The document discusses music videos, their history, production techniques, and financing. It provides details on a case study of Silvertip Films, a UK-based music video production company. Silvertip Films offers various music video packages ranging from half-day shoots costing £1,000 to two-day shoots costing £2,500 plus expenses. They have experience shooting videos for signed and unsigned artists across genres.
The document discusses the requirements, styles, and sources of finance for a music video production, including that music videos are made to promote music recordings and increase song sales, they can use a blend of styles like animation and live action, and funding usually comes from being signed to a record label who will finance the video.
The music video will be filmed at the historic Coronet Theatre in London. It has two screens with 388 and 147 seats respectively, along with a licensed bar. The theatre retains its Edwardian features and has hosted many film and TV productions. A one-month budget of £15,000 will cover costs for a director, camera operator, lighting, and permissions. Meital Dohan and Sean Kingston will perform the song, requiring at least one full day of filming to capture their performances and storyline.
This document outlines the grading criteria and content for a unit on music video production. It discusses the purposes of music videos in two parts: Part A focuses on describing different purposes like promoting sales, tours, or charity. Part B examines styles, conventions and techniques of music videos through textual analysis. It defines terms like live performance, mimed performance, and conventions. Students are asked to find examples for each purpose and concept, and explain the positives and negatives or why each technique is used.
Music videos are short films used to promote songs and artists. They have three main production stages - pre-production where ideas are developed, production where filming occurs, and post-production where editing and effects are added. Videos aim to promote singles and albums, boost music sales and streams, and increase an artist's celebrity profile. Famous directors like David Fincher and Spike Jonze are known for high-quality, successful videos. Budgets can range from $50,000 to millions, depending on scale and vision. Audiences now access videos primarily through YouTube, as well as television channels and stores like iTunes.
Here is a potential structure for your response:
1. Describe the key conventions of music videos such as illustrating/amplifying lyrics, relationship between music and visuals, close ups of artists, developing star iconography. Use two examples such as Robert Palmer's "Addicted to Love" and Beyoncé's "Single Ladies" to illustrate.
2. Explain the techniques of intertextuality used in music videos such as parody, pastiche and homage. Provide an example of each such as Weird Al's parody of "White and Nerdy" or Joanna Newsom's homage to Van Gogh in "Sapokanikan." Discuss why artists use intertextuality to
Music videos are made by filming bands or singers with cameras and editing the separate shots together using programs like Garage Band or Premiere Pro. They can be edited to change how the video looks and sounds. The main companies that show music videos are YouTube and VEVO, as they are great sites for musicians to promote new releases. While YouTube allows browsing and viewing videos for free, iTunes is generally the best place to purchase copies of music videos, though it is restricted to Apple devices. One of the primary purposes of music videos is to promote artists and generate profit for music companies, while also entertaining audiences through interesting storylines.
This document outlines a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos in terms of entertainment, branding, sales, and strategies used by different types of artists. Task 2 covers common styles, techniques and conventions used in music video production. Task 3 requires analyzing at least three music videos in terms of purpose, style, techniques, intertextuality, camerawork, and genre conventions. The case study aims to demonstrate understanding of the purposes and production aspects of music videos.
The student gathered feedback from various audiences who viewed their music video, including teachers, family, and friends. They found that audience members engaged well with the production and provided positive feedback. The student learned that capturing the attention of both their target genre audience and a wider audience is important. Receiving feedback from a diverse group of viewers helped the student understand what aspects of the video people could relate to.
The document discusses the requirements, styles, and sources of finance for a music video production, including that music videos are made to promote music recordings and increase song sales, they can use a blend of styles like animation and live action, and funding usually comes from being signed to a record label who will finance the video.
The music video will be filmed at the historic Coronet Theatre in London. It has two screens with 388 and 147 seats respectively, along with a licensed bar. The theatre retains its Edwardian features and has hosted many film and TV productions. A one-month budget of £15,000 will cover costs for a director, camera operator, lighting, and permissions. Meital Dohan and Sean Kingston will perform the song, requiring at least one full day of filming to capture their performances and storyline.
This document outlines the grading criteria and content for a unit on music video production. It discusses the purposes of music videos in two parts: Part A focuses on describing different purposes like promoting sales, tours, or charity. Part B examines styles, conventions and techniques of music videos through textual analysis. It defines terms like live performance, mimed performance, and conventions. Students are asked to find examples for each purpose and concept, and explain the positives and negatives or why each technique is used.
Music videos are short films used to promote songs and artists. They have three main production stages - pre-production where ideas are developed, production where filming occurs, and post-production where editing and effects are added. Videos aim to promote singles and albums, boost music sales and streams, and increase an artist's celebrity profile. Famous directors like David Fincher and Spike Jonze are known for high-quality, successful videos. Budgets can range from $50,000 to millions, depending on scale and vision. Audiences now access videos primarily through YouTube, as well as television channels and stores like iTunes.
Here is a potential structure for your response:
1. Describe the key conventions of music videos such as illustrating/amplifying lyrics, relationship between music and visuals, close ups of artists, developing star iconography. Use two examples such as Robert Palmer's "Addicted to Love" and Beyoncé's "Single Ladies" to illustrate.
2. Explain the techniques of intertextuality used in music videos such as parody, pastiche and homage. Provide an example of each such as Weird Al's parody of "White and Nerdy" or Joanna Newsom's homage to Van Gogh in "Sapokanikan." Discuss why artists use intertextuality to
Music videos are made by filming bands or singers with cameras and editing the separate shots together using programs like Garage Band or Premiere Pro. They can be edited to change how the video looks and sounds. The main companies that show music videos are YouTube and VEVO, as they are great sites for musicians to promote new releases. While YouTube allows browsing and viewing videos for free, iTunes is generally the best place to purchase copies of music videos, though it is restricted to Apple devices. One of the primary purposes of music videos is to promote artists and generate profit for music companies, while also entertaining audiences through interesting storylines.
This document outlines a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos in terms of entertainment, branding, sales, and strategies used by different types of artists. Task 2 covers common styles, techniques and conventions used in music video production. Task 3 requires analyzing at least three music videos in terms of purpose, style, techniques, intertextuality, camerawork, and genre conventions. The case study aims to demonstrate understanding of the purposes and production aspects of music videos.
The student gathered feedback from various audiences who viewed their music video, including teachers, family, and friends. They found that audience members engaged well with the production and provided positive feedback. The student learned that capturing the attention of both their target genre audience and a wider audience is important. Receiving feedback from a diverse group of viewers helped the student understand what aspects of the video people could relate to.
Kristian Fox conducted market research to inform the creation of a new music video. The research found that:
1) The primary audience for music videos is females ages 11-20, so the video will need to appeal to this demographic.
2) Rock is the most popular genre, so the video should be rock-oriented.
3) Humorous videos tend to be most appealing to audiences, so elements of comedy should be incorporated.
4) The performance and band/characters are most important, so these elements require focus over other aspects like message.
The document discusses test shots conducted to film a scene using powder paint for a music video. It describes the location used, equipment gathered, different lighting tested, and lessons learned. Mixing flour with the paint made the color less vibrant and clumpy. Filming inside created a large, difficult to clean mess, so outdoors is preferred with LED lighting. The camera needs better protection from the paint particles carried by air which could damage equipment.
Music video research and intertextualityalevelmedia
An introduction into the genre of music videos, including a brief history, examination of past and modern day technical codes, and how modern day music videos all incorporate some form of intertextuality. Adapted and updated by alevelmedia.co.uk
Sven E Carlsson discusses two common approaches to analyzing music videos: breaking them down into binary opposites, and categorizing them as either "performance" or "conceptual" videos. Performance videos feature the artist singing and dancing, while conceptual videos feature something other than the artist. Carlsson also proposes that performance videos often portray the artist as a "materialization of the commercial exhibitionist" who sells their image. Michael Shore concludes that most music videos contain adolescent male fantasies through imagery of speed, power, girls and wealth that amounts to soft-core pornography. Andrew Goodwin identifies several theoretical lenses through which to understand music videos, such as cinematic genres, advertising, television, visual art, and poetry.
The document discusses examples of intertextuality, or references to other texts, in music videos. Lady Gaga's "Paparazzi" video includes newspaper headlines and articles. Robbie Williams' "You Know Me" features the artist as the rabbit from Alice in Wonderland and replaces the MGM lion logo with the rabbit. Katy Perry's "Last Friday Night" includes credits and outtakes to mimic a film style, and characters wear 80s clothing and use a fake social network called "Friendplace." Taylor Swift's "Love Story" modernizes the story of Romeo and Juliet to relate to the song's lyrics.
The document discusses impressionist music videos, which use seemingly unrelated shots to express themes in a way that makes audiences feel a certain way. These shots can include people, locations, objects, and abstract features, and will usually relate to the current lyric when shown. There will be a connecting theme of synergy that brings the unrelated shots together. For example, Jay-Z's "On to the Next One" video uses the number three as its synergy theme, linking to the artist and album names. The document then discusses how it focused on a theme of love with the synergy of red for its own impressionist shots, with each shot symbolizing love in the context of passion, romance, or sensuality.
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
This document discusses Goodwin's theory and how it applies to analyzing the music video for "Invincible" by Griminal. Some key points:
1) The lyrics and visuals in the video strongly reinforce each other, with the visuals emphasizing what is described in the lyrics.
2) The video exhibits characteristics of grime and R&B genres, such as depicting the artist as sexy and smooth.
3) The narrative is linear, showing a relationship between two teenagers in a simple progression from one point to the next.
4) Analyzing music videos through Goodwin's theoretical framework provides insights that can help create more effective videos by strategically incorporating different elements.
This document discusses several common characteristics and techniques used in music videos. It notes that music videos often represent typical genre characteristics through elements like dance routines for boy bands or bikini-clad women in rap videos. Music videos also frequently reference voyeurism and the objectification of the female body through props like mirrors and cameras. Additionally, the relationship between the music and visuals can be illustrative, amplifying, or contradictory, and record labels often demand that videos include close-ups of the artist and a recurring visual style.
This document provides an analysis of two music videos from the genres of house/electronic dance music. For the song "Rhythm of the Night" by Corona, the summary notes that the quick edits and dancing fit the feel-good but agitating nature of the genre. Camera work uses various shots and computer imagery to maintain a euphoric feeling. Scenes take place in various outdoor and indoor locations. For "Clarity" by Zedd featuring Foxes, the summary states the video has a conceptual, disorienting style fitting for electronic music through its disjointed narrative and hallucinatory camera work, including computer-generated imagery and shots of the artists. Both videos aim to match the visuals and
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This document provides a case study template for analyzing music videos. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed by artists. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires analyzing at least three music videos considering elements from Tasks 1 and 2, including purpose, style, techniques, intertextuality, camerawork and genre conventions. The document provides guidance on completing the case study and engaging in an illustrative, example-based analysis of selected music videos.
There are three main stages to making a music video: pre-production involving planning, production involving filming, and post-production involving editing. Music videos benefit both the directing company that earns percentages of downloads and the artist who earns profits and gains recognition. Michael Jackson's Thriller video was hugely successful due to its uniqueness as a 13-minute mini-movie depicting Jackson dancing with zombies, though it received some criticism for being too scary. The budget of a music video can range from $500-1250 per day for producers and directors to over £500,000 for more expensive videos, depending on the artist's fame and the directing company's funds. Audiences can access music videos through premieres, online platforms like YouTube
Music videos are generally made by hiring a reputable production company and developing storyboards. They serve marketing purposes for artists and companies by creating a brand identity and showing an artist's versatility. Famous directors like Paul Hunter and Hype Williams have developed signature styles through their work with major artists. Typical music video budgets range from £200,000-£500,000, with costs going towards crew, equipment rental, locations, and post-production. Audiences now primarily access music videos through social media platforms like YouTube rather than traditional television airings.
The document provides information about the requirements and process for producing a music video, including financing options, personnel, equipment, locations, and examples of well-known music videos. It discusses the various specialists involved in music video production and gives cost estimates and timelines for related pre-production tasks. Case studies are presented to illustrate real-world music video budgets and the hiring of props, costumes, and other production elements.
The role of an executive producer is to supervise the producer and ensure the music video is completed on time and on budget. They are also responsible for agreeing to artistic and technical standards. A music producer has many roles including being the creative director for an entire album, coaching musicians, and managing budgets and scheduling during recording. During pre-production, the artist refines songs and creates demos to ensure everything will run smoothly in the recording phase. Some large, successful music video production companies include Epic Records and Universal Music Group.
The document summarizes the media product's use of conventions from real folk rock music videos and albums. It discusses how the video used conventions of varied pacing and editing techniques to build tension, as seen in Mumford & Sons' videos. It also challenges conventions by using dynamic lighting throughout, unlike most folk rock videos. The media product also uses conventions of magazine ads by including reviews and album covers by prominently featuring band members' faces. All of these conventions were employed to effectively promote and market the band.
Treatment And Pitch For The Music Videoguest4f96d6
The document outlines a treatment and pitch for a grime music video that will either challenge or reinforce conventions of the genre. The video aims to professionally represent the underground UK grime scene and appeal to its target 16-25 year old audience. It discusses influences, personnel, schedules, costs, and potential issues like timing, resources, finding the right music, transport between scenes, and health and safety concerns when using equipment and different filming scenarios.
Treatment And Pitch For The Music Videoguest4f96d6
The document outlines a treatment and pitch for a grime music video that will reinforce or challenge conventions of the genre. It aims to produce a professional video that accurately captures the UK underground scene and appeals to its target 16-25 year old audience. Links are provided to represent influences, and the video will utilize lighting, cameras, and other equipment. Possible issues include timing, using college resources outside of class, finding suitable music, costs, transport between scenes, and health and safety concerns when using equipment and different scenarios for filming.
The document discusses the resources needed to create a music video for an unreleased song by James Arthur. It mentions that the audio track of the song is essential. It also discusses choosing backup songs in case a music video is released for the primary song. The document outlines a £50 budget to cover costs of production and mentions splitting costs between group members. It discusses using a Panasonic video camera to film in HD quality. It also mentions using a photo camera to scout locations and create a storyboard. The group will use Final Cut Pro editing software and complete research, communication and documentation online. Deadlines and time management are important to the project. Actors and crew will contribute to making the music video.
This document discusses the resources needed to create a music video for a class project. It mentions that an audio track of an unreleased song from a Sony Music UK artist is required. The group chose the song "Back From The Edge" by James Arthur as their primary track. They will need to fund costs like transportation, props, and costumes through a £50 budget. Equipment like a Panasonic video camera and Final Cut Pro editing software will be used. Locations will be scouted and risk assessments completed. The British Board of Film Classification ratings process and copyright laws are also outlined. Timelines and deadlines are important to consider.
The document discusses the resources needed to create a music video for an unreleased song by James Arthur. It mentions that the audio track of the song is essential. It also discusses choosing backup songs in case a music video is released for the primary track. The document outlines a £50 budget to cover costs of production and mentions splitting costs between group members. It discusses using a Panasonic video camera to film in HD quality. It also mentions using a photo camera to scout locations and create a storyboard. The group will use Final Cut Pro software to edit the video. Deadlines and time management are important to complete the project on schedule. Actors and crew will contribute to making the music video.
Kristian Fox conducted market research to inform the creation of a new music video. The research found that:
1) The primary audience for music videos is females ages 11-20, so the video will need to appeal to this demographic.
2) Rock is the most popular genre, so the video should be rock-oriented.
3) Humorous videos tend to be most appealing to audiences, so elements of comedy should be incorporated.
4) The performance and band/characters are most important, so these elements require focus over other aspects like message.
The document discusses test shots conducted to film a scene using powder paint for a music video. It describes the location used, equipment gathered, different lighting tested, and lessons learned. Mixing flour with the paint made the color less vibrant and clumpy. Filming inside created a large, difficult to clean mess, so outdoors is preferred with LED lighting. The camera needs better protection from the paint particles carried by air which could damage equipment.
Music video research and intertextualityalevelmedia
An introduction into the genre of music videos, including a brief history, examination of past and modern day technical codes, and how modern day music videos all incorporate some form of intertextuality. Adapted and updated by alevelmedia.co.uk
Sven E Carlsson discusses two common approaches to analyzing music videos: breaking them down into binary opposites, and categorizing them as either "performance" or "conceptual" videos. Performance videos feature the artist singing and dancing, while conceptual videos feature something other than the artist. Carlsson also proposes that performance videos often portray the artist as a "materialization of the commercial exhibitionist" who sells their image. Michael Shore concludes that most music videos contain adolescent male fantasies through imagery of speed, power, girls and wealth that amounts to soft-core pornography. Andrew Goodwin identifies several theoretical lenses through which to understand music videos, such as cinematic genres, advertising, television, visual art, and poetry.
The document discusses examples of intertextuality, or references to other texts, in music videos. Lady Gaga's "Paparazzi" video includes newspaper headlines and articles. Robbie Williams' "You Know Me" features the artist as the rabbit from Alice in Wonderland and replaces the MGM lion logo with the rabbit. Katy Perry's "Last Friday Night" includes credits and outtakes to mimic a film style, and characters wear 80s clothing and use a fake social network called "Friendplace." Taylor Swift's "Love Story" modernizes the story of Romeo and Juliet to relate to the song's lyrics.
The document discusses impressionist music videos, which use seemingly unrelated shots to express themes in a way that makes audiences feel a certain way. These shots can include people, locations, objects, and abstract features, and will usually relate to the current lyric when shown. There will be a connecting theme of synergy that brings the unrelated shots together. For example, Jay-Z's "On to the Next One" video uses the number three as its synergy theme, linking to the artist and album names. The document then discusses how it focused on a theme of love with the synergy of red for its own impressionist shots, with each shot symbolizing love in the context of passion, romance, or sensuality.
Andrew Goodwin identifies 5 key aspects of music videos that should be analyzed:
1) Thought beats - how the visuals represent the sound and structure of the song.
2) Narrative and performance - how the story and artist's performance engage the audience and increase authenticity.
3) Star image - how the video develops the artist's persona over multiple videos.
4) Relation of visuals to song - how the visuals illustrate, repeat, or ignore the lyrics and genre.
5) Technical aspects - how camera work, editing, lighting, and effects enhance the mood and emphasize moments in the song.
This document discusses Goodwin's theory and how it applies to analyzing the music video for "Invincible" by Griminal. Some key points:
1) The lyrics and visuals in the video strongly reinforce each other, with the visuals emphasizing what is described in the lyrics.
2) The video exhibits characteristics of grime and R&B genres, such as depicting the artist as sexy and smooth.
3) The narrative is linear, showing a relationship between two teenagers in a simple progression from one point to the next.
4) Analyzing music videos through Goodwin's theoretical framework provides insights that can help create more effective videos by strategically incorporating different elements.
This document discusses several common characteristics and techniques used in music videos. It notes that music videos often represent typical genre characteristics through elements like dance routines for boy bands or bikini-clad women in rap videos. Music videos also frequently reference voyeurism and the objectification of the female body through props like mirrors and cameras. Additionally, the relationship between the music and visuals can be illustrative, amplifying, or contradictory, and record labels often demand that videos include close-ups of the artist and a recurring visual style.
This document provides an analysis of two music videos from the genres of house/electronic dance music. For the song "Rhythm of the Night" by Corona, the summary notes that the quick edits and dancing fit the feel-good but agitating nature of the genre. Camera work uses various shots and computer imagery to maintain a euphoric feeling. Scenes take place in various outdoor and indoor locations. For "Clarity" by Zedd featuring Foxes, the summary states the video has a conceptual, disorienting style fitting for electronic music through its disjointed narrative and hallucinatory camera work, including computer-generated imagery and shots of the artists. Both videos aim to match the visuals and
N/AAssistant: N/A
Weather: SunnyWeather: Sunny
Time Scouted: 12pm-1pmTime Scouted: 12pm-1pm
Contact Details: N/AContact Details: N/A
Access: Public ParkAccess: Public Park
Nearest Town: BansteadNearest Town: Banstead
Nearest Station: Banstead StationNearest Station: Banstead Station
Parking: Large Car ParkParking: Large Car Park
Toilets: YesToilets: Yes
Power: NoPower: No
Crew Facilities: NoCrew Facilities: No
Permits Required: NoPermits Required: No
This document provides a case study template for analyzing music videos. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies employed by artists. Task 2 covers styles, techniques and conventions used in music video production. Task 3 requires analyzing at least three music videos considering elements from Tasks 1 and 2, including purpose, style, techniques, intertextuality, camerawork and genre conventions. The document provides guidance on completing the case study and engaging in an illustrative, example-based analysis of selected music videos.
There are three main stages to making a music video: pre-production involving planning, production involving filming, and post-production involving editing. Music videos benefit both the directing company that earns percentages of downloads and the artist who earns profits and gains recognition. Michael Jackson's Thriller video was hugely successful due to its uniqueness as a 13-minute mini-movie depicting Jackson dancing with zombies, though it received some criticism for being too scary. The budget of a music video can range from $500-1250 per day for producers and directors to over £500,000 for more expensive videos, depending on the artist's fame and the directing company's funds. Audiences can access music videos through premieres, online platforms like YouTube
Music videos are generally made by hiring a reputable production company and developing storyboards. They serve marketing purposes for artists and companies by creating a brand identity and showing an artist's versatility. Famous directors like Paul Hunter and Hype Williams have developed signature styles through their work with major artists. Typical music video budgets range from £200,000-£500,000, with costs going towards crew, equipment rental, locations, and post-production. Audiences now primarily access music videos through social media platforms like YouTube rather than traditional television airings.
The document provides information about the requirements and process for producing a music video, including financing options, personnel, equipment, locations, and examples of well-known music videos. It discusses the various specialists involved in music video production and gives cost estimates and timelines for related pre-production tasks. Case studies are presented to illustrate real-world music video budgets and the hiring of props, costumes, and other production elements.
The role of an executive producer is to supervise the producer and ensure the music video is completed on time and on budget. They are also responsible for agreeing to artistic and technical standards. A music producer has many roles including being the creative director for an entire album, coaching musicians, and managing budgets and scheduling during recording. During pre-production, the artist refines songs and creates demos to ensure everything will run smoothly in the recording phase. Some large, successful music video production companies include Epic Records and Universal Music Group.
The document summarizes the media product's use of conventions from real folk rock music videos and albums. It discusses how the video used conventions of varied pacing and editing techniques to build tension, as seen in Mumford & Sons' videos. It also challenges conventions by using dynamic lighting throughout, unlike most folk rock videos. The media product also uses conventions of magazine ads by including reviews and album covers by prominently featuring band members' faces. All of these conventions were employed to effectively promote and market the band.
Treatment And Pitch For The Music Videoguest4f96d6
The document outlines a treatment and pitch for a grime music video that will either challenge or reinforce conventions of the genre. The video aims to professionally represent the underground UK grime scene and appeal to its target 16-25 year old audience. It discusses influences, personnel, schedules, costs, and potential issues like timing, resources, finding the right music, transport between scenes, and health and safety concerns when using equipment and different filming scenarios.
Treatment And Pitch For The Music Videoguest4f96d6
The document outlines a treatment and pitch for a grime music video that will reinforce or challenge conventions of the genre. It aims to produce a professional video that accurately captures the UK underground scene and appeals to its target 16-25 year old audience. Links are provided to represent influences, and the video will utilize lighting, cameras, and other equipment. Possible issues include timing, using college resources outside of class, finding suitable music, costs, transport between scenes, and health and safety concerns when using equipment and different scenarios for filming.
The document discusses the resources needed to create a music video for an unreleased song by James Arthur. It mentions that the audio track of the song is essential. It also discusses choosing backup songs in case a music video is released for the primary song. The document outlines a £50 budget to cover costs of production and mentions splitting costs between group members. It discusses using a Panasonic video camera to film in HD quality. It also mentions using a photo camera to scout locations and create a storyboard. The group will use Final Cut Pro editing software and complete research, communication and documentation online. Deadlines and time management are important to the project. Actors and crew will contribute to making the music video.
This document discusses the resources needed to create a music video for a class project. It mentions that an audio track of an unreleased song from a Sony Music UK artist is required. The group chose the song "Back From The Edge" by James Arthur as their primary track. They will need to fund costs like transportation, props, and costumes through a £50 budget. Equipment like a Panasonic video camera and Final Cut Pro editing software will be used. Locations will be scouted and risk assessments completed. The British Board of Film Classification ratings process and copyright laws are also outlined. Timelines and deadlines are important to consider.
The document discusses the resources needed to create a music video for an unreleased song by James Arthur. It mentions that the audio track of the song is essential. It also discusses choosing backup songs in case a music video is released for the primary track. The document outlines a £50 budget to cover costs of production and mentions splitting costs between group members. It discusses using a Panasonic video camera to film in HD quality. It also mentions using a photo camera to scout locations and create a storyboard. The group will use Final Cut Pro software to edit the video. Deadlines and time management are important to complete the project on schedule. Actors and crew will contribute to making the music video.
The document discusses the resources needed to create a music video for an unreleased song by James Arthur. It mentions that the audio track of the song is essential. It also discusses choosing backup songs in case a music video is released for the primary track. The document outlines a £50 budget to cover costs of production and mentions splitting costs between group members. It lists equipment that will be used like a video camera, photo camera, and Final Cut Pro editing software. Locations will be scouted and risks assessed. Deadlines and time management are also discussed as key aspects of the project.
This document provides information and considerations for creating a music video, including resources, regulations, time, and contributors. It discusses that resources needed include audio tracks, funding sources, video cameras, photo cameras, filming locations, editing software, internet access, and desktop publishing software. Regulations that must be followed are the British Board of Film Classification and copyright law. Contributors include the cast and crew involved in making the video. The document then provides more details on each of these elements for producing the music video.
Employment search - music video director (1).pptxMollyBrown86
Music video directors are responsible for overseeing all aspects of producing a music video, from planning the story and shots to directing during production. They must collaborate with artists and production crews to bring their vision to life. While no formal degree is required, many directors gain experience through film school, internships, volunteering on sets, and directing low-budget independent videos to build their portfolio. Directors establish themselves in the industry through networking, creating treatments to pitch their ideas to artists and labels, and continuing to hone their filmmaking skills. Salaries vary significantly depending on experience and the size of the project or artist, but independent directors can earn around £650 per video while larger projects pay directors based on the overall budget.
Music video directors are responsible for overseeing all artistic and technical aspects of creating a music video. They work closely with artists and production crews to plan shots that synchronize with the music and tell a story. To become a director, it is recommended to study film but not required. Many directors start by volunteering, interning, and assisting other directors to gain experience. Networking is also important for finding work, as most directors are freelancers who need to submit treatments to artists and production companies. Strong organizational, leadership, and storytelling skills are important for the job.
Employment search - music video director (1).pptxMollyBrown86
Music video directors are responsible for overseeing all artistic and technical aspects of creating a music video. They work closely with artists and production crews to plan shots that synchronize with the music and tell a story. To become a director, it is recommended to study film but not required. Many directors start by volunteering, interning, and assisting other directors to gain experience. Networking is also important for finding work, as most directors are freelancers who need to submit treatments to artists and production companies. Strong organizational, leadership, and storytelling skills are important for the job.
The document discusses commissioning and broadcasting music videos. Commissioning is the process of funding a new music video project, which involves collecting ideas, finding a director, and agreeing on a budget. Broadcasting is the final stage where the music video is exhibited, with popular platforms being MTV Dance and YouTube. The author hopes to broadcast their video on MTV Dance as it targets their audience and reflects their music's fun genre.
Music videos are generally produced like films, with a director and production crew, though they have lower production values than films since they don't require audio. Music videos vary in length from just a few minutes to over 9 minutes for some narrative videos. They serve the purpose of promoting both the artist and the record company to increase sales and popularity. A successful music video director is Spike Jonze, known for unconventional videos that appeal to target audiences through humor and twists on conventions. Music video budgets typically range from $200,000 to $500,000 but can be as high as $7 million or as low as simple videos shot with limited equipment. Audiences most commonly access music videos online through sites like YouTube and V
This document provides guidance for a case study assignment on music video production. It outlines 3 tasks: 1) understanding the purposes and strategies of music videos, 2) styles, techniques and conventions, and 3) a case study analyzing at least 3 music videos. Task 1 discusses how music videos are used for entertainment, branding, sales and more. Task 2 covers common techniques like camerawork and lip syncing. The case study requires discussing videos in terms of purpose, style, techniques, intertextuality and more. Sample analyses of 3 videos are also provided.
1. Unit 1: Pre-Production Techniques
for the Creative Media Industries
Task 1: Understand requirements for a
specific media production.
Wednesday, 22 May 2013
2. A music video or song video is like a short film integrating a
song and imagery. Music videos or songs are produced for
artistic and promotional reasons. Music videos that are
modern are usually made and used as a way to promote
music records.
Music Video Summary
Wednesday, 22 May 2013
3. Although, the history of music videos goes back further. They
first came into the spotlight in the 1980‘s when MTV based
their format on the medium. Music videos use lots of styles of
film techniques too make it, these include documentaries, live
action, animation and abstract film which is a non-narrative
approach.
Music Video Summary
Wednesday, 22 May 2013
4. Some music videos use different styles like live action
and animation. Images from the song lyrics do not
interpret in many music videos which makes it less
literal than you would of expected.
Music Video Summary
Wednesday, 22 May 2013
5. Some music videos don’t have a theme too their
music video, so they decide too used the film clips or
full videos of the artists live performance of the song.
Music Video Summary
Wednesday, 22 May 2013
6. Sources Of Finance.
A music video is normally made available by the label if an
artist is signed to them. If an artist is unsigned, they have
to find their own way of funding.
Wednesday, 22 May 2013
7. Crowd funding is an option if an unsigned artist has
already developed a following in live performances, this
is becoming more popular.
Sources Of Finance.
Wednesday, 22 May 2013
8. Every now and then, any filmmakers, cinematographer
or producer with access to the equipment and/or
facilities who wants to persue a career in making
music videos, might offer to film videos for new artists
who cannot do it themselves.
Sources Of Finance.
Wednesday, 22 May 2013
9. Sources Of Finance.
Well known and important record labels
promotion costs are about 20% of the whole
amount that they invest in each individual artist/
band.
Wednesday, 22 May 2013
10. 10% is about how much promotion
costs for more individual labels
( roughly half of what more known
record labels promotions cost).
Sources Of Finance.
Wednesday, 22 May 2013
11. The percentage (10%-20%) covers for music videos,
press kits, TV promotions, radio and public relations,
etc.
If the artist doesn’t make any money it is never
recouped by the label, but paid by the artists
advance.
Sources Of Finance.
Wednesday, 22 May 2013
12. It has been guessed that it costs more
than US$1 million to introduce a new
pop artist.
Sources Of Finance.
Wednesday, 22 May 2013
13. An advance is paid to the artist, recording
costs, video production, tour support and
promotional work.
Sources Of Finance.
Wednesday, 22 May 2013
14. • Advance
• US$200,000
• Recording
• US$200,000
• 3 videos
• US$200,000
• Tour support
• US$100,000
• Promotion/marketing
• US$300,000
• TOTAL
• US$1,000,000
Sources Of Finance.
Wednesday, 22 May 2013
15. Silvertip Films have shot all different videos that can cost
£1000 through to £10,000 and higher.
Sources Of Finance.
Wednesday, 22 May 2013
16. Silvertip Film’s have made films for:
Silver tip film’s have made films for all different
genres. Including, metal bands, rappers, solo
artists, pop acts and rock bands.
Sources Of Finance.
Wednesday, 22 May 2013
17. Silvertip Films Case Study
Silvertip Films is a video production service.
Their work is based in London (UK) but they
have worked all around the world. They include
all types and stages of production, pre-
production, post-production and production.
Wednesday, 22 May 2013
18. Silvertip Films Case Study
Silvertip films cover:
1) Music video production
2) Promo / corporate video production
3) Live concert shoots,
4) Event filming
5) Actor showreel production.
Wednesday, 22 May 2013
19. Silvertip Films Case Study
Silvertip Films are a major record label
because they have worked all around the
world and they are well known. Also, they
work with other companies to produce a
successful and advanced music video to a
wide range of audiences.
Wednesday, 22 May 2013
20. Silvertip Films have staff
that are skilled for
production, filming and
editing.
Silvertip Films Case Study
Wednesday, 22 May 2013
21. Silvertip Films have a wide range of in-house
equipment like (HD cameras and 35mm lenses and
HDV cameras) If a shoot needs more equipment
(steadicams, tracks and dollies, lighting) they use their
own skills to meet the needs.
Silvertip Films Case Study
Wednesday, 22 May 2013
22. Silvertip Films Services
Silvertip Films Case Study
Pre- Production- pre-production is when a script is put into
seperate scenes and the props, costumes, special effects,
locations, visual effects and cast members are recognised so they
all know their part and where everything goes and how it will work.
You could also call this a plan, the planning of the video/movie.
Production-
Post-Production-
Wednesday, 22 May 2013
23. Silvertip Films Case Study
The half day shoot includes one day for pre-production.
Including a director and cameraman spending half a day
shooting in HD and 1 day edit. The shoots are perfect for
single location, solo acts like singers, duos or rappers.
Half day shoot.
Cost of Half Day Shoot: starts from £1,000 plus the expenses.
Wednesday, 22 May 2013
24. The full day shoots last a whole day which will include, a
day’s pre-production, a day’s worth of shooting inc Director
and Cameraman which is in in HD, also with a 2 day edit.
Full day Shoots.
Silvertip Films Case Study
Cost of Full Day Shoots: (For Bands/Singers and Narrative) –
Starts from £1500 which also is plus expenses.
Wednesday, 22 May 2013
25. Full day Shoots.
Single location matches well with these shoots because it is
perfect for their performances, along with band performances
and lots of location performances by solo performers or the
inclusion of a simple narrative into the video.
Wednesday, 22 May 2013
26. Silvertip Films Case Study
These are two day shoots and include a day’s pre-
production, 2 day’s worth of shooting inc Director and
Cameraman which is shot in high definition.
The whole time for the edit is 3 days but this includes time
incase any changes may need too be done after seeing the
first draft.
Two day shoots.
Silvertip Films Case Study
Cost of Two Day Shoots: from£2500 + expenses
Wednesday, 22 May 2013
27. The shoots are ideal for more complicated and higher
performance shoots (both band and solo act). This
involves more camera equipment and more lighting/
videos involving a full narrative.
Two day shoots.
Silvertip Films Case Study
Wednesday, 22 May 2013
28. Silvertip Films Case Study
Silvertip films have filmed videos for unsigned and
signed artists. Their videos they have shot, edited,
produced etc have been all around the world and
broadcasted in the UK.
Wednesday, 22 May 2013
29. What is a commissioner?
A commissioner is the person who
‘commissions’ a music video on
behalf of the record label.
Who holds the copyright?
The person who will hold the copyright for
the music video’s is the commissioner. This is
unless he/she is employed by the record
label, in which case they will hold the
copyrights.
Music Videos/Promos
Wednesday, 22 May 2013
30. What determines the Delivery Date?
The delivery date is the date given in which the music
video has to be given to the record company by.
What do the terms ‘Delivery Materials’
and ‘Format’ refer to?
This outlines the different formats that you would
have to deliver the music video in. So for e.g, the
master and DVD. Photo stills may also include
other delivery requirements in your agreement.
Music Videos/Promos
Wednesday, 22 May 2013
31. How is an Artist’s involvement in a music video shoot
managed?
The record company will arrange for the artist to come during the
shooting period if it is needed. It’s normally the record company who
will meet any extra cost incurred by the producer incase of any
failure of the artist to come at the planned time.
Music Videos/Promos
Wednesday, 22 May 2013
32. What is meant by ‘Approvals’?
The record company and the band/artist will have the rights
to have a say and to approve or disapprove of the
production of the music video.
How is payment initiated?
A production fee is paid by the record company to the
producer to cover production costs of the video.
Music Videos/Promos
Wednesday, 22 May 2013
33. Who’s responsibility is licenses?
The producer is the person responsible for obtaining
clearances and licences for all of the equipment etc that is
used in any use of making or producing the video.
Music Videos/Promos
Wednesday, 22 May 2013
34. Equipment and Facility Hire
The ‘starter packages that are offered for low
budget enterprises explains what you equipment
and editing resources etc are used. It includes
the price for that package and has little
information about the rate cards and shoots.
The “starter packages’ also
include what responsibilities the
artist/band has and what their
responsibilities are.
Wednesday, 22 May 2013
35. Equipment and Facility Hire
http://vmi.tv/
- Camera- £80 per day (2 days = £160)
- Lighting Kit- £50 per day (2 days = £100
Editing facilities -
http://www.dvcamerahire.co.uk
- Camera - £30 one day (2 days = £45)
Lighting Kit - £10 (2 days = £15)
http://www.sohobroadcast.com/
- Camera - £30 one day (2 days= £60)
Lighting Kit - £25 one day (2 days= £50)
Editing facilities -
http://banyak.co.uk/ -
Editing facilities- £400 for 2 days
Wednesday, 22 May 2013
36. Equipment and Facility Hire
Total =
Camera from - http://www.dvcamerahire.co.uk
Lighting from - http://www.dvcamerahire.co.uk
Editing from -
Wednesday, 22 May 2013
38. The deadlines for pre production are:
Task 1 deadline- Friday 28th September.
Task 2 deadline- Friday 12th October.
Task 3 deadline- Friday 26th of October.
Time: Deadlines.
Wednesday, 22 May 2013
39. Time: Deadlines.
Combined Deadlines:
(Mr Musson) - Task 1 - Friday 21st September. (Essay explaining purpose of music
video.)
(Mr Becker) - Task 1 - Friday 28th September. (Detailed presentation understanding
of music video)
(Mr Musson) - Task 2 - Friday 5th October. (Powerpoint on style,conventions and
techniques. Analysing 2 music videos.)
(Mr Becker) - Task 2 - Friday 12th October. (Managing production and Pre-
production documents)
(Mr Musson) - Task 3 - Friday 26th October. (Research and planning to production.)
(Mr Becker) - Task 3 - Friday 26th of October. (Managing in the form of Production
weblog.)
(Mr Musson) - Task 4 - Friday 9th November. (Shoot and edit own music video. )
Wednesday, 22 May 2013
40. Avaliability of personnel
When are the group free for filming?
Name of person in the group. When are they free?
Louise Weekends
Leah Weekends
Callie Weekends
Abby
Weekends
Wednesday, 22 May 2013
41. Availability of personnel.
What equipment is available to you at the school
to enable you to produce your music video? The
equipment avaliable at the school is
How will you book the equipment?
We will book our equipment by discussing with the media department what
times we can use the equipment and use them in those hours.
Wednesday, 22 May 2013
42. Louise
Partly edited.
recorded interior
footage.
Leah
Partly edited.
recorded exterior
footage.
Callie
Partly edited.
recorded exterior
footage.
Abby
Partly edited.
recorded interior
footage.
Avaliability of the group.
AfroJack Music Video (Musson)
Wednesday, 22 May 2013
43. Timescales for clearances
Hype Williams
Kanye West - Heartless MusicVideo
Detail the size of the team and the key crew roles.
There were 4 song writers including the main singer Kanye West.
2 Producers also including Kanye West and 2 recorders in the crew.
There was one mix engineer and 2 assistant engineers which
completed this team.
What skills and experience did the key crew have?
The key crew all had experiance in their roles in the team.
What key resources were needed for the video?
One of the main resources needed for this video was the
rotoscoped animation special effects. The video was
created with animated where they drew over the peoples
movements.
What was the availability of the artist?
What was the budget for the video?
What is the directorʼs availability now?
Wednesday, 22 May 2013