Editing

In this video, there is a split screen throughout. Around a third of the area is black and white, while the other section is quite unsaturated until 2:45 where it is tinted red. When it comes to editing my footage, I shall probably use a similar idea when it comes to the colour saturation as it is a very useful and effective way of conveying moods and signposting changes in the narrative and location.

Research: Music Video

The footage in this video has had it's speed manipulated in order to gain a slow motion effect. This is a useful and powerful editing technique as it builds the tension as it makes the audience feel as if they are waiting for a big impact, as well as allowing to focus on detail. I will use this effect in my video in order to display how the protagonist's life is at a standstill and also to connote the length of time he spends drinking and smoking.

Filming Yesterday

Yesterday I did the filming for my video.

As planned, we arrived at the location at 9.30am. The weather, although overcast, was fine and so we were able to film outside. As I was concerned about the rain, I chose to film outside first so that I knew that it didn't matter if it began to rain once inside the church.

Thanks to my preparation, filming went really smoothly as I had all of my props and had already planned the order of shots.

One of the main problems I faced when filming outside was deer running past and disrupting the filming. However, they soon left the area and we were able to continue in peace. Inside, I had to ensure that the mise-en-scene in the background was suitable as there had been a service shortly before and so I had to clear some papers.

I am happy with how my filming went and am sure that I have gathered enough footage. However, if I feel that I need some more, then this will not be a problem.

Set List

So that I know that I have everything I need for tomorrow, I have created a list of all the things I need for both filming and to be in the video:

1. Video camera, fully charged, + SD card
2. Tripod
3. Song on iPhone (will use the speakers on it)
4. Storyboard
5. Chart of arrangement of filming
6. Key to the church
7. Rabbit costume
8. Protagonist Costume 1
9. Protagonist Costume 2
10. Antagonist Costume 1
11. Antagonist Costume 2
12. Vodka bottle
13. Cigarretes + lighter
14. Food for lunch so we don't waste time stopping to eat

If I remember all of these items, then filming tomorrow should go smoothly.

Planning the Filming

Tomorrow, I am planning on filming my footage for my video.



This shows the weather forecast for my area (0:25). It says that it is forecast to rain but this should not be heavy and as there is a mixture of shots inside and outside, this should not pose a problem.

I am planning on arriving at my location at 9.30am, in order to give us plenty of time to film in daylight as the sun is setting at around 4pm. If the rain means that we can not film, then I shall do as much as I can and rearrange to film outside for another date after Christmas. I have already made sure that both my actors are available throughout the holidays and so I am not concerned about not having the oppurtunity to re-film.

I have created a chart of which order I shall film my shots in. This chart tells me which location and costume I need and is arranged in the most time effective way so that I am not going back and forth from locations and costumes.

Lighting

In last year's work, when I tried to film inside when the sun had set I found that some of my footage was not as good quality as footage filmed in the daylight. If I added artificial lighting, then this created an 'orangey' tint. Therefore, I am going to aim to do all my filming while it is light outside in order to get a consistent level of quality across my music video. Video's like DJ Fresh's 'Hot Right Now' are also shot entirely during the daytime.

Research: Music Video

This music video by Nero depicts a narrative which appears to be relatively normal and easy to relate to, battling against a fantastical and demonic world. This is similar to my video as there is the conflict of reality and the fantasy world where the protagonist often finds himself. In this video, the differences are portrayed through the use of special effects and harsh colours, which I will also be using for the same reason in my coursework.

Costume: Temptation

In my previous post on the costume for my antagonist I said:

"The antagonist, corresponding to the protagonists change in clothing, will also be wearing more vibrant clothing. She will also wear elements of clothing which suggest her to be a cat (to intertextually reference the Cheshire Cat of 'Alice in Wonderland', such as ears, make up, and mittens. In this narrative, I would like her to be the more dominating figure in terms of costume as the protagonist is ultimately under her control during this."

After thinking further, I have now decided for her to be wearing a large hooded fur coat with leopard print spots. The leopard is a more ferocious animal than the cat, while still being in the same family so the intertextual reference is still there. The material of fur is also good as it has strong connotations of wealth, which juxtaposes against the protagonists lack of money due to any income going on his addiction; Temptation is like the drug dealer who is becoming more wealthy.

Storyboard

To assist me when I am filming I have made a storyboard. Although I will most likely stray from this plan when it comes to editing, it will be a rough draft of what my music video should look like. I have noted by the side what type of shot it is, who is in it, the location, the length of the shot and the time of the track it will now be up to. Also, I have written either a 'W' or a 'R' to show me what narrative it will be in so that I have the correct costumes.

Characters: Temptation

The character of Temptation is a harder role to get as she needs to be powerful and captivating. After deliberation, I have decided upon using Lizzie Murphy. This is because she is very feminine in that she has long hair, but dyed the plum colour she has it creates a sense of mystery and a more darker side. For example, if I used someone who had blonde hair, the evil character will be contradicted by a stereotypically innocent hair colour. She also has very big eyes which, when framed with long eyelashes, will be perfect for the role as it connotes being hypnotised - just like my protagonist is by drugs and alcohol.

Characters: Protagonist

For my protagonist I am planning on using Scott Brooker. This is because I used him in my foundation portfolio as well and he proved to be very good at following instructions and also suits the characteristics of my protagonist; Scott is 17 years old (of similar age of my protagonist) and is a typical teenage male. His beard will reflect how the protagonist does not care much for his appearance over his care for his insatiable addiction and his style is casual. This also means that he fits my target audience, which allows the audience to relate to him and his lifestyle.

Research: Music Video

As seen previously in David Guetta's 'Without You', the video has been edited in order to emphasise the beat of the track. In 'Earthquake', the entire video is based upon special effects and having speakers thumping along to the track really brings out the dance nature of the track. In my video, although I won't be able to include special effects to this level, I can use editing in order to highlight where the music builds up.

Opening Sequence

For the establishing sequence of my music video, I am really interested in having my protagonist smoking. It will be simple and will include extreme close ups of the lighter and cigarette. I feel that this will be a useful and appropriate introduction to my music video as it will represent the loneliness that my protagonist is experiencing from his addictions and also clearly introduce the narrative for my audience. As he exhales, the track will begin.

Costume: Choice on Rabbit or Masks

I have decided that a White Rabbit figure would be more effective and suit my music video more than people wearing masks as the distance the protagonist is experiencing from humanity is displayed in other aspects of my video; arguing with family and escaping to Wonderland. The White Rabbit also suits my  narrative more and is suitable to the theme. I have ordered the costume seen in a previous post and am expecting it in a couple of days.

Costume: Rabbit

 

The idea of a white rabbit would suit my video as it would continue the intertextuality of Alice in Wonderland. Also, as it is a classic, the audience should already be familiar with the story and recognise the white rabbit figure as being one of temptation. The issue I would have with this is getting hold of a costume; I do not know anyone who has a rabbit costume as I would like it to be full body rather than simply ears/a mask. One option would be to rent an outfit, but after doing some research I have found that cost to rent and buy is fairly similar. Therefore, purchasing a costume would seem like the more sensible idea as I would not need to worry about having to send it back within a short space of time.

The costume above is good as it is not a typical friendly looking rabbit and instead is rather creepy and unnerving. This is useful as it shows the warped nature of a usually innocent animal and a twist on a children's Disney film. This particular costume costs around £30 from amazon.co.uk.

Costume: Masks

A plain white mask is very effective in removing any sense of humanity from an individual. It allows a single person to act as an entire group or stand for a message as their identity is taken away from them. In the film 'Scream', the villian wears a white mask which has become a symbol and icon for the film. Although the mask used in the work is more detailed than the mask I would plan on using, it is clear to see the connotations of a lack of humanity and detatched emotions, as well as being threatening.

Costume: Masks vs Rabbit

As well as the Temptation character of the female singer, I would like to include a second "villian" in my narrative. Continuing the 'Alice in Wonderland' theme, I am considering to have a "white rabbit" figure as the protagonist is being led down the rabbit hole of an addiction to drugs. However, I could also use ordinary people wearing masks, to demonstrate the protagonists distance from the real world. I am unsure of which of these two ideas would suit my video better and so shall research it in further depth.

The Strangers - Final Edit

This is the final edit of our live performance video for The Strangers' 'If I Found Love'.



The main problem we encountered when it came to editing was that the version of the song that was played live was different to the track that we were using. This caused issues as at some points the drummer was hitting cymbals when they weren't included on the track, and also the timing was out. To avoid this, we should have told the band which version of the song we were planning on using so that they could suit our needs. As well as this, from 0:23-0:27, one of the people in our group who was filming with a dolly is clearly visible in the shot. I did not notice this during the editing process which has made me realise how much attention I need to pay to the footage that is being used. Despite these problems, I am pleased with the result, particularly the cross fade effect which is used at 0:36 which I feel is very effective in creating a theme of distance, matching the lyrics of the song.

The Strangers

A professional band came to our school last week and performed live for us. Our task was to plan and film their performance to a song of our choice in order to give us a feel for filming live. As the music in my coursework will not be played live, this gave me an idea of the variations of techniques and processes involved in filming. One of the main problems I noticed when filming was that the band members were moving wherever they would like. This particularly was an issue for the singer, who travelled around the stage a lot, especially during choruses, in order to build energy. We had to use three cameras rather than just the one so that a variety of shots were gained. Unfortunately, one of the cameras did not work and so we are going to have limited choices during editing. However, we are confident that the footage the other two cameras gained will be sufficient.

This is the song we filmed:

Costume: Protagonist and Antagonist

I'm going to have two different costumes for both the protagonist/male singer and the antagonist/female singer, depending on whether they are in reality or wonderland. 

Reality

Protagonist

For the reality shots, the protagonist will be dressed in casual clothes which are suitable for a young male. Preferably, he will wear chinos with a simple top, jacket, and trainers. By having understated clothing, this will represent him to be a typical male teenager who is conscious of his appearance but not interested in following fashion. The chinos will help to achieve this look as they are smart yet casual. Facial hair will make him look a bit more scruffy and create connotations that he does little to maintain it. His hair will be left unstyled to add to this effect.

Antagonist

For the reality shots, the antagonist will be dressed in leggings, plain shoes, and a cape style coat. This is to keep her look classic as she is a figure in the protagonist's mind, rather than an actual human with her own style. The simplicity of the look will mirror the protagonists, maintaining a link between the two characters. However, she will have heavy eye make up in order to be captivating and dominating.
Wonderland
Protagonist
When in Wonderland, I would have him to still be wearing aspects of his clothing as to before - I am thinking of keeping the chinos, with a change in top from something simple to a shirt with bright colours. The change to a shirt will reflect that his place of importance on drugs means that he is more willing to dress smartly - as if to 'dress up' for the drug. The bright colours will give a kaleidoscope effect and will represent a feeling of self-confidence.
Antagonist
The antagonist, corresponding to the protagonists change in clothing, will also be wearing more vibrant clothing. She will also wear elements of clothing which suggest her to be a cat (to intertextually reference the Cheshire Cat of 'Alice in Wonderland', such as ears, make up, and mittens. In this narrative, I would like her to be the more dominating figure in terms of costume as the protagonist is ultimately under her control during this. 

Intertextuality

My narrative is a pastiche of 'Alice in Wonderland' as it references the Cheshire Cat and the White Rabbit, who are both shown to be tempting my protagonist to strive to satisfy his insatiable addiction, ultimately dragging him further "down the rabbit hole". In this case, it is vertical intertextuality as 'Alice in Wonderland' is both a book and a film, while in my coursework's case it is in the medium of a music video.

Research: Music Video

I find this video interesting as the narrative also crosses between 'reality' and 'wonderland' like my plans for my own video. Robbie Williams takes the character of a 'White Rabbit'. His costume, although his headwear is obvious, is not too much or exaggerated which would conceal the fact he is human. I like this idea as in my video I would like 'wonderland' to still have elements of humanity.

Planning: Narrative

After looking at the lyrics of 'Blind Faith', the strongest theme that was apparent to me was drug abuse. I have been considering a narrative for a few days now, making spider diagrams to explore the potential of an interesting video, which I believe I have discovered.

I have decided to not use a hybrid genre for my video, and will therefore only be using narrative. However, the singer will also be the protagonist.

The video will be torn between two narratives, that of reality and the singer's "wonderland".

The reality is of the singer when he is not under the influence of drugs and has low saturation to represent his low mood and quality of life. It follows his struggle with his addiction, sitting in Church confessing to God and being tempted to take more drugs by 'Temptation'. There will be shots of him smoking/'breathing smoke' as a reference to his heavy drug use and a lot of foliage and trees to signify the temptation involved in the Garden of Eden.

When he has taken drugs, he is transported into a 'Wonderland', inspired and intertextually referencing 'Alice in Wonderland', where the colours will be highly saturated in order to show the contrast of moods to his reality.

'Temptation' will be personified and almost take the role similar to the Cheshire Cat's in 'Alice in Wonderland' as she is constantly leading the singer further into wonderland. The breathing of smoke seen in reality will be an intertextual reference to the caterpillar in 'Alice in Wonderland' who blows rings of smoke etc. At the Mad Hatter's Tea Party, the dormouse tells a story of three sisters who lived in a well made of treacle. If I can somehow incorporate this into my video it will be useful as the well can represent hell, while treacle is the sweetness of the drug. I am considering having anyone I choose to involve (except the singer) in 'reality' to wear a mask to show how he has become disorientated and isolated with the world. If I wanted, I could also use this in 'wonderland' to show that his addiction is insatiable.

I think my idea for my video is good as it is very different to the official video, which is based upon raves. Although this narrative will require a lot of work, I think that if I put the work into it I could produce a really good final piece.

Song Review

To get another perspective on the track, I have researched into some reviews of the song. One quote that I found interesting was from 'The Guardian', which explains how 'Blind Faith' is a "record that sets a mournful, reggae-infused vocal against a vast diva-screamed chorus [which] perfectly captures the euphoria and melancholy of the dancefloor at the end of the night." Alexis Petridis' description of the track fits my idea for my video's narrative as reggae is often attached to drugs, and the 'diva-scream' signifies the strength and dominance that the voice has (in my productions case, the drugs over the protagonist's life), while the contrast between the euphoria and melancholy is similar to the emotions attached to being high on drugs - while my protagonist is high, he experiences intense happiness, but his comedown makes him feel desperate and depressed.

Research: Music Videos

The technique of using the audience as the topic of the song is a technique I have not seen before. Will Young, throughout the entire video, is 'talking' to the audience which makes it very personal and creates emotion to the video. This technique is not difficult to do, but works well in involving the audience.

Research: Music Videos

Maroon 5's video for 'Moves Like Jagger' too meets the audience's needs through humour. They use numerous actors dancing - almost as if they have walked off the street. This allows the audience to connect with the people involved. Due to Maroon 5 also dancing, this puts them on the same level as everyone else in the video which makes it more 'real'. The cultural knowledge involved in the song adds to this relation because they understand the humour involved.

Research: Music Videos

The lighting in Ed Sheeran's 'You Need Me, I Don't Need You' video is so simple yet is very effective. With the added effect of the whole video being in black and white, this contrasts the lighting further. It clearly highlights the people in the video and the harshness of the lighting connotes the harsh reality that the lyrics portray.

Research: Music Videos

Watching a music channel, I noticed how in McFly's video for 'Star Girl', they use a home camera which gives an intimate feel. This technique is also used in Rihanna's 'Cheers (Drink to That)'. The effect of this is that the audience feel connected to the artist as they are being given an "inside look" into their lives. It also shows how the artists are only human and so this furthers the bond and empathy between the audience and artist. successfully meeting the audience's needs.

Locations

With locations for my coursework, I am planning on using my family's farm as it has a number of settings/buildings which would be useful for my video. Growing up here, I am already very familiar with the area and so travelling there/finding good shots etc won't pose a problem.

Due to the large number of references to sinning, I am planning on having my main location be a church which I have been granted permission to film inside. It also has a graveyard, which I have the option of incorporating into my video if I wish.

As I have interpreted the female voice to be representing 'temptation', I think it would be a good idea to have her nearby trees to represent the tree in the Garden of Eden.

The wood next to the farm would be ideal for this, or a large willow tree would work too - she could be standing underneath the branches ('inside' the tree), which could connote how she is the heart of temptation.

The male singer could be walking on the track which runs alongside the wood, signifying how he is 'on the edge' of sinning.

I was hoping to film some of my video at a beach, as the water could represent 'holy water' and the large expanse connotes something unreachable/unobtainable. However, it wouldn't be very practical to get my actors/myself/cameras etc to a location over an hour away, and so I think it'll be wiser to use a resevoir instead.

Analysis of Lyrics

For my video, I thought it would be a good idea to study the lyrics of the song before deciding what to use as my locations/narrative. I've found that there are a number of references to sinning and so I am thinking of using this in my video.

Timeline of Song

0.00 - 0.14 Intro
0.14 - 0.16 "Sweet Sensation" 
0.16 - 0.27 Intro cont.
0.27 - 0.41 Verse 1
0.41 - 0.54 Hook
0.54 - 1.08 Chorus (1)
1.08 - 1.25 Chorus (2)
1.25 - 1.39 Verse 2
1.39 - 1.53 Hook
1.53 - 2.07 Chorus (1)
2.07 - 2.25 Chorus (2)
2.25 - 2.37 Bridge
2.37 - 2.51 Hook
2.51 - 3.05 Chorus (1)
3.05 - 3.19 Chorus (2)
3.19 - 3.46 Outro (with lyrics)
3.46 - 3.53 Outro (lyrics finished)

Applying Genre Theory to Four Texts

I have chosen the two texts ‘Promises’ by Nero and ‘Gold Dust’ by DJ Fresh as they have a similar dance/drum and bass genre to my chosen track ‘Blind Faith’. The other two I have picked, ‘Halo’ by Beyoncé and ‘Feeling Good’ by Michael Bublé, are similar to my thoughts for my coursework in terms of form as they are heavily based on narrative.


Nero – ‘Promises’



Conventions and Code
The video meets this theory as it has a modern setting, representing the futuristic sound of the music. Drum and bass/dance genre is often linked to rebelling and this is signified through the protagonist refusing to swallow the tablet (rebelling is also seen in 'Blind Faith' through the raves). Alike to many other videos of this genre, the lighting is quite harsh. However, this is for the opposite reason to usual; the colours are contrasting as they are quite stark: black/white/blues. As well as this, there is little dancing apart from between 1:55-3:07, yet this is not as energetic as the audience would expect when watching a video of this genre. Finally, the emotions are based around sadness and desperation as they appear to be trapped in this harsh reality which is unusual for this music genre.

Utopian Pleasures
There is a Utopian Pleasure of Social Tension/Inadequacy because of the fragmentation due to their lack of free will and being controlled as if robots, suggesting manipulation; a sense of dreariness (represented through the low saturation of colours); and exhaustion as there is a heavy use of monotony and symmetry in actions which connotes a dull life.

Macro Genre
This is a hybrid genre between narrative and performance, although it is more based upon narrative.

DJ Fresh - 'Gold Dust'



Conventions and Code
This text is made predominantly of dancing with the skipping rope, yet they have replaced the dancefloor with a court, which implies high stamina and levels of fitness. Listening to the music, when the tempo slows it connotes that they are taking a breath. Suiting to the conventions of the genre, the colours are highly saturated which supports the high energy surrounding the narrative.

Utopian Pleasures
The Utopian Pleasure of this text is Utopian Fantasy. This is represented through the sense of a tight-knitted community as they recognise each other and are working together. It is also shown to be an abundant and energised area as there is always someone dancing, which packs the text with intensity for both the performers and the audience.

Macro Genre
This music video takes a narrative form. The elements of performance are given by the dancers rather than the artist.

Beyonce - 'Halo'



Conventions and Code
As expected for a pop video, the protagonists are a couple. This suits both the narrative and the genre. Also, we see Beyonce dancing (which has become a convention of her own for all of her videos) but she is practicing rather than performing. This fits to the narrative as it is about her private life, and so it gives the video a more natural feel.

Utopian Pleasures
This text is a Utopian Fantasy as there is energy from the laughter, dancing, and sense of spontaneity. The idea of a community is signified by the intimacy of the characters' relationship, which is emphasised as they are the only people in the video which suggests that their closeness has created themselves their own community - 'no one else in the world but them'.

Macro Genre
This is a narrative text, with Beyonce's singing being part of the story.

Michael Buble - 'Feeling Good



Conventions and Code
For this genre of music, it is surprising to see that there is a 'James Bond-esque' theme running throughout and the narrative is based upon action. As well as this, the lack of band is unusual. The women in the video represent 'Bond Girls', but can also be seen as a convention of the genre as the song is quite soulful and sensual.

Utopian Pleasures
There is a mixture of both in this text. It can be argued that there is Social Tension in that the conflict between Michael Buble's character and the workers of the factory/plant cause fragmentation. However, Utopian Fantasy is also created through the protagonist's suave character who gives both intensity and energy.

Macro Genre
Alike to 'Halo', this video is centered upon narrative, although it has more performance in the singing. It can also be seen as a homage/parody of James Bond.

Get Ahead OCR Media: 'The Vixens'

Looking at this example of an A2 Advanced Portfolio, it is clear how much detail and work is required in order to get a good grade. Looking at the posts, they have blogged about every decision and researched into loads of different things including the representation of the seven deadly sins in their costumes.

It is useful how they have also blogged their final piece, as I can see how all the research comes together.

This blog has given me inspiration on how to use blogger to my advantage and knowledge of the level of work that is required.

Radar Love: Feedback

After looking at our Radar Love videos in class and discussing what we liked and what we could improve on, this is what we found out:

On mine and Becky's video, the playing of the guitar was out of sync with the music. As well as this, the guitar we used was a lead guitar, when what we were needing was a bass. In terms of the performance, the people we used didn't match the song in terms of their style, meaning that we did not match the needs of our audience. Due to the lack of time we had to edit, we did not include our split screen which we were disappointed at as we thought it would have worked well.

However, the tambourine was in time as well as the clicking, and the black and white effect worked well in creating a classic effect. We were also complimented on our framing and camera work, in that it wasn't too overstated or flashy.

Michael and Josh used fast cuts which built up a pace, creating enthusiasm for the task which was further demonstrated through Michael's performance at singing.

The variety of shots they used made it interesting to watch which is one of the main needs of the audience. Improvements could have been made in their framing as at some points people were blocked and the camera was set too high. Also, the mise-en-scene needed work as there was washing up liquid in the background and pencils were used as drumsticks.

The third video we looked at was Frank and Harrison's. The most noticeable technique in this was the use of the split screen between the drummer and guitarist. The use of this makes the video more interesting to watch, which is emphasised through the predominant high angle tracking shot which engages the audience.

The framing of the split screen could be improved on in that the focus of the shots is in the centre, whereas if they had flipped the shots or swapped them around, the action would be more clear to see. Also, the camera was a bit shaky at some points, which would have been prevented through the use of a tripod. We can see that the lip syncing is out of time on the second line, but this is blocked on the first as his hand is in the way.

Radar Love: Final Piece

Audience Statistics

In order to get an idea of who my target audience is, I used YouTube. By bringing up the 'Blind Faith' music video from the Chase and Status VEVO channel, I knew I was using a clip which was going to have been heavily distributed. I then brought up the statistics of the audience and so discovered that I am primarily focusing on a group of teenagers/young adults from the UK. This is useful as, being one myself, I can relate more to the audience's needs and do not need to worry as much over using cultural codes and intertextual references, if I choose to use some, as I am aware of what is well known and what is less so. 

Radar Love: Editing

Today, we began the editing process. Although it is going relatively well, we are facing a few issues.

The first of these is that as the guitarist in our footage is unfamiliar with the song or the instrument, when we use shots such as close ups of the fret, the movement does not fit the riff. However, we have tried to cover this up by slotting in different shots when her hand is not moving when it should be.

The second problem is fitting the lip syncing in with the lyrics, but we are again using the same technique as the guitar to conceal this.

The third issue is that it is hard getting the cuts to match the tempo or the beat. It would have been more useful to have a metronome running alongside the music to help us with this. Therefore, when it comes to editing my music, I will ensure that I use one.

Despite this, we are happy with how it is going and are learning from the issues we have faced.

Radar Love: Planning and Filming

We have filmed our footage for our 30 second performance, yet ended up with minutes of film so that we can play around when it comes to editing and slot in other shots if we feel it needs it.

The main trouble we faced was finding a time when everyone was available. In total there was five of us (two of us filming, three actors) and so it took some time to work out when we were free. Originally, we were going to use someone else but he had multiple commitments and so couldn't make it. This has taught me to give the people I am using in my coursework plenty of notice so that they can keep the date free.

Another problem we faced was getting the playing of instruments to match the song, as neither of the girls were too familiar with them. This was not so much of a problem with the tambourine, but with the guitar, in particular with close ups of the fret, this is noticeable and so in editing we will need to find a way to conceal this - perhaps doing fast cuts in between the guitar fret and the tambourine.

Even so, it went smoothly and due to our storyboard we were able to complete filming quickly and efficiently. Now we will begin to work on our editing.

Radar Love: Storyboard

So that our filming goes smoothly, we have constructed a storyboard which includes the length of the shot and the time in the song that it finishes. This is so that we know we have enough footage to fill the 30 seconds.

Planning: Copyright

To overcome the copyright law, I have emailed Chase and Status' management the following message:

I am now waiting for a reply so that I know I can definitely use 'Blind Faith'.

Song Choice

As in the video there is a lot of dialogue in between the song, here is the track on it's own:

Planning: Song Choice

I really like the sound of these three songs and they all would be great to use for my work. However, I am feeling most drawn to 'Blind Faith' and am already having ideas for what I could do in my video. It is also my personal favourite out of the three and the mix between calm and powerful will allow me to really experiment with the shots and sequences I take. As well as this, the official music video is very different to the approach I am thinking of and so what I end up producing will hopefully be fresh and separate from the original.

Potential Genre Choice

I am in two minds whether to use an acoustic/folk track or an electronic/dubstep track. These are two contrasting genres and I am torn because they will allow me to approach the video in completely different ways.

An example of an acoustic/folk song would be:



Whereas an example of an electronic/dubstep song would be:



I am feeling more inclined to doing an electronic/dubstep song as I'll have more freedom in what I do as there are usually a mix of slow and fast tempos, which will also allow me to bring in elements of what I would include in an acoustic/folk music video. It will also be a more fun experience.

Golden Earring - 'Radar Love'

In order to get used to the technicalities of filming a performance, we are working in pairs to film the first 30 seconds of Golden Earring's 'Radar Love'. This will benefit me so that when it comes to filming performance in my music video, I will be more aware of how to film instruments and lip syncing. It will also teach me about how to work around a tempo.

Since it's been a while since last using Final Cut Pro, it will refresh my knowledge of how to use the tools available.

Listening to the track, the instruments and voice come in individually. To match this,they will also be introduced one by one in order in the video we produce.

Research: Music Video

This music video by David Guetta and Usher uses special effects such as the ground thumping ((1:24) and cement cracking (1:26) in order to connote the heaviness of the beat. This meets the audience's needs as they would be concerned with how easy the song is to dance to due to the nature of the genre of 'Without You'. In my video, I will pay particular attention to how the way that I edit and film my footage matches the genre.

Looking at Conventions of Genre

I looked at my foundation portfolio work from last year and took freezes so that I could compare them to shots of a similar genre. For this, I used Girl, Interrupted and The Notebook. This helped me to understand conventions of genre which will then help me make a music video with a suitable narrative. 

Michael Jackson v Alien Ant Farm - Smooth Criminal

To build upon my understanding of the development of music videos, I have looked at the differences between Michael Jackson's video for Smooth Criminal (1988), and Alien Ant Farm's cover (2001).





The balance between narrative and performance is similar in that both videos are primarily performance. Michael Jackson's uses a 'barfight' narrative whereas AAF replace this with Michael Jackson references (which would require Barthes' referential code to fully appreciate).

These intertextual references include AAF doing dance moves like Michael Jackson (anti-gravity lean, Thriller routine), eyes which mimic the eyes at the end of Thriller, and lit up paving slabs as seen in Billie Jean, to name a few.

In terms of the tempo, AAF's cover is faster. This is more contemporary and suits the target audience as bands such as AAF and Blink-182 were very popular at this time as they represented anti-establishment. In the original, the tempo changes throughout as it goes slower while Michael Jackson stops singing. This connotes that the world is dull without him and creates a need for him while also emphasising his performance.

AAF perform in a boxing ring which refers to the barfight scenario seen in the original. The high saturation signifies a lack of seriousness and more care free.

This task has shown me how fashion within music and videos changes over time, and therefore that the institution has to tend to this in order to successfully interpret the audience's needs.

The Buggles: Video Killed the Radio Star

Being the first MTV music video to ever be aired in August 1981, it is clear to see how videos have developed over the years. This gives me insight into the history of the music video and shows me that performance within music videos has been consistently common and popular with the audience since the beginning, even if they are often a hybrid-genre between performance and narrative.

Narrative: Meeting the Audience's Needs

The success of many videos is due to the institution meeting their audience's needs. It is important to understand the target audience and therefore what they are wanting from a product. In some music videos, the narrative is based upon struggles and overcoming them - a popular theme for young adults. This kind of narrative can be seen in the following music videos, despite being of various genres:

Narrative: Genre

In music videos, there are three different genres within the narrative.

1. Performance - the video shows the song being performed



2. Narrative - the video is made up of a storyline



3. Experimental - the codes and conventions of the genre are challenged, with a unique piece being produced at the end, as seen in Red Hot Chili Peppers' 'Can't Stop' video.

Narrative: Barthes' Codes

Roland Barthes (1990, originally published 1973) defined five narrative codes:
1. Hermeneutic code - offering a puzzle to the audience with a delayed (or occasionally unanswered) answer.
2. Proairectic code - a series of logical consequences stemmed from a particular event.
3. Semic code - the connotations which are suggested by characters, objects, and settings, which are likely to be suited to the narrative.
4. Symbolic code - the binary oppositions and conflict between opposing forces in the narrative.
5. Referential code - the knowledge and ideologies that the audience brings to the film which aids understanding of the narrative e.g. in spoofs

Katy Perry feat. Kanye West - E.T.



To help me to understand these codes, I have studied and analysed Katy Perry and Kanye West's music video to 'E.T.'.

I found that the hermeneutic code applies to this video as the audience is left unaware of who these characters are, where they are, and what species they are. From 3:55, there appears to be some form of a conclusion or answer by the human removing his astronaught suit, while Katy Perry's character morphs into a faun-like creature. However, as the audience do not understand the narrative at the start, the coda has little to offer as an answer.

The semic code could also be applied in that the setting of space connotes the sci-fi narrative.

Todorov's Narrative Structure

Todorov developed a very simple narrative structure of three parts:
1. Equilibrium (firm sense of order is established)
2. Disequilibrium (disruption from an outsider)
3. New Equilibrium (this is overcome and order is restored)

This basic structure suggests that narrative is effectively the same, with variations only in the characters and settings. Therefore, it would be useful to use Todorov's narrative in a music video as it is not too guided or precise.

Propp: Character Types

Propp studied character typology in fairy stories and found 31 character types, each with associated functions.
The most common of these characters are:
1. The hero
2. The villain
3. The donor (who would offer a gift of sort with magical properties)
4. The dispatcher (who gives the hero his mission)
5. The helper (the hero's 'right hand man')
6. The princess ('damsel in distress'/hero's reward)

Although Propp focused on characters of fairy stories, his work can be applied to a number of genres. Likewise to the 'Hollywood' narrative structure, it may prove difficult to work these characters and functions into a music video without drifting into a piece more suited to a trailer. Saying this, it would still be useful to take aspects of these character typologies with the possibility of including them into the video.

The 'Hollywood' Narrative Structure

One of the structures that I have looked at is the 'Hollywood' narrative. This is formed through different sections which I applied to my Foundation Portfolio of 'Early Days', which allowed me to understand the components of the structure more clearly.
1. Exposition and Development
Protagonists: Bethany/Scott
Antagonists: Scott's Parents
2. Conflict
Bethany's disorder causes strain upon their relationship
3. Elaboration
The couple break up due to Scott's parents
4.Climax and Resolution
Bethany relapses and returns to hospital. Seeing Scott's unhappiness, his parents allow their relationship to rebuild
5. Coda
The couple reunite, Bethany returns from hospital


Although it would be possible to use this form of structure in my music video, it may be tricky as the song would need to be primarily narrative based rather than performance, which runs the risk of it appearing more as a trailer rather than a promotional video.

Research and Planning: Narrative

Before starting to plan my music video, I've been looking at various narrative structures in order to get an idea of the approach I should take and so that I am able to differentiate between various narratives in music videos.

Relating Narrative to Journalism

In 'Media Studies: The Essential Introduction', there is a section which compares narrative and journalism. This is because of the requirement to order sequences into a coherent form, alike to a news story which needs to inform it's audience of an event in a few hundred words. It discusses how often the journalist will focus on one aspect of the story so that the reader can understand what has happened, while also being able to empathise with a particular family or individual involved.

From this, I know that I shouldn't develop a narrative which is complicated or involves too many characters. This will allow the audience to relate better to the video - also seen in U2's performance at Glastonbury 2011.

U2 performing at Glastonbury 2011

This performance taken from Glastonbury 2011 on the BBC uses particular camera work in order to give the audience at home an optimum experience.

The establishing shot is an extreme long high angle shot which gives the viewing audience at home an idea of the scale of the festival site. This shot is followed by low angles which give a powerful presence of the band and is from the perspective of the crowd so that the audience feel more involved. The band is also introduced individually: guitarist, drummer; second guitarist, singer. The cuts of the shots are timed to fit in with the tempo of the music which gives the impression of a clean cut performance. Framing is important in this and is used particularly well on a shot of Bono singing as the head of the microphone is in the centre of the frame because it is crucial to the show.

Building up to the chorus there is a crescendo and during this the camera is focused upon the drummer, the camera then tracks upwards to mimic the level of the music. The camera then zooms out to an extreme long shot of the crowd, displaying the scale of the performance and band and how many people there are in the crowd. In this shot the audience can also see the screens amongst the crowd which allows the audience at home to feel more included in the crowd. Following this shot displaying a collective experience, is a shot of two individual people enjoying themselves. This shows the enjoyment the festival go-ers are having while also letting the audience put themselves into their shoes and can relate to them.

There is a point of view shot of Bono as the audience can see him through the flag poles, emphasising how crowded it is and involving them. There is a shot of the guitarist as he is turned towards the camera, with the crowd and Bono in the background. This gives the audience a unique experience and view that the crowd can not get. When the tempo changes to one much slower, there is a crossfade transition to match this. There is a shot where the camera tracks Bono down the runway pans to see what he is looking at (the crowd), zooms out to show the scale of the audience and then goes to a point of view shot of the crowd. The finishing shot is the same as the establishing shot and shows the majority of the campsite.

The BBC keeps the audience in mind by using shots and camera techniques like these in order to sell the band & involve the viewers at home.