scene of the music
video by making it visually appealing. A
typical convention of acoustic music
videos is to include shots of either the
narrative actors or the performer walking
across grass, so we decided to include this
convention in our music video. This
convention is also made apparent in Colbie Caillat’s music video of “Bubbly”, when
Colbie and a male actor are shown lying down and walking across the grass. We also
felt that we could use the sheer size and variety within this location to our advantage
and create some interesting shots, emphasising on the beautiful location and tapping
into this convention.
Another possible location was to
film at the beach as this location proved
quite conventional of an acoustic music
video. For example Jack Johnson’s
music video of “Taylor” (see the screen
shot to the right) is filmed
predominantly at the beach and again
this reinforces the natural feel to the
music video that is also shared with
many other music videos of the acoustic
genre. However we felt that taking expensive equipment to the beach could be a bad
idea with risks of sand getting in it.
Studying existing music videos of other genres such as rock also helped our
decision when it came to choosing a location to film at. For example one possible
location that we came up with was an abandoned warehouse. However after watching
several rock music videos I discovered that this location was very typical for this
genre as apposed to acoustic music videos, so if we filmed our music video here it
would challenge the conventions of an acoustic music video. In contrast, from
studying existing music videos of the pop music genre, I found that the location
choices were typically dance studios. We decided to avoid this type of location as it
holds strong conventions of pop music, not acoustic music.
4. Lighting
Another typical convention for an acoustic music video is the fact that very
little artificial lighting is used. As the majority of existing acoustic music videos are
set in the daytime, typically in the summer, studio lighting is not necessary. I think
another reason why the use of artificial lighting is rationed is so it does not ruin the
natural feel to the music video that acoustic music videos typically consist of. As we
shot our music video towards the end of summer at midday, we did not need to use
artificial lighting. We also felt that by not using any artificial lighting in our music
video, our music video would use the convention of natural light that is featured in
many existing acoustic music videos.On the other hand pop music videos often have
big studio lighting of many bright colours that tend to flash in time with the music.
We felt that having this approach to lighting would be unsuitable for the genre of our
chosen artist’s music, so we avoided this pathway.
Costumes
When it came to deciding on a costume for both our actors and our chosen
artist in our music video we wanted outfits that were conventional for acoustic music
videos and also fashionable so they would appeal to our target audience. As our target
audience is made up of males and females aged 13-24 we understand that fashion is
quite an important aspect for them. We wanted outfits that were fashionable so our
target audience could relate to them and find them visually attractive, enhancing our
music video.
Artists of the same genre such as Jason
Mraz and Jack Johnson are often seen wearing
casual clothing in most of their music videos. This
made me think that perhaps casual clothing is a
convention of a music video, so we applied this
convention to the outfits that we created for our
music video. Our chosen artist wore a light green t-
shirt, which looked summery and enhanced the
theme of summer time in our music video, which
is also a convention of acoustic music videos.
Along with the green shirt he also wore jeans,
which reinforced the convention of casual clothing
in acoustic music videos.
Our male actor Thomas wore a red shirt
and jeans throughout our music video. Again by
wearing jeans it holds the convention of casual clothing in acoustic music videos. The
colour red has connotations of romance, and this could represent the theme of love in
our chosen artist’s song as well as this theme that is shared in many existing acoustic
music videos. Red shirts are also quite popular in acoustic music videos, (see picture
right of acoustic artist City and Colour), which also influenced our decision when it
came to choosing the costumes.
5. Props
After watching acoustic music videos such as Jack Johnson’s “You and Your
Heart” and Jason Mraz’s “I’m Yours”, I found that quite a common feature is to
include footage of sport.
For example “I’m Yours”
includes footage of
skateboarding (see left)
and “You and Your Heart”,
includes surfboarding
footage. Other acoustic
videos I watched included
sports such as volley ball
on the beach. Seeing sports in acoustic music videos has led me to believe that it
could be a convention. Hence we decided to include some kind of sports in our music
video. We thought that logistically having extreme sports such as surfing or
skateboarding in our music video could be difficult to film, as well as having health
and safety issues. We decided that an appropriate sport to include in our music video
would be a bat and ball game between the narrative couple in love. This taps into this
convention, as well as also showing that the couple are having fun in the park, being
in love and playing games.
Another prop we included in our music video was the use of an acoustic
guitar. We found that many acoustic singer-songwriters play their acoustic guitar in
the performance sections of their music video. We thought it would be a good idea to
incorporate performance shots of our chosen artist playing his guitar so we could use
this convention and make our music video more like a professional acoustic music
video. We also thought that by including
shots of our chosen artist playing guitar it
would help with his star persona and allow
the audience to recognise that he plays
guitar as well as sings. You can see a shot
that we used in our music video to show
Lewis playing the guitar and singing to the
right.
Music Video Structure
The majority of acoustic music videos I studied have a structure that includes
both performance and narrative sections. As we wanted to use this convention in our
music video we created a narrative that we could use and incorporated that and
performance shots into our storyboard. We also felt that a music video consisting
purely of a performance would make a boring music video. We felt the same way
about having a music video based purely on around a narrative. We also thought it is
important, particularly in unsigned acts to include performance sections so the
audience can start to recognise the artist and associate their music with their face.
6. Editing
When it came to editing our
acoustic music video we decided to
take a similar approach to that of the
music videos of “Hey There Delilah”,
by The Plain White T’s. In this video
the footage is shown in sections split
across the scene. As we thought this
makes an interesting editing technique,
as well as using this convention of an
acoustic music video we decided to
incorporate this editing technique into our music video. An example of the sectioning
can be scene in the screen shot above from the Plain White T’s music video.
Another editing convention found often in existing acoustic music videos is
the use of cutting to the beat of the music. The pace of the editing is quite slow paced
and the shot changes are matched in time to the beat. We also decided to use this
convention in our music video as we think it is effective in making our music video
more generic to the acoustic genre.
Another editing technique we decided to include in our acoustic music video is
the use of a colour filter in our visuals. We felt that the filters enhanced the summery
colours such as the yellows, and greens, which help to reinforce the generic
convention of summer often associated with acoustic music videos.
Conclusion
In conclusion I think that I have been successful in applying certain typical
conventions associated with an acoustic music video and think I have made correct
decisions when it came to choosing which conventions to use, develop or challenge.
7. When it came to creating my digipack and music magazine
advert I first looked at existing products of the same genre as my
chosen artist. I looked at digipack designs from artists such as
Jason Mraz and Joshua Radin. I also did further research into
similar artists digipack designs by creating written analyses of Jack
Johnson’s “In-between Dreams” and Plain White T’s “Wonders of
the Younger”. From these digipacks I was able to create a rough
idea of what conventions were typical for acoustic artist’s digipacks. I also looked at
magazines that feature acoustic music such as NME to see the conventions associated
with acoustic magazine adverts.
One of the conventions I found common to acoustic artist’s digipacks was the
use of showing the artist on the front cover, as seen in the picture to the right of
acoustic singer-song writer City and Colour. As I wanted to use this convention in my
digipack design and magazine advert I decided to include a photograph of Lewis on
the front cover. I also think that as Lewis is an unsigned artist it would be a good idea
to include a picture of him on the front cover so the audience can get a rough idea of
what he looks like and create a sense of star persona. In conjunction to this convention
the most typical framing of the digipack photo was centred. As my photo was
originally rectangle and I had to edit it using Photo Shop to make it the correct square
shape, I was unable to use the centred photo convention. Instead the artist was
positioned to the right of the photograph, slightly off centred. I thought it would be a
good idea to use the same image in both of my ancillary products so the audience can
recognise the reoccurring theme and associate the advert with the single release.
Studying existing magazine adverts, particularly of the
acoustic genre I found that having the release date quite big and
interesting is a typical convention of a magazine advert. This is why
I decided to include my release date on the sign that Lewis was
holding up. I think this acts as an interesting and quirky way to
display the release date but also it is quite easy to read.
Another convention I decided to use was to put the artists
name towards the centre of the digipack and magazine advert.
From studying existing products of the same genre but also different genres such as
Pop music and Rock music I found that the artists name tended to be in the middle
and generally the biggest text. Also as the artists name is probably the most important
piece of text of the digipack cover and magazine advert so by having it towards the
centre it would be likely to focus the audience’s attention to it first. The font choice
used in many acoustic digipacks I looked at were quite simple and easy to read. I
wanted to challenge this convention by using a more fancy font choice, so I used a
swirly font. However I made sure it was still easy to read. As acoustic music holds
conventions of love and romance I decided to colour the text in red as the colour red
connotes these themes.
In my digipack I also decided to include the artist’s website as this would
enable the audience to view more of the artist’s work and increase his awareness
which is important, particularly for an unsigned artist. Another convention I included
on my digipack was the use of a barcode. As well as using this convention I feel that
this little feature makes my digipack look more professional.
In conclusion I believe that despite taking a more challenging approach on
existing acoustic product conventions, I have created a interesting and innovative
8. design which can still be linked back to the acoustic genre, but with a more
metaphorical approach.