Evaluation 3 blog presentation
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Thursday, 6 January 2011
Evaluation 1: How does our media product use, develop or challenge forms, conventions of real media products?
Our chosen media product is a music video; this carries with it two ancillary tasks consisting of one magazine album advertisement and one album cover. Therefore our products are created produced, and distributed for specific intent/purpose/reasons.
Firstly, it may be made clear that we used conventions consistently in all of our media products; in some cases, conventions where developed but not many were challenged.
The Music Video, the Magazine Advertisement and the Album Cover
1. Foremost, it was important for our product to advertise the ‘released’ track. We imagined that our audience would be not be able to recognise the song yet – as it has just been released on the radio, online music etc. – so we decided that our video would be based loosely around the lyrics of the song (to be made recognisable)
Real media product example: Eminem’s ‘Without Me’ is based purely around its lyrics, presenting “operations”, “Elvis Presley” and “wrestling”; these are visual representations of the lyrics.
Forms and conventions used in our media product: We have used shots based on “eyes” and “hair”. These advertise beauty and attractiveness of the artist, and the video, promoting the track.
2. Alternatively, a video to coincide with the song opens the boundaries for our product’s entertainment value; by expanding into other forms of media. For example, if the song is enjoyed it will gain a reputation, and it is hoped that the audience will watch the video, and any other forms of media it may be presented by. We however intended this to be vice versa, meaning that our audience would ike and be attracted to the song because of the fulfilment and gratifications gained through the music video.
Real media product example: Michael Jackson’s ‘Thriller’ music video gained greater levels of publicity and audience attention than the actual song, being voted ‘the best music video of all time’ in many polls – the song as such did not gain as much of a reputation, although still popular. This was possibly due to: budget, extras, setting, theme, artist style, dancing, narrative and numerous other reasons.
Forms and conventions used in our media product: We have used such conventions as a strong, running narrative and artist style to attract our audience. We believed that these two forms feel personal to viewers, and a connection is likely to be formed. For instance, our artist is fashionable so his style will be followed and his music will be noticed. This is in no doubt a gradual commitment from the audience needed, but our music video is hopefully an immediate attention-getter.
3. The creation of our music video shall also entail numerous objectives. It will be offered to the public as to generate interest about the artist. It may also be used to signify to the audience that is a particular genre, and therefore it will develop a specific audience (e.g. based on taste of music, age, society and numerous other specifics). Our music video however, will also set out to represent the artist positively; if a negative portrayal is given, the audience would not like our artist and record sales would fall.
Real media product example: Justin Bieber is a relevant example. He is appealing to a specific audience (young teenage girls), described by the newspapers as a ‘heartthrob’ and ‘sensation’. His genre is well defined, advertising his music as a mix of Pop and R&B. All merchandising and products associated with Bieber - such as two albums, a feature length film and so on - have all intended to portray him as being socially positive.
Forms and conventions used in our media product: We have used two actors which are ‘young’ and ‘attractive’ to the eye. The artist has a distinct style, whether it be clothing or hair, and is advertised as having a good vocal voice; portraying the R&B/Soul/Pop genres. The female also appears to be quite glamorous, with long blond hair. The mise-en-scene is varied, ranging from internal house areas to park land - the scenery is also rich in brightness. These used conventions helped us target a youthful audience, and happy facial expressions are represented frequently, therefore created a positive media image.
4. Regarding narrative and narrative theory, we focused on ‘Todorov’s’ theory rather than ‘Propp’s’; however, we did vaguely consider the characters ‘Propp’ suggested. ‘Propp’ proposed that there were certain characters needed fairytales and these can be applied to film-based media products; such as the hero, villain, and helper.
However, the only character that is truly represented in our music video is the hero and both the lead male and female were considered to be ours and the audiences heroes. This left us to firmly fixate on considering Todorov’s ideal narrative. At first, we believed that this did not apply to our video; yet, we realised that during our filming and product research/planning, there is always going to be (in some manner or form) a sense of equilibrium, disruption and modified equilibrium.
Real media product example: In Enrique Iglesias’ ‘Hero’, there is a very distinctive narrative presented to the audience.
1. Equilibrium – Man and women are happy together.
2. Disequilibrium (Disruption) – Car breaks down, the man and women are attacked by a group of men
3. New Equilibrium (Modified) – Man dies, but he knows that the female is safe from harm.
Theory used in our media products: When evaluating our product, this is what be believed was our narrative - in correspondence with ‘Todorov’:
1. Equilibrium – Man and women wake up individually and start their day normally.
2. Disequilibrium (Disruption) – The texts from mobile phones and the journey to meet each other.
3. New Equilibrium (Modified) – Man and women are happy together; not separate.
5. Additionally, the camera work we used was an essential aspect of our media products. When filming the music video, we had to both consider and use many distances, angles and movement. Firstly, our group decided upon the ‘specific’ art of camera work, featured in music videos, and decided the following. Professional moving music products use a wide range of shot distances, common of which are; close ups (c/u), medium close ups (mc/u), wide shots (w/s) and over the shoulder shots (ots/s). Movement is also used frequently, including tracking shots, pans and tilts. Camera angles tend to be based on high, low and canted variations – again, are typical of music videos.
This led us to conclude that our music video would indeed need to incorporate as many, varied camera work as possible for it to look professional standard; with the technology and equipment available to us. Real media products gave us the inspiration and influence for the use of such forms/conventions in our own music video. Here is a brief evaluative archetype of how we developed and used camera work – some of which is noticeable in a professional exemplar music video.
Real media product example: In Olly Murs – Please Don’t Let Me Go, the use of camera work is complex, yet carries with it simplicity to the eye. Taking a productive media approach, the shots on offer to the viewer create the world of the music video. It shows the artist from many distances and at various angles; the mise-en-scene is also placed in shots to add environment and colour to the song/artist. Camera movement also keeps the audience attention on the artist, whilst creating a smooth run-through and seamlessly comfortable experience.
Forms and conventions used in our media product: We have used most camera distances: close up, medium close up, wide shot, over the shoulder shot and point of view (POV) shot are most commonly used. We did not use many camera angles; however a high angle was necessary to coincide with a point of view shot (looking down at phone). We experimented with pans and tilts, but we didn’t believe the video began to stray from simplicity and easy viewing. It was also difficult to construct worthy shots of this calibre with the equipment available to us; all these shots were cut from the final edit.
6. Editing is the final stage of media product creation and production – alternatively from a professional perspective, it is an on-going process. All finished products have been edited to present the ‘odourless’ and ‘perfect’ appearance. Unnecessary shots are removed, worthy shots are placed in order and cut to a professional standard. The sound is also a vital aspect; the song builds and interprets the video, and if diegetic sound is used in addition, cautious step are taken to ensure that it has a connection with the song.
Forms and conventions used in our media products: After each filming session, we thought it would be useful to upload and begin to edit as soon as relevantly possible. This gave us a clear knowledge of what specifically to do next, of what to improve and re-shoot, of the direction we were heading in towards completion. Such questions were asked constantly, but this kept us on track with both filming, editing and producing our music video.
We used ‘iMovie’ on an Apple Mac to edit our video, ‘Jasc Paint Shop Pro’ for the magazine advertisement and ‘Adobe Photoshop’ for the album covers. Our entire group had previous knowledge of the software’s, so this made editing our products a familiar but still lengthy process. We understood that shots needed to be in time with the lyrics of our chosen song, so we cut and placed in either: a ‘timed’ or ‘lyric’ specific order (general intention). This seemed to be an understandable group decision.
Firstly, it may be made clear that we used conventions consistently in all of our media products; in some cases, conventions where developed but not many were challenged.
The Music Video, the Magazine Advertisement and the Album Cover
1. Foremost, it was important for our product to advertise the ‘released’ track. We imagined that our audience would be not be able to recognise the song yet – as it has just been released on the radio, online music etc. – so we decided that our video would be based loosely around the lyrics of the song (to be made recognisable)
Real media product example: Eminem’s ‘Without Me’ is based purely around its lyrics, presenting “operations”, “Elvis Presley” and “wrestling”; these are visual representations of the lyrics.
Forms and conventions used in our media product: We have used shots based on “eyes” and “hair”. These advertise beauty and attractiveness of the artist, and the video, promoting the track.
2. Alternatively, a video to coincide with the song opens the boundaries for our product’s entertainment value; by expanding into other forms of media. For example, if the song is enjoyed it will gain a reputation, and it is hoped that the audience will watch the video, and any other forms of media it may be presented by. We however intended this to be vice versa, meaning that our audience would ike and be attracted to the song because of the fulfilment and gratifications gained through the music video.
Real media product example: Michael Jackson’s ‘Thriller’ music video gained greater levels of publicity and audience attention than the actual song, being voted ‘the best music video of all time’ in many polls – the song as such did not gain as much of a reputation, although still popular. This was possibly due to: budget, extras, setting, theme, artist style, dancing, narrative and numerous other reasons.
Forms and conventions used in our media product: We have used such conventions as a strong, running narrative and artist style to attract our audience. We believed that these two forms feel personal to viewers, and a connection is likely to be formed. For instance, our artist is fashionable so his style will be followed and his music will be noticed. This is in no doubt a gradual commitment from the audience needed, but our music video is hopefully an immediate attention-getter.
3. The creation of our music video shall also entail numerous objectives. It will be offered to the public as to generate interest about the artist. It may also be used to signify to the audience that is a particular genre, and therefore it will develop a specific audience (e.g. based on taste of music, age, society and numerous other specifics). Our music video however, will also set out to represent the artist positively; if a negative portrayal is given, the audience would not like our artist and record sales would fall.
Real media product example: Justin Bieber is a relevant example. He is appealing to a specific audience (young teenage girls), described by the newspapers as a ‘heartthrob’ and ‘sensation’. His genre is well defined, advertising his music as a mix of Pop and R&B. All merchandising and products associated with Bieber - such as two albums, a feature length film and so on - have all intended to portray him as being socially positive.
Forms and conventions used in our media product: We have used two actors which are ‘young’ and ‘attractive’ to the eye. The artist has a distinct style, whether it be clothing or hair, and is advertised as having a good vocal voice; portraying the R&B/Soul/Pop genres. The female also appears to be quite glamorous, with long blond hair. The mise-en-scene is varied, ranging from internal house areas to park land - the scenery is also rich in brightness. These used conventions helped us target a youthful audience, and happy facial expressions are represented frequently, therefore created a positive media image.
4. Regarding narrative and narrative theory, we focused on ‘Todorov’s’ theory rather than ‘Propp’s’; however, we did vaguely consider the characters ‘Propp’ suggested. ‘Propp’ proposed that there were certain characters needed fairytales and these can be applied to film-based media products; such as the hero, villain, and helper.
However, the only character that is truly represented in our music video is the hero and both the lead male and female were considered to be ours and the audiences heroes. This left us to firmly fixate on considering Todorov’s ideal narrative. At first, we believed that this did not apply to our video; yet, we realised that during our filming and product research/planning, there is always going to be (in some manner or form) a sense of equilibrium, disruption and modified equilibrium.
Real media product example: In Enrique Iglesias’ ‘Hero’, there is a very distinctive narrative presented to the audience.
1. Equilibrium – Man and women are happy together.
2. Disequilibrium (Disruption) – Car breaks down, the man and women are attacked by a group of men
3. New Equilibrium (Modified) – Man dies, but he knows that the female is safe from harm.
Theory used in our media products: When evaluating our product, this is what be believed was our narrative - in correspondence with ‘Todorov’:
1. Equilibrium – Man and women wake up individually and start their day normally.
2. Disequilibrium (Disruption) – The texts from mobile phones and the journey to meet each other.
3. New Equilibrium (Modified) – Man and women are happy together; not separate.
5. Additionally, the camera work we used was an essential aspect of our media products. When filming the music video, we had to both consider and use many distances, angles and movement. Firstly, our group decided upon the ‘specific’ art of camera work, featured in music videos, and decided the following. Professional moving music products use a wide range of shot distances, common of which are; close ups (c/u), medium close ups (mc/u), wide shots (w/s) and over the shoulder shots (ots/s). Movement is also used frequently, including tracking shots, pans and tilts. Camera angles tend to be based on high, low and canted variations – again, are typical of music videos.
This led us to conclude that our music video would indeed need to incorporate as many, varied camera work as possible for it to look professional standard; with the technology and equipment available to us. Real media products gave us the inspiration and influence for the use of such forms/conventions in our own music video. Here is a brief evaluative archetype of how we developed and used camera work – some of which is noticeable in a professional exemplar music video.
Real media product example: In Olly Murs – Please Don’t Let Me Go, the use of camera work is complex, yet carries with it simplicity to the eye. Taking a productive media approach, the shots on offer to the viewer create the world of the music video. It shows the artist from many distances and at various angles; the mise-en-scene is also placed in shots to add environment and colour to the song/artist. Camera movement also keeps the audience attention on the artist, whilst creating a smooth run-through and seamlessly comfortable experience.
Forms and conventions used in our media product: We have used most camera distances: close up, medium close up, wide shot, over the shoulder shot and point of view (POV) shot are most commonly used. We did not use many camera angles; however a high angle was necessary to coincide with a point of view shot (looking down at phone). We experimented with pans and tilts, but we didn’t believe the video began to stray from simplicity and easy viewing. It was also difficult to construct worthy shots of this calibre with the equipment available to us; all these shots were cut from the final edit.
6. Editing is the final stage of media product creation and production – alternatively from a professional perspective, it is an on-going process. All finished products have been edited to present the ‘odourless’ and ‘perfect’ appearance. Unnecessary shots are removed, worthy shots are placed in order and cut to a professional standard. The sound is also a vital aspect; the song builds and interprets the video, and if diegetic sound is used in addition, cautious step are taken to ensure that it has a connection with the song.
Forms and conventions used in our media products: After each filming session, we thought it would be useful to upload and begin to edit as soon as relevantly possible. This gave us a clear knowledge of what specifically to do next, of what to improve and re-shoot, of the direction we were heading in towards completion. Such questions were asked constantly, but this kept us on track with both filming, editing and producing our music video.
We used ‘iMovie’ on an Apple Mac to edit our video, ‘Jasc Paint Shop Pro’ for the magazine advertisement and ‘Adobe Photoshop’ for the album covers. Our entire group had previous knowledge of the software’s, so this made editing our products a familiar but still lengthy process. We understood that shots needed to be in time with the lyrics of our chosen song, so we cut and placed in either: a ‘timed’ or ‘lyric’ specific order (general intention). This seemed to be an understandable group decision.
Wednesday, 5 January 2011
Wednesday, 15 December 2010
Wednesday, 3 November 2010
Filming Preparation
Before undergoing our filming phase, we had to organise ourselves, secure ideas and decide upon actors, locations and so on. Firstly, we came across the issue of actors to take part in our music video. We needed a lead male and a lead female; both with recognisable features and enthusiasm. As they were willing to participate and have had experience in filming (for other coursework projects and outside events), Joe and Rachael decided to take upon these roles - they will also be flexible and reliable, which will help to ensure that we film a great quantity and quality in good time, and when we specifically need to. This left me to participate as the camera man for most shots; so it will be my job to take note of location, properties (such as clothing, make up etc.), positioning (within the shot - rule of thirds), lighting and so on. I will decide upon such concepts with the help of my team, as we intend to keep the music video as a collaborated media project.
Moreover, we kept in contact with each other outside lesson time to organise a date/time/place to meet up and film (every time we needed to). We also be aware of what we were, locations we use and properties as we need to have continuity. Our group will update the filming we have conducted as it happens.
Posted by Drew Middleton.
Moreover, we kept in contact with each other outside lesson time to organise a date/time/place to meet up and film (every time we needed to). We also be aware of what we were, locations we use and properties as we need to have continuity. Our group will update the filming we have conducted as it happens.
Posted by Drew Middleton.
Friday, 22 October 2010
Wednesday, 20 October 2010
Narrative (Part Two)
When began our filming, we believed that the narrative we decided on did not necessarily feel satisfactory:
Original Narrative
'A man and women begin their normal day (living similar lives), they do every activity or event they usually do i.e. have lunch, get ready in the morning, before meeting together and falling in love at the end'
We have now altered this somewhat, with the following changes:
(1) The man and women are in a relationship already i.e. our together throughout the song
(2) Although the man and women are together, they live seperatly, so begin their normal day from seperate houses
(3) Throughout the day/night - whilst doing their individual activities - they remain in contact with each other.
(4) At the end, they organise to meet up together.
Original Narrative
'A man and women begin their normal day (living similar lives), they do every activity or event they usually do i.e. have lunch, get ready in the morning, before meeting together and falling in love at the end'
We have now altered this somewhat, with the following changes:
(1) The man and women are in a relationship already i.e. our together throughout the song
(2) Although the man and women are together, they live seperatly, so begin their normal day from seperate houses
(3) Throughout the day/night - whilst doing their individual activities - they remain in contact with each other.
(4) At the end, they organise to meet up together.
'Bruno Mars - Just The Way You Are' Lyric Analysis
‘Bruno Mars - Just the Way You Are’ Lyric Analysis (Runtime: 3:39)
Verse 1
1 Oh her eyes, her eyes
2 Make the stars look like they're not shining
3 Her hair, her hair
4 Falls perfectly without her trying
Bridge 1
5 She's so beautiful
6 And I tell her every day
Verse 2
7 Yeah I know, I know
8 When I compliment her
9 She wont believe me
10 And its so, its so
11 Sad to think she don't see what I see
Bridge 2
12 But every time she asks me do I look okay
13 I say
Chorus
14 When I see your face
15 There's not a thing that I would change
16 Cause you're amazing
17 Just the way you are
18 And when you smile,
19 The whole world stops and stares for awhile
20 Cause girl you're amazing
21 Just the way you are
Verse 3
22 Her nails, her nails
23 I could kiss them all day if she'd let me
24 Her laugh, her laugh
25 She hates but I think its so sexy
Bridge 3
26 She's so beautiful
27 And I tell her every day
Verse 4
28 Oh you know, you know, you know
29 Id never ask you to change
30 If perfect is what you're searching for
31 Then just stay the same
Bridge 4
32 So don't even bother asking
33 If you look okay
34 You know I say
Chorus
35 When I see your face
36 There's not a thing that I would change
37 Cause you're amazing
38 Just the way you are
39 And when you smile,
40 The whole world stops and stares for awhile
41 Cause girl you're amazing
42 Just the way you are
Bridge 5
43 The way you are
44 The way you are
45 Girl you're amazing
46 Just the way you are
Chorus
47 When I see your face
48 There's not a thing that I would change
49 Cause you're amazing
50 Just the way you are
51 And when you smile,
52 The whole world stops and stares for awhile
53 Cause girl you're amazing
54 Just the way you are
Analysis:
Firstly, it is evidently clear that the song is both descriptive and fairly personal, as noticed by the imagery created by a variety of lexemes; for example, the common nouns ‘eyes’ (line 1), ‘hair’ (line 3) and ‘nails’ (line 22) collate to portray a human appearance. There are many present progressives, such as ‘amazing’ (chorus), ‘shining’ (line 2) and ‘asking’ (line 32) which suggests that they are actions which are ongoing i.e. she always has ‘amazing’ looks.
There is deliberate repetition of the construction ‘Just the Way You Are’ or ‘the way you are’ (nine times throughout the song) creates a cliché; this is most probably a technique used in order for the title to be recognised, however, it may also be a concept/idea of individuality created by the artist. The entire song is based on compliments and affection, love for ‘you’ (various places) - in its second person singular form.
The male, or the singer, does take upon a non-stereotypical role of the male gender; there is evidence to show that the male gender is presented as caring, thoughtful etc. rather than aggressive and competitive, through such phrases as ‘I’d never ask you to change’ (line 29). The song is quite coherent, developing compliments (‘she’s so beautiful’ - line 26) and imagery (‘and when you smile’ - line 51/chorus) as the song becomes an enchanting and simple-listening piece; peaceful in some manner.
Conclusion
There is noticeably a distinct theme of ‘love’, ‘affection’, ‘beauty’ and ‘happiness’ running throughout the song, therefore our music video must include and present various, positive emotions. For example:
- Facial expressions such as smiling and laughing;
- The lighting may be bright and colourful;
- Camera shots/angles/distances may attempt to create a happy and positive atmosphere (on a sunny or gloomy day);
- Actors must ensure a realistic and slightly humorous manner is presented.
- Joy and laughter are two key emotions which accompany smiling/happiness, so these may collaborate with the lyrics and we could present them in moving image.
Verse 1
1 Oh her eyes, her eyes
2 Make the stars look like they're not shining
3 Her hair, her hair
4 Falls perfectly without her trying
Bridge 1
5 She's so beautiful
6 And I tell her every day
Verse 2
7 Yeah I know, I know
8 When I compliment her
9 She wont believe me
10 And its so, its so
11 Sad to think she don't see what I see
Bridge 2
12 But every time she asks me do I look okay
13 I say
Chorus
14 When I see your face
15 There's not a thing that I would change
16 Cause you're amazing
17 Just the way you are
18 And when you smile,
19 The whole world stops and stares for awhile
20 Cause girl you're amazing
21 Just the way you are
Verse 3
22 Her nails, her nails
23 I could kiss them all day if she'd let me
24 Her laugh, her laugh
25 She hates but I think its so sexy
Bridge 3
26 She's so beautiful
27 And I tell her every day
Verse 4
28 Oh you know, you know, you know
29 Id never ask you to change
30 If perfect is what you're searching for
31 Then just stay the same
Bridge 4
32 So don't even bother asking
33 If you look okay
34 You know I say
Chorus
35 When I see your face
36 There's not a thing that I would change
37 Cause you're amazing
38 Just the way you are
39 And when you smile,
40 The whole world stops and stares for awhile
41 Cause girl you're amazing
42 Just the way you are
Bridge 5
43 The way you are
44 The way you are
45 Girl you're amazing
46 Just the way you are
Chorus
47 When I see your face
48 There's not a thing that I would change
49 Cause you're amazing
50 Just the way you are
51 And when you smile,
52 The whole world stops and stares for awhile
53 Cause girl you're amazing
54 Just the way you are
Analysis:
Firstly, it is evidently clear that the song is both descriptive and fairly personal, as noticed by the imagery created by a variety of lexemes; for example, the common nouns ‘eyes’ (line 1), ‘hair’ (line 3) and ‘nails’ (line 22) collate to portray a human appearance. There are many present progressives, such as ‘amazing’ (chorus), ‘shining’ (line 2) and ‘asking’ (line 32) which suggests that they are actions which are ongoing i.e. she always has ‘amazing’ looks.
There is deliberate repetition of the construction ‘Just the Way You Are’ or ‘the way you are’ (nine times throughout the song) creates a cliché; this is most probably a technique used in order for the title to be recognised, however, it may also be a concept/idea of individuality created by the artist. The entire song is based on compliments and affection, love for ‘you’ (various places) - in its second person singular form.
The male, or the singer, does take upon a non-stereotypical role of the male gender; there is evidence to show that the male gender is presented as caring, thoughtful etc. rather than aggressive and competitive, through such phrases as ‘I’d never ask you to change’ (line 29). The song is quite coherent, developing compliments (‘she’s so beautiful’ - line 26) and imagery (‘and when you smile’ - line 51/chorus) as the song becomes an enchanting and simple-listening piece; peaceful in some manner.
Conclusion
There is noticeably a distinct theme of ‘love’, ‘affection’, ‘beauty’ and ‘happiness’ running throughout the song, therefore our music video must include and present various, positive emotions. For example:
- Facial expressions such as smiling and laughing;
- The lighting may be bright and colourful;
- Camera shots/angles/distances may attempt to create a happy and positive atmosphere (on a sunny or gloomy day);
- Actors must ensure a realistic and slightly humorous manner is presented.
- Joy and laughter are two key emotions which accompany smiling/happiness, so these may collaborate with the lyrics and we could present them in moving image.
Thursday, 14 October 2010
Music Video Storyline-
Our music video constists of the story that a male and a female who are currently 'seeing eachother' will arrange to meet. The song is aiming to show his infatuation for her, by inferring that he she is amazing just the way she is. Specific lyrics such as 'her eyes, her eyes make the stars look like their not shining', will be played with the shot of the putting mascara onto her eyes showing a reltionship between the line and shot.
The video will start by the alarm starting, which is on the females phone, (this will be the same song which we are focusing on) in which will wake her up. She will then get out of bed, choose what to wear (in this case there will be a shot of her throwing items of clothing onto the bed indicating that she is indecisive on what to wear), and then get ready. As the female gets ready, she will, put mascara on, adjust clothing which she has put on and do her hair. At the same time, there will be close up shots of the male singing along the lyrics. There will also be shot in which both look at the same photograph, which shows that they are both thinking of each other. they then text each other to arrange when to meet (there will be shots of both phones).The next few shots is of them getting ready to meet for instance putting on their coats. There will then be a shot each of the male and female leaving the house through the front door, and then will be various different shots of them walking (filmed in different angles) in which some the male will be singing. When the song draws to an end, this will be when the male and female finally meet (in a park) and will come to an end with possibly a dissolve cut.
The video will start by the alarm starting, which is on the females phone, (this will be the same song which we are focusing on) in which will wake her up. She will then get out of bed, choose what to wear (in this case there will be a shot of her throwing items of clothing onto the bed indicating that she is indecisive on what to wear), and then get ready. As the female gets ready, she will, put mascara on, adjust clothing which she has put on and do her hair. At the same time, there will be close up shots of the male singing along the lyrics. There will also be shot in which both look at the same photograph, which shows that they are both thinking of each other. they then text each other to arrange when to meet (there will be shots of both phones).The next few shots is of them getting ready to meet for instance putting on their coats. There will then be a shot each of the male and female leaving the house through the front door, and then will be various different shots of them walking (filmed in different angles) in which some the male will be singing. When the song draws to an end, this will be when the male and female finally meet (in a park) and will come to an end with possibly a dissolve cut.
Music Video Planning
Actors/ Actresses included-
For our music video, it will only contain one male and one female to empahsise a relationship between the two. This makes the video personal indicating that the male is singing the song to her speciicialy and that she is the 'centre' of his world. We wanted to portray this by only using a small amount of actors/actresses. In this case the actor will be Joe Lavigne and me (Rachael Swan). There is no specific requirment to what they need to look like for example, ethnicity, as the song does not have a narrow target audience in which the song is aimed at.
Locations in which shots will be set (Photos will be uploaded)-
Females bedroom
Females kitchen
Males kitchen
Males hall
Females hall
Outside of the males house
Outside the females house
Street
Park
Props needed for each scene-
Females bedroom; alarm clock (phone), lamp, make up bag, bed, mirror, around 5 items of clothing, objects which represent femininity such as teddies, perfume, necklaces (on a necklace stand) and hair products.
Females kitchen (and males kitchen); typical pobjects such as a kettle, a cup for tea, toaster, microwave, fridge.
Female and males hallway; a door,posisbly items such as shoes, letters and a desk (however we are aiming to minimalise the amount of daily objects to make the house seem more sophisicated and modern).
The following screne do not require any addictional props as the characters will only be walking along the road in order to reach the final shot were they will eventually meet each other (in the park).
Clothing-
Male- A polo shirt, jeans and a casual jacket has been chosen for the male to wear. This is due to main reason that we wanted the video to look like it had been filmed on just an ordinary day in which individuals usually dress up casually. However, we still wanted it to look like the male had put effort into his clothing as he is going to meet the female. A polo shirt suggests sophistication without being too 'over the top'.
Female- We chose a more basic sense of style for the female as the song mostly focuses on her qualities rather than what she is wearing therefore we didn't want the clothing to steal the audience's focus away. Clothing included a 'slouch' top which hung beneath the shoulder of one arm and jeans. This slouch top suggested that the female is quite laid back and feels comfortable in his presence to not wear clothing that will impress him. In the beginning scene, the female will be wearing pjamimas, we were not overly decisive of which type so we decided for a typical pink set which was simple and suggested feminity. In the later scene the femal will be wearing a parker coat for the main purposes of being a warm jacket, again not in the reasons of impressing her 'partner'.
For our music video, it will only contain one male and one female to empahsise a relationship between the two. This makes the video personal indicating that the male is singing the song to her speciicialy and that she is the 'centre' of his world. We wanted to portray this by only using a small amount of actors/actresses. In this case the actor will be Joe Lavigne and me (Rachael Swan). There is no specific requirment to what they need to look like for example, ethnicity, as the song does not have a narrow target audience in which the song is aimed at.
Locations in which shots will be set (Photos will be uploaded)-
Females bedroom
Females kitchen
Males kitchen
Males hall
Females hall
Outside of the males house
Outside the females house
Street
Park
Props needed for each scene-
Females bedroom; alarm clock (phone), lamp, make up bag, bed, mirror, around 5 items of clothing, objects which represent femininity such as teddies, perfume, necklaces (on a necklace stand) and hair products.
Females kitchen (and males kitchen); typical pobjects such as a kettle, a cup for tea, toaster, microwave, fridge.
Female and males hallway; a door,posisbly items such as shoes, letters and a desk (however we are aiming to minimalise the amount of daily objects to make the house seem more sophisicated and modern).
The following screne do not require any addictional props as the characters will only be walking along the road in order to reach the final shot were they will eventually meet each other (in the park).
Clothing-
Male- A polo shirt, jeans and a casual jacket has been chosen for the male to wear. This is due to main reason that we wanted the video to look like it had been filmed on just an ordinary day in which individuals usually dress up casually. However, we still wanted it to look like the male had put effort into his clothing as he is going to meet the female. A polo shirt suggests sophistication without being too 'over the top'.
Female- We chose a more basic sense of style for the female as the song mostly focuses on her qualities rather than what she is wearing therefore we didn't want the clothing to steal the audience's focus away. Clothing included a 'slouch' top which hung beneath the shoulder of one arm and jeans. This slouch top suggested that the female is quite laid back and feels comfortable in his presence to not wear clothing that will impress him. In the beginning scene, the female will be wearing pjamimas, we were not overly decisive of which type so we decided for a typical pink set which was simple and suggested feminity. In the later scene the femal will be wearing a parker coat for the main purposes of being a warm jacket, again not in the reasons of impressing her 'partner'.
Thursday, 30 September 2010
Thursday, 23 September 2010
Planning
We are currently working on the planning of the music video, album cover and music advertisements. Recently we vistied some locations in which we will set majortiy of our scenes in for our music video. We have taken a variety of pictures to present our location. Additionally, we have each created each our own storyboard in which we will combine to produce a final storyboard which we will work together on. In the meanwhile, i have been working on the planning on an album cover, inclduing the analysis of fonts and the layout. Once the planning of my album cover has been finished, it will be posted and in the meanwhile i while be creating the final product.
By Rachael Swan
By Rachael Swan
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