Music Video First Edit

Peer Feedback

First Edit Feedback

For the first edit of my music video I decided to get peer feedback to see how people thought it was going so far and if they had any advice for improvements. Below are the questions that I asked them to answer and their responses. I tried to make the questions fairly vague so they'd comment on the video as a whole and well as specific areas I was worried about.

Do you think there is a variety of shot sizes and different imagery?

-        The paint shots and ink shots were really well varied, maybe film the studio lip sync in a couple more angles.

-        Having more close ups during the lip sync would make these parts more interesting to watch.

-        Yes, I thought there was a variety of shots. Maybe a few more close ups and at a different angle.

-        Yes, all the different imagery looks really good as its all really different. I like all the different shots used and the variety of them.

-        Yes, lots of shots of just Rachel though, could put something in the background.

From this question most people said that they thought there was a good variety of shots and shot types, however it could benefit from having more close ups of areas of the lip-syncing at different angles.

What do you think about the editing techniques and effects? Do they work well in time with the music? Does it linger on shots for too long?

-        The ink shots looked really well incorporated and detailed, the flow of them fitted really well with the music. I feel like they were there for a perfect amount of time as they’re so mesmerising.

-        The effects are very effective. Having the lip sync broken up with these shots and the moving images behind her worked well.

-        They were really effective the lip sync broken up worked really well.

-        Yes, the timing of all the different elements was really good. They are all there for the perfect amount of time.

-        Yes, fits well with the lyrics.

From this question I got only positive responses so I know it's one of the strong points to my music video so far.

Do you think the scene with the clouds behind the actor is too dark?

-        Slightly maybe just up the vibrancy a bit but not noticeable until you had pointed it out, the examiner would pick it out I think.

-        The video then moves onto more colourful shots so I think it adds more of a contrast between them.

-        Slightly, maybe just brighten it up slightly.

-        I think it works well, but maybe making it brighter would make the actor stand out against the background more.

-        Nah they’re fine.

This section of my music video was something that I was unsure of but from the response I think it was perceived well and so I'm going to leave it how it is.

Strengths

So far I think the ink and paint shots work really well and add a colourful, abstract element to the video. My feedback suggests that I should carry on using the editing techniques and effects that I have been so that's what I'm going to do for the sections I have not yet added. I also think that the timing of the shots works well and are emphasised by the relationship to the lyrics.

Areas for Improvement

From my feedback I'm aware that to improve my music video I should to break up the lip-syncing shots more and film more of it from different angles and using different shot sizes e.g. extreme close up of the actors mouth. By adding more different shots the video will be more fast pace which is one of my aims. I also think it will make it more interesting as their won't be as many of the same imagery.

Principle Filming

Principle Filming from mxsephan

Weybourne Beach

Call Sheet - Weybourne by Chaska Holden on Scribd

Holt Country Park

Call Sheet - Holt by Chaska Holden on Scribd

City College

Call Sheet by Anonymous IFebqfDPa on Scribd

Booking TV Studio

Production Schedule

This is the production schedule I have made for when I'm going to film and begin editing my music video. On the 5th and 8th of November I will be filming the shots of outdoor scenery in the evening when the sun is setting for the desired effect. I will then be filming in the TV Studio on the 17th and begin editing on the 27th which will give me time to look through the footage and select the parts that I want to include in my final video. If I need to do any re-shoots I should hopefully be able to do them in this time.

Participant Release Form

Risk Assessment

Production Risk Assessment

Risk Assessment - TV Studio by Chaska Holden on Scribd

Risk Assessment - Holt Woods by Chaska Holden on Scribd

Risk Assessment - Weybourne Beach by Chaska Holden on Scribd

Location Recce

Location Recce from mxsephan

Audience Research

Audience Discussion

Audience Profile

Contingency Plan

If the TV Studio location isn't suitable for filming or doesn't have the black and white backdrops that I need for the lip-syncing and paint shots I will be able to book out the photography room. On the 8th of November there is a tour of the TV Studio so I will be able to see then and it won't be too late to start filming afterwards.

Moodboard

This is the style of clothing I want my actor to be wearing for each scene. For the lip syncing shots I want her to be wearing dungarees and a colourful t shirt as it's feminine and modern in style. Colourful clothing is also a part of pop culture and adds to the overall theme of the music video which is fun and youth expressed through the explosions of colour. The makeup is fairy simple but not too heavy with winged eyeliner and a smoky eyeshadow to draw attention to the eyes. I've chosen jewellery that is fairy simple but makes the outfit look completed.

For the shots of paint being thrown and poured over the actor she's going to wear all white so that the colour of the paint stands out and is easier to see on the clothing. She's also going to be wearing less makeup so that it doesn't get ruined and runs down her face when the paint is poured over her.

Casting

Equipment List

Animatic Storyboard

Effects Experiment

For this experiment, I filmed the public walking past the camera and experimented with editing techniques on Adobe After Effects. I wanted to try using a black and white filter as it’s something I plan do to for my final music video. I then split the clip into three parts and using the blur effect on the second one with cross-fades between them. This creates the effect of the clip turning blurry for a few seconds and then coming back into focus.

Close Up Experiment

For this experiment I practised handling the camera (Canon 600D) and using digital and manual zoom as well as the basic camera controls. I filmed the fire extinguisher from a variety of angles all in close up and used a tripod to keep the camera steady. I found the camera really easy to use and think it would be suitable for filming my music video. I then cut and edited the shots together using Adobe Premiere Pro and tried out various transitions which is found to be quite effective; however I'm most likely going to use After Effects for a more professional looking outcome.

Speed/Reverse Experiment

In this clip, I tried alternating the speed by making it twice the original speed. I then copied the same clip but reversed it, so that everything is suddenly put in reverse. For my music video, I want to experiment with speed alteration, speeding up and slowing down shots for dramatic effect so this was good practise for when I come to do that.

Storyboard

Music Video Treatment

Music Video Treatment from mxsephan

Practical Production Treatment

Music Video – Practical Production Treatment and Plan for Edit
Audio: Music and Lyrics	Time	Images
Your little brother never tells you but he loves you so You said your mother only smiled on her TV show You’re only happy when your sorry head is filled with dope I hope you make it to the day you’re 28 years old	0:00 – 0.25	Shot of white background with the title of the song and artist. Cuts between shots of outdoor scenery (sky, clouds) and the studio.
You’re dripping like a saturated sunrise You’re spilling like an overflowing sink You’re ripped at every edge but you’re a masterpiece And now you’re tearing through the pages and the ink	0.25 – 0.45	In the studio with a white background, overlay of edited shots of a sunrise. Actor is lip-syncing to the song. Overlay of dropping inks into water. Cuts between outdoor clips.
Everything is blue His pills, his hands, his jeans And now I’m covered in the colors Pulled apart at the seams And it’s blue And it’s blue	0.45 – 1.05	Mid shot of different coloured powder paints being thrown at the actor from different directions. Actor is wearing white clothing to emphasize the vivid colours. Slow motion shot as the paints hit her. Close up from a different angle. Close up of hands. Shot of blue powder paints being thrown in front of the camera.
Everything is grey His hair, his smoke, his dreams And now he’s so devoid of color He don’t know what it means And he’s blue And he’s blue	1.05 – 1.24	Black and white. In the studio lip-syncing. Cuts to paint splatter in colour and flashes to black and white. Then back to blue.
You were a vision in the morning when the light came through I know I’ve only felt religion when I’ve lied to you You said you’ll never be forgiven ‘till your boys are too And I’m still waking every morning but it’s not with you	1.24 – 1.44	Studio Lip-syncing Various editing effects.
You’re dripping like a saturated sunrise You’re spilling like an overflowing sink You’re ripped at every edge but you’re a masterpiece And now you’re tearing through the pages and the ink	1.44 – 2.02	Mid shot of paint being poured over actor’s head. Close ups of her clothing and face. Reverse then speed up clips. Paint drops hitting the ground.
You were red and you liked me ‘cause I was blue You touched me and suddenly I was a lilac sky And decided purple just wasn’t for you	2.02 – 2.19	In studio. Lilac sky overlay. Lip-syncing
Everything is blue His pills, his hands, his jeans And now I’m covered in the colors Pulled apart at the seams And it’s blue And it’s blue	2.19 - 2.37	Word ‘Blue’ painted on arm. Clip of melting cotton candy in slow motion. Colours mixing together. Inks. Paint splatters. Slow motion. Throwing paint in the air. Extreme close up of hands covered in paint. Extreme close up of face. Shots of powder paint and normal paint on actor. Blows powder paint off hand.
Everything is grey His hair, his smoke, his dreams And now he’s so devoid of color He don’t know what it means And he’s blue And he’s blue	2.37 - 2.55	Shots of the clouds in black and white. Smoke Similar to shots in beginning of music video. Black and White. Studio Lip-syncing
Everything is blue (4 times)	2.55 - 3.26	Cuts between outdoors, studio and video clips. Actor dancing in powder paint, barely visible. Finishes with long shot of actor sitting down in the studio covered in paint.

Getting Copyright Permission

Here is an email i sent to Atralwerks record company asking permission to use the album name and track that i am going to use for my music video and print products.

Music Video Analysis

Music Video Analysis

The music video genre that I’m interested in is Electropop which combines electronic music and pop music. Since the 1980's the genre has become more and more popular. Music videos in this genre are often similar in style and tell a story through the use of camera, editing and lighting techniques. They’re often very colourful with colour sometimes being the main aspect of the video. I really like this idea and want to use some of the elements as inspiration for my own production. Two music videos that I particularly like in this genre are:

• ·         Youth – Troye Sivan (2016)
• ·         Primadonna – Marina and the Diamonds (2012)

Youth – Troye Sivan

‘YOUTH’ is a song by Australian singer and songwriter Troye Sivan taken from his album ‘Blue Neighbourhood’ (2015). A lyric video was released in November 2015 directed by Scheme Engine before the official music video in February 2016 which premiered on his Vevo channel on YouTube directed by Malia James.

Andrew Goodwin’s theory states that particular music genres have their own style and iconography. A key convention of the electropop genre within music videos is the use of bright lighting and colours creating a relaxed and light hearted atmosphere. The music video begins with a close-up of the artist bathed in soft artificial blue and purple lighting which immediately addresses the electropop music genre conventions. The colour purple also has connotations of mystery, independence and romance which is one of the themes explored throughout the narrative. The image then becomes blurred as the title of the song and artist name fade onto screen. The text is slightly transparent creating a soft, dreamy feel without harsh lines or colour. Throughout this we hear the diegetic sound of people talking in the background informing the audience of the presence of other people around him. The use of close-ups of the main artist is one of the typical conventions of a music video by demand of the record company to ‘sell’ the image of the artist.

It then cuts to a long shot of Troye sitting on a sofa in a room with old-fashioned furniture establishing the scene and location and immediately orientating the audience within the world. On the tables a number of plastic cups and beer bottles are visible representing the youth and nature of the party. The protagonist is looking directly into the lens establishing a connection with the audience. His curly hair and soft features represent him in a feminine fashion and challenge the male stereotype which is reinforced by the white sateen bomber jacket he’s wearing which is actually a uniform from the 80's. The sateen material is more often worn by women for clothing such as dresses. The hazy, neon-washed lighting is significant throughout the entirety of the video as well as expressionistic lighting creating complex patterns and colour palettes within the scenes. The soft colourful lighting used can also manipulate the audience’s attitude towards the people and make them look beautiful and more likeable.

Next, the camera tracks forward before cutting at 0.17 to a long shot of the artist in a hallway framed by multi-coloured fairy lights and back-lighting which shadow him, making his body blend into the background. The lighting then gets brighter making him more visible which links to the lyrics ‘what if we’re hard to find’ because at first he is within the frame. Throughout the video it continuously cuts back and forth between this location e.g. at 0.25 the camera tracks backwards while he moves further away. The lighting behind him is slowly flashing which links to the lyrics ‘when the lights start flashing like a photo booth’ amplifying the music and creating a relationship between the lyrics and the visuals (Goodwin). There’s also a relationship between the music and the visuals as many of his hand gestures and movements are in time with the beat. In addition, the use of fairy lights along the walls creates a depth of field within the frame and draws the eye through the image towards the performer at the end of the hallway signifying his importance.

At 0.55 the shot fades to white before cutting to a two-shot which is used to establish some sort of relationship between the characters. The fact that the artist is gay himself is clearly portrayed within his videos e.g. in many shots he is seen laying and dancing with a male character. There’s also shots of two female characters acting intimately as though they are a couple which portrays a positive representation of sexuality and gender and raises LGBT+ visibility from the video. It also portrays a gay artist living a happy, successful and healthy life which sends out a positive message. Being gay is a part of Troye’s star iconography and star image; he won an award from the Teen Choice Awards in the ‘choice web collaboration’ category for his video ‘The Boyfriend Tag’ with fellow youtuber Tyler Oakley. He came out as gay on YouTube in 2013, with the video gaining over 7 million views. The fact that his lyrics describe being in a relationship with a boy would only be clear to a loyal audience who most likely watches his videos due to the fact that they would realise this as oppose to someone who only listens to his music. From this the audience gains a sense of satisfaction.

Women are often portrayed as objects and accessories to men. In this video women are represented positively and not exploited for voyeurism which Andrew Goodwin’s theory depicts as one of the key conventions of many music videos. Also, actress and YouTube personality Lia Marie Johnson stars in the video as well as American actress Amandla Stenberg who is best known for her role of Rue in The Hunger Games.

The use of fast montage editing brings all the scenes together to create meaning. Troye said that “Youth is about the joy in naivety and being lost, it’s about dropping everything, running away, making mistakes, and loving too hard, and how that’s okay.” This editing technique is another convention of the electropop genre. 

Reference to intertextuality is highlighted at 1.14 by the ‘Make America Gay Again’ hat someone is wearing. The hat stands for equality and acceptance and is in association with the Human Rights Act and the Make America Gay Again campaign in NYC. The accessory make fun of Donald Trump’s slogan ‘Make America Great Again’ and is inspired by Trump’s red ‘Make America Great Again’ cap. He’s also seen holding and being surrounded by Care Bear toys in a blanket fort which portrays a sense of youth. The bear that he’s holding in the image above is called Bedtime Bear which is supposed to help people get a good night’s sleep and have sweet dreams. The props and high camera angles in this scene represent a young and vulnerable side to the artist.

Theorist Joan Lynch stated that there are three basic video structures that music videos will include at least one aspect of – performance, narrative and concept. Many music videos combine two or three of these. Throughout this music video there are aspects of performance through lip-syncing (Gow) which is common in mainstream media and is conventional of the genre. However, it’s also narrative as it tells a story in close relation to the lyrics. The lyrics describe how he wants to take risks and peruse a relationship with the one he loves while he’s young and in the video the protagonist is at a house party dancing and having fun with his love interest as well as his friends. One of the girls is also seen piercing her tongue which represents a certain recklessness.

Carol Vernallis’ suggests that music videos don’t embody complete narratives or convey finely wrought stories, they tend to be considerate of the topic which in this video is love. Music videos gain from holding back information. I think this music video conforms to this idea as there is a limited amount of time to tell the complete story; however meaning is produced through signs and semiotics (Barthes) and the audience can depict a narrative from that.

Primadonna – Marina and the Diamonds

‘Primadonna’ is a song by Welsh singer and songwriter Marina and the Diamonds from her second album ‘Electra Heart’ (2012). The music video was released in March 2012 directed by Casper Balslev as part of her Electra Heart series on YouTube featuring 10 other music videos for her album.

The music video opens with a projection of the artist name and song onto a purple screen with an old movie projector sound effect. The high contrast against the typography draws the audience to the name making it more memorable and the use of the projector creates a vintage film look which is carried on throughout the video. It then cuts to a close up of Marina in the studio which builds an immediate connection to the audience by the positioning of the camera. Here she is lip-syncing the words “primadonna girl” which suggests that the song is about herself. The same vintage retro filter is used here and the use of handheld camera gives the effect of an old film where they might not have had the filming equipment to keep the camera stable. It could symbolise her unstable and temperamental nature. The colours in this shot are mostly flesh tones and whites, making her red lipstick stand out. Red connotes strength and power as well as passion, love and romance. The idea of dominance and power is emphasised by the slightly low camera angle as we are looking up at her; this has a slightly intimidating effect on the audience. The high angle also suggests that the audience should aim to be like her in terms of her glamorous lifestyle and that she is above everyone else in terms of class. 

It then cuts to a mid shot of the performer in bed which symbolises sex and portrays her as a sexual object as she looks like she’s waiting for someone which is emphasised by the low camera angle representing her as small and vulnerable. Throughout the music video she is continuously represented in a sexual manner e.g. when she winks at the camera and looks up in a seductive fashion with wind blowing her hair back which could be argued as being slightly voyeuristic and conforms to the male gaze. The high key bright lighting gives the effect that she's glowing, creating an unnatural and somewhat dream-like scene emphasised by the vignette effect which draws attention to the centre of the frame.

The protagonist is wearing bright pink and red lipstick as well as false lower lashes which represents her as fun and unique. Part of Marina’s star iconography is the drawn on heart she has on her cheek which she has also worn outside of her videos. As part of the album ‘Electra Heart’ she likes to explore different character archetypes such as Teen Idle and Homewrecker.  Her character Electra wears a heart on her cheek so she doesn’t get hurt by love. “Rule number three, wear a heart on your cheek. Never on your sleeve, unless you want to taste defeat” – ‘How to be a Heartbreaker’. Andrew Goodwin highlighted that one of the key conventions of a music video is the representation of the artist’s star iconography, which over time becomes part of their star image which is true for this music video. The clothing she wears throughout the video suggests that she is fashionable and wealthy. The colours are mostly pastel blues and pinks; the colour pink has connotations of love, romance and playfulness. It’s also associated with femininity. The style of clothing is fairly revealing and figure-hugging, accentuating the female form and creating a sexual appeal.

The location for the video is in a mansion which suggests that she is very wealthy. Also, there are no other people seen which suggests that she is independent and can manage on her own. The large glass chandeliers and the fact that she is leaning and posing next to a piano suggest that they're only there for decoration and she's very materialistic and likes to show off her belongings.  At 3:28 the performer holds out her hand to someone off-screen who is not visible and they hand an object over to her; this suggests that there are people around her catering to her every desire and emphasises the idea of a wealthy lifestyle, although it contradicts the fact that she is represented as independent and that she needs the help of others. It also represents her as a diva as she demands things of off others but gives nothing in return. The shot of her riding a bike surrounded by children’s toys suggests a fun and playfulness to the character as well as the tutu style skirt she is seen dancing around in. It also shows a young, child-like side to the character.

Throughout the video there are shots of a German Shepherd such as at 3:27. The German Shepherd is a breed often used for police and military roles and are associated with fearlessness, strength, loyalty and courage.

The rainbow filter gives the effect of another world and a dream like feel which relates to the lyrics "living life like I'm in a dream'. Also, there is a relationship between the music and the visuals (Goodwin) as the editing speeds up as the music does which amplifies the music and create a sense of excitement within the audience. The use of fast montage editing and whip-pans also reflect her dramatic lifestyle. The video structure for this video is performance (Gow) as the artist is lip-syncing however there is no complex narrative which conforms to Carol Vernallis' idea that music videos don't convey finely wrought stories. It's also a fragmented narrative as it cuts between different locations and times which is one of the key elements to postmodernism.

Jameson stated that some of the key concepts surrounding postmodernism are pastiche, intertextual referencing, nostalgia and self-reflexivity. There is intertextuality in this video through the shot of Marina reading the book 'Secrets of an Accidental Duchess' which is a story about a young independent girl who falls in love with a wealthy Duke. 

The target audience for this music video is most likely young teenage girls of a similar age to Marina who enjoy fantasising about living a glamorous lifestyle.