Monday, 26 March 2012

Schedule for shooting of music video

Shooting Schedule

Over the construction period of  the music video, there were 4 main shoots.
The 1st shoot was of the artist 'Dan' (played by Tom) only. This was the shoot of him playing the guitar and singing beside the bright, open window. We planned this for and executed this on Saturday 17th September over the course of the day. This was at my house. 
The 2nd Shoot took place at 3 different locations as we travelled. These were the both Norwich train station and Great Yarmouth Train station, on the train, and on the beach. These shots were for the beginning scene, where 'Dan' sees the girl 'Paige' (played by myself) for the first time, and the day-dream sequence, where he dreams of being with 'Paige'. This was scheduled for and shot on Monday 26th September between 9am and 3pm.

The 3rd shoot took place in the city centre, and were also part of the day-dream sequence. This shoot took place on  Tuesday 27th September between 9am and 11.20pm.

The 4th Shoot also took place in the city centre, and were to collect even more shots that we didn't have time for the previous shoot. This took place on 1st or 2nd October.

Other shoots were conducted to collect extraneous footage, such as shooting for the ending that took place in Riverside, city centre. Also shoots in Cringleford for Autumn romance shots, and the city centre again for random city shots. 

The shoots involved Tom and I, who acted the scenes, and Emily who did the majority of the camera work. 

Sunday, 25 March 2012

Track Lyrics

This is a print out of the lyrics of the song by Daniel Cope.
I've annotated this to show how I visualise them, and what ideas for the music video the lyrics provoked.

Storyboards

Beginning scene

Start of day-dream scene, random romance shots

More of the day-dream scene, random romance shots


The end scene. Starts with 'Dan' walking alone, to emphasize that the images of him and the girl together was all a dream. However, the girl passes him on the bridge and she recognises him. The shots up until now are black and white (matching the beginning shots when the artist is alone), but in this shot the fade to colour again (matching the day-dream shots). This creates the question, did she share his day-dream? Was the day-dream real after all? This ending is to provoke a sense of ambiguity and mystery.

Question 3

Question: What have you learned from your audience feedback?

I used a number of ways to receive feedback from other people, and I aimed to receive feedback strictly from those in the target demographic, that being aged 15-25 and mainly female, though including males too.
The first method for this was simply asking them to view the music video and print productions, and asking them what they thought of it and what, if anything, could improve the appeal. This was a subjective way of gaining feedback.
When I showed her panels 2, 3 and 4 of my digipak, Grace Papworth (18 year old female) said: "The panoramic theme is interesting and looks cool! Try adding the light streak from the front cover onto the panoramic to keep the theme of light going all the way through the digipak."
I therefore tried, as Grace said, adding the light streak from panel 1 into the panorama. This, however, didn’t work very well as there was little space to do it; the light streak didn’t work well against the bright sky. It also made the image too busy, so I kept the panels simple.
When I showed my classmates my album cover, the class said the enjoyed both the light streak effect and the image itself. They agreed that the close up image is evocative and affective, and the light streak adds interest without drawing attention away from the artist's face. All of the members of the class are within the age range of the target demographic, which was important for the validity of the feedback.
I also showed the album cover to Kirstie (17 year old female) suggested trying the image with the same theme/colour scheme as the inner panels and back panel so that the theme runs all the way through the panels. I tried this, and found that the front cover fitted in well with the other panels when using the same vintage style. It didn’t take away any of the strength of the image and it was still as striking as before.  I therefore decided to use this effect.

The second, more objective method I used to gain feedback was the use of questionnaires.
Again I asked males and females of the target demographic to complete these questionnaires.

Below are the questions from the questionnaire on my music video:
Question 1:
How much did you enjoy the music video?
This question gave an immediate insight into whether the audience actually enjoyed watching the video. It is particularly important as I was promoting an unsigned artist, therefore the video would need to be enjoyable in order to spread by word of mouth and attract as wide an audience as possible.
I offered a rating system of 1 to 5, 1 being bad and 5 being excellent. From the questionnaires I can see that everybody rated my video 3 or 4, with one exception of a 5. This means that the majority of my target audience would enjoy my music video. There was not a huge difference between males and females in this question, though I can suggest females tended to enjoy it more than males, as the only rating of 3 was from a male and the only rating of 5 was from a female.
Question 2:
Was it easy to understand the narrative?
This was an important question for me, as I was worried that by using a non-linear narrative; one that is ambiguous and mysterious and flicked between reality and dream, viewers may have found it difficult to understand rather than thought provoking like I’d intended.
I found a slight difference in male and female responses, as I’d expected. The females seemed to understand and keep up with the narrative more than the males did. This could be explained by the stereotypical and evolutional explanation that females are more sympathetic and relate more to others, and males are more objective and linear in thought. My music video was designed to provoke sympathy for the artist. However, the difference between males and females in this aspect was fairly small, and the target demographic was mostly female anyway.
Question 3:
Did it hold your attention?
This relates to question 1 and how much each person enjoyed the video. If the video couldn’t hold the attention, the viewer may not like it as much.
Again, there was a slight difference in males and females, as the video seemed to hold the attention of the females slightly more. This is the same as what I found in question 2.
Question 4:
How do you rate the camera work and editing?
This question scored very highly with every participant scoring the video 4 or 5. In the section of the questionnaire for the participants’ favourite aspects of the video, a lot of the participants said the edit was their favourite aspect. One wrote “the editing, and the way it works with the music”, commenting on the cutting with the beats of the track. Goodwin’s theory says “There is a relationship between music and visuals”. This comment shows that I successfully addressed this theory and it was effective.
Another wrote that their favourite was “the sound bridge between the dip to black and the train”. This too shows that I successfully edited my music video so that it was effective and creative.
Question 5:
How would you rate the standard of mise-en-scene?
This question also proved to be one of the strong points of my music video. All of the participants rated this 4 or 5, with no real difference between males and females again. This suggests that the large amount of locations that I used in my video were effective and pleasing to the audience.
Question 6:
Was the music video too short, correct length, too long or don’t know?
This question was of particular interest to me, as the track was fairly long and I had to cut off the end. I was worried that, in relation to question 3, the length of the video would lose the attention of some of the audience. I found similar results to those of question 3, in the way that all the females said the video was the correct length, but 3 of the males suggested the video was too long. This could explain why the results of question 3 indicated that the video lost the attention of some males.
However, I’d already cut off a considerable amount of the track, and so I felt cutting any more of the track could be detrimental to the meaning and effectiveness of the track.
Question 7:
Would you listen to it again?
This question was of importance as the artist is unsigned, and so to create a developing fan base, the video would have to provoke the viewer to watch it again.
The majority of participants said they would watch the video again, but some also said they were undecided.
Question 8:
Is there any part of the production that you found offensive?
All of the participants said no to this question, which is good as I want the video to appeal to as many people as possible in order to create a fan base for the unsigned artist.
Question 9:
Were there any parts that you found confusing or hard to understand?
This question relates to question 2, and I found the same answers. The majority of the participants said no to this question, and commented on how well the narrative came together at the end. The majority of these people were female. The only negative comments here were males, who suggested the “narrative was hazy”.
Question 10:
What was your favourite part of the production?
The results of this question I’ve answered in questions 4 and 5. The favourite aspects were editing work, camera work and use of locations.
Question 11:
Does the video reflect the style of music?
This question was important as the brief of the task was to create a music video that relates to and successfully markets the genre of the track. The results of the participants, all of whom answered “yes”, suggested that I’d successfully done this.
Question 12:
Rate the music video:
The average score was, out of 12 participants, 8.2/10. This was an important question. It links with question 1 on how much they enjoyed the video. The high score I achieved suggested that the audience enjoys the video, and therefore the music video would appeal to a large audience.

Here are some of the questionnaires:







Below are the questions from the questionnaire for my print productions:

Question 1:
Does the digipak successfully reflect the genre of the music?
This is an important question as the aim of the print productions was to reflect the genre of the music, so that the audience would be attracted to the digipak if they saw it in a shop. The participants rated this at 4 out of 5. This means that my digipak successfully followed the conventions of the genre.
Question 2:
Does the magazine advert successfully reflect the genre of the music?
Again, this was a question of importance as the aim of the magazine advert was to attract the target audience to buy the product, and so the magazine advert reflecting the genre well would improve this. Again, the participants rated this at 4 out of 5. This means that my magazine advert successfully followed the conventions of the genre in order to attract those who like the genre.
Question 3:
How do you rate the standard of graphics in the package?
This question encourages the target audience to give an opinion on how effective the package is in terms of professional graphical appeal. Whether the participants have any understanding of technology or not, they can offer their opinions on the professionalism of the print productions. This, after all, would entice a consumer to purchase the product more than a product that doesn’t appear professionally made.
In this question, my print productions scored 5/5 by all participants.
Question 4:
How do you rate the standards of graphics and print (album)?
This is the same as question 3, only asking for the opinions on the graphics of the printed work. In this question again, my print productions scored 5/5 by all participants.
Question 5:
How successfully is the Britishness of the package established?
This question reflects how effectively the routes of the artist is established in the print productions. This can be important to a consumer when purchasing work by a British artist. My  print production scored 4 out of 5 for this question.
Question 6:
Would the magazine advert encourage you to buy the album?
This is a very important, straight to the point question. The aim of any advert is to entice the viewer into purchasing that which is being marketed. This question reflects the strength of the marketing of my magazine advert.
The participants suggested they would consider buying the product after viewing the advert.
Question 7:
Identify the strongest feature of the productions:
This question asks the participants to think about which aspect of the productions they were most attracted to. It is important as this will help me understand what is the main selling point of the productions. One point made is the consistency of style across the productions. This relates to the continuous colour scheme in the panels of the digipak and the style of the magazine. Another point made was the composition of the images.
Question 8:
Rate the package overall:
The average score for my productions overall was 4.5/5.

Below are examples of the questionnaires



Question 4

Question 4: How did you use media technologies in the construction and research, planning and evaluation stages?

During the research stage of my productions, I used many different technologies. The research was mainly conducted using “cloud” software, meaning that information gathered from shared spaces on the internet. The internet was invaluable in successfully fulfilling the brief of the task of creating a music video and ancillary texts for an unsigned British band.
My research was conducted frequently on video websites such as YouTube to find and analyse music videos and the work of other artists and bands, similar to my artist in genre. For instance, I watched and studied the videos of Ed Sheeran, Plain White T’s, Ben Howard, and Bon Iver, in order to gain inspiration and ideas for my own music video.



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YouTube proved a highly useful source of research, as with features such as User Comments, Ratings, and number of views. All these features indicate the effectiveness of the video, the popularity, and how much people enjoyed watching it.

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I also used Google search engine, to research other artists. Google allowed me to access images directly to inspire both my music video and my print productions.

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Google also allowed me to find artists’ official websites, which allowed me to directly access photos, videos, track and information about the artist or band. This allowed me to expand my research.


I used some similar media technologies when planning my productions. For instance, I accessed the “cloud” once more to search for my artist, Daniel Cope. I used websites such as YouTube and MySpace in particular to find the artist as these sites allowed to me listen to and download his tracks for free. Here is a snapshot of Daniel’s MySpace page:

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I looked at the website for Latitude Festival and various other festivals to get inspiration for both my music video and print productions are for general research into the styles of the audiences for this festival.

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This also shows another media technology I used: Microsoft Publisher. I used this software to digitally annotate images, such as the latitude screenshot seen above. I also used it when designing products, such as my magazine advert. It allowed me to move components around freely, which aided the design process. I also used the same functions to create a mood board on costume to help in the design of the artist’s costume.
Another example of software I used when designing the print productions section of my work was Adobe Photoshop. This software allowed me to play with and adjust my images freely, so I could choose which effects worked best and suited the genre the most.
I used photoshop to digitally edit my drawing plan for my advert.
Example of an experiment using photoshop

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I also used YouTube, not only to search for videos by others, but to upload my own videos. I did this when constructing the ending to my music video, and had come up with two slightly different ones. By uploading them both to YouTube, I could post them both on my blogger account, and share them with others to gain their opinions on which worked best and why.
A final example of a website I used during my planning was DaFont.com. This website shares downloadable different fonts that aren’t accessible through normal software. The website allowed me to search through the fonts and download many different ones, so I could apply them to my work and see visually which worked best with the images.
Another technology I used, which is different from those already mentioned because it is non-computer based, is the stills camera. I used a Nikon digital SLR camera to take photos of planning such as costumes and location shots. I also used this camera to take loads of photos during numerous photo shoots, to plan and experiment for the print productions.
After drawing my plans for both the music video and the print productions, I used scanners to transfer them on to the computer.
A final use of technology was on Adobe Premiere. My initial planning involved using a split-screen effect in my music video. I used Adobe Premiere to try this out and experiment with positioning and composition, however after seeing how it looked when experimenting, I decided against the idea entirely.

The construction of my texts only included a small number of media technologies, indicating that the largest use of media technology was during the planning and research stages of the course.
The first technologies I used in the construction of the final products were the cameras. I used a digital moving image camera to capture the footage for the music video. The digital camera was invaluable when filming as it allowed us to review and re-watch the footage we’d just taped. This allowed us to see if the footage was usable and what improvements could be made to it.
This is the same for the stills camera. Again, I used a Nikon digital SLR. The large LCD screen allowed me to easily review each photo during the shoot, letting me adjust the next photos appropriately to get the best image possible. Also, the SLR camera took photos in fantastic quality to provide a professional look.
The software I used for the editing of my music video was Adobe Premiere. Using this software allowed me to string together each shot and move them around to suit the video. It allowed me some freedom with the narrative, so I could pick and change the order however I wanted. The software also allowed for some great effects. I used transitions a lot between shots, as this linked the shots smoothly. One in particular is the cross dissolve. This dissolve meant was placed in between two shots, and meant that the first shot faded out as the second shot faded in. This suited the soft tone of the track. I often only used this transition when the beat of the track was smooth and slow, and allowed a natural change in shot for the sharper beats. Here are a couple of examples of these transitions:


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Another similar transition is dip to black. This is placed at the end of a shot, and means that the shot is allowed to fade out into black before the next shot fades in. Here is an example of this in use:

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The software also allowed me to adjust the transparency of the shots, which allowed me to place one shot over the other. I liked this effect, as it not only created a nostalgic and thoughtful image, it also made some often rather boring and long shots much more interesting and pleasing. Here are examples of how I used this:



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The Adobe Premiere software allowed me also to change the colour of separate shots. I chose to use both black and white and colour in my music video to separate reality from day-dream, so the beginning shots of my artist sitting alone at the train station are in black and white, colour was used as the story played, and black and white was used again at the end, when the artist steps off the train and out of his day-dream.




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However, the ending of the music video doesn’t stay entirely black and white. I used another technique to dissolve a shot from black and white in to colour, as the girl walks back into the artist’s life. I did this by cutting the shot in half, where I wanted the transition to occur. I made the first half of the shot black and white, and the second half colour. I then added a cross dissolve, as mentioned above, in between the two halves of the shot. This allowed the shot to change from black and white in to colour seamlessly and smoothly. Here’s a snapshot of this:
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For the print productions part of work, I used Adobe PhotoShop CS4 to edit the images. This software allowed me complete freedom with the edit of my images. I used many techniques with the edit of my digipak and magazine advert. To start with, I adjusted brightness and contrast of my images to sharpen. I’ll use the image from panel 1 of my digipak to demonstrate this:

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I’d then crop the image to the size I wanted, taking into account the rule of thirds to create empty space and allow the eye to be drawn to the place of importance (the artist’s face).

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Using PhotoShop, I could experiment with use of colour styles. I could use black and white:
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Or, as I used in my digipak, I could use the vintage style. This technique was slightly more complicated. I’d add two new fill layers, one completely yellow and one completely blue, as seen here:

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I’d then change the layer style of the yellow layer to “Darken”, and the layer style of the blue layer to “lighten”, and adjust the opacity of both layers, allowing the image, which is below these layers, to be seen through them. The addition of these two colours together creates this image, where the whites of the image are tinged yellow and the blacks of the image are tinged blue.
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Another, yet more complicated effect I used in the production of panel 1 was the addition of the artificial light streak. This was achieved by creating a path, using the pen tool <!--[if !vml]--><!--[endif]--> and applying a brush stroke to this path. I then adjusted the path, using outer glows to create a light streak. It was very effective on the image. I also added a lens flare where the two light streaks met, just to add a bit more glare to the streaks.

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When it came to creating my magazine advert, I used yet more effects on lighting. This time, I used a new technique called lighting effects. This allowed me to add a directional light to the image, to make it seem as though a very bright spotlight was shining from one angle out of shot. The effect was brightening the left side of the image and shadowing the right side of the image. This was very effective at creating the sense of isolation I was looking to achieve:

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PhotoShop also allowed me to add writing and other institutional information to my images where necessary as seen above.

The final stage of the task was writing the evaluation. To do this I mainly use Microsoft Word. I wrote each question on this as it allowed me to spot spelling mistakes and keep check the word count. I then copied the answers in to a new post on my blogger account. The blogger system allows my work to be exhibited and accessed by others. It also allowed me to insert my images into each question.

Question 2

Question 2: How effective is the combination of your main product with ancillary texts?

Digipak
The brief for this task was, after creating a music video for the chosen track and artist, to create an effective digipak and magazine advert that links and relates with the video. As discussed in question 1, my initial ideas were focused upon the medium of photography. Throughout the digipak I chose a vintage-style colour scheme. This style evokes and represents emotion and sentiment, as well as creating interesting and pleasing images for the viewer.

Panel 1

The location of this panel was important, as I chose to use the same location and a very similar shot to the location used in the music video. This is a shot from the video, when the artist is performing the track:

I wanted to use a location from the music video as my front cover so that the two texts directly related to each other.

One of the more discrete selling points of my video was the close up images of the artist performing, which combined strong lighting with composition using the rule of thirds. These images were not only eye catching for the audience but aesthetically pleasing to watch. It appeared to me that these were some of the strongest shots during the music video, and so I wanted to use these shots as the main identifier to the music video, or link between the digipak and the music video. With reference to Goodwin’s theory of genre, the close up images of the artist became a recurring motif across the products.

Goodwin stated “the artist may develop motifs which recur across their work (a visual style)”which I wanted to use to allow the products to make the artist recognisable, a brand style, to which a developing fan base could recognise, and to relate each text to the last.
An example of artists I found whilst researching digipaks that expresses this artist motif in the same way is Leonard Cohen. Here are a few of his album covers:
















All of these album covers use close ups of the artist and very strong lighting. I noticed that Cohen tended to keep a fairly straight face in these images, which expressed and suggested the feel of the tracks within the album effectively.
One of the main compositional aspects whilst taking the photograph was the importance of the lighting. This was the same when filming the music video. The strength of light became a recurring motif, too, in my music video.



The addition of light to an image or scene creates the sense of hopefulness and content, which is what I wanted to express in the day-dream part of my music video. I therefore chose to extend this theme to my ancillary texts. Though I’d taken the image next to a very open and bright window to get as much light as possible on the artist’s face, I couldn’t help feeling that for a front cover, which has to attract the eye of consumers, the image wasn’t quite bright enough. To combat this, I decided to try adding a ‘light streak’ to the image artificially using PhotoShop. I created this in the empty space created by the use of the rule of thirds. The use of this light streak was very effective and eye-catching, as well as suiting the image, the colour scheme, and the feel of the image very well.

Finally, panel 1 connects to the music video by use of the same costume. I wanted to keep the artist in the signifying chequered shirt and jeans so that the digipak links generically to the video. It also, relating back to Goodwin’s recurring visual style, allows a developing fan base to associate the front cover automatically with the artist, as the t-shirt stands out in colour in the image.

Panel 2:

For the inner panels, I wanted to create something that would attract and draw the attention of the audience. Though I thought about doing separate images for each panel, I felt this wouldn’t hold the attention of the consumer like I intended it to. I therefore thought of linking 3 or 4 inner panels together, instead of using multiple images, to create a folding and long image in the digipak. I decided to use a panoramic image for this.


As with panel 1, the location of these panels link thematically with the music video. This same spot, where the artist sits upon a wall overlooking the city, was used in the day dream part of my music video. However this link is rather more subtle than panel 1 because the compositions of the shots in the music video were not as similar to the shots used in the digipak. Here are snapshots from the video of how I used this location:



I continued to use the theme of light through these panels, but unlike panel 1, the light provided by sky proved enough. It was apparent, however, that the panels were missing something to fulfil my aim of drawing and holding the attention of the viewer. I added artist information including a review to the panorama to combat this.

Panels 2, 3 and 4 together:


These panels link both to the music video and to panel 1 of the digipak through the theme of light that I’d taken from the video and incorporated into the digipak, and to the music video by the location of the shot (though the artist is alone in this image; an important aspect to express the solitariness of the artist). Again, the artist is wearing the same costume as used in the music video and in panel 1.

Panel 5:

This panel was unlike the others, in that it doesn’t link directly to the music video in any way other than using an image of the artist and using the same costume as he wore in the video and in the other panels. It also incorporates my theme of bright light, as the light from outside refracts off the steam on the window making it yet brighter.
The main and most important link between this panel and the music video is generic. The image is very comparable to the acoustic/rock pop genre. It provokes the sense of day-dream and imagination, as if the artist were mindlessly and inadvertently drawing on the glass in a carefree way.  It is an expression of thought and imagination. All of these things would appeal to the target audience of this genre.


Magazine Advertisement


For my magazine advert I chose to use a close up of the artist again to keep a consistency between music video, digipak and advert.

One of the main aspects I wanted to keep strong was the theme of light. I incorporated it this time by a spotlight-like light, very bright and intense and directed only on one side of the artist’s face. This kept the other side totally shadowed. As with the music video and digipak panels, the image is designed to arouse a sense of thought, longing, isolation by the use of a surrounding darkness which seems to swallow the artist. The spotlight, however, shines light on this and creates that sense of hopefulness and desire that was present during the day-dream part of my music video.

The magazine advert would likely appear in magazines such as NME, Q magazine and Acoustic magazine.

Q and NME magazines offer coverage of a very wide range of genres, stretching to a large demographic. In particular they reach the audiences of the pop side of my genre. My target demographic would read magazines such as these. 
Acoustic magazine is a much more focused on the acoustic/rock genres, and so readers of this magazine might be attracted to my artist. 

On the whole, all three of my productions are linked visually, thematically and generically, and combine to strongly market my artist.