Production schedule for your music video..docx
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The document outlines the production schedule for a student music video project. It provides steps for both Tuesday and Thursday. On Tuesday, students will choose a song, assign roles, storyboard the video to match the song structure, choreograph a dance routine, and rehearse locations. They will also discuss costumes. On Thursday, the team will meet at the studio, rehearse scenes and dance routines, film the scenes in order, and present the finished music video by playing it on a projector with the song playing through speakers.
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This document analyzes and summarizes a music video by Milky Chase called "Stolen Dance Music Video". The summary includes:
1) The video has a nonlinear, performance-based structure without a narrative to follow the song lyrics. This simple structure would be easy to replicate.
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Mv assignment 02 2015 proforma v2 (1)
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I will need an assistant to help with props, costumes, equipment and general help on set.
This will make the filming run smoother. I found someone on people per hour who could
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Props:
The only props needed are musical instruments. I have access to a guitar, bass and drums
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Food/Drinks:
I will provide snacks, drinks and lunch for the crew and cast each day. This is important to
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Assignment 34
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Erica will help with camera operation and
lighting set up. She will also help with any other tasks
needed on the day.
Band: The band Flooded will be the talent in the video.
They will perform the song and act out the storyline.
Girl: A girl called Lucy will play the character of Lucy in
the video. She will be shown dancing and having fun to
represent the lyrics.
I will direct and edit the video myself. The band and girl
are friends who have agreed to help for free.
No other crew are needed as it is a small production.
All crew are experienced with filming music videos.
Mv production assignment form 2021
Here is a draft risk assessment for the proposed filming location:
Location: Piccadilly Yard Car Park, York
Hazard Identified Risk Assessment Control Measures
Slips, trips and falls from uneven/wet surfaces, debris etc. - Medium risk. Check area is clear before filming. Good lighting. Non-slip footwear for crew.
Traffic/vehicles in car park - High risk. Film in closed off area if possible. Use barriers/cones. Hi-vis clothing. Banksmen.
Adverse weather - Rain, wind, cold etc. could cause slips, equipment issues. Medium risk. Check weather forecast. Have contingency plan. Appropriate clothing.
Strangers/members
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The document instructs students to find and list examples of narrative and formal elements in YouTube duets they have watched. It defines narrative as a story involving characters, setting, and plot, while formal elements refer to the visual appearance and spatial arrangements in a dance piece, including the arrangement of lines and shapes. Students are then given space to list examples of narrative and formal elements from the YouTube duets.
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The document outlines Sam Smith's plans for an abstract, upbeat music video featuring club and rave footage. It will be shot indoors and outdoors using long and mid shots. Smith wants an edited video like examples shown, and lists crew roles and equipment. Concerns include no budget, limited to YouTube/word of mouth, and taking much spare time. Friends will be needed to help film and edit.
Proposal and treatment
This proposal is for a music video for the song "Why Do You Only Call Me When You're High" by Arctic Monkeys. The proposal outlines that the video will have both a narrative element and performance elements of the band. It will be shot in various indoor and outdoor locations in Manchester. The video will use cut-to-cut and montage editing and will feature colorful lighting and 10 extras. It has a budget of $0 and outlines production concerns around transportation, attendance, costumes/props, and meeting deadlines.
Mv production assignment form 2019
This document outlines Ben Dix's plans for his Music Video Assignment 2. He has selected the song "Starman" by David Bowie to interpret in his video. His concept is to tell a narrative story mixed with live performance elements, filmed in black and white with certain props and costumes using color. Key shots planned include close-ups of instruments and wide shots of full band performances. Ben will handle camera operating, acting, and editing himself. Filming will take place at his home, which provides limitations around noise that will need to be considered. Props will include cardboard recreations of instruments and costumes will feature a sci-fi style for the Starman character.
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The music video proposal is for the song "What I Might Do" by artist Ben Pearce. It will be produced by LC's Music Video Productions and directed by Lydia Cooke. The concept involves a lone performer in white against a black background with flashing red lights to create a nightclub atmosphere. Inspiration comes from dance music videos featuring unique settings with a focus on performance over narrative. The crew will need to work within budget constraints and share roles to complete filming on schedule with the equipment and locations available.
4. Pre Production
The document provides planning details for the production of a music video, including visual planning, storyboarding, and shot listing. It outlines establishing the relationship between visuals and music, pre-visualizing concepts, and structuring the video. Template forms are given for a structural breakdown matching visual ideas to song sections, a storyboard, and a shot list with descriptions. Location information and production roles are also listed. The planning aims to develop the video sequencing, create a structure to follow, and produce a streamlined filming process.
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.
Music video planning Power Point
The document outlines the planning and preparation for a student music video assignment, including generating ideas for interpreting a song, researching techniques to employ, developing a treatment, creating a shot list and storyboards, assessing location options and equipment needs, and establishing a production schedule. Risk assessments are also included to ensure the safety of the student crew and equipment during the filming process.
4. pre production mv 2018
The document outlines the visual planning and pre-production for a music video. It discusses developing a structure for the video by pre-visualizing shots and creating storyboards and shot lists. Concept boards and structural breakdowns are provided to map out each section of the song and corresponding visual elements. Locations are identified along with potential issues to address, such as lighting and space constraints. Crew roles are defined and contact information is provided to coordinate production.
Treatment and Propsal for Music Video
The document proposes a music video concept for the song "FAVORITE SIN" by the artist. The video will feature characters attempting poor impersonations of famous music videos and movies in a homemade, humorous style. It will be shot on November 16, 2008 in Quezon City using a handheld camera. The director provides guidelines on the narrative design, use of extras, lighting, locations, and shot sequencing. Example music videos and movies are referenced to illustrate the intended tone and style.
Mv assignment 02 2015 proforma v2 (1)
The document provides guidance for a music video assignment, including templates for pre-production tasks like idea generation, research, budgeting, scheduling, and visual planning. Some key points:
- The student's final idea is to create a music video for the song "96 Fukries" that combines elements of the Skepta music video "That's Not Me" and random, unplanned footage.
- Locations will include a studio with green screen and public areas. Equipment to rent includes a camera, lighting, and tripod.
- A budget of £2,000 is proposed, with examples of studio costs and equipment rental prices provided.
- Pre-production planning includes storyboarding, shot
Mv assignment 02 2015 proforma v2 (1)
The document provides guidance for a music video assignment. It outlines tasks for idea generation, research, pre-production assessment, and production planning. The student proposes a music video concept involving filming themselves in front of a green screen with grime freestyles playing in the background, inspired by Skepta's "That's Not Me" video. For pre-production, they identify equipment needs like cameras and lighting to hire within their £2000 budget. Location plans involve a studio and public areas. They propose a 2 week pre-production, 1 week filming over 2 college days, and 2 weeks for post-production.
Pre production (planning)
I will need an assistant to help with props, costumes, equipment and general help on set.
This will make the filming run smoother. I found someone on people per hour who could
assist for £10 an hour. For the two filming days this would be £80 total.
Props:
The only props needed are musical instruments. I have access to a guitar, bass and drums
which I can borrow from friends. I will need to transport and set these up each day.
Food/Drinks:
I will provide snacks, drinks and lunch for the crew and cast each day. This is important to
keep morale and energy levels up during filming. I estimated around £50 per day for
Assignment 34
The document provides an analysis and review of four inspirational music videos that could provide ideas and techniques for the student's own music video project. The videos discussed include "Let's Dance to Joy Division" by The Wombats, "Paradise" by Coldplay, "Stressed Out" by Twenty One Pilots, and "Snap Out of It" by Arctic Monkeys. The student notes creative shots, editing techniques, costumes, locations, and performance elements that could be adapted for their own video.
Minutes of meetings
The group discussed plans for an upcoming music video including choosing a song, potential visuals, filming locations, clothing, editing effects and lighting. They decided that group member Giselle would be the artist featured in the video. Potential makeup, clothing, and inspiration from other music videos were considered. The group allocated topics for their music video pitch, prepared props and confirmed filming details for the next day. Filming took place in the green screen room and drama studio, capturing footage of Giselle in different positions, styles, and with lights and paint effects. Reshoots were also planned.
Music Video Planning
This document provides guidance for a music video production assignment. It includes a template presentation covering key pre-production elements. The document guides students to generate ideas for a music video, research conventions, and assess the viability of their production plans. Specific guidance is given for selecting a song, developing concepts, researching other music videos, considering locations and equipment needed.
Styles, Conventions and Techniques
This document discusses various styles, conventions and techniques used in music videos, including:
1) In-concert footage shows bands performing live on stage or at events, while "as live" videos depict studio performances made to look live. Cutting shots to the beat of the music is also discussed.
2) Narrative videos tell a story that relates to the song's lyrics, often following a lead singer. Surrealist videos use unusual visuals and effects with little narrative connection to the lyrics.
3) Other techniques mentioned include synergy between a video and another media property, allusions to real events, pastiches mimicking other styles, and homages paying respect to other artists. Impressionist videos
Research5.5
The document provides guidance for stage 2 of a research and experimentation process, instructing the reader to research at least 3 production techniques for their project, collect relevant samples, and assess whether each technique could be used or modified for their intentions and production. It also includes examples of 3 music videos that were analyzed in terms of their story, structure, camerawork, editing, and conventions to inform the reader's own music video production.
Treatment
This document outlines the production plan for a music video for the band Across The Board. It assigns roles and responsibilities for filming, editing, and completing the project. It establishes a schedule with deadlines for completing pre-production, filming, editing, and evaluation. It also discusses time management, risk assessment, equipment needs, potential locations, and stylistic influences. The goal is to create a video that reflects the band's talent and artistic style through a narrative and live performance footage shot in multiple environments.
Music Video Planning
Erica will help with camera operation and
lighting set up. She will also help with any other tasks
needed on the day.
Band: The band Flooded will be the talent in the video.
They will perform the song and act out the storyline.
Girl: A girl called Lucy will play the character of Lucy in
the video. She will be shown dancing and having fun to
represent the lyrics.
I will direct and edit the video myself. The band and girl
are friends who have agreed to help for free.
No other crew are needed as it is a small production.
All crew are experienced with filming music videos.
Mv production assignment form 2021
Here is a draft risk assessment for the proposed filming location:
Location: Piccadilly Yard Car Park, York
Hazard Identified Risk Assessment Control Measures
Slips, trips and falls from uneven/wet surfaces, debris etc. - Medium risk. Check area is clear before filming. Good lighting. Non-slip footwear for crew.
Traffic/vehicles in car park - High risk. Film in closed off area if possible. Use barriers/cones. Hi-vis clothing. Banksmen.
Adverse weather - Rain, wind, cold etc. could cause slips, equipment issues. Medium risk. Check weather forecast. Have contingency plan. Appropriate clothing.
Strangers/members
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This document summarizes Michel de Certeau's distinction between place and space, with place representing an ordered system and space representing the practice that transforms place. It discusses how Forced Entertainment's site-specific performance Nights In This City in Sheffield plays with this distinction by performatively "writing over" the city through fictional narratives that highlight the inability to fully represent place. The performance enacts a movement between placing audiences in the city and displacing them through mediated representations. The document also examines Marc Augé's related concept of "non-place" and how travel constructs a fictional relationship to landscapes through partial glimpses.
2nd sequence
The document contains 15 questions about structuring a performance into sequences with increasing tension. It asks whether the first sequence has a beginning, middle and end; whether it introduces the character, time and location; whether the character and story are interesting; whether it starts with a hook; and whether it is about 1 minute. It also asks if the first sequence is followed by an inciting incident that intensifies the story emotionally, and whether the second sequence surpasses the first in tension and new information, also lasting about 1 minute. Finally, it asks if 4 additional sequences could further increase intensity to a climax over 4 minutes, and if the performance is action-driven and visual.
Music Video Art
The document discusses the history and evolution of music videos from the 1930s to present. It traces some of the earliest forms like animated musical films and "Soundies" in the 1940s to the emergence of music videos as an art form in the 1980s with artists like Madonna. The document also describes the wide range of techniques used in music videos, from live action and animation to abstract visuals and effects, and the stylistic elements of music video "grammar" like quick cutting, camera tricks, and dramatization of song lyrics.
Architecture
This document discusses the similarities between dance and architecture. Both are concerned with the use of space - for dancers, choreography defines spatial dimensions through gesture and movement, while for architects space is the medium through which buildings take form. The document also examines concepts like the kinesphere, stasis and ecstasy, choreographic algorithms and objects, and how dance can be viewed as "living architecture" that traces pathways in space through human movement. It suggests dance and architecture can inform and complement each other through shared interests in the use and definition of space.
Parkour
Parkour is an activity that involves moving efficiently between points. Students are instructed to work in groups of 4 to plan and choreograph a parkour route on campus within 2 weeks. They must choose a site, design a route and sequence of moves, select contrasting music to accompany their performance, and rehearse their parkour to performance standard while being safe. They will then perform their choreographed parkour twice for an audience while providing headphones playing the chosen music.
The gesamtkunstwerk
The document discusses Richard Wagner's concept of the Gesamtkunstwerk or "total work of art" which envisions subordinating individual art forms into a common purpose. It provides context on the evolution of interdisciplinary performance practices and immersive, multi-sensory experiences. Examples are given of modern artists seeking to integrate visual, aural, tactile and other elements to more fully capture contemporary experience. The document also explores related ideas like synesthesia and how contemporary performances are fusing multiple senses to create complete cerebral, corporeal and emotional experiences for the audience.
Beat-sheet
This document outlines a beat sheet template for planning a story or performance. It includes sections for the title, logline describing the protagonist's desire and goal, details about the protagonist, desire, goal, and necessity. The bulk of the template is dedicated to planning the act structure, with each act broken down into sequences and prompts to describe the sequence synopsis, movement quality, visual ideas, and genre. The performance will be composed of 3 acts broken down into sequences, scenes, and shots or beats to visualize the narrative structure.
Personality
The document discusses personality types and abnormal behavior patterns that can influence character development in stories. It describes four main personality types - sensation, intuitive, thinking, and feeling - that often combine in characters. It also outlines six basic abnormal behavior patterns (manic, depressive, paranoid, schizophrenic, psycho/sociopath, and neurotic) and their key traits. Complex characters are more interesting when they exhibit behaviors or personality aspects that contradict outward appearances. Overall, understanding these psychology concepts can help writers develop multidimensional, believable characters.
Guidelines for the Creation of Stories in Performance
The document provides guidelines for creating stories and dance pieces, including developing three-dimensional characters through their physiology, sociology, and psychology. It also discusses developing the main character, conflicts within the story, following a three-act plot structure with increasing tension, dividing the story into sequences and scenes, use of time, foreshadowing elements, and incorporating narration. The guidelines aim to help craft stories and movement pieces by considering elements like characters, their goals and obstacles, and how the narrative builds towards a climax and resolution.
Dance-Music-Relationships
This document discusses different types of relationships between dance and music:
1. Conceptual - where the choreographer and composer explore a common theme but may interpret it differently due to their mediums.
2. Rhythmic - where dancers respond primarily to the pulse and rhythmic patterns of the music.
3. Spatial - where the music provides an aural space for the dancers to move in. The music should be slow and unenergetic.
Your character’s autobiography
The document provides prompts for creating an autobiography of a character by having the reader answer 13 questions about the character's name, age, appearance, relationships, youth, career, attitudes and defining life events. The reader is prompted to consider how each aspect of the character and their life can be visualized through elements of performance like costume, makeup, movement, props, partners and staging.
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