Schedule
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This document outlines the schedule for a project that includes planning costumes, locations, a digipack, and magazine advert by September 30th. It then involves storyboarding, taking photographs, and creating initial drafts of the digipack and advert by October 19th. Feedback will be gathered on initial drafts by November 5th, with revisions occurring throughout November based on the feedback. Final versions of the magazine advert, digipack, and film will be submitted in December.
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The document outlines the process for creating a film trailer over 5 phases: 1) Planning and research including developing characters and storyboards. 2) Filming of the trailer and collecting additional images. 3) Editing the video footage and finalizing the trailer. 4) Creating ancillary materials like magazine covers and posters using the images and research. 5) Producing the final products and evaluating the entire process through reflection questions.
Time plan
The document outlines the process for creating a film trailer over 5 phases: 1) Planning and research including developing characters and storyboards. 2) Filming of the trailer and collecting additional images. 3) Editing the video footage and finalizing the trailer. 4) Creating ancillary materials like magazine covers and posters using the images and research. 5) Producing the final products and evaluating the entire process through reflection questions.
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Time table
The document outlines tasks that need to be completed to produce a music video, including finishing music video research, audience research, choosing a song and concept, drafting a storyboard and script, creating a mood board and timeline, planning costumes and locations, filming outdoors and in a studio, editing the video, designing advertising materials, and evaluating the final project, with deadlines ranging from October to February.
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The document outlines a schedule for a music video portfolio project with deadlines and assigned responsibilities. It includes research into the artist, song, and filmmaking styles from October 5th to 11th. From October 14th to 15th, it addresses issues of representation, ideology, and professional roles. It then schedules the music video proposal, script development, shoot, and editing between October 18th and December 13th. Feedback is on December 20th with print material development and completion from January 4th to 31st.
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The document outlines a schedule for a music video portfolio project with deadlines and assigned responsibilities. It includes research into the artist, song, and editing styles from October 5th to 11th. From October 14th to 15th, it addresses issues of representation, ideology, and professional roles. It also covers the music video proposal, script development, shoot, and editing between October 18th to December 13th. The schedule runs from October to January with feedback and print/advertising work concluding the project.
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Production schedule
This document contains a production schedule for a music video including pre-production, production, and post-production activities from October 2017 to February 2018. Pre-production involved research, developing ideas, choosing locations and cast, creating storyboards and shot lists. Production took place in Bournemouth and another unknown location in January 2018 using a Canon 700D camera. Post-production included editing scenes together and completing an evaluation with 7 questions from mid-February to late February 2018.
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The document outlines the process for creating a film trailer over 5 phases: 1) Planning and research including developing characters and storyboards. 2) Filming of the trailer and collecting additional images. 3) Editing the video footage and finalizing the trailer. 4) Creating ancillary materials like magazine covers and posters using the images and research. 5) Producing the final products and evaluating the entire process through reflection questions.
Time plan
The document outlines the process for creating a film trailer over 5 phases: 1) Planning and research including developing characters and storyboards. 2) Filming of the trailer and collecting additional images. 3) Editing the video footage and finalizing the trailer. 4) Creating ancillary materials like magazine covers and posters using the images and research. 5) Producing the final products and evaluating the entire process through reflection questions.
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The document outlines tasks needed to complete a music video by February 7th, including finishing music video research by October 5th, choosing a song and developing first drafts of the storyboard and script by November 12th, filming outdoor and studio portions by November and December, and fully editing the music video by January 3rd to meet the final deadline. Locations, costumes, and promotional materials like a digipak and advert are also to be researched, planned and finished on schedule.
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The document outlines a schedule for a music video portfolio project with deadlines and assigned responsibilities. It includes research into the artist, song, and editing styles from October 5th to 11th. From October 14th to 15th, it addresses issues of representation, ideology, and professional roles. It also covers the music video proposal, script development, shoot, and editing between October 18th to December 13th. The schedule runs from October to January with feedback and print/advertising work concluding the project.
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This document contains a production schedule for a music video. It lists 27 dates between October 2017 and February 2018 with details of pre-production, production and post-production activities including genre research, location recces, storyboarding, casting, editing, and evaluation. Locations include Ringwood School and Bournemouth. Equipment needed includes cameras, computers, and costumes.
Production schedule
This document contains a production schedule for a music video including pre-production, production, and post-production activities from October 2017 to February 2018. Pre-production involved research, developing ideas, choosing locations and cast, creating storyboards and shot lists. Production took place in Bournemouth and another unknown location in January 2018 using a Canon 700D camera. Post-production included editing scenes together and completing an evaluation with 7 questions from mid-February to late February 2018.
NAME
Mahesh Kumar Yadav is seeking a career opportunity in mechanical engineering. He has a Diploma in Industrial and Production Engineering from SLIET University with 65% marks. He has skills in operating lathes, drilling machines, shapers, grinders, and CNC machines. He enjoys singing, playing cricket, and reading newspapers.
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Q4
Tomas used new media technologies throughout the construction and research, planning, and evaluation stages of his music video project. He used a Canon flip video camera, Samsung digital camera, Apple Mac, Photoshop, iMovie, and Wix.com. Photoshop allowed him to create promotional materials like an album cover and magazine advert. iMovie helped him edit the music video footage. Wix.com provided an easy way to create a website to showcase the various stages of the project.
Question1
The video challenges conventions of typical hip-hop music videos in several ways:
1) It focuses solely on one artist rather than including other characters. This reflects the narrative of the song.
2) The artist is represented in an unconventional, humble way similar to Irish hip-hop artist Maverick Sabre rather than emphasizing wealth.
3) The artist plays two roles, wearing different clothing for performance scenes versus narrative scenes to represent a split between the two. This is a unique approach not common in other music videos.
Question1
The video challenges conventions of hip-hop music videos in its representation of the artist, setting, costumes, and lack of other characters. The artist is portrayed as a lonely figure reflecting the narrative of the song, which focuses on one individual. Unlike stereotypical hip-hop videos that depict lavish lifestyles, expensive items, and women, this video takes a more down-to-earth approach through its mis en scene and sole focus on the artist. A variety of camerawork was used throughout to enhance entertainment as the video only featured one character, unlike many videos that include multiple characters.
Evaluation Q3
Tomas McLoughlin sent out a survey to gather feedback on his music video and album packaging. Respondents correctly identified the genre as hip-hop and felt the video was unique compared to other hip-hop videos for its slower pace and lack of stereotypical elements. They also recognized the consistent branding across the video, advertisement, and album packaging. Suggested improvements included better lip syncing in the video and using different photos for the album cover front and back. Overall, the feedback was positive and confirmed Tomas successfully targeted his intended young, urban audience.
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Q4
Tomas used new media technologies throughout the construction and research, planning, and evaluation stages of his music video project. He used a Canon flip video camera, Samsung digital camera, Apple Mac, Photoshop, iMovie, and Wix.com. Photoshop allowed him to create promotional materials like an album cover and magazine advert. iMovie helped him edit the music video footage. Wix.com provided an easy way to create a website to showcase the various stages of the project.
Question1
The video challenges conventions of typical hip-hop music videos in several ways:
1) It focuses solely on one artist rather than including other characters. This reflects the narrative of the song.
2) The artist is represented in an unconventional, humble way similar to Irish hip-hop artist Maverick Sabre rather than emphasizing wealth.
3) The artist plays two roles, wearing different clothing for performance scenes versus narrative scenes to represent a split between the two. This is a unique approach not common in other music videos.
Question1
The video challenges conventions of hip-hop music videos in its representation of the artist, setting, costumes, and lack of other characters. The artist is portrayed as a lonely figure reflecting the narrative of the song, which focuses on one individual. Unlike stereotypical hip-hop videos that depict lavish lifestyles, expensive items, and women, this video takes a more down-to-earth approach through its mis en scene and sole focus on the artist. A variety of camerawork was used throughout to enhance entertainment as the video only featured one character, unlike many videos that include multiple characters.
Evaluation Q3
Tomas McLoughlin sent out a survey to gather feedback on his music video and album packaging. Respondents correctly identified the genre as hip-hop and felt the video was unique compared to other hip-hop videos for its slower pace and lack of stereotypical elements. They also recognized the consistent branding across the video, advertisement, and album packaging. Suggested improvements included better lip syncing in the video and using different photos for the album cover front and back. Overall, the feedback was positive and confirmed Tomas successfully targeted his intended young, urban audience.
Bbfc lesson 2 work sheet
The document discusses the history of film censorship and the Hays Code, which was established in 1930 to regulate motion picture production. The three key principles of the Hays Code were that films should not lower moral standards, present correct standards of life, and not ridicule or create sympathy for the violation of law. While social views have changed significantly since then, some elements of the Hays Code like depictions of rape or other repellent subjects remain largely unacceptable in modern films.
Legislation worksheet
Legislation refers to the rules and regulations that govern institutions like the BBFC. The BBFC must consider whether material submitted for classification is likely to infringe criminal law. It must also consider the potential for harm to viewers or society that could result from criminal behavior, illegal drugs, violent or horrific behavior, indecent images of children, animal cruelty, obscentity, racial hatred, or human rights infringements depicted in films. Local authorities have powers over the BBFC such as granting licenses and changing film certificates.
Similar music videos
The document compares two music videos that are similar in style and narrative to the video the author plans to create. Both videos primarily feature solo performances by the artist as they walk or sit alone, putting focus on their reflective facial expressions. Shots include close-ups, long shots, and medium shots in a way that tells the story of a lonely character. The Maverick Sabre video also uses a slow, downbeat tempo and minimal effects like slow motion, similar to the style planned for the author's video.
Johnathon glazer
Johnathon Glazer is a director known for his work on music videos, films, and commercials. He has directed 3 movies, 11 music videos, and over 30 commercials. Notably, his video for Jamiroquai's "Virtual Insanity" was voted the video that "broke the rules" in an MTV poll. Glazer's music videos tend to have a slow tempo and lyrics that are open to interpretation. His style involves long, uncut shots with minimal editing and unusual settings that create bizarre yet intriguing atmospheres.
Everything about hip hop
Hip hop originated in the Bronx in the 1970s with influences from disco, funk, and R&B. Early artists included DJ Kool Herc, Grandmaster Flash, and the Sugarhill Gang. Over time, hip hop evolved and was influenced by gang culture in the 1990s. Rappers are seen as both positive and negative role models that have a big influence on young people. Their public image commonly features expensive displays of wealth, partying lifestyles, and criminal or rebellious behavior that is replicated in music videos and society.
Theories in hip hop music videos
The document discusses several theories related to genre in hip-hop music videos. It analyzes the music video for Dr. Dre and Snoop Dogg's "Still D.R.E." using these theories. Jason Mittel's genre theory claims that genres help sell products to targeted audiences. The "Still D.R.E." video clearly uses themes like flashy clothing, cars, and women associated with the hip-hop genre. Christian Melzer argued genres evolve over time, which the document agrees some conventions like baggy clothes have changed while core themes of wealth and boasting remain. The document notes the video does not fit Todorov or Levi-Strauss' narrative theories. It examines stereotypes of
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Schedule
- 1. * Plan costumes – 10th September * Plan locations – 20th september * Plan digipack – 30th September * Plan magazine advert – 30th September * Source other images and fonts needed – 1st October *Storyboard – 5thoctober * Take photographs for digipack and magazine – 5th October * Create digipack – 19th October * Create magazine advert – 17th october * Filming/editing – 26th October * Audience feedback of 1st draft of digipack and magazine advert – 5th November * Teacher assessment of 1st draft of digipack and magazine advert – 5th November * Audience Feedback of 1st draft –5th November * Revisions to magazine advert as a result of feedback and assessment – 16th November * Revisions to digipack as a result of feedback and assessment–23rdNovember * Revisions to production as a result of feedback and assessment of draft one – 30th November * Submit final magazine advert – 7thdecember * Submit final digipack Audience feedback of final products (music video, digipack and magazine advert) 14th December * Submit final film - 18th December