Thursday, 31 March 2011
Task 3 - What have you learned from your audience feedback?
We asked a groups of media pupils of 16-18 (our target audience) to fill out a questionnaire the answers below are a summary of what the students thought and said. I find it difficult to create opinions on my own pieces, because of course I am slightly biased; but it allowed me to hear the opinion of others within my age group. Also; to be able to stand back and become critical of what worked, and what could have been improved on.
Q: What genre would you pigeonhole this type of music to?
A: "Alternate Folk", "Acoustic Singer/ Songwriter" "Urban"
Q: Did the use of camera and editing compliment the song, and if so how?
A: The best bits of the video where when the camera tracked slowly around the singer like at the beginning, perhaps more of these shotscould have been used. Less static shots, and more tracking/panning. The blurry after effects work very well to create an atmosphere of surreal reminiscence and nostalgia.
Q: What was the purpose of using two locations?
A: There was a constant oscillation between reality and fantasy, and they moved to smoothly between them that the reader felt melancholy and relaxed. Sometimes the song felt depressing. The two locations made a connection between the lead singer and the character in the wood. Was he reflecting on a memory/fantasy? A broken relationship? Teenage fantasies?
Q: Who do you think the target audience are?
A: Young people our age, especially girls who would like to emotionally invest in the narrative. Girls love love stories. Bon Iver appeals to university students, festival-goers.
Q: Any other comments about synergy, film language, representation?
A: We think that the video both conforms and challenges the conventions of pop videos. It conforms because it uses romance as a narrative and the beautiful red haired girl to make a statement about beauty and idealism. However it challenges stereotypical conventions because it has an unhappy ending where we want the boy and girl to fall in love but instead she disappears and this leaves us with a negative take on love.
Q: What genre would you pigeonhole this type of music to?
A: "Alternate Folk", "Acoustic Singer/ Songwriter" "Urban"
Q: Did the use of camera and editing compliment the song, and if so how?
A: The best bits of the video where when the camera tracked slowly around the singer like at the beginning, perhaps more of these shotscould have been used. Less static shots, and more tracking/panning. The blurry after effects work very well to create an atmosphere of surreal reminiscence and nostalgia.
Q: What was the purpose of using two locations?
A: There was a constant oscillation between reality and fantasy, and they moved to smoothly between them that the reader felt melancholy and relaxed. Sometimes the song felt depressing. The two locations made a connection between the lead singer and the character in the wood. Was he reflecting on a memory/fantasy? A broken relationship? Teenage fantasies?
Q: Who do you think the target audience are?
A: Young people our age, especially girls who would like to emotionally invest in the narrative. Girls love love stories. Bon Iver appeals to university students, festival-goers.
Q: Any other comments about synergy, film language, representation?
A: We think that the video both conforms and challenges the conventions of pop videos. It conforms because it uses romance as a narrative and the beautiful red haired girl to make a statement about beauty and idealism. However it challenges stereotypical conventions because it has an unhappy ending where we want the boy and girl to fall in love but instead she disappears and this leaves us with a negative take on love.
Task 1 - In what ways do your media products use, develop or challenge forms and conventions of real media productions?
The first stage of the production of my music video was the research and development stage. One element that is key within these stages is the major conventions of a music video. Keith Negus, a music theorist identified major conventions, such as:
• featuring the artist/ performance element
• a wide and extensive use of shot types
• camera angles and movement
• narrative
• the flexibility to disregard realism
• shots cut tightly to the beat of the track
• use of special effects
• mise-en-scene appropriate to the content
• a wide and extensive use of shot types
• camera angles and movement
• narrative
• the flexibility to disregard realism
• shots cut tightly to the beat of the track
• use of special effects
• mise-en-scene appropriate to the content
When listening to the track, we thought hard about the song and artist's genre. We came to the conclusion that it didn't fit any stereotypical/obvious styles of music and therefore we thought it a good idea to follow through with this 'unusual' style for the narrative. Therefore we decided to feature the narrative and the performance element interlinked throughout our product.
With the original artist (Bon Iver) not putting music videos to his tracks, it shows his fans that he is all about the music rather than his image, this also gave us inspiration to make the video more about the narrative than the artists performance. Our narrative generally subverts Negus's conventions in terms of the fact that we didn't use tightly cut shots and special effects. In fact we chose to follow the organic style of a similar artist Newton Faulkner, who style generally conforms to the the organic ideology also from Negus. The record company allows artists such as these to have a naturalistic approach, and allow them to grow and evolve to their full potential rather than force them. 
This next image is another good demonstration of the style of our product. It does not conform to the stereotypical 'hip hop/R&B' music video, with dancers everywhere (right); it is quite the opposite in a way that it has a 'vintage' and intellectual feel to the room (left). Poster
We talked over ideas and plans for the poster as group, just as we did for the digipak. Again we talked about not featuring Leo our singers face on the poster. If we chose not to put his face on the front of the digipak, we should also not place his face on the poster, if we wish to conform to the style of this genre of music. By not placing his face on the poster, hopefully it will also draw people in who have an interest in similar music to our band, just as we hope the digipak will do.
After an experiment (left), of trying to make a poster with Leo on it we decided that this was definitely not right for the style and genre of the music.
We decided that whatever font we decide to use for the digi pack, we should also use on the poster as a synergistic use of the font. Due to this genre of music we thought it appropriate to choose small gig venues and pubs in places that appealed to certain types of people who might listen to this style music; over London, Nottingham and Oxford.
Digipak continued...
This is the first digipack I put together. Using some stills that we took on shoot day (studio and location), and of course the use of photo shop, the package works reasonably well. However only four panels are of professional standard. We wanted to include water or leaves, the artist, the characters so that the music video and the digipak cross promote each other. Also some additional thanks and credits inside.
There is more to the digipack than just four pictures on the product. I have thought about which picture would be best for the front cover,and whether there is a synergistic through line between the digipack and poster font in response to the music video, and the use of representation. Firstly, Leo Faulks' face is not on the front of the pack, this is because we make a conscious choice not to sell the artist on his surface image, however if
the individual decides to buy the CD, then on the inside they would be privaleged enough to see for themself the artist of the music. On the back of the CD are the stepping stones which fans would recognise from the music video and the edwardian script which I have used throughout. It is supposed to look like fountain pen writing, again conforming to this non-image, anti technology sort of genre. Against each stepping stone is printed the name of each song. We chose to alter the size of lettering as it gets closer to the eye, just like the stepping stones, and where the water shines at its lightest, we have "Flume" printed, becasuse this is supposed to catch the eye of the potential buyer as the most recognisable song on the CD.
the individual decides to buy the CD, then on the inside they would be privaleged enough to see for themself the artist of the music. On the back of the CD are the stepping stones which fans would recognise from the music video and the edwardian script which I have used throughout. It is supposed to look like fountain pen writing, again conforming to this non-image, anti technology sort of genre. Against each stepping stone is printed the name of each song. We chose to alter the size of lettering as it gets closer to the eye, just like the stepping stones, and where the water shines at its lightest, we have "Flume" printed, becasuse this is supposed to catch the eye of the potential buyer as the most recognisable song on the CD.Digipak Cover
A digi-pak is an important part of the main task, but can often be overlooked and ignored. They add to the image of the band and the music video. A digipack is a patented style of co
mpact disk or DVD packaging, and is a registered trademark of AGI media, a MeadWestvaco, Inc. resource which acquired the original trademark holder, IMPAC group inc in 2000. MeadWestvaco licensed the name and designs to manufacturers around the world.
Digipaks typically consist of a gatefold (book-style) paperboard or card stock outer binding, with one or more plastic trays capable of holding a CD or DVD attached to the inside.
With Blink 182 and these collection of digipaks. It is obvious that they have been put together so that they interlink and create synergy between the variations of media. This is not only a visual and interesting way of developing their digipaks, it also works as a marketing method. By having one of the digipaks, the need to have the other matching two is much higher, because of the fact they are nearly identical. They almost become a collectors set. Moreover, the use of the simplistic colours also adds to the fact that they are almost identical and is a good use of continuality within their products.
mpact disk or DVD packaging, and is a registered trademark of AGI media, a MeadWestvaco, Inc. resource which acquired the original trademark holder, IMPAC group inc in 2000. MeadWestvaco licensed the name and designs to manufacturers around the world.Digipaks typically consist of a gatefold (book-style) paperboard or card stock outer binding, with one or more plastic trays capable of holding a CD or DVD attached to the inside.
With Blink 182 and these collection of digipaks. It is obvious that they have been put together so that they interlink and create synergy between the variations of media. This is not only a visual and interesting way of developing their digipaks, it also works as a marketing method. By having one of the digipaks, the need to have the other matching two is much higher, because of the fact they are nearly identical. They almost become a collectors set. Moreover, the use of the simplistic colours also adds to the fact that they are almost identical and is a good use of continuality within their products.
Thursday, 24 March 2011
Post Production Evaluation
There is a large contrast in the skills used during the post production of my AS Thriller and A2 Pop Promo. The basic skills I acquired during my AS production consisted of simplistic cuts and pan shots. In progression from this I acquired more complex skills through post production for example more complicated cuts and use of after-effects.
There is a clear difference between the editing of the opening of a thriller and a pop promo. The editing of the opening to a thriller can have flexible lengths of shots and can flexibly be cut. The primary aim of this style of opening sequence is the creation of suspense. The general editing to my thriller conformed to the conventions of its genre. Our editing had a slower pace, to create more enigmas, therefore forcing the audience to ask more questions and finally create suspense.
On the other hand, shots in a pop promo can have different lengths yet; they must be cut/ edited to the rhythm or beat of the music. The slow and melancholy feel to the music appealed us to the idea of reflecting this in our editing. Therefore we used many cross-dissolves to create a soft continuous flow of shots. We further used After Effects to blur the edges of several shots to create the image of illusion of a memory or fantasy. This generally subverts the stereotypical conventions of a pop promo; of fast pace jump cuts. We also felt that the performers fitted the genre perfectly, with their scruffy yet organic look. The narrative also follows this style; which therefore compliments the performance. We thought this would therefore generate a watchable music video.
To further this point our aim was to sell Leo Faulks as a package through this video. For this reason we dressed the set in ‘vintage’ style posters and pictures, alongside a retro telephone and a vinyl player. The naturist location shots also complimented the organic feel to the artist. With the strong theme of nature and organic; it made it easy for us to create synergy between the video and the poster/digipak.
All these choices were very important in terms of audience appeal. The primary thought should be ‘how do we appeal to our audience?’. We decided to sell Leo Faulks on his music rather than on his looks. Although, fans of this genre would find him attractive; in his own way.
There is a clear difference between the editing of the opening of a thriller and a pop promo. The editing of the opening to a thriller can have flexible lengths of shots and can flexibly be cut. The primary aim of this style of opening sequence is the creation of suspense. The general editing to my thriller conformed to the conventions of its genre. Our editing had a slower pace, to create more enigmas, therefore forcing the audience to ask more questions and finally create suspense.
On the other hand, shots in a pop promo can have different lengths yet; they must be cut/ edited to the rhythm or beat of the music. The slow and melancholy feel to the music appealed us to the idea of reflecting this in our editing. Therefore we used many cross-dissolves to create a soft continuous flow of shots. We further used After Effects to blur the edges of several shots to create the image of illusion of a memory or fantasy. This generally subverts the stereotypical conventions of a pop promo; of fast pace jump cuts. We also felt that the performers fitted the genre perfectly, with their scruffy yet organic look. The narrative also follows this style; which therefore compliments the performance. We thought this would therefore generate a watchable music video.
To further this point our aim was to sell Leo Faulks as a package through this video. For this reason we dressed the set in ‘vintage’ style posters and pictures, alongside a retro telephone and a vinyl player. The naturist location shots also complimented the organic feel to the artist. With the strong theme of nature and organic; it made it easy for us to create synergy between the video and the poster/digipak.
All these choices were very important in terms of audience appeal. The primary thought should be ‘how do we appeal to our audience?’. We decided to sell Leo Faulks on his music rather than on his looks. Although, fans of this genre would find him attractive; in his own way.
Friday, 18 February 2011
Shoot Day Part II
On our second day of shooting (the Thursday) we shot on location at the Dorking Stepping Stones.
On the Thursday morning we travelled down to Dorking, found the stepping stones and set up the camera for the first angle.
Although i have to admit the first difficulty of the day was finding the stepping stones, seeing as I thought I knew where it was, and my memory deceived me, luckily we found with 10 minutes so, virtually no time was wasted. As I have said above we next set up the camera (Sony NX5 HD) checking white balance etc. I started to play around with some shots featuring the nature that surrounded us.
During this day we tried many shots in slow motion to get the effect that this location was not reality.The worked very well when we tried to create a ripple in the water; for a transition we had planned in the ani-matic storyboard. We bought with us some shots from our original storyboard, which helped us structure the shots we took. Due to the beautiful location we chose; there was a tree which fitted the style of the piece and formed a perfect shot to both actors to be in.
We thought it would be good to have her see him but, he never actually sees her; he just thinks he does. This would give the narrative more depth. To convey this we sat her in a tree looking down at him, but we wanted to see his reaction; as if he had seen her. Therefore we needed a POV shot from the tree. So, I volunteer to climb up and take the shot from the tree, this would help us later when we were concentrating on continuation.
On this shoot day we also spent a lot of time filming water. This would allow us later to build layers and give the film depth and create a further feeling of non-reality.
My main role on this shoot day was being the camerawoman. I felt that I had quite a specific vision for this shoot, and that my choice of composition was a key element. I kept to hand the list of shots and transitions needed, I was aware of what was needed so I did it as efficiently as I could; taking into consideration the frame and the lighting, etc.
Wednesday, 16 February 2011
Shoot Day Part I
We filmed our project on two separate days. We filmed in the Studio on Tuesday and on Thursday we shot on location at the Dorking Stepping Stones.
On the Tuesday morning we started prepping the lighting and checking the playback on the sound system. I then, started setting up the Sony NX5 HD camera, and experimented with a few shots and their composition.
With us, we had our original storyboard, which helped us create a shot list, to help frame our day. The list went something like this:
1. A wide shot of the entire song with Leo in the chair playing the song, nothing else.
2. An entire take of the strumming only in mid shot.
(So far this would enable us to use footage from these takes should any error occur in post production)
3. Foot tapping in synchronisation with the opening 20 seconds
4. Transition shots in wide of Leo moving from the chair to the wall of polaroids
5. Extreme close up of eyes and lips, to the words "Only Love Is All Maroon"
6. A location/polaroid match on action shot. (Intention - to dissolve into location)
7. Leo by the record player in high angle (almost bids eye view) picking up the pin and putting it on the vinyl
8. Focus pull mid shot of the Guitar and the volume knobs of the record player. (See screengrabs)
9. Tracking to the right shot of Leo singing downstage centre and fading into black
10. Mid Shot Leaves
11. Wide Shot Leaves
12: Close Up Leaves
13. Low angle Leaves
We used a "genie" machine to aid these leaf shots. Using a leaf spreader that consisted of two wooden poles and some thin felt material stretched between them that had several slits through it in order to let the leaves gradually fall through, we raised the genie over the set and shook the spreader so that the leaves would sprinkle over the lead singer.
If I were to go back and change anything about this, I would have used less leaves because lots of audience members constructively criticised the amount of leaves used and said that the product verges on comedy here. However, this could also be biased because if one was to see anyone they knew in person have leaves poured over them then they would most probably find it comical.
My main role on the shoot day was being the camerawoman. Although we alternated between the roles of directing and playback, I felt that I had quite a specific vision for this shoot, and that my choice of composition was a key element. I kept to hand the list of shots and transitions needed, I was aware of what was needed so I did it as efficiently as I could; taking into consideration the frame and the lighting, etc.
On the Tuesday morning we started prepping the lighting and checking the playback on the sound system. I then, started setting up the Sony NX5 HD camera, and experimented with a few shots and their composition.
With us, we had our original storyboard, which helped us create a shot list, to help frame our day. The list went something like this:
1. A wide shot of the entire song with Leo in the chair playing the song, nothing else.
2. An entire take of the strumming only in mid shot.
(So far this would enable us to use footage from these takes should any error occur in post production)
3. Foot tapping in synchronisation with the opening 20 seconds
4. Transition shots in wide of Leo moving from the chair to the wall of polaroids
5. Extreme close up of eyes and lips, to the words "Only Love Is All Maroon"
6. A location/polaroid match on action shot. (Intention - to dissolve into location)
7. Leo by the record player in high angle (almost bids eye view) picking up the pin and putting it on the vinyl
8. Focus pull mid shot of the Guitar and the volume knobs of the record player. (See screengrabs)
9. Tracking to the right shot of Leo singing downstage centre and fading into black
10. Mid Shot Leaves
11. Wide Shot Leaves
12: Close Up Leaves
13. Low angle Leaves
We used a "genie" machine to aid these leaf shots. Using a leaf spreader that consisted of two wooden poles and some thin felt material stretched between them that had several slits through it in order to let the leaves gradually fall through, we raised the genie over the set and shook the spreader so that the leaves would sprinkle over the lead singer.
If I were to go back and change anything about this, I would have used less leaves because lots of audience members constructively criticised the amount of leaves used and said that the product verges on comedy here. However, this could also be biased because if one was to see anyone they knew in person have leaves poured over them then they would most probably find it comical.
My main role on the shoot day was being the camerawoman. Although we alternated between the roles of directing and playback, I felt that I had quite a specific vision for this shoot, and that my choice of composition was a key element. I kept to hand the list of shots and transitions needed, I was aware of what was needed so I did it as efficiently as I could; taking into consideration the frame and the lighting, etc.
Tuesday, 15 February 2011
Set building/Construction (Pre-production)
Props/ Wardrobe :
I. Large leather, aged arm chair
II. Pen knife
III. Wooden Flooring
IV. Dirty white wall
V. Shelf on wall
VI. Lots of Leaves
VII. Side Table
VIII. Old books
IX. News papers
X. Old fashioned lamp
XI. Vinyls and Vinyl Player
XII. Manuscript sheets/Hand written Lyrics
XIII. Fake tree
XIV. Polarioids
XV. Over head earphones
XVI. Acoustic Guitar
XVII. Old band posters
XVIII. Retro style telephone
XIX. Vintage 1950’s Radio
XX. Old Wooden Coat Stand
XXI. Window on set
XXII. Venetian Blind
XXIII. Checkered Blanket (picnic style)
We spent three hours the previous afternoon; creating the set for the studio. We painted the walls and covered them ‘vintage’ posters, pictures and vinyl’s. Once we had finished, the room looked similar to the image drawn, only re-arranged. We wanted to convey a general style of 'vintage' and to portray Leo as an educated young man. The mise-en-scene would further aid the style of the song and the indie genre of the product.
Call Sheet
Bon Iver - Flume
Date of shoot : Morning of 2nd November [studio] , Afternoon of 4th November [location]
Leaya Hatzakis, Elly Sams, Lottie Avery
Team contact:
Leaya: 07912 498869Date of shoot : Morning of 2nd November [studio] , Afternoon of 4th November [location]
Leaya Hatzakis, Elly Sams, Lottie Avery
Team contact:
Elly: 07717 745450
Lottie: 07876 733658
Cast List
I. Lead Singer - Leo Faulks: 07878 163429 (Beatrice Webb House)
II. Lead Girl - Lottie Tolhurst: 07875 711990 (Cornhill Manor)
III. Lead Boy- Edward Nightingale: 07545 002563 (Peaslake House)
Pre-production Planning Set/Design/Lighting Plans
This a sketch of our set; they general design ideas were 'vintage' essence.
We decided that an antique style phone, and a record player created this effect. We wanted the room to look full; mainly of form of entertainment such as newspapers, books and photographs, etc.
Wednesday, 2 February 2011
Storyboard
This is our ani-matic that we drew out on paper, filmed and then edited on Final Cut Pro. This give us an idea of the amount of shots we would need for the length of the track, and a rough idea of how we would create transitions between the studio and location. This helped us greatly, sue to the fact that it made later progressions more efficient.
Copyright Letter
Head of Copyright and Legal Affairs
JAGJAGUWAR
1499 West 2nd Street
Bloomington, IN 47403
USA
17th October 2010
Dear Sir/Madam,
We are a group of A-Level students working on an A-Level Project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project: Flume by Bon Iver.
With your permission the track would be usedas the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.
The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.
Yours Sincerely,
Lottie Avery
Leaya Hatazakis
Elly Sams
Hurtwood House
Tuesday, 1 February 2011
Composition Rules
Photography brings a visual language that is universally understandable. We must then understand its vocabulary which consists of shapes, textures, patterns, lines, colours, shade of light to dark and sharp to blurry images. Just as we must learn to arrange words in a coherent order in order to make sense when we write or speak, so too must we put visual elements together in an organized manner if our photographs are to convey their meaning clearly and vividly.
Composition means arrangement: the order you put images/symbols/etc together to make a unified whole. However, there are basic principles that direct the way visual elements behave and interact when you combine them inside the four borders of a photograph. Once we have grasped these basic ideas of principles, then we will have the potential for making our photographs more exciting and give them something to say.
The most popular form of composition is called ‘The Rule of Thirds’. Imaginary lines are drawn dividing the image into thirds both horizontally and vertically, like this:
You place important elements of your composition where these lines intersect. As well as using the intersections you can arrange areas into bands occupying a third or place things along the imaginary lines.
The most popular form of composition is called ‘The Rule of Thirds’. Imaginary lines are drawn dividing the image into thirds both horizontally and vertically, like this:
You place important elements of your composition where these lines intersect. As well as using the intersections you can arrange areas into bands occupying a third or place things along the imaginary lines.
Research and Development - First Ideas
We have begun our research by listening to an artist who isn’t too well known, and has “easy-listening” style music. From this ‘indie’ style of music we decided that we would follow the genre so that it would appeal to the right audience. We have therefore decided to have a romantic video; of every girl’s perfect beginning to a relationship. We selected a romantic setting and time of the year. We decided on The Dorking Stepping Stones and in the autumn where all the trees have rich colours. Our ideas then followed to the idea of fate. We had the idea that both characters would spend a lot of time there but never at the same time until finally fate brings them together. We have also decided to have a lead singer in the studio with a more mature look, which could make the video read as one of his memories.
As another aspect of research we looked at other videos from artist such as White Stripes, Bombay Bicycle Club and Foals. These artists are from the same genre, and hit the same type of audience and if we wanted to target the same audience we would have to develop an idea that had a similar feel to videos from these artists.
As another aspect of research we looked at other videos from artist such as White Stripes, Bombay Bicycle Club and Foals. These artists are from the same genre, and hit the same type of audience and if we wanted to target the same audience we would have to develop an idea that had a similar feel to videos from these artists.
Friday, 14 January 2011
Introduction to the Music Industry
I have recently researched the ‘Rough Trade Records’ company, it is an Independent record company. They cover and manage artist and bands mostly of ‘Indie’ genre of Post-punk, alternative rock and folk. A good example of these artists would be either The Libertines or Dylan LeBlanc. The Libertines generally play more alternative rock whereas Dylan LeBlanc plays more of the country-rock/ folk genre.
When looking at all the artists covered by ‘Rough Trade’ they don’t differentiate greatly in style or genre or image. I think the label like to represent new artists who fit the ‘indie’ genre and image. This therefore can benefit the company because they are aware that, people who fit their image and want to go into the industry will go to them for a contract. But there is a slight downfall seeing as the record company cannot be as well known as a record company that covers a wide range of genres.
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