music video analysis
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This document provides an analysis of the music video for "Nasty Girl" by Notorious B.I.G. It summarizes the mise-en-scene, sound, camera work, and editing elements of the video. The mise-en-scene establishes the old school hip hop genre through clothing styles and depicts the lavish lifestyle of a big hip hop artist partying in a club. The sound includes both diegetic conversation and non-diegetic elevator music. Camera work includes over the shoulder shots and close-ups. Editing maintains continuity while occasionally slowing the pace or inserting additional dialogue scenes. Clips of Biggie from other videos are also incorporated toward the end.
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Bonkaz
The music video is for a grime song and takes place in a London housing estate. It features the artist and his friends dressed in typical hood styles like bucket hats and hoodies. Throughout the video, the camera moves with the fast pace of the song rather than remaining still. Editing is used to switch between shots in a continuous flow that matches the energy of the music.
Music Promo
The music video takes place primarily in a club setting filled with women and alcohol, depicting the lavish lifestyle of a famous hip hop artist. Scenes show women in revealing outfits and the artist surrounded by accessories like chains and sunglasses, referencing hip hop fashion from that era. The camera work includes over-the-shoulder shots and close-ups of people walking to capture the busy atmosphere. The editing maintains continuity between real-looking events and matches the pace of the slow song, with some scenes edited with techniques like slow motion.
Gold steps analysis
The music video for "Gold Steps" by Neck Deep is primarily performance based. It shows the band performing both during the day on a truck and at night for fans. Shots change quickly to match the fast-paced music. It aims to appeal to teenagers by showing them having fun skateboarding and crowd surfing. The video illustrates the lyrics about living life to the full and overcoming obstacles through shots of the band and fans enjoying themselves.
A Few Music Videos I Like
The document discusses and summarizes several music videos that the author likes, including The Enemy's "Sing When You're In Love" for its 1960s style elements, The Pigeon Detectives' "This Is An Emergency" for its split screen technique, and The Beatles' "Help!" for its camerawork and portrayal of the band as happy. The author also analyzes The Last Shadow Puppets' video for "Standing Next to Me" as being inspired by The Beatles, and Lily Allen's "Not Fair" for having a western theme.
A2 music video information
The document provides details on the themes, concepts, locations, and shots planned for a music video. It will feature a main performer rapping in various urban locations around Ringwood and Poulner, including streets, a pool house, a pub, and a school. Shots will typically be 5-10 seconds and include the performer alone and with friends, changing outfits to match locations. Diagrams provide floor plans for specific scenes like rapping outside a car or being wrapped in cling film. Additional locations like flats in Southampton are suggested if needed.
Paul hunter
Paul Hunter is a renowned music video director known for working with popular artists across many music genres. Some of his earliest videos from the 1990s featured storylines and scenes of dancing against colorful backgrounds or in vehicles. More recently, his videos have had sleeker urban styles while still featuring dancing scenes that match the lyrics. He continues experimenting with techniques like effects, locations, and visuals that connect to the music.
Presentation3
The document discusses common technical codes and conventions in jazz/soul music videos. There are usually live performances shown with close-up and wide shots of the band performing together on stage. Singers typically wear dark, sophisticated yet simple clothing like dresses. The lighting is often black and white to take a minimalist approach and focus on the song rather than the performers' images. Jazz/soul music videos also tend to be performance-based.
Video analysis
The video features two R&B/pop artists on a radio/TV. Scenes show a medium shot of an old radio, suggesting the vintage style and old classics genre of the song. Pictures of the artists are shown with posters of other bands in the background, further indicating the rap and RnB genre. Shots of the artists in hoodies, polo shirts and checkered shirts in an urban environment also connote an indie rap genre. The video cuts between different angles and shots at a fast pace to match the quick beat of the song. It follows a narrative story that includes humor with a man getting paid with fake money, and a chase scene shown with slow motion shots. Props and graffiti in the
Recommended
Bonkaz
The music video is for a grime song and takes place in a London housing estate. It features the artist and his friends dressed in typical hood styles like bucket hats and hoodies. Throughout the video, the camera moves with the fast pace of the song rather than remaining still. Editing is used to switch between shots in a continuous flow that matches the energy of the music.
Music Promo
The music video takes place primarily in a club setting filled with women and alcohol, depicting the lavish lifestyle of a famous hip hop artist. Scenes show women in revealing outfits and the artist surrounded by accessories like chains and sunglasses, referencing hip hop fashion from that era. The camera work includes over-the-shoulder shots and close-ups of people walking to capture the busy atmosphere. The editing maintains continuity between real-looking events and matches the pace of the slow song, with some scenes edited with techniques like slow motion.
Gold steps analysis
The music video for "Gold Steps" by Neck Deep is primarily performance based. It shows the band performing both during the day on a truck and at night for fans. Shots change quickly to match the fast-paced music. It aims to appeal to teenagers by showing them having fun skateboarding and crowd surfing. The video illustrates the lyrics about living life to the full and overcoming obstacles through shots of the band and fans enjoying themselves.
A Few Music Videos I Like
The document discusses and summarizes several music videos that the author likes, including The Enemy's "Sing When You're In Love" for its 1960s style elements, The Pigeon Detectives' "This Is An Emergency" for its split screen technique, and The Beatles' "Help!" for its camerawork and portrayal of the band as happy. The author also analyzes The Last Shadow Puppets' video for "Standing Next to Me" as being inspired by The Beatles, and Lily Allen's "Not Fair" for having a western theme.
A2 music video information
The document provides details on the themes, concepts, locations, and shots planned for a music video. It will feature a main performer rapping in various urban locations around Ringwood and Poulner, including streets, a pool house, a pub, and a school. Shots will typically be 5-10 seconds and include the performer alone and with friends, changing outfits to match locations. Diagrams provide floor plans for specific scenes like rapping outside a car or being wrapped in cling film. Additional locations like flats in Southampton are suggested if needed.
Paul hunter
Paul Hunter is a renowned music video director known for working with popular artists across many music genres. Some of his earliest videos from the 1990s featured storylines and scenes of dancing against colorful backgrounds or in vehicles. More recently, his videos have had sleeker urban styles while still featuring dancing scenes that match the lyrics. He continues experimenting with techniques like effects, locations, and visuals that connect to the music.
Presentation3
The document discusses common technical codes and conventions in jazz/soul music videos. There are usually live performances shown with close-up and wide shots of the band performing together on stage. Singers typically wear dark, sophisticated yet simple clothing like dresses. The lighting is often black and white to take a minimalist approach and focus on the song rather than the performers' images. Jazz/soul music videos also tend to be performance-based.
Video analysis
The video features two R&B/pop artists on a radio/TV. Scenes show a medium shot of an old radio, suggesting the vintage style and old classics genre of the song. Pictures of the artists are shown with posters of other bands in the background, further indicating the rap and RnB genre. Shots of the artists in hoodies, polo shirts and checkered shirts in an urban environment also connote an indie rap genre. The video cuts between different angles and shots at a fast pace to match the quick beat of the song. It follows a narrative story that includes humor with a man getting paid with fake money, and a chase scene shown with slow motion shots. Props and graffiti in the
Acai bowl presentation
Dominic Fike is an up-and-coming artist from Naples, Florida known for his edgy style and face tattoos. His music blends genres like rap, alternative hip hop, and indie pop. The proposed music video would feature simple, changing shots of a guitarist, dancers behind a screen, and a full band playing in a black studio with changing lighting. It would use props like breaking glasses and spilled cranberry juice to symbolize parts of the song without a clear narrative or performance.
Acai bowl dominic fike
Dominic Fike is an up-and-coming artist from Naples, Florida known for his edgy style and face tattoos. His music blends genres like rap, alternative hip hop, and indie pop. The video proposal is for Fike's song "Acai Bowl" and would feature shifting scenes of a guitarist, dancers behind a screen, and a full band playing in a black studio with changing lighting. Different singers would be featured at different parts of the song to represent different themes.
Evaluation
The document summarizes how the student's media project of a dancehall music video for the song "Rum and Red Bull" both used conventions of the genre but also challenged them in some ways. It situated the project within popular dancehall music videos by artists like Beenie Man and Sean Paul to highlight similarities in conventions like an announcing DJ or sexualized dancing by women. However, it also noted ways they diverged like having the performer and dancer in separate scenes and focusing more on conceptual elements than large dance scenes. Intertextual references to silent films were also an unconventional choice for a dancehall video.
Textual analysis cat daddy
This document analyzes the music video for "Cat Daddy" by Rej3ctz. It notes that the fast-paced editing conveys the fast-paced lifestyle depicted. Shots show an urban, "gangster" environment in Los Angeles marked by graffiti and signs. Costumes also help set the fun, colorful tone. The video uses many shots of dancing to both genders to show anyone can do the dance. Aspects like establishing the location, promoting a sense of humor, and using colorful clothing will influence the video the author plans to create.
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
Rap music videos in the 80
Rap music videos in the 1980s were controversial. The first major rap video, "Rappers Delight" by Sugarhill Gang, portrayed the rappers as heroes through low camera angles and bird's-eye shots of dancing crowds, though it was criticized for including sexual dancing. NWA's "Straight Outta Compton" was the first stereotypical rap video, using dark lighting and portraying the lyrics through actions like MC Ren pretending to hold a gun. Both videos aimed to seem relatable through normal clothing but had different styles - Sugarhill Gang's was purely performative while NWA's combined performance with a narrative storyline.
‘Called out in the dark’ analysis
The video portrays the making of a music video, showing the singer feeling ignored behind the scenes while an actor plays his role on set. Scenes show the singer trying to get noticed by jumping across a green screen in a see-through shirt and singing directly to the director. While an actor portrays the singer on camera, close-ups make it clear who the real singer is. The narrative follows the singer getting in the way on the video set and attempting to gain attention.
Detailed analysis
The music video for Marmozets' song "Born Young and Free" uses several conventions of rock music video form and genre. It has fast-paced editing that matches the fast tempo of the song. Scenes of the band performing are included to show them using their musical instruments. The lighting is mostly low-key and dark, the setting is an underground space, and the band members wear dark clothing, all of which are conventional for rock music videos. The narrative fits the lyrics of being trapped but breaking free by the end.
Genre and convention research
This document discusses the conventions of hip hop/R&B music videos through analyses of Jason Derulo's "Ridin' Solo" and Ne-Yo's "Beautiful Monster". It notes that both videos feature the artists dancing with backup dancers in nightclub settings wearing formal attire. The choreography and dance moves in both videos follow conventions for the genres by being in time with the beat. Ne-Yo is also shown always wearing a black hat, consistent with his image in other R&B music videos.
Performance Plan
This document provides a plan for the performance portion of a music video. It will show the main artist performing the song in a studio, filmed in the TV studio at CCN. The studio space will be made to look simplistic with a white backdrop and floor, microphone, stand, and lights. Three cameras will be used to capture the performance from various angles, including long shots, mid shots, close ups, and low angles to make the artist look empowered. Including performance footage alongside the narrative is important for the target rock music audience.
Music video gold steps
This music video for Neck Deep's "Gold Steps" is aimed at a teenage audience. It shows teenagers looking bored and then having fun skateboarding and crowd surfing at a concert. The video matches the fast-paced music by using quick cuts, and slower shots are used during slower musical parts. The video illustrates the lyrics about living life to the full and having fun. It is primarily a performance-based video that shows the band playing on a truck and at a concert.
Music for films
Music has played an important role in cinema since the silent film era, when musicians would provide live accompaniment to set the mood. With the advent of sound films in the late 1920s, recorded soundtracks allowed voices and background music to be synchronized to the picture. Today, composers work closely with directors to determine what music is needed and when during the film. Cue sheets provide timing information to ensure the composed music fits the film precisely.
Presentation1
Hadouken!'s song "Mic Check" samples Double 99's "RIP Groove" and had multiple single releases due to the sample. The beats in the song match up well with the lighting and camera speed in the music video. The video focuses on the band's performance without a narrative, showing them playing in casual clothing as is typical of their electronic/dance genre. The camera speed and editing cut between shots of the lead singer and dancers to match the beats and focus on the main parts of the song and performance.
Music video and print analysis
The music video for Krept and Konan's "Devils Playground" depicts their experience with street life. Through lyrics and images, they convey that the road life is not worth it and they have changed their ways. Specifically, the video follows the artists in a car through different settings as they rap, connecting the words to depictions of deprived young people and how their situation has improved, as symbolized in their album cover by an umbrella providing shelter from the rain.
Group pitch draft
The document proposes a narrative for a music video about a ballet dancer. It will show the girl using ballet as an escape from her parents' unhappy marriage. Scenes will depict her dancing in a studio and on stage, as well as traveling to lessons. Goodwin's analysis of pop music videos will guide the production, focusing on strong visual connections to the lyrics, close-ups of the artist, and presenting the dancer voyeuristically. Influenced by Black Swan and Broken Arrow, ballet scenes will use dim lighting and tones to portray the girl's dark childhood and hope for the future.
Acai bowl dominic fike
The document proposes a music video concept for Dominic Fike's song "Acai Bowl". It describes setting up camera shots in a black studio with changing lighting. There would be four sets - beginning with a guitarist, then dancers behind a screen, followed by a band, and returning to the guitarist. Throughout, the singer would move between sets as the camera captures different elements like slow motion wine spilling and glass breaking. Costumes, props, and an online portfolio site are also outlined, providing details to bring the conceptual narrative to life through visuals and movement.
Meida question 1
This document discusses conventions of music video genres and how they were applied in an indie rock music video. It describes conventions like costumes, props, lighting and locations commonly seen in indie rock videos. It then discusses how these conventions were used in the music video for the song "London Love" by the band Maliki. Close-ups of the artist and synchronization of visuals to the music helped adhere to typical genre conventions while limitations like a low budget were worked around by filming in a local park location.
Evaluation question 2
The student created three products - a music video, digipak, and magazine advert - for an artist to showcase their song. Synergy between the products was important. The artist is featured prominently in all three to connect them. Similar locations, costumes, and modern aesthetics are used. Feedback indicated the story in the video could be clearer but the ancillary products were effective in showcasing the artist. With more time, stronger location links between all three products could improve their synergy.
Evaluation question 3
The document discusses research conducted on the target audience for a house music video and how that research impacted the final product. Key findings include:
- The target audience was determined to be males and females aged 13-30 based on comments on existing music and research on interests in house music.
- Research on social media found largely positive opinions of house music describing feelings of happiness and freedom.
- Feedback on a rough cut of the video found some positive elements but also identified issues like shaky camerawork.
- Focus groups on the final video provided feedback that helped identify further areas for improvement, like steadier camerawork, but also showed synergy with other promotional materials.
Question 1 part 2
This document discusses similarities and differences between the music video for "I Got U" by Duke Dumont and the creator's own music video for "All to You". It analyzes both videos in terms of their point-of-view shooting style, notions of voyeurism, location shots, use of close-ups of the artist, and lighting. The document also provides suggestions on how the creator could make their video more similar to "I Got U", such as improving the smoothness of point-of-view shots and filming with a stabilized camera.
What have you learned from your audience feedback
The document discusses feedback received from the target audience of 16-22 year olds on a music video, magazine advertisement, and digipak created by an indie/pop band. Feedback on the music video praised the editing but some disliked the genre of music, though others of their age would. Feedback on the printed materials appreciated the consistent color scheme and representation of the main singer Laura, but suggested showing the full band more to establish them rather than just Laura. The creator took this feedback to feature the full band more in future materials to better connect with the audience.
Media location
The group originally planned to film the band performing at iconic London landmarks like London Bridge and Big Ben at night, but realized transporting all their equipment would be difficult. They discussed alternative options and decided to film at a park near the band's location in Ealing or at their rehearsal studio. Due to low light at night, they also decided to start filming earlier in the afternoon to capture sunset.
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Acai bowl presentation
Dominic Fike is an up-and-coming artist from Naples, Florida known for his edgy style and face tattoos. His music blends genres like rap, alternative hip hop, and indie pop. The proposed music video would feature simple, changing shots of a guitarist, dancers behind a screen, and a full band playing in a black studio with changing lighting. It would use props like breaking glasses and spilled cranberry juice to symbolize parts of the song without a clear narrative or performance.
Acai bowl dominic fike
Dominic Fike is an up-and-coming artist from Naples, Florida known for his edgy style and face tattoos. His music blends genres like rap, alternative hip hop, and indie pop. The video proposal is for Fike's song "Acai Bowl" and would feature shifting scenes of a guitarist, dancers behind a screen, and a full band playing in a black studio with changing lighting. Different singers would be featured at different parts of the song to represent different themes.
Evaluation
The document summarizes how the student's media project of a dancehall music video for the song "Rum and Red Bull" both used conventions of the genre but also challenged them in some ways. It situated the project within popular dancehall music videos by artists like Beenie Man and Sean Paul to highlight similarities in conventions like an announcing DJ or sexualized dancing by women. However, it also noted ways they diverged like having the performer and dancer in separate scenes and focusing more on conceptual elements than large dance scenes. Intertextual references to silent films were also an unconventional choice for a dancehall video.
Textual analysis cat daddy
This document analyzes the music video for "Cat Daddy" by Rej3ctz. It notes that the fast-paced editing conveys the fast-paced lifestyle depicted. Shots show an urban, "gangster" environment in Los Angeles marked by graffiti and signs. Costumes also help set the fun, colorful tone. The video uses many shots of dancing to both genders to show anyone can do the dance. Aspects like establishing the location, promoting a sense of humor, and using colorful clothing will influence the video the author plans to create.
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
Rap music videos in the 80
Rap music videos in the 1980s were controversial. The first major rap video, "Rappers Delight" by Sugarhill Gang, portrayed the rappers as heroes through low camera angles and bird's-eye shots of dancing crowds, though it was criticized for including sexual dancing. NWA's "Straight Outta Compton" was the first stereotypical rap video, using dark lighting and portraying the lyrics through actions like MC Ren pretending to hold a gun. Both videos aimed to seem relatable through normal clothing but had different styles - Sugarhill Gang's was purely performative while NWA's combined performance with a narrative storyline.
‘Called out in the dark’ analysis
The video portrays the making of a music video, showing the singer feeling ignored behind the scenes while an actor plays his role on set. Scenes show the singer trying to get noticed by jumping across a green screen in a see-through shirt and singing directly to the director. While an actor portrays the singer on camera, close-ups make it clear who the real singer is. The narrative follows the singer getting in the way on the video set and attempting to gain attention.
Detailed analysis
The music video for Marmozets' song "Born Young and Free" uses several conventions of rock music video form and genre. It has fast-paced editing that matches the fast tempo of the song. Scenes of the band performing are included to show them using their musical instruments. The lighting is mostly low-key and dark, the setting is an underground space, and the band members wear dark clothing, all of which are conventional for rock music videos. The narrative fits the lyrics of being trapped but breaking free by the end.
Genre and convention research
This document discusses the conventions of hip hop/R&B music videos through analyses of Jason Derulo's "Ridin' Solo" and Ne-Yo's "Beautiful Monster". It notes that both videos feature the artists dancing with backup dancers in nightclub settings wearing formal attire. The choreography and dance moves in both videos follow conventions for the genres by being in time with the beat. Ne-Yo is also shown always wearing a black hat, consistent with his image in other R&B music videos.
Performance Plan
This document provides a plan for the performance portion of a music video. It will show the main artist performing the song in a studio, filmed in the TV studio at CCN. The studio space will be made to look simplistic with a white backdrop and floor, microphone, stand, and lights. Three cameras will be used to capture the performance from various angles, including long shots, mid shots, close ups, and low angles to make the artist look empowered. Including performance footage alongside the narrative is important for the target rock music audience.
Music video gold steps
This music video for Neck Deep's "Gold Steps" is aimed at a teenage audience. It shows teenagers looking bored and then having fun skateboarding and crowd surfing at a concert. The video matches the fast-paced music by using quick cuts, and slower shots are used during slower musical parts. The video illustrates the lyrics about living life to the full and having fun. It is primarily a performance-based video that shows the band playing on a truck and at a concert.
Music for films
Music has played an important role in cinema since the silent film era, when musicians would provide live accompaniment to set the mood. With the advent of sound films in the late 1920s, recorded soundtracks allowed voices and background music to be synchronized to the picture. Today, composers work closely with directors to determine what music is needed and when during the film. Cue sheets provide timing information to ensure the composed music fits the film precisely.
Presentation1
Hadouken!'s song "Mic Check" samples Double 99's "RIP Groove" and had multiple single releases due to the sample. The beats in the song match up well with the lighting and camera speed in the music video. The video focuses on the band's performance without a narrative, showing them playing in casual clothing as is typical of their electronic/dance genre. The camera speed and editing cut between shots of the lead singer and dancers to match the beats and focus on the main parts of the song and performance.
Music video and print analysis
The music video for Krept and Konan's "Devils Playground" depicts their experience with street life. Through lyrics and images, they convey that the road life is not worth it and they have changed their ways. Specifically, the video follows the artists in a car through different settings as they rap, connecting the words to depictions of deprived young people and how their situation has improved, as symbolized in their album cover by an umbrella providing shelter from the rain.
Group pitch draft
The document proposes a narrative for a music video about a ballet dancer. It will show the girl using ballet as an escape from her parents' unhappy marriage. Scenes will depict her dancing in a studio and on stage, as well as traveling to lessons. Goodwin's analysis of pop music videos will guide the production, focusing on strong visual connections to the lyrics, close-ups of the artist, and presenting the dancer voyeuristically. Influenced by Black Swan and Broken Arrow, ballet scenes will use dim lighting and tones to portray the girl's dark childhood and hope for the future.
Acai bowl dominic fike
The document proposes a music video concept for Dominic Fike's song "Acai Bowl". It describes setting up camera shots in a black studio with changing lighting. There would be four sets - beginning with a guitarist, then dancers behind a screen, followed by a band, and returning to the guitarist. Throughout, the singer would move between sets as the camera captures different elements like slow motion wine spilling and glass breaking. Costumes, props, and an online portfolio site are also outlined, providing details to bring the conceptual narrative to life through visuals and movement.
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Meida question 1
This document discusses conventions of music video genres and how they were applied in an indie rock music video. It describes conventions like costumes, props, lighting and locations commonly seen in indie rock videos. It then discusses how these conventions were used in the music video for the song "London Love" by the band Maliki. Close-ups of the artist and synchronization of visuals to the music helped adhere to typical genre conventions while limitations like a low budget were worked around by filming in a local park location.
Evaluation question 2
The student created three products - a music video, digipak, and magazine advert - for an artist to showcase their song. Synergy between the products was important. The artist is featured prominently in all three to connect them. Similar locations, costumes, and modern aesthetics are used. Feedback indicated the story in the video could be clearer but the ancillary products were effective in showcasing the artist. With more time, stronger location links between all three products could improve their synergy.
Evaluation question 3
The document discusses research conducted on the target audience for a house music video and how that research impacted the final product. Key findings include:
- The target audience was determined to be males and females aged 13-30 based on comments on existing music and research on interests in house music.
- Research on social media found largely positive opinions of house music describing feelings of happiness and freedom.
- Feedback on a rough cut of the video found some positive elements but also identified issues like shaky camerawork.
- Focus groups on the final video provided feedback that helped identify further areas for improvement, like steadier camerawork, but also showed synergy with other promotional materials.
Question 1 part 2
This document discusses similarities and differences between the music video for "I Got U" by Duke Dumont and the creator's own music video for "All to You". It analyzes both videos in terms of their point-of-view shooting style, notions of voyeurism, location shots, use of close-ups of the artist, and lighting. The document also provides suggestions on how the creator could make their video more similar to "I Got U", such as improving the smoothness of point-of-view shots and filming with a stabilized camera.
What have you learned from your audience feedback
The document discusses feedback received from the target audience of 16-22 year olds on a music video, magazine advertisement, and digipak created by an indie/pop band. Feedback on the music video praised the editing but some disliked the genre of music, though others of their age would. Feedback on the printed materials appreciated the consistent color scheme and representation of the main singer Laura, but suggested showing the full band more to establish them rather than just Laura. The creator took this feedback to feature the full band more in future materials to better connect with the audience.
Media location
The group originally planned to film the band performing at iconic London landmarks like London Bridge and Big Ben at night, but realized transporting all their equipment would be difficult. They discussed alternative options and decided to film at a park near the band's location in Ealing or at their rehearsal studio. Due to low light at night, they also decided to start filming earlier in the afternoon to capture sunset.
Construction post
The document summarizes the filming process for an indie music video. It discusses how the group filmed at Walpole Park in Ealing, getting shots of the singer Laura from different angles and areas of the park. It also discusses filming the male singer briefly at the park and getting more shots of him at a studio location. Additional shots at the park included trees, the sun, and attempts to film birds flying. Scenes of the male and female singer meeting for the first time took several attempts to film from different angles. The second filming location was at a band member's home studio, where they got interior shots despite the cramped space.
Evaluation Question 1
The document discusses conventions of the indie rock music genre and how the media product draws from, develops, and challenges these conventions. Key conventions discussed include using close-ups of band members and instruments in music videos to emphasize authenticity and musicianship over visuals. Simplistic designs are also common for album artwork and merchandise. The media product takes inspiration from videos by Circa Waves and Arctic Monkeys but adapts conventions like using locations around London to represent the band's origins. Overall, the media product aims to portray the band as real and passionate about their music while putting their own spin on familiar indie rock conventions.
Evaluation Question 2
The combination of the main and ancillary texts is effective through synergy. All three products - a magazine advert, music video, and digipak - feature the same four band members and utilize nostalgic visual elements. This connects the products and brands the band as professional artists. The same font is used in the magazine advert and digipak to link them, representing the genre. Frames from the music video are also used in the digipak to link the two. Overall, consistent elements like imagery, editing style, and logo usage make the products feel cohesive and professionally made.
Evaluation 4
The document discusses the process of creating a music video. It describes using a Canon DSLR camera to film high quality footage. Scenes were composed using techniques like the rule of thirds. Final Cut Pro was used to edit the video, adding transitions and slow motion effects. Photoshop was used to edit images for the magazine advert and digipak. Audience feedback was gathered and research was done on social media and YouTube. Planning involved mood boards and font selection. Evaluations were presented using blogs, Prezi, PowerPoint, and SlideShare.
Kendrick
The music video for Kendrick Lamar's song "Alright" is analyzed. The video is shot in San Francisco and Los Angeles to connect with viewers. It features dancing scenes to keep the hip-hop feel while conveying a deeper message. Images in the video relate to the lyrics, depicting themes of religion, violence, happiness, and sudden death. The video structure mirrors the song's beat. It presents Kendrick Lamar as a role model and possible messianic figure. There are few voyeuristic elements and references are made to the Bible and works by Tupac Shakur.
Evaluation 4:
The document describes the process of creating a music video, including planning, filming with a Canon DSLR camera, editing footage in Final Cut Pro, creating additional print materials in Photoshop, gathering audience feedback, and evaluating the process. Key aspects of the process included applying techniques like rule of thirds in filming, using effects like slow motion in editing, and presenting work and research on platforms like Prezi and blogs.
Evaluation question 1 (2)
The document discusses how a media product about the indie rock band "The Jungle Doctors" uses and develops conventions of the indie rock genre. It analyzes the music video created, discussing how it features common conventions like a focus on the band's performance, authentic instrumentation, and simple narrative sequences. The document also summarizes how other aspects like the digipak, magazine advertisements, and influences from other indie rock music videos help situate the media product within the genre.
Evaluation 55555
The document summarizes the opening scenes of a film. It establishes that the target audience is teenagers and young adults who will relate to the teenage main character. The opening builds suspense and tension, making the audience uncomfortable by putting them in the main character's fearful position. Scenes show the main character distressed and speaking to a broken camera, then being heard panicking as the antagonist returns. Flashbacks thirty days earlier reveal the antagonist stalking the protagonist, with security camera footage building tension through faster cuts between color and black and white. This leaves the audience wondering who is watching and why the main character was kidnapped.
question 6 evaluation
The document discusses the process of learning to film and edit a short film opening. It describes learning how to use cannon cameras, tripods, and flip cameras to film different shots. It also covers learning 3-point lighting techniques using different colors and filters. The document discusses editing skills learned using Final Cut Pro X and uploading the final clip to YouTube.
Evaluation 1
The document discusses the development of a promotional package for an indie rock band called "The Jungle Doctors" including a music video, digipak, and magazine advertisement. Research was conducted on conventions of indie rock music videos, digipaks, and magazine ads. Inspiration was drawn from bands like The Strokes, Arctic Monkeys, and Jake Bugg. The music video incorporated performance and action shots cut together. The digipak and ad utilized simple designs and images to tie the materials together cohesively and promote the band's new single and album release.
Evaluation Q 1
In what ways does your media product use, develop or challenge forms and conventions of real media products?
Meida question 1
This document discusses conventions of music video genres and how they were applied in an indie rock music video. It describes conventions like costumes, props, lighting and locations commonly seen in indie rock videos. It then discusses how these conventions were used in the music video for the song "London Love" by the band Maliki. Close-ups of the artist and synchronization of visuals to the music helped adhere to typical genre conventions while limiting the budget. Ancillary materials like the album cover and magazine ad also drew from photos taken during the music video shoot.
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The video begins with a close-up of Usher's "U" necklace against a black background. It then cuts between shots of Usher dancing with blue lighting and other people dancing on the dance floor. Near the end, Lil Jon and Ludacris make appearances, rapping and dancing along with changing colored lights in the club setting. The video emphasizes dancing, artistic expression, and elements of the hip hop and R&B genres through its filming techniques, lighting, costumes, and multiple artists collaborating.
STYLES AND TECHNIQUES IN MUSIC VIDEOS
The document discusses different styles and techniques used in music videos. It provides examples for different genres of music including pop, hip hop, rock, and live concert footage. It also analyzes animation, narrative, pastiche, parody, surrealist, and cutting to the beat as techniques. Key techniques discussed are miming/lip syncing and multi-image editing to tell stories or promote lifestyles through vivid visuals that match the songs.
Quantitative analysis – music videos
Through analyzing different music video genres, the document identifies common elements in hip-hop, alternative rock, rap, dance, pop, folk, rock and roll, and drum and bass videos. Hip-hop and rap videos often focus on the artist's performance and connecting with viewers, while alternative rock, folk, and some pop videos center on the band's performance. Dance, rock and roll, and some pop videos combine performance with a storyline. Drum and bass videos use special effects to match the music's feel.
Bonkers – Dizzee Rascal Analysis
Dizzee Rascal is a British rapper known for hit singles that blend genres like hip hop, garage, and dance music. His music and style have influenced youth cultures in the UK. The music video for "Bonkers" features Dizzee Rascal dancing around the city, reflecting his carefree lifestyle of partying and addiction to heavy basslines according to the lyrics. Through techniques like camera zooms, colors, and costumes, the video complements the repetitive beats and dance theme of the song.
Andrew Goodwin’s Rules – Music Video Analysis
The document discusses several characteristics of music videos based on Andrew Goodwin's rules for different music video genres. It provides examples from the music video for Nicki Minaj's "Super Bass" to illustrate the characteristics of an image genre video, such as a focus on the artist's appearance and inclusion of choreographed dance routines. It also analyzes relationships between the song's lyrics, music, and visual elements of the video.
Music Video Analysis
The music video for Lady Gaga and Beyoncé's song "Telephone" tells a narrative story through its editing, imagery and dialogue. It opens like a film with title cards and establishes the prison setting. Throughout the video, the artists wear revealing outfits that reflect the mood of rebellion against their imprisonment. The fast tempo and editing match the upbeat song. Through shots that focus on the performers' emotions and conversations between them, the video integrates both the story and musical elements.
Red
The target audience for the music video is people aged 16-25 who enjoy clubbing and house/electro music. The video needs to reflect youth culture and appeal to their desire to party wildly and freely. It must match the tempo of the song, building from slow to fast beats and climaxes. Scenes of people dancing, partying, and destroying property depict the audience as "animals" and match their rebellious culture. Rapid editing between close-ups captures the fast pace and excitement to engage viewers.
Red 1
The target audience for the music video are people aged 16-25 who enjoy clubbing and electro/house music. The video needs to portray a youthful culture of being wild and free. It must match the tempo of the song, which builds from slow to fast beats and climaxes. Scenes of people dancing, partying, and destroying property appeal to the rebellious nature of the target audience. Camera techniques like close-ups, rapid cuts, and slow motion are used to match the fast pace of the music. Digital effects are minimal to maintain focus on the excitement of dancing and partying.
Music Video Analysis
Lady Gaga and Beyoncé's "Telephone" music video tells a narrative story through its filming techniques and editing style. The video is shot and cut like a film, with establishing shots that set the prison setting. It follows the song's lyrics about a phone call between Lady Gaga and Beyoncé. Through its fast pacing and cuts that match the upbeat tempo, the video seamlessly integrates the song with scenes advancing the story. Lady Gaga and Beyoncé wear provocative outfits that exhibit their sexuality and encourage the "male gaze," playing with ideas of gender, sexuality and control.
Textual Analysis 3
1) The music video for Clean Bandit's song "Rockabye" tells the narrative of a single mother who works as a pole dancer to support her child.
2) Various camera shots and lighting techniques are used to portray the mother's struggle and confinement to her job.
3) The lyrics and visuals are closely linked, conveying the mother's care and dedication to providing for her baby.
Music anaylsis 1
This music video is for Justin Bieber's song "Sorry". It features a group of female dancers performing an upbeat dance routine. The video was directed by Parris Goebel and choreographed to match the tropical house style of the song. It uses bright lighting and colorful costumes to create an energetic atmosphere for the dancing. Through continuity editing, the video syncs the dance moves to the rhythm and lyrics of the song. However, unlike many artist videos, it does not feature close-ups of Bieber himself.
Red
The music video for "Animals" by Martin Garrix effectively appeals to its target audience of 16-25 year olds who enjoy clubbing and electronic music. It matches the fast tempo and climactic buildup of the song through rapid editing between shots of a group dancing wildly and destroying property. Close-up shots of excited faces and bodies establish the rebellious "animal" spirit of youth culture that the lyrics and genre aim to portray.
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.
Genre research
This document summarizes research done on various indie/alternative artists including Cosmo Pyke, Triathalon, and Inner Wave. For each artist, it analyzes 1-3 of their music videos in terms of narrative, locations, shots, lighting, costumes, and overall feel. Key elements like bright colors, casual clothing, and warm lighting are highlighted. The document concludes the common "star image" of these artists is indie, relaxed yet stylized, unique, and stands out.
Timbaland - Hands in the Air
The document summarizes a music video for the song "Hands In The Air" by Timbaland featuring Ne-Yo. It was produced to promote the film "Step Up". The summary describes shots used in the video including mid-shots of the singer in a club, long shots showing the club, and close-ups when singers are performing. Slow motion is used to enhance the difficulty of dancing scenes. The video cuts between clips of the performers and clips from the film, and ends by fading to black.
Music video analysis work sheet (performance based)
The music video for "Livin' on a Prayer" by Bon Jovi uses several techniques to appeal to its target audience. It begins in black and white to indicate the era and hard rock genre. Fast drums set the tone. The target audience is mainly older males and teenage females in North America and Europe who can relate to the working class themes. Camera techniques like close-ups, spinning shots, and fast cuts match the upbeat tempo. While a love story is depicted, the overall message is one of perseverance through hard times with the support of loved ones.
Red
The target audience for the music video are people aged 16-25 who enjoy clubbing and electro/house music. The video needs to reflect youth culture and appeal to their desire to be wild and free. It must match the tempo of the song, building from slow to fast beats and climaxes. While the lyrics are minimal, the video depicts a group of people in animal masks dancing and later destroying a car to represent being "animals". The fast-paced video uses various shots and rapid editing to match the tempo changes in the song and create excitement for the young audience.
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Music video analysis work sheet (performance based)
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3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
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8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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music video analysis
- 2. MISE-EN-SCENE The genre of the music video is old school Hip Hop. This is shown throughout the music video on what everyone is wearing, especially the men because back in the day all hip hop artists wore a lot accessories e.g. big chains, rings, watches, sung glasses. The main location that is set for this music video is in a club, with a lot of women present and alcohol, this scene shows how big hip hop artist live their lives with all the money they have, In which this shows throughout the music video with all props used for it. There is references to ‘looking’ in a couple of scenes (voyeuristically), the image on the left, shows two girls in bikini’s whilst in a bath with one of the artists. This shows relates to hip hop artists to show the life style they live
- 3. Sound The song does stop for a few seconds and then continues, but during those few seconds we hear a Non diegetic sound which was the elevator bell and also a diegetic sound of a conversation between a man and a women
- 4. Camera Work The camera work here shows an over the shoulder shot between a man and a women during a conversation. There also is a close up tracking shot of a women walking, which shows that the scene is quite busy – links to hip hop artists as they have busy lives.
- 5. Editing There is constant continuity editing throughout the music video which shows real events occurring, the pace of the editing is fairly slow, to which it links in with the speed of the music. The music was cut in the middle and added a short scene of actual dialogue between a man and a women, but then quickly goes back to the song. Some of the scenes have been edited such as slow motion and also towards the end you see a an old clip of biggie added into the music video, when this is being played the music stops.