The document summarizes feedback received on a music video project. It discusses:
1. Previous feedback from pitching the video idea which led to changes like adding more locations.
2. How feedback helped identify the video as narrative rather than performance-based.
3. Further changes made in response to feedback, such as using more props and adapting tone.
4. Methods used to gather feedback on the final video from target audiences, including showcasing, online surveys, and social media posting.
5. Examples of feedback received which was positive about elements like genre matching visuals and successful editing.
My media product uses, develops, and challenges some conventions of real music videos, digipaks, and magazine ads.
It uses conventions like a variety of camera shots and angles in the music video, bright colors linked to the genre of pop music, singing and dancing, and costume changes. However, it challenges conventions by not making the dance sequence a major part of the video and by including images from the digipak in the music video.
The digipak uses conventions like fun, upbeat images and bright colors to represent the pop genre.
The magazine ad centers a large image of the lead singer looking to the side rather than straight on, similar to other ads that draw viewers' interest without direct
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies employed by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. The document emphasizes including illustrative images and examples to support points. It also notes that additional pages can be added if needed to fully respond to the questions.
This document discusses the student's music video project and how it develops and challenges conventions of real music videos. The student researched indie music video styles and found that many bands develop their own style by keeping the same director. Their initial idea was to make a conceptual video but they decided to also include band performance elements. The student was influenced by the music video for "The Scientist" by Coldplay and took ideas like reversing shots. They also looked at album artwork to effectively combine the ancillary texts and video in representing the band's personality while exploring interpretation as seen in the indie rock genre.
The document discusses the conventions used in creating a music video for a drum and bass song. It examines how the creator analyzed drum and bass music videos to understand common conventions like dark atmospheres, fast pacing, and focus on visuals matching the music. Key aspects discussed include choosing a run-down location that fits genre conventions, using certain camera shots and lighting consistently seen in drum and bass videos, and editing the video rapidly to match the beat of the song. While aiming to be familiar to fans of the genre, the creator also wanted to add their own creative spin.
The document discusses how the student's media products use and develop conventions of real media. It describes researching music video conventions like performance, repetition, narrative, and camera techniques. It summarizes how the student followed these conventions in their music video for Marcus Green's "Too Close." The student also researched theoretical ideas from Carol Vernallis, Laura Mulvey, and Andrew Goodwin on editing, gaze, and music video structure. The document discusses influences from other music videos and how the student applied conventions to their digipak and advertisement poster.
Brandon will produce a music video for the song "Can't Be Saved!" by Inaristakeover x kayudo. The video will feature clips of Brandon and friends having fun at various outdoor locations set to the fast-paced song. Brandon has identified the equipment he needs from his college and plans to edit at the college facilities. He will film with one friend who is also working on the assignment.
The document provides instructions for completing a case study assignment on music video production. It is split into three tasks: 1) the purposes of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study of at least three music videos analyzing them based on Tasks 1 and 2. It encourages the use of images from the video examples and notes the case study should discuss style, intertextuality, camerawork, editing, genre conventions, and critical approaches for the selected videos.
Mv production assignment evaluation form 2021 BrandonLambert4
ย
Brandon Lambert evaluated the strengths and weaknesses of his research, planning, time management, technical qualities, aesthetic qualities, and audience appeal for his music video production project. Some strengths included thorough research that provided inspiration and backup ideas. Planning ahead saved time for recording and editing. Time management allowed completion of filming and most of the editing on schedule. Technical qualities like colorful effects and transitions matched the aesthetic. Areas for improvement included conducting more research, making plans more detailed, and experimenting more with transitions.
My media product uses, develops, and challenges some conventions of real music videos, digipaks, and magazine ads.
It uses conventions like a variety of camera shots and angles in the music video, bright colors linked to the genre of pop music, singing and dancing, and costume changes. However, it challenges conventions by not making the dance sequence a major part of the video and by including images from the digipak in the music video.
The digipak uses conventions like fun, upbeat images and bright colors to represent the pop genre.
The magazine ad centers a large image of the lead singer looking to the side rather than straight on, similar to other ads that draw viewers' interest without direct
This document provides guidance for completing a case study assignment on music video production. It is divided into three tasks. Task 1 addresses the purposes of music videos and strategies employed by labels and artists. Task 2 covers styles, techniques and conventions of music video production. Task 3 involves analyzing a minimum of three music videos, drawing on Tasks 1 and 2. The document emphasizes including illustrative images and examples to support points. It also notes that additional pages can be added if needed to fully respond to the questions.
This document discusses the student's music video project and how it develops and challenges conventions of real music videos. The student researched indie music video styles and found that many bands develop their own style by keeping the same director. Their initial idea was to make a conceptual video but they decided to also include band performance elements. The student was influenced by the music video for "The Scientist" by Coldplay and took ideas like reversing shots. They also looked at album artwork to effectively combine the ancillary texts and video in representing the band's personality while exploring interpretation as seen in the indie rock genre.
The document discusses the conventions used in creating a music video for a drum and bass song. It examines how the creator analyzed drum and bass music videos to understand common conventions like dark atmospheres, fast pacing, and focus on visuals matching the music. Key aspects discussed include choosing a run-down location that fits genre conventions, using certain camera shots and lighting consistently seen in drum and bass videos, and editing the video rapidly to match the beat of the song. While aiming to be familiar to fans of the genre, the creator also wanted to add their own creative spin.
The document discusses how the student's media products use and develop conventions of real media. It describes researching music video conventions like performance, repetition, narrative, and camera techniques. It summarizes how the student followed these conventions in their music video for Marcus Green's "Too Close." The student also researched theoretical ideas from Carol Vernallis, Laura Mulvey, and Andrew Goodwin on editing, gaze, and music video structure. The document discusses influences from other music videos and how the student applied conventions to their digipak and advertisement poster.
Brandon will produce a music video for the song "Can't Be Saved!" by Inaristakeover x kayudo. The video will feature clips of Brandon and friends having fun at various outdoor locations set to the fast-paced song. Brandon has identified the equipment he needs from his college and plans to edit at the college facilities. He will film with one friend who is also working on the assignment.
The document provides instructions for completing a case study assignment on music video production. It is split into three tasks: 1) the purposes of music videos, 2) styles, techniques and conventions of music video production, and 3) a case study of at least three music videos analyzing them based on Tasks 1 and 2. It encourages the use of images from the video examples and notes the case study should discuss style, intertextuality, camerawork, editing, genre conventions, and critical approaches for the selected videos.
Mv production assignment evaluation form 2021 BrandonLambert4
ย
Brandon Lambert evaluated the strengths and weaknesses of his research, planning, time management, technical qualities, aesthetic qualities, and audience appeal for his music video production project. Some strengths included thorough research that provided inspiration and backup ideas. Planning ahead saved time for recording and editing. Time management allowed completion of filming and most of the editing on schedule. Technical qualities like colorful effects and transitions matched the aesthetic. Areas for improvement included conducting more research, making plans more detailed, and experimenting more with transitions.
The document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos in terms of sales, branding, and entertainment. It also discusses strategies used by labels and artists. Task 2 covers styles, techniques, and conventions used in music video production. It addresses camerawork, editing, technical developments, and genre conventions. Task 3 instructs students to analyze a minimum of three music videos by an artist or genre. They are to discuss the videos in terms of styles, intertextuality, camerawork/editing, genre conventions, and critical approaches.
The document discusses how the media product challenges conventions of real music videos in the POP genre. It challenges conventions by adding narrative about bullying, wearing more appropriate clothing for the target age group, and using uncommon camera angles like a moving shot. Developments include equalizing solo and group shots, adding more shot types, and modifying the use of split screens. Conventions from other music videos, like establishing performers and using fast editing, are largely used to make the media product feel like a real POP video.
The document provides information about music video production and purposes. It discusses the core purposes of music videos being entertainment, identity, and sales. It also discusses broader purposes like featuring other artists to promote multiple acts. Genre conventions are explored, comparing the more direct brand of One Direction to the more open interpretation encouraged by Animal Collective. Camerawork, editing styles, and intertextuality are analyzed in sample music videos. A case study of Bugzy Malone examines his visual style and use of techniques to represent his experiences and inspire others.
Nosa Iredia evaluated their media products based on how they used, developed, or challenged conventions of real media. Their music video and song incorporated conventions of Euro dance music such as upbeat English lyrics focused on dancing, a 4/4 percussion beat around 140 BPM, and a melody in a minor key to highlight the instrumental. However, their video challenged conventions by showing solo dancing at home rather than in groups. Feedback helped them make the character's face less clear to match their goal of the music standing alone without an identifiable artist. Technologies like Paint.net and Adobe Premier were used to construct the video and ancillary products.
Mv production assignment evaluation form 2021ScottMandis
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The document summarizes Scott Mandis' strengths and weaknesses during the research, planning, time management, and technical and aesthetic qualities of a production process evaluation for a music video. Some strengths included understanding different camera angles during research and improvising planning when the original song changed. Weaknesses consisted of not thoroughly researching what works in music videos and having limited time for additional filming.
The document discusses typical conventions used in music videos and how the student incorporated those conventions in their own music video and related digipak. Some key conventions discussed include the use of various camera shots, editing techniques like jump cuts and transitions, mise-en-scene to represent importance through lighting and props, and common themes like narrative-based videos. The student explains how they researched conventions to develop their idea about the impacts of religion, and how they shot and edited their video to effectively portray emotions and relate to the audience. For their digipak, the student followed conventions like displaying the artist and album but also subverted expectations by using an unusual image and inverted orientation.
The document provides guidance and templates for a music video assignment. It outlines tasks such as idea generation, research, pre-production planning, visual planning and storyboarding. The student has selected the song "Frail State of Mind" by The 1975 for their music video. Their concept involves using distorted and fragmented shots to visually represent the feelings of anxiety described in the song. They plan to film with a camcorder to achieve a vintage aesthetic and incorporate news clips and stock footage. Storyboarding and shot lists are included to plan visuals for different sections of the song.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of the student's choice, considering elements from Tasks 1 and 2 like camerawork, editing, intertextuality, and genre conventions. The document emphasizes applying concepts from lessons and using illustrative examples and images from the chosen videos.
The document discusses how the media producer's music video develops and challenges conventions of the rock genre. The video incorporates elements of rock music videos that were researched, such as using disco lights to link live performance scenes. It also challenges conventions by using robot costumes instead of typical rock attire. The producer aimed to create consistency across the music video, magazine ad, poster, and digipak by using the same robots and black/white color scheme. Feedback from audience research influenced design choices to meet target audience preferences like a consistent theme. Overall, the combination of the main video with ancillary texts is effective at creating synergy through shared visual elements that link the pieces together.
This document provides guidance on analyzing media language in music videos for an exam. It begins by defining media language as the ways media producers make meaning specific to their medium and how audiences learn to interpret those meanings.
The document then gives suggestions for themes to address in an analysis of a music video, such as issues of authorship given audience participation online, postmodern elements like intertextuality, and debates around whether sound or image dominates in music videos. It discusses applying theories from genres, audiences, representations, and narratives. Finally, it contrasts the views of Vernallis, who sees the music as primary, and Goodwin, who identifies six key features of music videos, to analyze the defining elements of the music video's
Robbie Hickman filmed footage for his music video over three days at York College using borrowed equipment. He organized his footage into multiple files and imported it into Premiere Pro and Sony Vegas Pro 11 to edit. Robbie enlisted help from friends to film certain scenes. He storyboarded and planned shots in advance. After editing, Robbie was satisfied with his finished music video and felt no need to re-film or alter his original plan.
This document discusses how the media producer's music video challenges and develops conventions of real music videos.
The music video was influenced by rock genre videos such as Arctic Monkeys videos through its use of live performance elements, disco lighting, and narrative structure that cuts between performance and story. Robot costumes were used to challenge conventions while relating to the song's lyrics.
Consistency between the music video, magazine ad, poster, and digipak packaging helps audiences recognize the interconnected elements and strengthens the promotional package's effectiveness for its target youth audience. Black and white imagery and street style locations connect the elements to the genre of Arctic Monkeys.
The document provides an analysis of conventions presented in the music videos of "Dirty Little Secret" by All American Rejects and "Love is Easy" by McFly. It summarizes the genre, performers, narrative elements, iconography, setting, and technical elements of each video through detailed descriptions. The overall message conveyed is that both videos represent their respective genres and incorporate conventions to relate to their target audiences.
The document provides an evaluation by Lewis Harvey-Mott of their media product, a music video, in terms of how it uses, develops, and challenges conventions of real music videos. It discusses how the video follows conventions through its depiction of the band performing for an audience and fast-paced editing. It also explores how the video develops conventions by having the band travel to the gig during daylight outside, and challenges conventions through a brief moment of lip syncing while running.
The document provides guidance for completing a case study analysis of music videos. It is split into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. Task 2 covers styles, techniques and conventions in music video production, such as camerawork, editing, and technical developments. Task 3 instructs students to analyze a minimum of three music videos by an artist or genre, discussing styles, intertextuality, camerawork, genre conventions, and critical approaches. The document emphasizes using illustrative examples and linking to other sources to support points.
This document provides a case study template for analyzing music videos. It includes 3 tasks: 1) discussing the purposes of music videos, 2) describing styles, techniques and conventions used in music video production, and 3) conducting a case study of at least 3 music videos. The case study template provides guidance on completing the tasks, including adding images, examples, and linking to other sources to support points. It also includes sample responses for some of the discussion questions.
The document discusses the creation of a music video for an indie rock band called Funnel. It describes researching conventions of music videos within the genre to incorporate close-ups, location shots, and a storyline linked to the music. Feedback on the final video was positive, praising the chosen location, quirky style, and creative elements that matched the song and appealed to the target audience. Areas for improvement included occasional out-of-sync lip syncing and needing more location variety.
The document discusses the creation of a music video for an indie rock band called Funnel. It describes researching conventions of music videos within the genre to incorporate close-ups, location shots, and a relationship between the music and visuals. Challenges included synchronizing lip syncing and filming from a high angle without a tall tripod. Feedback was positive about the quirky style matching the song and using creative micro-elements, though some found the lip syncing inconsistent at times.
The two music videos share some similarities but also differ in important ways:
1) Both focus on romance/desire and convey overcoming depression, but One Direction's video has a sad atmosphere while Animal Collective's is more upbeat.
2) They both keep the artists visible, but Animal Collective uses animated figures while One Direction shows real people.
3) Animal Collective uses varied colors that convey emotions, while One Direction relies on dreary colors despite a positive mood, aiming to show how people can enjoy themselves no matter how dull life seems.
4) One Direction's video is edited to look like a single continuous shot while Animal Collective's features animated figures and changing backgrounds.
The document outlines a shooting schedule that takes place over multiple days in October. It lists 92 shots that involve different props like clocks, calendars, microphones being used in various outdoor and indoor locations. The shots involve 1-2 people, most frequently Kieran and Ellie.
The document describes the steps taken to design the cover of a digipak, including enlarging and cropping images, adjusting colors, adding effects like shadows and outlines, positioning graphic elements like a microphone and eyes in color against a black and white background, and formatting text for the band and album names. Key elements were lined up, grouped, and layered to create a split-faced cover design with emphasized graphics and text.
The document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos in terms of sales, branding, and entertainment. It also discusses strategies used by labels and artists. Task 2 covers styles, techniques, and conventions used in music video production. It addresses camerawork, editing, technical developments, and genre conventions. Task 3 instructs students to analyze a minimum of three music videos by an artist or genre. They are to discuss the videos in terms of styles, intertextuality, camerawork/editing, genre conventions, and critical approaches.
The document discusses how the media product challenges conventions of real music videos in the POP genre. It challenges conventions by adding narrative about bullying, wearing more appropriate clothing for the target age group, and using uncommon camera angles like a moving shot. Developments include equalizing solo and group shots, adding more shot types, and modifying the use of split screens. Conventions from other music videos, like establishing performers and using fast editing, are largely used to make the media product feel like a real POP video.
The document provides information about music video production and purposes. It discusses the core purposes of music videos being entertainment, identity, and sales. It also discusses broader purposes like featuring other artists to promote multiple acts. Genre conventions are explored, comparing the more direct brand of One Direction to the more open interpretation encouraged by Animal Collective. Camerawork, editing styles, and intertextuality are analyzed in sample music videos. A case study of Bugzy Malone examines his visual style and use of techniques to represent his experiences and inspire others.
Nosa Iredia evaluated their media products based on how they used, developed, or challenged conventions of real media. Their music video and song incorporated conventions of Euro dance music such as upbeat English lyrics focused on dancing, a 4/4 percussion beat around 140 BPM, and a melody in a minor key to highlight the instrumental. However, their video challenged conventions by showing solo dancing at home rather than in groups. Feedback helped them make the character's face less clear to match their goal of the music standing alone without an identifiable artist. Technologies like Paint.net and Adobe Premier were used to construct the video and ancillary products.
Mv production assignment evaluation form 2021ScottMandis
ย
The document summarizes Scott Mandis' strengths and weaknesses during the research, planning, time management, and technical and aesthetic qualities of a production process evaluation for a music video. Some strengths included understanding different camera angles during research and improvising planning when the original song changed. Weaknesses consisted of not thoroughly researching what works in music videos and having limited time for additional filming.
The document discusses typical conventions used in music videos and how the student incorporated those conventions in their own music video and related digipak. Some key conventions discussed include the use of various camera shots, editing techniques like jump cuts and transitions, mise-en-scene to represent importance through lighting and props, and common themes like narrative-based videos. The student explains how they researched conventions to develop their idea about the impacts of religion, and how they shot and edited their video to effectively portray emotions and relate to the audience. For their digipak, the student followed conventions like displaying the artist and album but also subverted expectations by using an unusual image and inverted orientation.
The document provides guidance and templates for a music video assignment. It outlines tasks such as idea generation, research, pre-production planning, visual planning and storyboarding. The student has selected the song "Frail State of Mind" by The 1975 for their music video. Their concept involves using distorted and fragmented shots to visually represent the feelings of anxiety described in the song. They plan to film with a camcorder to achieve a vintage aesthetic and incorporate news clips and stock footage. Storyboarding and shot lists are included to plan visuals for different sections of the song.
This document provides guidance for completing a case study assignment on music video production. It is split into three tasks. Task 1 addresses the purposes of music videos and strategies used by labels and artists. Task 2 focuses on styles, techniques and conventions of music video production. Task 3 requires analyzing a minimum of three music videos by an artist of the student's choice, considering elements from Tasks 1 and 2 like camerawork, editing, intertextuality, and genre conventions. The document emphasizes applying concepts from lessons and using illustrative examples and images from the chosen videos.
The document discusses how the media producer's music video develops and challenges conventions of the rock genre. The video incorporates elements of rock music videos that were researched, such as using disco lights to link live performance scenes. It also challenges conventions by using robot costumes instead of typical rock attire. The producer aimed to create consistency across the music video, magazine ad, poster, and digipak by using the same robots and black/white color scheme. Feedback from audience research influenced design choices to meet target audience preferences like a consistent theme. Overall, the combination of the main video with ancillary texts is effective at creating synergy through shared visual elements that link the pieces together.
This document provides guidance on analyzing media language in music videos for an exam. It begins by defining media language as the ways media producers make meaning specific to their medium and how audiences learn to interpret those meanings.
The document then gives suggestions for themes to address in an analysis of a music video, such as issues of authorship given audience participation online, postmodern elements like intertextuality, and debates around whether sound or image dominates in music videos. It discusses applying theories from genres, audiences, representations, and narratives. Finally, it contrasts the views of Vernallis, who sees the music as primary, and Goodwin, who identifies six key features of music videos, to analyze the defining elements of the music video's
Robbie Hickman filmed footage for his music video over three days at York College using borrowed equipment. He organized his footage into multiple files and imported it into Premiere Pro and Sony Vegas Pro 11 to edit. Robbie enlisted help from friends to film certain scenes. He storyboarded and planned shots in advance. After editing, Robbie was satisfied with his finished music video and felt no need to re-film or alter his original plan.
This document discusses how the media producer's music video challenges and develops conventions of real music videos.
The music video was influenced by rock genre videos such as Arctic Monkeys videos through its use of live performance elements, disco lighting, and narrative structure that cuts between performance and story. Robot costumes were used to challenge conventions while relating to the song's lyrics.
Consistency between the music video, magazine ad, poster, and digipak packaging helps audiences recognize the interconnected elements and strengthens the promotional package's effectiveness for its target youth audience. Black and white imagery and street style locations connect the elements to the genre of Arctic Monkeys.
The document provides an analysis of conventions presented in the music videos of "Dirty Little Secret" by All American Rejects and "Love is Easy" by McFly. It summarizes the genre, performers, narrative elements, iconography, setting, and technical elements of each video through detailed descriptions. The overall message conveyed is that both videos represent their respective genres and incorporate conventions to relate to their target audiences.
The document provides an evaluation by Lewis Harvey-Mott of their media product, a music video, in terms of how it uses, develops, and challenges conventions of real music videos. It discusses how the video follows conventions through its depiction of the band performing for an audience and fast-paced editing. It also explores how the video develops conventions by having the band travel to the gig during daylight outside, and challenges conventions through a brief moment of lip syncing while running.
The document provides guidance for completing a case study analysis of music videos. It is split into three tasks. Task 1 addresses the purposes of music videos, including entertainment, branding, and sales. Task 2 covers styles, techniques and conventions in music video production, such as camerawork, editing, and technical developments. Task 3 instructs students to analyze a minimum of three music videos by an artist or genre, discussing styles, intertextuality, camerawork, genre conventions, and critical approaches. The document emphasizes using illustrative examples and linking to other sources to support points.
This document provides a case study template for analyzing music videos. It includes 3 tasks: 1) discussing the purposes of music videos, 2) describing styles, techniques and conventions used in music video production, and 3) conducting a case study of at least 3 music videos. The case study template provides guidance on completing the tasks, including adding images, examples, and linking to other sources to support points. It also includes sample responses for some of the discussion questions.
The document discusses the creation of a music video for an indie rock band called Funnel. It describes researching conventions of music videos within the genre to incorporate close-ups, location shots, and a storyline linked to the music. Feedback on the final video was positive, praising the chosen location, quirky style, and creative elements that matched the song and appealed to the target audience. Areas for improvement included occasional out-of-sync lip syncing and needing more location variety.
The document discusses the creation of a music video for an indie rock band called Funnel. It describes researching conventions of music videos within the genre to incorporate close-ups, location shots, and a relationship between the music and visuals. Challenges included synchronizing lip syncing and filming from a high angle without a tall tripod. Feedback was positive about the quirky style matching the song and using creative micro-elements, though some found the lip syncing inconsistent at times.
The two music videos share some similarities but also differ in important ways:
1) Both focus on romance/desire and convey overcoming depression, but One Direction's video has a sad atmosphere while Animal Collective's is more upbeat.
2) They both keep the artists visible, but Animal Collective uses animated figures while One Direction shows real people.
3) Animal Collective uses varied colors that convey emotions, while One Direction relies on dreary colors despite a positive mood, aiming to show how people can enjoy themselves no matter how dull life seems.
4) One Direction's video is edited to look like a single continuous shot while Animal Collective's features animated figures and changing backgrounds.
The document outlines a shooting schedule that takes place over multiple days in October. It lists 92 shots that involve different props like clocks, calendars, microphones being used in various outdoor and indoor locations. The shots involve 1-2 people, most frequently Kieran and Ellie.
The document describes the steps taken to design the cover of a digipak, including enlarging and cropping images, adjusting colors, adding effects like shadows and outlines, positioning graphic elements like a microphone and eyes in color against a black and white background, and formatting text for the band and album names. Key elements were lined up, grouped, and layered to create a split-faced cover design with emphasized graphics and text.
These pictures were taken by the author at concerts featuring Paramore, B.O.B., and Green Day. The author attended these concerts and was able to take photos of the performing artists. The photos are being offered as possible images to include in a magazine.
The magazine Kerrang! is used by the author for research on layout and style, as it is similar to the magazine "The Mix" they are creating. Kerrang! has an informal style that "The Mix" wants to emulate. The front cover features the band Good Charlotte, who may also be featured on "The Mix". The cover uses large text and images to draw the reader in, along with a quote and the band's name in big fonts. The article on Good Charlotte has images of the brothers and discusses their struggles but comeback with a new album and tour. It employs a color scheme, pull quotes, and column layout to engage the reader throughout.
UMG uses smaller subsidiary labels like Island Records and Fascination Records to focus on developing and promoting artists within specific genres. These labels have expertise in genres like reggae or pop and can provide artists with more individualized attention and genre-specific resources. They also allow UMG to target audiences geographically and take advantage of existing artists' fanbases to introduce new ones.
Feedback about first draft of school magazineamydinsey
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The other students provided feedback on the first draft of a cover design. They noted that the masthead stood out too much from the cover picture. While they liked the bottom strip, some felt it overpowered the rest of the cover. The cover picture was appropriate but could be higher quality. Additional pictures were suggested to accompany the other stories. The pricing and informal style were suitable to attract students, but another story for younger readers or more pictures could increase interest across ages. This feedback will help improve aspects that need changing and keep elements the students responded positively to.
The document discusses how the media product uses and develops conventions of real music videos. It uses conventions like bright colors, action, and excitement common to pop music videos. It tells a narrative story like "Maps" rather than just lip syncing. It incorporates visual elements found in other videos, such as cutting to the beat of the music, focus pulls to draw attention, and motion blur. The video challenges conventions by rewinding at the end rather than leaving the scene. It follows conventions of including the song title at the end and showing progress over time through lighting, locations, and clothing.
The document provides an analysis of a student's music video project. It discusses the key elements included in the video such as close-ups of the artist, relationships between lyrics/music and visuals, and editing to match the music's tempo. Feedback from audiences on YouTube and surveys praised the editing but suggested adding more action shots and speeding up slow parts. The student learned new skills in researching techniques, filming, and editing with software like Adobe Premiere.
For their A2 media studies coursework, the student produced a music video for an unsigned rock band. They received feedback by posting the video on social media. Some comments were positive about the visuals and flow, while others noted confusion over the storyline involving a double role. The student learned they must understand how their target audience relates to media products. They also gathered that faster editing and improving the band's lip syncing could enhance the video. Overall, the feedback helped the student create a music video that met audience needs and expectations.
Matthew created a music video for an indie track with a melancholy tone. He edited the black and white video in Adobe Premier to create high contrast between light and shadow and linked the video to the song by showing the singer and instrument. The video challenges mainstream forms by using different effects and cutting between live footage and narrative. Feedback was mostly positive but noted an underdeveloped narrative. Matthew researched bands on YouTube and used Jamendo to find inspiration and information to tailor the video to the band's style.
The student created a music video for their song "Schools are Prisons" that both used and challenged conventions of the punk genre. They received positive feedback on the storyline from test audiences but needed to improve the timing. The student researched conventions by analyzing other punk music videos online. They created supporting materials like a digipak and magazine ad that visually linked to the video using Photoshop. Audience feedback helped guide improvements and evaluate the effectiveness of combining the main video with ancillary texts.
1) The group created a Facebook group to get feedback on their music video from an audience. Responses showed that conventions like using a phone and burning photo were enjoyed and helped convey the relationship ending.
2) Feedback also indicated that the stormy beach setting matched the mood of the song well.
3) Viewers understood the storyline as presented in a linear way and reflected in the song lyrics.
4) Conventions used successfully helped audiences identify the pop genre. Areas for improvement included more emotion in lip syncing and filming in multiple locations.
The document discusses feedback received on a music video project. A focus group provided feedback on song choice and ideas to include, recommending a performance-based video to match the rap song. Edits were made to time cuts with the song's beats. Additional feedback on a draft was received, suggesting improvements to editing and lighting, and adding location changes for engagement. Positive feedback was received on ancillary tasks like layout and design. Future recommendations included making the video both narrative and performance, keeping similar editing, and incorporating more camera shots/angles to make it more professional.
The document provides an evaluation of a student's music video project. It discusses the production process, including research on music video conventions, planning with storyboarding and shot lists, and time management challenges due to the pandemic. It evaluates technical qualities like camera work and editing, aesthetic qualities, and audience appeal. Peer feedback praised the variety of shots, music syncing, and effects but suggested improvements to camera stability, color correction, and adding more activity in shots beyond lip syncing. The student agrees more could have been done in shots and lighting placement but disagrees that color correction was an issue, saying the contrast shifts were intentional.
The student produced a music video that conformed to conventions of real music videos by researching popular music videos and incorporating elements like telling a story through different character perspectives, syncing shots to the beat of the music, and having a direct link between the narrative and song meaning. Feedback on drafts was positive and noted the clear storytelling and exciting sequencing. Various media technologies were used in the research, planning, production, and evaluation stages.
- The student showed their final music video to their class and received feedback describing it in one word and noting what they liked and would improve. This highlighted some areas to work on like lip syncing and including more varied shots.
- Feedback on their digipak and poster also provided positive feedback on the consistent color theme but suggested including more text on the inside cover.
- Gathering feedback has helped the student understand strengths and weaknesses in their work and feel more confident, while also identifying areas for improvement in future projects like adding more variety of shots and ensuring good timing.
The document discusses how the media product followed conventions of real music videos. It used conventional titles by displaying the artist and song over the intro. It also chose conventional settings, with scenes taking place on a beach as in other EDM videos. Both narrative and performance elements were included, as seen across music videos. The editing style matched the beat of the track with quick cuts, as is common. While many conventions were followed, some elements could have been developed or challenged more to suit the genre.
The document discusses audience feedback received for a music video.
1. Feedback was collected through a Facebook group, with questions about genre, comparisons to other works, and emotional response.
2. Responses were mostly positive, noting that shots matched the music and genre. One respondent suggested including another person.
3. The creator learned that the video suited the genre and was effective at keeping attention, though could have included more shot variety.
3. What have you learned from your audience feedback?Robert Hurley
ย
The document discusses feedback received from audiences on music videos. A questionnaire found that younger audiences and women spend more time watching music videos, while men prefer thought-provoking videos. Interviews revealed that narrative videos are most engaging and the artist is not necessary. Indie videos attract audiences based on their unique sound rather than the artist. Feedback on the author's video praised the eye-catching opening and ending, location changes, and actors. One critic pointed out an issue with a split screen, which was later fixed. Receiving feedback helped the author improve weak points and ensure the video appealed to the target indie audience.
Fiona created a music video for the band Holden Girls. She researched music videos in their genre and was influenced by the styles of Rizzle Kicks, Adele, and Jay-Z. She filmed with multiple cameras and edited in Final Cut Express. While the software had issues with file formats and rendering time, she was able to complete the video. She received feedback that viewers found the obscure song bearable to listen to with the accompanying video. Overall, Fiona learned from using various media technologies in researching, planning, filming, editing, and evaluating her project.
The document discusses conventions in music videos such as cutting shots to the beat. It then describes the development process for a student music video project. Key aspects discussed include experimenting with narrative techniques beyond a typical love story, using surrealism and role reversal. Shots were done using both tripod and handheld camera. Intertextual references from films and photos were included. The band's image and integrity was an important consideration. Overall conventions of pre-production, production and post-production processes were followed to create an industry-standard music video.
The audience feedback on the music video provided useful insights for improvement. They felt the video needed to sync better to the lyrics and include more shots of individuals singing. They enjoyed the editing techniques like split screens and use of multiple settings. The video appealed to its target audience of teens and young adults due to the characters' ages and relatable scenarios. Viewers also identified conventions like DJ footage and split screens that aligned with the pop genre.
3. What have you learned from your audience feedback?Robert Hurley
ย
The feedback received from audiences helped improve the music video project. Questionnaires and interviews found that younger audiences and women prefer to watch music videos more. Narrative videos were preferred as they are more engaging. The initial music video received positive feedback for the bookending shots and location changes keeping pace with the song. Minor issues like a split screen effect were addressed. Receiving critique helped match the independent genre closer and improve areas like a slow argument scene. Overall, audience input allowed refining the video to better appeal to the target indie fans.
The document summarizes feedback received from peers and focus groups on a music video. The feedback was overall positive and highlighted that the use of chess pieces effectively tied into the song title and message. Peers noted the pacing matched the track well and urban scenery fit music video conventions. However, one focus group member felt the dark opening contrasted too much with the upbeat song. The filmmaker learned audiences interpret elements like lyrics differently and gained ideas to improve their work.
Similar to Q3) What have you learned from your audience feedback? (20)
The document provides steps for creating a digital album cover design:
1. The artist photos were enlarged and split down the middle to create a split-face effect with aligned features.
2. The photos were converted to black and white by decreasing saturation while the microphone graphic remained in color.
3. Additional color elements like the eyes were selectively desaturated.
4. Text for the artist and album names was added with effects like drop shadows.
5. Final tweaks included making the band name bolder and adding another dominant color.
The document describes the steps taken to design the cover of a digipak for an album by Panda Police called "Still Alive". This included enlarging and cropping images of the band members' faces to feature their eyes and a microphone in color against a black and white background. Text was added for the band and album names and styled with effects like shadows and outlines. Colors and positioning were adjusted to make the band name stand out boldly.
The document discusses various camera shots and editing techniques that will be used to film a music video. It plans to use high angle shots to make the subject seem small and vulnerable. Aerial and wide shots will help establish the isolated setting and lonely mood. Close-ups will show emotion and intimacy, while tracking shots follow the subject to create a feeling of being followed. Fast cutting montages and digital effects like split screens will be used to portray fragments of the story and link different characters. Speeding up or slowing down footage will help set the tone and allow the audience to reflect on the story.
Close-ups should be used frequently to fill the screen and create intimacy between the viewer and artist. Camera angles like high and low shots can represent power dynamics between characters. Aerial and tracking shots can follow artists' movements while isolated field shots portray characters as alone. The editing should include fast cut montages that are difficult to grasp initially, ensuring repeat viewings, and transitions that establish mood through pacing. Edits should match the music through rhythm and lyrics, and can employ split screens, colorization, and other digital effects. Faces and body parts can be fragmented and combined in montages at a rapid pace.
This document analyzes and summarizes the key elements and intended messages communicated through the CD cover designs of four different artists: Ke$ha, Spice Girls, Sex Pistols, and Jack Penate. For each cover, it identifies visual cues that indicate the artist/album name, genre of music, and themes or qualities the artist aims to represent through the cover design. Overall, the document examines how CD cover art can clearly identify the artist and aim to promote recognition, while also conveying messages about the music through symbolic colors, imagery and design elements.
The document discusses how the media product develops and challenges conventions of real music magazines. Some ways it does this include using brighter colors on the covers and contents page than traditional magazines, centrally aligning the title on the features page rather than at the top, and enlarging text sizes throughout to make the magazine easier to read. The goal of these developments is to catch readers' attention, make the magazine stand out, and overcome barriers some readers have to large blocks of text. Developments like these aim to attract new readers and increase readership of the magazine compared to more traditional magazine designs.
This document appears to be a draft cover letter or proposal. It does not provide many details about its purpose or contents. In summary, the document is labeled "Cover draft" but no other contextual information is given to understand its intent or subject matter.
This document appears to be a draft cover for another document. It does not provide much context or details about the contents being covered. In summary, the document is simply titled "Cover draft" and does not give any other informative context about what is being drafted or summarized.
The document is titled "Skies Of Until Photoshoot" and appears to be about a photoshoot for something called "Skies Of Until" conducted by a photographer named Jamie Ellis.
The contents page is divided evenly between an article on My Chemical Romance and listings of other articles. Over half the page contains images, including a large one of My Chemical Romance to promote their article. Smaller images throughout entice readers to learn more. Columns of text clearly list page numbers for articles. Additional elements like the editor's note and logo/color scheme create coherence and appeal to the magazine's target audience. The layout and use of images effectively serves the same purpose as the front cover in promoting key articles.
The document contains a 10 question survey about music preferences and magazine purchasing habits. Respondents are asked to select their favorite music genre, how frequently they purchase music magazines and CDs, what devices they use to listen to music, and how much they would be willing to pay for a weekly music magazine. The questions seek to understand readership interests to help inform magazine content and pricing strategies.
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(๐๐๐ ๐๐๐) (๐๐๐ฌ๐ฌ๐จ๐ง ๐)-๐๐ซ๐๐ฅ๐ข๐ฆ๐ฌ
๐๐ข๐ฌ๐๐ฎ๐ฌ๐ฌ ๐ญ๐ก๐ ๐๐๐ ๐๐ฎ๐ซ๐ซ๐ข๐๐ฎ๐ฅ๐ฎ๐ฆ ๐ข๐ง ๐ญ๐ก๐ ๐๐ก๐ข๐ฅ๐ข๐ฉ๐ฉ๐ข๐ง๐๐ฌ:
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๐๐ฑ๐ฉ๐ฅ๐๐ข๐ง ๐ญ๐ก๐ ๐๐๐ญ๐ฎ๐ซ๐ ๐๐ง๐ ๐๐๐จ๐ฉ๐ ๐จ๐ ๐๐ง ๐๐ง๐ญ๐ซ๐๐ฉ๐ซ๐๐ง๐๐ฎ๐ซ:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
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A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
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The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
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2. Previous feedback from pitch
O Hereโs the link to the pitch that I gave to
my Media class, describing my plans for
the video. This helped me to gain
feedback on my plans for my music video:
O http://www.youtube.com/watch?v=h1iTAO-
xfZ4&feature=plcp&context=C3ca224fUD
OEgsToPDskIoWbp8WNVmtfJ3GOUeox9
G
O And the feedback I received wasโฆ
4. Previous feedback from pitch
O By analysing my โEven better ifโฆโ
comments, I managed to make changes
of improvement to my plans when crafting
my final storyboard as well as when
filming.
O I did this by taking on board these
comments and making these changesโฆ
5. Changes made due to feedback
Even better ifโฆ
โThere was more variety of locations and mise-en-
sceneโ
O I went back and found more variety in the location I
had found, and took more pictures, as well as
using them within my video.
O Some of these pictures are shown below:
6. Changes made due to feedback
Even better ifโฆ
โYou made the video clear as to whether is was a narrative or
performance based videoโ
O I did struggle when first deciding if the
video was going to be performance or
narrative based, but after filming and
finalising my storyboard, I think that the
video is narrative based.
O Even though there are quite a few
performance shots, there isnโt a band
playing behind the singer, so the
music isnโt portrayed in full, which is
usually the case when performance
based videos are constructed.
7. Changes made due to feedback
Even better ifโฆ
โYou made the video clear as to whether is was a narrative or
performance based videoโ
O The narrative is fragmented in the
video, but the story can be interpreted in
full by the use of the audienceโs
imagination. I think the narrative is also
enhanced by the singer being the actor as
well, emphasising the narrative, concluding
that this is a narrative based video.
8. Changes made due to feedback
Even better ifโฆ
โYou adapted the tone of the video through
the weather and editing effectsโ
O In reaction to this comment, I made use of
the Autumn leaves in one of the locations
when shooting the video. You can see this
in the shot of Ellie and Kieran kicking
leaves at each other.
O I also used a black and white effect to
match the tone of the music at the start of
the video, as it has a radio effect of the
voice, which is more old fashioned, like
black and white is, as well as matching the
vintage microphone really well.
9. Changes made due to feedback
Even better ifโฆ
โA wider range of props were
used with both actors to add
interestโ
O In reaction to this, I looked
further into the theme of time
throughout my video, adding
more calendars and clocks. I
also made the microphone
feature regularly as an
image motif.
10. How was the previous
feedback useful?
O Helped me to gain even more inspiration about
how to make my video more intriguing to the
my target audience.
O Helped me to develop my original ideas into
something even better and more professional
looking.
O Made me spot the my faults that I had made but
not noticed, and gave me solutions about how
to fix them.
11. Final Music Video Feedback
O I used three different methods to gain feedback from
my target audience about my music video.
1)
My video was
showcased to my
Media class as well
as an invited
audience of a similar
age to make sure
feedback was gained
from my target
audience in
particular.
12. Final Music Video Feedback
O I used three different methods to gain feedback from
my target audience about my music video.
2)
I also posted the video
onto Facebook, as
many of the people I
have on this social
networking site are
within my target
audience.
13. Final Music Video Feedback
O I used three different methods to gain feedback from
my target audience about my music video.
3)
I created an online survey using
SurveyMonkey and used social
networking sites to spread awareness of
the questionnaire and gain responses.
14. Final Music Video Feedback
Method 1 - Showcase
O I gave out a questionnaire to
the whole focus group, and
everyone filled it in, and then
I added these responses
onto my results from my
online survey to make it easy
to compare and analyse the
responses.
O An example of one of these
questionnaires is to the right:
15. Final Music Video Feedback
Method 2 - SurveyMonkey
O I created an online questionnaire
out of the same questions used
on my tangible questionnaire
during the showcase. I then
shared it online through Social
Networking sites such as
Facebook and Twitter, both of
which there are many members
that are within my target
audience range.
O An example of this survey and
how it was presented online is to
the left:
16. Final Music Video Feedback
Method 3 - Facecbook
โข To reach my target audience I put the final
music video on Facebook, and received
around 40 โLikesโ as well as a large number of
complimenting comments.
โขYou can see this through the screen shots
shown:
17. Final Music Video Feedback
1. What was your favourite part of the music video?
18. My Thoughts: Question 1
O I was really pleased with these results due to the quite wide
variety of different parts mentioned in the feedback.
O I was relieved to know that
the fighting scene flowed
well, and that the story was
understandable to the
audience, as I spent a lot of
time on the deciding the
sequence to gain the best
continuity.
19. Final Music Video Feedback
2) Did the genre of music seem to match the visuals?
Slower transitions during
slower instrumental
Vintage
Lyrics represented
microphone, especially at
through Clocks
the start
Yes
through:
Style of characters match Lyrics represented
genre through Eyelashes
Jump cuts on beat Mise-en-scene
20. My Thoughts: Question 2
O I was delighted with the results to this question as every one that
answered it said yes, which meant that I had managed to match
the genre of the music to the visuals of the video effectively.
O I was particularly happy that
people had said that they
understood the reason behind
the eyelashes, as they linked
to the lyrics in the song, and
didnโt just think they were a
prop that I just happened to
put in there.
21. Final Music Video Feedback
3. Did you think the use of camera angles and editing was successful? Why?
These are a sample of I loved how you
Yes really well, I really the most common managed to layer up the
like the jump shot of clock and Kieran walking
thoughts given through
the clock with the around in the
character moving the feedback that I background. Also you
behind. The transitions received. used so many camera
were also effective angles which made it
changing with the beat. interesting.
I like the fact you have used
many different camera
angles throughout the video.
The editing is successful as
you have used many
different effects to move
between scenes and all the
music is in time with the
The use of camera angles
video.
was good because it made
Yes, clear story the video interesting and
represented in the keeps the audience
music video, the interested, the editing was
camera angles and good, especially at the end
editing really with all the different
eyelashes.
emphasise this!
22. My Thoughts: Question 3
O Again I was really happy with the results from this question, especially as
people had picked up on a variety of different areas where they thought
camera angles and editing was used effectively, indicating that it was
effective throughout a lot of the video.
O It also took me along time to
put together the section
where the clock forwards
time with Kieran jump-cutting
to different areas of the
background, so to have this
recognised was a relief that
this was appreciated by the
target audience.
23. Final Music Video Feedback
4. Did the video keep hold of your attention throughout? How?
All responses were positive, and these were the reasons they gave:
Mise-en-scene:
โข Costumes
โข Make-up
โข Calendars
โข Clocks
โข Vintage microphone
โข Eyelashes
โข Different locations
Other:
โข Effective jump-cuts
โข Story being told
โข Visuals match the lyrics
24. My Thoughts: Question 4
O In response to question 4 I was really pleased
at the variety of comments stated in the
feedback. I was really happy that a large
range of extras that I added in to improve my
video were picked up on and appreciated
25. Final Music Video Feedback
5. Did you think the storyline matched
the song?
No
Yes
26. My Thoughts: Question 5
O I was really happy at the
result to this question, as
I wasnโt sure how well the
audience would
understand the story
within the video. Knowing
that the majority of people
thought that the lyrics
matched the song is a
great result.
27. Final Music Video Feedback
6. What would you do to improve the video?
Improvement suggestions:
O Use of a more exciting location
O Brighter costumes and make-up
O Make the actors more dynamic
rather than just standing or sitting
O More colour effects like the black
and white
O Consider having a band in the
background with Kieran
28. My Thoughts: Question 6
O The comments for this question had some great ideas for
what I could do to make the video even better if I was to do it
again.
O I did consider having a band in the
background of Kieran, but because I
had trouble finding an actor to be
the singer, I didnโt think I was going
to have much luck finding a
band, and didnโt want to waste
precious time when creating the
video.
O I do agree with the other comments made though, and
would definitely use these if I was to do it all over again.
29. Final Music Video Feedback
7. Did you pick up on any running themes/images throughout the video?
To create this, I copy and pasted all of the answers given to the above question as feedback
using a website called Wordle. It makes the most common words used larger than the less
commonly words used, showing which words were more popular when answering the question.
30. My Thoughts: Question 7
O I thought that the feedback from this question was a great
summary of what my video is all about.
O It identified themes that hadnโt crossed
my mind but are very true about the
video, showing that the story and ideas
behind the video came across well to
the audience, and got them thinking with
more depth into the video.
O This indicates that the video must have
captured their attention for them to find
hidden themes in it.
31. Final Music Video Feedback
8. What would you mark the video out of 10?
12
10
8
6
4
2
0
1/10 2/10 3/10 4/10 5/10 6/10 7/10 8/10 9/10 10/10
32. My Thoughts: Question 8
O I am incredibly happy with the results to this question being so
positive, as it feels great to have created something that is
looked on so popularly with my target audience.
O I was even more happy that there were no ratings lower than
8, which was the average, showing that my target audience
really did enjoy the video.
33. Were there any unexpected or
predictable answers?
O I thought it was likely that people would
mention the image motifs such as the
eyelashes and the use of the vintage
microphone as these stand out the most in the
video, and are repeated a number of times.
O On the other hand, I honestly didnโt think the
results about the marks out of 10 would be so
high, not because I thought my video wasnโt
good enough, but I wasnโt completely sure if
Iโd targeted the right audience through the
video, and if what I had presented would be
appreciated by them as much as it was.
34. What would you change if you
created this video again?
O If I was to do the video again, I would definitely take on board the
improvement suggestions given in the feedback that I received.
O In particular, I think I would change the location to
somewhere a bit more unique, like in the woods. I
could even use the original location for the
story, and add another location for the performance
shots.
O I think I would also consider using more
colour effects, so maybe bringing back the
black and white during the break up scene
of the video, illustrating that this is the
darker part of the video.
35. What are you particularly
pleased with?
O I was pleased with a number of things
about my video, the main being that I
managed to create the video itself in the
way I imagined it, with little experience
of ever making any type of film or using
the iMovie software on the Mac
computer. Itโs increased my technical
skills, as well as giving me more
confidence with producing creative
ideas.
O I was also happy with the amount of
positive feedback I received through the
questionnaire, as it made me feel that Iโd
done well to appeal to my target
audience and that it was highly
appreciated by them.