The document discusses conventions used in grime/hip hop music videos. The author analyzed music videos by artists K Koke, Lowkey, and Devlin to inform their own music video for K-OS. They looked at camera shots, edits, narrative, location, clothing, facial expressions, lighting, and color. Their goal was to follow conventions of the genre to make their video feel authentic. They used locations in London, varied camera shots and edits, and styled K-OS similarly to other artists. By understanding conventions, they aimed to create a music video that fits properly within the grime/hip hop genre.
My media product uses, develops and challenges conventions of real media products in several ways:
1. Themes, characters, theory, editing, locations, and cinematography are used in ways that both develop and challenge conventions. For example, the Ying and Yang theme has been used before but is given a new interpretation, and editing techniques create effects like clones interacting.
2. Forms like music video structure, genres, and star image are developed through conventions like solo performances, smoking/drinking scenes, and keeping the artists central. However, the cinematography style mixes genres by including urban elements.
3. Techniques like lighting, color, costume, mise-en-scene,
Codes and conventions in music videos are the techniques used to construct meaning and connect with audiences. There are two main types - technical techniques related to filming and editing, and symbolic techniques related to meaning conveyed by colors, costumes, etc. Common conventions include lip syncing, using bright colors in pop videos and darker tones in rock, narrative storylines that relate to lyrics, and authentic-looking solo or group performances. The visual director chooses shots, angles, and other elements suited to the genre, artist, and song.
The document analyzes how the student's music video product uses and develops conventions of real music videos in the rap/hip-hop genre. It discusses analyzing existing music videos to understand conventions like camera shots, locations, artist appearance, editing techniques, use of props, and body language. Screenshots from the student's video and professional videos are presented showing how various conventions like close-up shots, establishing shots, sped-up editing, and props were employed. The analysis finds the student's video aligns with genre conventions to make the video appear professional.
The document summarizes the process of creating a music video for a hip hop song that conforms to mainstream hip hop conventions. Key elements incorporated include having the artist wear casual clothes, use facial expressions and hand gestures to engage with the lyrics, shoot in typical hip hop locations like in front of graffiti walls, and use camera shots and lighting similar to popular hip hop videos. Feedback from the target audience confirmed that the music video and promotional materials matched expectations of the hip hop genre.
The document discusses the creative choices made in producing an indie music video. It aimed to conform to indie music video conventions like focusing on the artist's appearance and performance, while also adding some unique elements like natural lighting and a mix of narrative and performance shots to stand out. The goal was to attract indie fans by being familiar yet interesting.
This document discusses the music video created by the author and their group for the song "Blessings" by Big Sean featuring Drake. It examines the video in terms of its use of conventions from mainstream hip hop music videos. The author's video aimed to include elements of both performance and conceptual/thematic styles common to the genre. Technical issues prevented inclusion of some planned symbolic imagery. While not as high quality as professional videos, the author's video included shots showing the artists' expressions and incorporated thematic elements of wealth. Costumes and accessories also referenced mainstream hip hop fashion trends.
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
- The song "Chameleon" by Andrew Watt describes a woman who keeps changing her mind and leading the singer on.
- To gain recognition as a new artist, Andrew Watt's music video focuses on his full performance and centers him throughout.
- The video utilizes various camera techniques common to rock music videos like the artist, including close-ups, lighting, angles, and editing to the beat of the music.
My media product uses, develops and challenges conventions of real media products in several ways:
1. Themes, characters, theory, editing, locations, and cinematography are used in ways that both develop and challenge conventions. For example, the Ying and Yang theme has been used before but is given a new interpretation, and editing techniques create effects like clones interacting.
2. Forms like music video structure, genres, and star image are developed through conventions like solo performances, smoking/drinking scenes, and keeping the artists central. However, the cinematography style mixes genres by including urban elements.
3. Techniques like lighting, color, costume, mise-en-scene,
Codes and conventions in music videos are the techniques used to construct meaning and connect with audiences. There are two main types - technical techniques related to filming and editing, and symbolic techniques related to meaning conveyed by colors, costumes, etc. Common conventions include lip syncing, using bright colors in pop videos and darker tones in rock, narrative storylines that relate to lyrics, and authentic-looking solo or group performances. The visual director chooses shots, angles, and other elements suited to the genre, artist, and song.
The document analyzes how the student's music video product uses and develops conventions of real music videos in the rap/hip-hop genre. It discusses analyzing existing music videos to understand conventions like camera shots, locations, artist appearance, editing techniques, use of props, and body language. Screenshots from the student's video and professional videos are presented showing how various conventions like close-up shots, establishing shots, sped-up editing, and props were employed. The analysis finds the student's video aligns with genre conventions to make the video appear professional.
The document summarizes the process of creating a music video for a hip hop song that conforms to mainstream hip hop conventions. Key elements incorporated include having the artist wear casual clothes, use facial expressions and hand gestures to engage with the lyrics, shoot in typical hip hop locations like in front of graffiti walls, and use camera shots and lighting similar to popular hip hop videos. Feedback from the target audience confirmed that the music video and promotional materials matched expectations of the hip hop genre.
The document discusses the creative choices made in producing an indie music video. It aimed to conform to indie music video conventions like focusing on the artist's appearance and performance, while also adding some unique elements like natural lighting and a mix of narrative and performance shots to stand out. The goal was to attract indie fans by being familiar yet interesting.
This document discusses the music video created by the author and their group for the song "Blessings" by Big Sean featuring Drake. It examines the video in terms of its use of conventions from mainstream hip hop music videos. The author's video aimed to include elements of both performance and conceptual/thematic styles common to the genre. Technical issues prevented inclusion of some planned symbolic imagery. While not as high quality as professional videos, the author's video included shots showing the artists' expressions and incorporated thematic elements of wealth. Costumes and accessories also referenced mainstream hip hop fashion trends.
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
- The song "Chameleon" by Andrew Watt describes a woman who keeps changing her mind and leading the singer on.
- To gain recognition as a new artist, Andrew Watt's music video focuses on his full performance and centers him throughout.
- The video utilizes various camera techniques common to rock music videos like the artist, including close-ups, lighting, angles, and editing to the beat of the music.
A music video is a short film that accompanies a song to promote the artist and increase sales. There are three main types - narrative, concept, and performance videos. Early music videos developed in the 1950s but the genre became more popular with The Beatles' film A Hard Day's Night in 1964. MTV launched in 1981 and played a central role in music marketing by airing music videos. Michael Jackson took the format to another level with his groundbreaking Thriller video in 1984. The internet further changed music video promotion through sites like YouTube from 2005 onward.
Modern music videos contain several common motifs or techniques:
1) They often show fragmented or close-up shots of the human body rather than presenting it in its entirety to direct attention to specific parts that capture emotion.
2) Frequently use fictional or fantastical settings created through CGI and visual effects rather than just depicting the real world.
3) Generally have lengths between 3 to 5 minutes to accommodate the song while still telling a narrative or story.
Codes and conventions in music videos refer to techniques and aspects that help establish meaning and familiarity for audiences within different genres. Technical codes include camera shots, angles, editing, and sound design. Symbolic codes create meaning through mise-en-scene elements like props, locations, costumes, lighting, and hair/makeup. Different genres have distinguishing conventions - for example, jazz videos portray sophistication through suits and elegant dresses, while rock videos convey emotion through simple settings and musicians' facial expressions. Understanding codes and conventions allows audiences to interpret music videos based on their familiarity with common techniques for each style.
This document outlines common motifs used in music videos and provides examples. It discusses motifs such as ritual celebration, horror, intertexuality, impossible sequences, body fragmentation, mysterious themes, and other features. For example, it notes that Madonna's "Like a Prayer" shows a black choir celebrating in church, and Rihanna's "Disturbia" uses demonic gestures and blank eyes to depict being in a possessed state. It also analyzes examples like Usher seeing himself singing in a mirror, and Michael Jackson's "Earth Song" depicting a barren world at its end.
This document contains analyses of 9 shots from a music video summarizing how each shot demonstrates elements of music video production including: 1) linking lyrics and visuals, 2) representing the artist in a way appealing to record labels, 3) illustrating the indie folk music genre, 4) including intertextual references to other videos, 5) demonstrating camera techniques, 6) demonstrating lighting techniques, 7) demonstrating mise-en-scene elements, 8) demonstrating influence from other indie music videos, and 9) demonstrating influence from videos with similar romantic narratives.
The document summarizes the ways in which the student's media product uses, develops, or challenges conventions of real music videos. The student created a music video for the song "Endorphins" by Sub Focus. To develop conventions, the video included dancing, surrealism, and a narrative intertwined with lyrics. However, it also challenged conventions by including repeated shots that did not advance the narrative and not showing the artist. The student analyzed their video using Andrew Goodwin's music video theories on genre characteristics, key conventions of narrative, performance and concept, as well as other conventions like editing, special effects, and mise-en-scene elements. The accompanying digipak similarly developed conventions through imagery from the video
This document discusses codes and conventions in music videos. It defines codes and conventions as techniques and aspects used across media genres to provide structure and familiarity for audiences. It notes codes and conventions help ensure videos fit their genre and audiences understand them as expected. The document then covers various technical, symbolic, camera, editing, sound, mise-en-scene, props, lighting and genre-specific codes and conventions used in music videos.
Codes and conventions in music videos allow audiences to understand and interpret the genre and meaning. Technical codes include camera shots, angles, editing, sound, and lighting which shape the visual story. Symbolic codes like mise-en-scene involving props, locations, costumes, and makeup set the scene. Different genres have distinguishing codes - jazz videos portray elegance through sophisticated costumes and bright lighting while hip hop often uses dark colors and sexuality to appeal to male audiences. Editing precisely syncs visuals to lyrics. Crane and closeup shots focus on performers.
Media Music Video Codes And Conventions Presentationemijean
Codes and conventions are a set of rules and techniques used to construct meaning in media texts like music videos. There are two categories of codes and conventions - technical involving equipment and technology, and symbolic involving meaning beyond the obvious. Codes and conventions allow audiences to become familiar with genres and ensure texts fit their genre. Music video styles include performance, narrative, mixture, and animation. Technical codes and conventions in music videos include different camera shots, editing to match the music, and diegetic and non-diegetic sound. Mise-en-scene elements like props, costumes, locations, and facial expressions also help construct meaning.
Both the Red Hot Chili Peppers "Brendan's Death Song" (2012) and Nirvana "Smells Like Teen Spirit" (1991) music videos fall into the alternative rock genre. They both feature close-ups of the lead singer and use camera angles and dimmed filters to create striking atmospheres relating to the lyrics. While the Red Hot Chili Peppers wear formal clothing with an alternative twist, Nirvana wears grungy, baggy clothing reflecting the changing styles over 20 years. The sound in both is diegetic as the band performs for others who can hear them.
The document discusses the purpose and conventions of music videos. Music videos are used as marketing tools to promote artists and sell music. There are generally three types of music videos: performance, narrative, and a mixture of both. Common conventions include the use of camera shots, movements, lighting, mise-en-scene, and editing to match the mood, genre, and pace of the song. Conventions vary by genre, with genres like hip hop using flashy displays and rock employing moody, low-key lighting. The production of music videos has evolved over time to allow for cheaper, independently-produced videos.
The document discusses the influences and creative process behind a student music video project. It was most influenced by Carol Vernallis' concepts of editing and diegesis. The video used multiple settings of beaches and London. Close-ups of the performer were included per Andrew Goodwin. Stealomatics from other artists' videos were added. The influences of Bruno Mars, Alan Walker and Justin Bieber videos can be seen in the camerawork, editing and focus on setting. Creating special effects in After Effects was a challenging convention explored. Overall, the students learned new skills in Premiere Pro and creating an engaging music video.
This document discusses similarities and differences between the music video for "I Got U" by Duke Dumont and the creator's own music video for "All to You". It analyzes both videos in terms of their point-of-view shooting style, notions of voyeurism, location shots, use of close-ups of the artist, and lighting. The document also provides suggestions on how the creator could make their video more similar to "I Got U", such as improving the smoothness of point-of-view shots and filming with a stabilized camera.
The music video for The Weeknd's "Starboy" depicts him destroying symbols of his past success and image to represent the launch of a new musical era. Over the course of the video, The Weeknd is shown suffocating his past self, trashing his lavish home, and smashing awards to signify that "Starboy" marks a departure from his previous work and persona. Visuals throughout the video amplify lyrics or depict themes mentioned in the song, such as shots of The Weeknd destroying awards when lyrics refer to "look what you've done." However, the video is not a literal narrative of the song's lyrics and also features symbolic imagery like The Weeknd dragging a neon cross to represent his new
The document discusses the synergy between three media products created to promote musician Isaiah Dreads' album: a music video, album digipak, and magazine poster. Synergy was maintained throughout by aligning the aesthetics, imagery, and themes of each product to the London grime genre. Close-up shots of the artist from the music video were consistently featured to connect the audience visually. Location, clothing, fonts, and color schemes were also aligned across products to establish coherence and effectively promote the artist and album as a whole.
Our music video challenges conventions of real punk rock media products in the following ways:
1) It is filmed in black and white like Joy Division album covers to represent their smart, dark style.
2) We reference famous photos of Joy Division by taking similar poses.
3) One band member wears eccentric makeup and hair like typical punk bands, while the others have Joy Division's cleaner look.
4) Shots of the singer from behind with words on her jacket reference a scene from the Joy Division film 'Control'.
Our music video challenged conventions of real punk rock media products in several ways:
1) It was filmed in black and white like Joy Division photographs to represent their smart, dimly lit style.
2) Shots were framed and characters posed to reference famous Joy Division photos.
3) One band member wore dark makeup and eccentric hair like typical punk bands, while the others had Joy Division's cleaner look to blend genres.
4) A continuous shot of the singer from behind with a word on her jacket, like in the Joy Division film Control, drew attention in the same style.
This document provides a link to a music video and images of an album cover. The link directs to a YouTube video for a song, while the cover images showcase the front, back, and inside artwork of a music album or CD.
The document summarizes the key conventions and design elements used in the student's music magazine project to make it resemble a real media product. These include using a masthead, focal image, cover lines of different sizes, and additional details like price and website on the front cover. Similar conventions are applied to the contents page and double-page article spread, such as large titles, page numbers, header/footer placement, and standfirst text. Representations of the target audience and social groups are achieved through images, language, and article content choices. Distribution and pricing considerations are also discussed.
The document is an evaluation of the student's music magazine project. It summarizes the key conventions and representations used in the magazine to make it resemble a real media product. Conventions included a masthead, focal image, cover lines, barcode/pricing, and article formatting. Representations included clothing, language, images, and topics that targeted an urban youth audience interested in grime music. The student also discusses choosing a distributor and the technologies learned through creating the magazine project.
A music video is a short film that accompanies a song to promote the artist and increase sales. There are three main types - narrative, concept, and performance videos. Early music videos developed in the 1950s but the genre became more popular with The Beatles' film A Hard Day's Night in 1964. MTV launched in 1981 and played a central role in music marketing by airing music videos. Michael Jackson took the format to another level with his groundbreaking Thriller video in 1984. The internet further changed music video promotion through sites like YouTube from 2005 onward.
Modern music videos contain several common motifs or techniques:
1) They often show fragmented or close-up shots of the human body rather than presenting it in its entirety to direct attention to specific parts that capture emotion.
2) Frequently use fictional or fantastical settings created through CGI and visual effects rather than just depicting the real world.
3) Generally have lengths between 3 to 5 minutes to accommodate the song while still telling a narrative or story.
Codes and conventions in music videos refer to techniques and aspects that help establish meaning and familiarity for audiences within different genres. Technical codes include camera shots, angles, editing, and sound design. Symbolic codes create meaning through mise-en-scene elements like props, locations, costumes, lighting, and hair/makeup. Different genres have distinguishing conventions - for example, jazz videos portray sophistication through suits and elegant dresses, while rock videos convey emotion through simple settings and musicians' facial expressions. Understanding codes and conventions allows audiences to interpret music videos based on their familiarity with common techniques for each style.
This document outlines common motifs used in music videos and provides examples. It discusses motifs such as ritual celebration, horror, intertexuality, impossible sequences, body fragmentation, mysterious themes, and other features. For example, it notes that Madonna's "Like a Prayer" shows a black choir celebrating in church, and Rihanna's "Disturbia" uses demonic gestures and blank eyes to depict being in a possessed state. It also analyzes examples like Usher seeing himself singing in a mirror, and Michael Jackson's "Earth Song" depicting a barren world at its end.
This document contains analyses of 9 shots from a music video summarizing how each shot demonstrates elements of music video production including: 1) linking lyrics and visuals, 2) representing the artist in a way appealing to record labels, 3) illustrating the indie folk music genre, 4) including intertextual references to other videos, 5) demonstrating camera techniques, 6) demonstrating lighting techniques, 7) demonstrating mise-en-scene elements, 8) demonstrating influence from other indie music videos, and 9) demonstrating influence from videos with similar romantic narratives.
The document summarizes the ways in which the student's media product uses, develops, or challenges conventions of real music videos. The student created a music video for the song "Endorphins" by Sub Focus. To develop conventions, the video included dancing, surrealism, and a narrative intertwined with lyrics. However, it also challenged conventions by including repeated shots that did not advance the narrative and not showing the artist. The student analyzed their video using Andrew Goodwin's music video theories on genre characteristics, key conventions of narrative, performance and concept, as well as other conventions like editing, special effects, and mise-en-scene elements. The accompanying digipak similarly developed conventions through imagery from the video
This document discusses codes and conventions in music videos. It defines codes and conventions as techniques and aspects used across media genres to provide structure and familiarity for audiences. It notes codes and conventions help ensure videos fit their genre and audiences understand them as expected. The document then covers various technical, symbolic, camera, editing, sound, mise-en-scene, props, lighting and genre-specific codes and conventions used in music videos.
Codes and conventions in music videos allow audiences to understand and interpret the genre and meaning. Technical codes include camera shots, angles, editing, sound, and lighting which shape the visual story. Symbolic codes like mise-en-scene involving props, locations, costumes, and makeup set the scene. Different genres have distinguishing codes - jazz videos portray elegance through sophisticated costumes and bright lighting while hip hop often uses dark colors and sexuality to appeal to male audiences. Editing precisely syncs visuals to lyrics. Crane and closeup shots focus on performers.
Media Music Video Codes And Conventions Presentationemijean
Codes and conventions are a set of rules and techniques used to construct meaning in media texts like music videos. There are two categories of codes and conventions - technical involving equipment and technology, and symbolic involving meaning beyond the obvious. Codes and conventions allow audiences to become familiar with genres and ensure texts fit their genre. Music video styles include performance, narrative, mixture, and animation. Technical codes and conventions in music videos include different camera shots, editing to match the music, and diegetic and non-diegetic sound. Mise-en-scene elements like props, costumes, locations, and facial expressions also help construct meaning.
Both the Red Hot Chili Peppers "Brendan's Death Song" (2012) and Nirvana "Smells Like Teen Spirit" (1991) music videos fall into the alternative rock genre. They both feature close-ups of the lead singer and use camera angles and dimmed filters to create striking atmospheres relating to the lyrics. While the Red Hot Chili Peppers wear formal clothing with an alternative twist, Nirvana wears grungy, baggy clothing reflecting the changing styles over 20 years. The sound in both is diegetic as the band performs for others who can hear them.
The document discusses the purpose and conventions of music videos. Music videos are used as marketing tools to promote artists and sell music. There are generally three types of music videos: performance, narrative, and a mixture of both. Common conventions include the use of camera shots, movements, lighting, mise-en-scene, and editing to match the mood, genre, and pace of the song. Conventions vary by genre, with genres like hip hop using flashy displays and rock employing moody, low-key lighting. The production of music videos has evolved over time to allow for cheaper, independently-produced videos.
The document discusses the influences and creative process behind a student music video project. It was most influenced by Carol Vernallis' concepts of editing and diegesis. The video used multiple settings of beaches and London. Close-ups of the performer were included per Andrew Goodwin. Stealomatics from other artists' videos were added. The influences of Bruno Mars, Alan Walker and Justin Bieber videos can be seen in the camerawork, editing and focus on setting. Creating special effects in After Effects was a challenging convention explored. Overall, the students learned new skills in Premiere Pro and creating an engaging music video.
This document discusses similarities and differences between the music video for "I Got U" by Duke Dumont and the creator's own music video for "All to You". It analyzes both videos in terms of their point-of-view shooting style, notions of voyeurism, location shots, use of close-ups of the artist, and lighting. The document also provides suggestions on how the creator could make their video more similar to "I Got U", such as improving the smoothness of point-of-view shots and filming with a stabilized camera.
The music video for The Weeknd's "Starboy" depicts him destroying symbols of his past success and image to represent the launch of a new musical era. Over the course of the video, The Weeknd is shown suffocating his past self, trashing his lavish home, and smashing awards to signify that "Starboy" marks a departure from his previous work and persona. Visuals throughout the video amplify lyrics or depict themes mentioned in the song, such as shots of The Weeknd destroying awards when lyrics refer to "look what you've done." However, the video is not a literal narrative of the song's lyrics and also features symbolic imagery like The Weeknd dragging a neon cross to represent his new
The document discusses the synergy between three media products created to promote musician Isaiah Dreads' album: a music video, album digipak, and magazine poster. Synergy was maintained throughout by aligning the aesthetics, imagery, and themes of each product to the London grime genre. Close-up shots of the artist from the music video were consistently featured to connect the audience visually. Location, clothing, fonts, and color schemes were also aligned across products to establish coherence and effectively promote the artist and album as a whole.
Our music video challenges conventions of real punk rock media products in the following ways:
1) It is filmed in black and white like Joy Division album covers to represent their smart, dark style.
2) We reference famous photos of Joy Division by taking similar poses.
3) One band member wears eccentric makeup and hair like typical punk bands, while the others have Joy Division's cleaner look.
4) Shots of the singer from behind with words on her jacket reference a scene from the Joy Division film 'Control'.
Our music video challenged conventions of real punk rock media products in several ways:
1) It was filmed in black and white like Joy Division photographs to represent their smart, dimly lit style.
2) Shots were framed and characters posed to reference famous Joy Division photos.
3) One band member wore dark makeup and eccentric hair like typical punk bands, while the others had Joy Division's cleaner look to blend genres.
4) A continuous shot of the singer from behind with a word on her jacket, like in the Joy Division film Control, drew attention in the same style.
This document provides a link to a music video and images of an album cover. The link directs to a YouTube video for a song, while the cover images showcase the front, back, and inside artwork of a music album or CD.
The document summarizes the key conventions and design elements used in the student's music magazine project to make it resemble a real media product. These include using a masthead, focal image, cover lines of different sizes, and additional details like price and website on the front cover. Similar conventions are applied to the contents page and double-page article spread, such as large titles, page numbers, header/footer placement, and standfirst text. Representations of the target audience and social groups are achieved through images, language, and article content choices. Distribution and pricing considerations are also discussed.
The document is an evaluation of the student's music magazine project. It summarizes the key conventions and representations used in the magazine to make it resemble a real media product. Conventions included a masthead, focal image, cover lines, barcode/pricing, and article formatting. Representations included clothing, language, images, and topics that targeted an urban youth audience interested in grime music. The student also discusses choosing a distributor and the technologies learned through creating the magazine project.
Sagar Shah is seeking an entry-level engineering position where he can utilize his leadership skills and analytical research experience. He received a Bachelor of Science in Mechanical Engineering from the University of Connecticut in 2015. His senior design project involved investigating the effects of CMAS on thermal barrier coatings using a gradient rig. He has research experience analyzing experimental and theoretical studies involving materials behavior and properties. Sagar also has leadership experience as vice-captain of a cricket club and social director of his fraternity.
The document describes the design process for a CD DigiPak and magazine advertisement created to accompany a music video by K-OS. Key elements were incorporated from the music video into both ancillary texts to create synergy across the projects. Research was conducted on real CD packaging and ads in the genre to inform the designs. Features like a custom font, character mascot, and elements from the video's setting were included to visually and thematically link the ancillary texts back to the original work. The goal was to create eye-catching, unique products that would stand out and gain more attention and sales.
Big Goplerud, Mc Pherson, Herlihy, Sharar Submitted To Ea Report 5 24 10Tracy McPherson
The document discusses the BIG Initiative, which aims to standardize alcohol screening and brief interventions across Employee Assistance Programs. It notes that less than 10% of EAP cases address alcohol issues, but alcohol problems affect more employees. The Initiative promotes using Screening, Brief Intervention, and Referral to Treatment (SBIRT) to identify at-risk drinkers. It has recruited many EAP vendors, employers, and professionals to its cause to make alcohol screening and brief intervention routine practice industry-wide by 2011.
This document discusses innovations in treating addiction as a chronic condition rather than an acute problem. Over the past decade, experts have increasingly recognized addiction as a chronic disorder best addressed through long-term, diverse treatment and recovery support rather than brief interventions. This shift was pioneered by researchers, people in recovery, and providers and has led to new treatment models, payment systems, and a broader continuum of care including prevention, intervention, treatment, and recovery support.
During his media coursework, the author used a variety of hardware and software technologies throughout the research, planning, construction, and evaluation stages of his project. He analyzed music videos online, contacted artists, edited videos, created album artwork, and shared his work online. Key technologies used included computers, cameras, phones, and editing/design software like Final Cut Pro, Photoshop, and WordPress.
The document provides an evaluation of the student's music magazine media product. It describes how the magazine follows conventions of real media products through elements like the masthead, focal image on the cover, main cover line, additional cover lines around the image, barcode and pricing on the back, contents page layout, and double page article spread layout. It also analyzes how the magazine represents its target social group through images, language, and content choices.
This document discusses concerns about how residential substance abuse treatment may be impacted by the Affordable Care Act (ACA). Key points:
1) Residential treatment may not be covered by Medicaid or insurance exchanges under the ACA, threatening funding for these programs.
2) Therapeutic communities (long-term residential facilities) are especially at risk, as their treatment model may not be recognized.
3) Changes to the federal Substance Abuse Prevention and Treatment block grant are also being considered, adding uncertainty about future funding.
Three large employee assistance programs (EAPs) - Aetna, OptumHealth, and ValueOptions - piloted adding screening and brief intervention protocols for risky drinking to their services. This led to identifying 50-100% more employees with alcohol issues. Aetna identified risky drinking in 40% of clients screened and increased clinical follow-ups. OptumHealth identified risky drinking in 20.1% of clients compared to 7.5% previously and increased referrals to treatment. ValueOptions screened over 3,000 people and identified risky drinking in 7% leading to further screening, where 12% were found to have elevated risk.
The document provides an evaluation of a music magazine media product created by the author. The author discusses how their magazine incorporates various conventions of real music magazines, including having a masthead, focal image, cover lines, barcode/website/price, and article layout. The author also discusses how their magazine represents a particular social group through images and language that depict urban youth culture. Finally, the author analyzes their target audience and choice of distributor based on their magazine's focus on grime music.
1) The document discusses drug and alcohol abuse among employees, which costs companies through decreased productivity, increased health claims, and absenteeism. Approximately 14 million U.S. workers abuse drugs or alcohol.
2) While employee assistance programs (EAPs) have helped address substance abuse issues for decades, identifying and treating meaningful percentages of affected employees remains challenging. EAPs provide counseling and aim to improve workplace productivity, but only reach about 90% of the workforce.
3) The document provides industry-specific data on substance abuse prevalence and notes construction, food services, and accommodations have higher rates, while utilities, education and public administration have lower rates. More men than women struggle with substance abuse.
The document discusses a music video created by a student to promote an artist. Feedback was gathered from friends in the target age range of 12-28 by sending the YouTube link online and asking specific questions. Most enjoyed the shots, editing, and effects used and found it enjoyable overall, though some felt some clips were repeated or didn't match the music. The video received over 500 views in two weeks, primarily from males aged 18-34 and females 13-17, meeting the target audience and making the video a success.
Ebn 2010 Ea Ps Unite To Combat Alcohol Problems Articles Employee Benef...Tracy McPherson
The BIG Initiative is bringing together EAP programs to increase efforts to address alcohol abuse in the workplace. Currently, EAPs engage only about 1 in 20 seriously impaired employees. Alcohol problems cost $61 billion annually in lost productivity and healthcare costs. The BIG Initiative aims to make alcohol screening and brief counseling the routine practice of EAPs within a year. Screening can identify at-risk employees and lead them to treatment resources, reducing healthcare costs and accidents.
The 2010 Commonwealth Games were held in New Delhi, India from October 3-14. 71 Commonwealth nations participated in the Games, involving thousands of athletes across 17 sporting disciplines. Events were held at various venues throughout Delhi, including the main stadium at Jawaharlal Nehru Stadium. The motto of the Games was "Come Out and Play", inviting participants to compete in the spirit of sportsmanship.
This document discusses a new pilot initiative where employee assistance programs (EAPs) will incorporate screening and brief intervention (SBI) for alcohol issues for all callers. The goal is to identify more individuals who could benefit from treatment for alcohol or drug problems. Early results show identifying rates increasing significantly, from under 1% to 18-22%, when EAPs add alcohol screening questions routinely. This has the potential to increase the number of employees referred to treatment by EAPs by 50-100%. Employers must be willing to add SBI and pay for it as part of their EAPs for the benefits to be realized.
The document describes the ways in which the author's media product challenges the conventions of a real magazine. It discusses design elements like the front cover, contents page, and double page spreads. For each section, it notes similarities between the author's magazine and a real magazine in terms of layout, fonts, and placement of images and text. It also explains ways the author represented a particular social group through choices of images, language, and content.
Investments are a great way to allow your money to earn for you. However, to yield the best results, you cannot remain completely uninvolved. These can only be achieved with constant monitoring and fine-tuning of investments. For those who have extensive financial investments, the proper management of these investments could mean the difference between success and failure in the markets. While mutual funds are considered safer than traditional investments owing to their diversity, it’s very important to constantly monitor them with the help. In fact, there are professional financial planners for this purpose. This article will explain the benefits of calculating the NAV of your mutual fund investments with a financial planner.
The document discusses conventions used in Little Comet's music videos and how the media product develops or challenges these conventions. It summarizes that the media product uses conventions like live performance, close-ups of the artist singing, and filming in multiple short locations. However, it also develops these conventions by using longer shots and additional locations. The document also discusses conventions used in Little Comet's editing, use of stock motion, animation relating to lyrics, and color schemes, fonts, and imagery used in digipaks and advertisements. It aims to appropriately use, develop, and challenge conventions from real media products to create a realistic work.
Our music video challenged some conventions of Afro beat music videos while conforming to others. We developed the convention of filming in a busy city location rather than typical outdoor locations. We also challenged the convention of prioritizing dance over narrative by including more story elements. However, we conformed to conventions like using mid shots and close ups of performers, modern clothing styles, cuts on the beat between performance and story, and including choreographed dance sections.
Our music video used, developed, and challenged various conventions of real Afrobeats music videos. We conformed to conventions like using mid shots and close ups to show dancers' emotions, as well as placing choreographed dances throughout. However, we also developed conventions by choosing an urban city location not typically seen. And we challenged conventions by incorporating more narrative storyline compared to dance performance. Overall we both followed typical Afrobeats conventions while also experimenting with new creative forms.
The document discusses various conventions of music videos that were researched, and how the media product either used, developed, or challenged these conventions. Some key conventions discussed include:
1. The relationship between the music and visuals, which was mostly amplified by matching fast/slow editing to fast/slow music.
2. The relationship between lyrics and visuals, which was commonly amplified by having visuals relate to lyrics.
3. Not having a notion of looking at the artist, as they are usually not present in music videos of this genre.
4. Not expressing a strong demand for a record label, as artists are usually their own producers.
The document discusses various conventions used in rap music videos that the media product challenges or develops. It summarizes how each element of the media product (music video, digipak, magazine advert) incorporates or adapts conventions of real rap music products. Transitions match the beat, black and white captures emotion but challenges using outdoor footage at night. Shots like side angles are inspired by other artists but with a unique backdrop. Slow motion and negative space intensify emotion.
The document analyzes the conventions used in alternative R&B music videos, websites, and album artwork by comparing the work of various artists like Miguel, Kelela, Banks, FKA Twigs, and PartyNextDoor. It finds similarities in the artistic and individual style of videos, prominent artist photography on websites, and blurred backgrounds on album covers. While some conventions are followed, the goal is also to challenge conventions and maintain uniqueness.
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
The document discusses conventions used in music video production based on Goodwin's theory of music videos. It analyzes several factors that record labels and producers consider when constructing music videos, including genre characteristics, relationships between lyrics/music and visuals, narrative/performance aspects, editing styles, mise-en-scene elements like location, clothing, lighting, and performers' expressions. The author applies these conventions in their own music video by mirroring shots, edits, clothing, and lighting styles from popular artists' music videos to match the song's genre.
The document provides an analysis of how the media product uses conventions of real music videos. It discusses using forms from Rihanna's music videos as inspiration. Key areas like camerawork, editing, sound, and mis-en-scene are addressed. Shots like close-ups and locations like a park were used to portray emotion. The visuals, audio, and story were carefully synced to the song. Elements from other artists' videos like red party cups and black and white footage were incorporated to feel realistic. Overall, conventions from the R&B/hip hop genre and existing music videos were challenged and developed upon to craft an authentic final product.
This document summarizes comparisons between music videos, websites, and album packaging for various alternative R&B artists. It notes similarities in lighting, locations, close-ups of faces, slow transitions, and artistic styles between videos by Miguel, Kelela, and the creator's own video. It also compares website home page designs between Banks, Miguel, and FKA Twigs that feature prominent images and scrolling pages. Finally, it identifies a similar blur effect around the artists in album packaging for The Weeknd and PartyNextDoor.
The document discusses how a music video for the band The Libertines challenges and develops conventions of real music videos in the indie/rock genre.
The music video uses shaky camerawork, locations like council estates that are typical of The Libertines' style, and follows conventions like close-ups and location shots. It also challenges conventions by including a relationship between a male and female actor.
The accompanying digipak and poster develop conventions of The Libertines' album artwork by featuring their recognizable logo and font, and using a black and white street photograph similar to past album covers. Information like the record label and release date are also included consistently.
Our music video challenges conventions of real punk rock media products by portraying ourselves as a female punk rock band inspired by Joy Division in several ways. We shot the entire video in black and white like famous Joy Division photos to reference their aesthetic. We included anti-social behaviors and hard edged lighting and filming techniques like Joy Division and other punk bands. We also wrote words from the song title on our backs, referencing a scene from the Joy Division film Control, to draw intertextual connections and keep the audience's attention.
Our music video challenges conventions of real punk rock media products by portraying the band Joy Division through three female characters. We reference iconic black and white photos of Joy Division and emulate their aesthetic through clothing, lighting, and location. Specifically, we write words from the song on our backs, mirroring a scene from the Joy Division film Control. By gender swapping and modernizing tropes, our video comments on the typical portrayal of women in media while honoring Joy Division's style and message.
The Development of Music Videos Through Timeannie addicott
This document summarizes and compares three music videos from different eras: Bee Gees' "Stayin' Alive" from 1977, The Verve's "Bitter Sweet Symphony" from 1997, and Flo Rida's "Let It Roll" from a more recent time. It analyzes elements like camera work, editing, sound, mise-en-scene, and how they have advanced over time due to improving technology and changing artistic styles. For example, the earliest video relies on basic shots and effects while the latest takes full advantage of creative editing, special effects, and intertextual references. Across all three, the purpose is generally to promote the artist and song through performance or narrative.
The document discusses plans for producing a music video cover of the song "Dry Your Eyes" by The Streets. It provides details on the genre, which is described as alternative hip hop/R&B. conventions of the genre include editing to match the rhythm, mise-en-scene to match the genre, use of special effects, and lip syncing. Examples are given from other music videos to illustrate different camera shots, special effects techniques, ways to relate visuals to lyrics, and methods of storytelling through editing polaroids together. Market research suggests the target audience is ages 13-30 of both genders, with influences from YouTube, TV, magazines, and websites.
AliSheikh A2 Media Evaluation - Question 1Ali Sheikh
The document provides an analysis of a music video created by the candidate for their media evaluation. It discusses how the music video uses, develops, and challenges conventions of real media products in the grime genre. The candidate researched other grime music videos to inform their creative choices. They explored conventions around editing techniques, camerawork, lighting, locations, and artist representation to both conform to and develop genre conventions in their own video.
The document summarizes the production of a music video by a student group. It describes the various shots and techniques used to emphasize the lead singer and make him the focal point of the band. It also discusses how the video challenges conventions by depicting a homosexual relationship rather than a heterosexual one. Audience feedback helped the group refine the video by improving syncing of visuals and audio and clarifying the narrative. Various technologies like digital cameras, iMovie, and the internet were used in the production.
The Development of Music Videos Through Timeannie addicott
This document summarizes and compares three music videos from different eras: Bee Gees' "Stayin' Alive" from 1977, The Verve's "Bitter Sweet Symphony" from 1997, and Flo Rida's "Let It Roll" from a more recent time. It analyzes elements like camera work, editing, sound, mise-en-scene, and how they have evolved from more simplistic techniques in earlier videos to more advanced and creative approaches over time as technology has progressed.
The document discusses a music video, Digipak, and magazine advertisement created by the author to promote Kelly Clarkson's cover of "Respect." The music video tells a story of female empowerment showing a woman gaining control after being ignored by her husband. Both the Digipak and magazine ad feature the same woman from the video in colorful, fashionable clothing to appeal to their target audience of females aged 16-25. The author analyzes their works using various music video theories and conventions such as narrative vs performance, editing techniques, mise-en-scene elements, and how their works compare to other pop music videos.
Codes and Conventions of Music Videos Including:
Editing Techniques
Style
Camera
Stereotypes
Sound - Diegetic and Non Diegetic
Mise En Scene - Lighting, Props, Costume, Hair and Makeup, Setting/Location, Colours
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
Odoo 17 CRM allows us to track why we lose sales opportunities with "Lost Reasons." This helps analyze our sales process and identify areas for improvement. Here's how to configure lost reasons in Odoo 17 CRM
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
2. Before Producing any music video for an artist, the producers, editors and directors look at other
current artists’ music video to have the same conventions. The type of conventions they look for are
the type of camera shots used in the video, the type and quickness of the edits, the narrative used
and the Mise En Scene. This included the locations used in the music video, the type of clothing,
makeup worn, the body and face expressions used and finally the lighting and colour used.
In order to feel like the music video belongs in that genre, these seven elements are extremely
focused on and makes up the whole music video.
Therefore as the producer, editor and director of the whole music video, I decided to view other
artists in the same genre as K-OS and look at their music videos. I particularly focused on the
seven elements throughout watching several Grime/Hip Hop music videos.
3. The first artist I looked at was Grime artist K Koke who already has the same conventions as K-OS.
Firstly, both artists were born in London, K-OS is from East London while K Koke is from
Stonebridge. Secondly, both artists are in the same genre of music. However, unlike K-OS, K Koke
is signed onto a record deal with Hip Hop artist Jay-Z.
The song I decided to analyse and view was K-Koke’s song “I’m Back”.
4. Camera Shots:
K-OS – Kick Dat Down [Our Music Video]
K Koke – Im Back
As the screenshots show, we tried to follow some of the same conventions of camera shots. The shot
on the left is a mid shot of the artist with no one behind him. The same can be said for our video
5. Camera Shots:
K Koke – Im Back K-OS – Kick Dat Down [Our Music Video]
The shot on the left is also found on K Koke’s music video. It shows a long shot of traffic on a road.
The clip was quite shot as it faded in for two seconds and then faded out. We also decided to use the
same conventions and created the same type of shot. However, our shot was one and a half seconds
long.
6. The second artist I looked at was Grime/Hip Hop artist Lowkey who also has similar conventions as
K-OS. Firstly, both artists are both English and Arab descent. Secondly, both artists are in the same
genre of music. Thirdly, both artists like to talk about negative things about the world, for example
Lowkey likes to talk about the government politics, wars and global peace in the song “Hand on
your gun”. Like Lowkey, K-OS likes to talk about the problems with mainstream artists and the
current poverty in the world in his tracks such as the song “Kick Dat Down”.
The song I decided to analyse and view was Lowkey – Hand On Your Gun
7. Camera Shots:
LOWKEY – Hand On Your Gun K-OS – Kick Dat Down [Our Music Video]
The shot on the left is found on Lowkey’s song called “Hand On Your Gun”. The shot is an low angle shot where the
camera is placed low on the vertical axis to make the artist/character look more strong and powerful. Furthermore, in
the Lowkey music video, there is a iconic statue behind the artist which seems like the music video was shot in London.
For our music video, we decided to film the artist in the same low angle. We also decide to shoot in Leicester Square
which contains very iconic buildings and statues which will mean other viewers will know it was shot in London. This
location could give the feeling that this is where K-OS lives.
8. Camera Shots:
LOWKEY – Hand On Your Gun K-OS – Kick Dat Down [Our Music Video]
The shot on the left is also found on Lowkey’s song “Hand On Your Gun”. The shot is another low angle shot where the
camera is placed low on the vertical axis to make the police man look more strong. The use of the British Police is
widely used in Grime music videos and in the lyrics as it usually shown to give a negative look to the police. We
decided to use the same conventions and add it into our music video.
9. Camera Shots:
LOWKEY – Something Wonderful K-OS – Kick Dat Down [Our Music Video]
The shot on the left is found in Lowkey’s song called “Something Wonderful”. It shows the artist walking away from
right to left while the camera is only filming only one side of his body. This is called a ‘Pan Shot’. The shot is also a
mid-shot. We decided to use the same conventions in Lowkey’s music video and place it into our music video.
However, the clip from Lowkey’s song is ten seconds long which we thought was too long. Therefore we made our shot
two seconds long. Furthermore, the shot in Lowkey's song goes from right to left while we make our artist go from left
to right.
10. The third artist I looked at was grime/hip hop artist Devlin. Like Lowkey, Devlin likes to talk about
the poverty especially where he was brought up which was in South London. This shows that K-OS
has similar kind and also likes to talk about the same subject.
The song I analysed was Community Outcast by Devlin.
11. Camera Shots:
Devlin - Community Outcast K-OS – Kick Dat Down [Our Music Video]
The shot on the left is found in Devlin’s song called “Community Outcast” It shows a homeless man sleeping on the
streets. These type of shots of poverty are widely used in music videos to portray the real world of poverty and how bad
it is. Also, the use of having these types of imagery gives the user looking at the music video a sense of emotion and
sadness due to people not having a proper bed/food/water etc. Also the use of making the music video black and white
or greyscale emphasis the video by making it look dull and depressing. Our media product also uses these conventions
as we decided to film an homeless man and changed the colour to black and white to get the desirable effect.
12. Edit:
As well as analysing the type of camera shots used in current music videos, I decided to analyse the type and
quickness of the edits used. I once again looked back at the two mainstream grime/rap artists (K Koke and Lowkey) for
further conventions as these artists relate best to K-OS.
The type and quickness of the edits which use similar conventions to real media products:
The shots on the left is from another Lowkey song called “Obama Nation”. The three separate shots were put
together by myself to show the different text which appears in one segment of the music video. This was clearly done
after the filming of the music video was completed and was in the editing stages. The text itself seems to tell a story
while the artist mimics his own lyrics. The use text on screen gives the music video more emphasis of what the artist
is really saying. As a group, we decided to use this idea and put it into our music video. I said that we should show
the lyrics on screen by text and then sync it with the music so when the artist says it, the lyrics appear on screen. The
text and the background was all made by me.
13. Edit:
By analysing the different grime/rap music videos, I found that the editing is very quick and one shot lasts no longer then three
seconds. To make our music video feel like it belongs in the right genre, we decided we needed to make the music video very
fast pace by having very shot clips in the music video. Our music video also needed a lot of straight forward jump cuts and
needed minimum ‘fancy’ transitions like ‘wipe’ or ‘star’.
Here is an example of our music video which has very quick shots and straight jump cuts:
Duration: 2 seconds Duration: 2 seconds
Edit: Straight jump cut Edit: Straight jump cut
Here is an example of other real music videos with similar style of edits:
Song: K-Koke – Song: Lowkey – Hand
I’m Back on your gun
Duration: 2 Duration: 1 and a half
seconds seconds
Edit: Straight Edit: Straight jump cut
jump cut
14. Edit:
Throughout editing the music video, we decided to add little effects onto the clips. The first effect we used was called ‘Bad TV’.
We used this effect because it gave the music video a more gritty and urban feel to it by distorting and shaking the clips to make
it look like a broken/faulty TV. Here are screenshots of the ‘Bad TV’ effect being used in the music video:
This effect is not really seen in current real media products therefore its challenging the conventions.
15. Edit:
Another effect we decided to use was called ‘Tint’. This effect made the clip greyscale (black and white). We decided to use this
clip as it would give an effect as the artist is having flashbacks of how is life was like when he was poor and on the streets. It also
makes the music video more sad and depressing due to the lack of colours.
Here are screenshots of the effect being used in the video:
This type of effect is also used in real media products. For example, the song “Community Outcast” by
grime artist Devlin uses the tint effect in his music video for the same purposes:
16. Edit:
Another effect we added onto our Music Video was called ‘Earthquake’. This effect shook the screen like an actual earthquake.
Here are screenshots of the effect being used in the video:
We decided to add this effect after the bottle We decided to add the earthquake effect on
got kicked by the artist because we wanted this part of the lyrics as these are the main
to give a visual feeling that the camera got words spoken throughout the video.
hit with the bottle and therefore shook the Therefore to make them feel more dramatic I
whole camera changed the texting and also added the
effect.
This earthquake effect has rarely been used in music videos in the same genre as K-OS. Therefore I believe we
are challenging conventions of a real media product
17. Edit:
The last edit/effects we added into our Music Video was changing the speed of some of the clips and a effect named ‘Trail’.
By making some clips slower and some quicker, it gives a different depth to the music video and makes it more exciting to watch.
This can also be said about the effect ‘Trail’. The effect makes the clip leave a light trail of the object. We decided to use this
effect with the speeded up clips to make them look even more quicker. As well as this, we also added the speed effect on its
own.
Below are a few screenshots of both effects (sped up and trail) being used in our music video:
This effect of speeding and slowing down clips have widely been used in other music videos. One example is K Koke’s music
video called ‘Im Back’. The clip in K Koke’s video is a long shot of a road. It is then sped up. This shot is very similar to the shot
we made.
The long shot of the
road from K Koke’s
music video
18. Narrative:
After analysing multiple music videos, I found that many of the grime artists and there songs don’t particularly have an narrative.
As well as this, during our research and planning of making our music videos, we decided that we would make our music video a
performance music videos and not an narrative.
19. Mise En Scene
Mise En Scene is key-term which means all the essentials inside every shot of the music video. There are five elements in the
Mise En Scene. These are:
-Location
- Type of clothing/makeup worn
- Body and facial expressions
-Lighting
-Colour
20. Location:
For our music video, we used three locations. The first was Leicester Square in Central London. We decided to use this location
as many Hip Hop/Grime/Rap artists use Central London as their location because it is quite bright and looks elegant. It also has
rich buildings which are iconic and will mean other people will know it is from London. Finally, most artists use Central London
as there first location because it makes them feel like they are rich and have grown out of the poor areas of London or other
parts of the UK.
Here are a few screenshots of Leicester Square in our music video:
21. Location:
Here are a few screenshots of other real media products who choose Central London as a location for their music video:
Here is a screenshot of a shot from K Koke’s The same can be said of this screenshot of
music video called “I’m back”. The location Lowkey’s video called “Hand on your gun”.
looks like a bridge in Central London. This
location was most likely be used because of
the lighting, built up buildings and the fact that
K Koke is now more rich because he got
signed onto a record deal.
22. Location:
The second location we went for were suburbs in Stratford. This is because we wanted to film K-OS in a location where it was
more run down and feel like this is where K-OS lived and was part of. We also wanted an area which was a complete contrast to
Central London. Finally, we decided to choose Stratford for the shooting as K-OS is from East London and it will hopefully let him
represent the people in East London.
Here are a few screenshots of Stratford in our music video:
23. Location:
Here are a few screenshots of other real media products who choose low run down suburbs as a location for their music video:
Council Flats
Closed Shops
Here is a screenshot of a shot from Devlin’s Here is also another screenshot of a shot from
music video called “Community Outcast”. The Devlin’s music video called “Community
shot is an mid shot of the artist and behind him Outcast”. The shot is an mid-long shot of the
are council flats. This shows that this is a run artist and around him is a closed, empty and
down area. run down street.
24. Location:
The last location is inside a library. We filmed K-OS writing the lyrics . After analysing a couple of grime/rap music, this is less
conventional and is rarely seen.
Here is a screenshot of the shot we did:
25. Type of clothing/makeup worn:
The type of clothing worn in a music video is very important. The clothing reflects what type of
genre it is. For example a music video from rock will wear leather jackets and black skinny jeans.
By researching through music videos I found that grime/hip hop artists like to wear big jackets,
baggy jeans, era caps, tank tops and big baggy jumpers.
For our music video, we decided to dress K-OS wearing baggy jeans, trainers, a puffy jacket and
a black hat. I believe this fits K-OS into the correct genre and makes him look big and thuggish.
We also dressed him the way we did as we wanted to follow the same conventions as other real
media products and not confuse the viewer into what he is watching.
Here a few screenshots of K-OS’s clothing:
Black Beanie
Black puffy jacket
Blue Jeans
Trainers
26. Type of clothing/makeup worn:
Here are a few screenshots of other real artists in the same genre as K-OS wearing similar
clothing:
K Koke – “Cold roads” K Koke – “I’m Back”
Big Puffy Jacket Blue Jeans
Black Jacket with hood up
27. Body/Facial Expressions:
The body/facial expressions in a grime/rap music video is clearly conveyed through every music video. The body expressions
are generally moving your arms in flow with the lyrics.
Here is an example of other artists who tend to move their arms when lip syncing the lyrics:
K Koke – “I’m back” K Koke – “Cold roads”
Both screenshots above show the artist moving his arms and hands with the lyrics. Secondly, the facial expressions the artists
use go with the tone of the song. For example a song to do with hatred, the artist is angry. On the other hand, in the music video
“I’m Back”, K Koke shows that he is happy because he’s back after not making music for a long time.
28. Body/Facial Expressions:
When making our music video, we decided to tell K-OS to use these type of body/facial expressions. Here are a few
screenshots of K-OS using these type of body/facial expressions.
Here is an screenshot of the Here is another screen of the artist using
artist using body expressions to body expressions to go with the lyrics. The
go with the lyrics. The artist artist points at the camera to give an effect
shakes his fingers which goes that the artist is personally talking to the
with the lyrics “I ain’t going to be viewer.
a bay-cat”
29. Lighting and colour:
When making our music video, the use of lighting and colour was very important. The type of lighting and colour used in a music
video represents the emotions in the song.
In our music video, we decided to use both dark and bright lighting. The bright lighting will represent K-OS rising in fame and
money. This was then filmed in the rich parts of London. Secondly, the colours will be much brighter and have more white and
blue tints. We will then film in dark lighting which will represent the poor location and how K-OS was like before the fame. This
will be filmed on poor streets. The colours used will be dark reds and black tints as these colours are seen as miserable and
depressing.
Here are a few screenshots:
Bright lighting with more bright Dark lighting with dark red and
colours in Central London to black in suburbs to represent
represent success sadness and isolation
30. Lighting:
By setting the lighting and colour to different levels to show emotions is widely used in real media products. Here is an example
of a artist as the same genre as K-OS called Ghetts and his music video “Artillery”.
The screenshot above shows dark colours like dark On the other hand, the screenshot above of K
green, dark blue and black with a lack of lighting Koke’s music video “I’m back” shows bright colours
This gives an expression of negative emotion like light blue and white and has well lit up lighting
which suggests fame and success