Album Covers
Friday 27 January 2017
Tuesday 17 January 2017
Sunday 8 January 2017
Music Video - 1st Rough Cut
Below is my first, unfinished, draft edit of my music video production
Strengths.
- Quality and composition
I think my music video, so far, is very well shot and features strong composition. This is partly down to the high quality of the camera we have been lucky enough to be able to borrow (a Canon 700d). Using a DSLR instead of a handheld, flip camera improves the image quality of shots and produces a crisper, clear image. In addition, during shoots we have paid special attention to the framing, lighting and colouration (i.e ISO) as well as the aperture settings for each and every shot, Having consistent lighting and colouration combined with an aesthetically pleasing field of focus results in very appealing and well composed shots.
- Pace and editing
This edit features key synchronisation between the music and lyrics and the visuals. Goodwin outlined this as one of the most common features of music videos and can be seen in many different iconic videos from across the decades. When there is a slight tonal shift, at 0:36, the boy puts the photo in his pocket and starts to leave. Due to the shift in the music and the resultant visual development, the audience get a perception of progression and purpose. In addition, when the boy leaves his house completely (at 0:43), the door slams right on the beat of the music and as the drums are heard for the first time. This also constructs an association between the music and the visuals but also contributes pace and rhythm to the product as a whole.
- Camera Shots
We used a wide variety of different shots in this initial edit. On location, we had two tools at our disposal, both capable of creating interesting, different and diverse shots. These were a professional shoulder mount, and a tripod. The shoulder mount allowed us to create stable tracking shots, following a character as they moved through a shot. Using this instead of using the camera hand held makes the shot smoother and the overall effect steady and stable. An example of one of the many shots created using this mount can be seen at 1:52. Tracking a character like seen in this shot contributes to the overall impression of movement and travel commonly found within music videos of this genre. In addition, the tripod allowed us to shoot stationary shots that also helped to construct a sense of travel as a character could step into frame, walk across it, and then leave it again - clearly giving the impression of movement. An example of one of these shots can be seen at 2:04. Furthermore, we use a rather large number of close ups throughout this initial edit, for example at 0:21. Close ups are commonly used in music videos to improve the relationship between the audience and the characters on screen (who are usually the artist themselves) and as this genre is quite intimate and warm, our use of close ups creates a more personal feel to the overall product, meaning the audience position themselves and sympathise with the character more..
Weaknesses
- Lack of visual variation.
It is clear from this initial edit that a lot of the shots, and a lot of the screen time, is dominated by the characters walking. There is a distinct lack of variation or b roll footage breaking up the video and contributing to the overall setting of the story. Although it is crucial to establish the characters as travelling/ moving throughout the video, it is also key to vary the shots by introducing filler shots of trees, cars, other pedestrians, wildlife etc. Using such shots will ensure that the audience don't get bored and that we avoid making our video too repetitive and dull. It is common for artists, whose music videos we have taken inspiration from, to feature lots of b-roll footage, intertwined with the main theme of movement/ travel. One of the clearest examples can be seen in Ben Howard's video for 'Only Love' where there are plentiful shots of him cycling through a city, frequently weaved in with b roll shots of the surrounding locations. This is something we need to focus at our next few shoots to ensure we have substantial b roll that can add variation and deviation to our music video.
- Cork Board shots
What our current edit is missing is the flashbacks to the cork board full of photographs and memorabilia we have planned to film. Over the past few months, we have been collecting and gathering up photographs and props that one would expect to find on a cork board celebrating a young couples relationship. All that is left to do is print off photographs and pin up everything onto the board itself. From here, we will get a few very long, slow panning shots of the completed board (minus the gap left in the middle by the boy removing his favourite photo) to be cross cut to and from. These shots, although also adding variation to the edit, will act as reflective flashbacks adding context to the locations the characters visit. In addition, the very slow and smooth shots are designed to imitate someone looking at it closely and puts the audience in the shoes of the character. The audience have lots of time to look carefully at the board and get a better idea of the narrative as well as forming a stronger relationship with the characters. This is a key aspect of our music video that our current edit is distinctly lacking. Having said that, we are planning it thoroughly and are nearly ready to get these shots done.
- Incomplete shoots
Currently, we still have a few more shoots to do before we begin consolidating the edit and finalising our music video. Like previously mentioned, one of these features the completed cork board. Rhere is a lot of time taken up in this edit with missing footage (the black screens) and without these final, important shoots our music video as a whole is weaker as the narrative lacks some context and a conclusion. Once these last shoots are complete and all footage that needed to be revised is re-shot, we will be in much closer to completion than we were when producing this initial edit.
Strengths.
- Quality and composition
I think my music video, so far, is very well shot and features strong composition. This is partly down to the high quality of the camera we have been lucky enough to be able to borrow (a Canon 700d). Using a DSLR instead of a handheld, flip camera improves the image quality of shots and produces a crisper, clear image. In addition, during shoots we have paid special attention to the framing, lighting and colouration (i.e ISO) as well as the aperture settings for each and every shot, Having consistent lighting and colouration combined with an aesthetically pleasing field of focus results in very appealing and well composed shots.
- Pace and editing
This edit features key synchronisation between the music and lyrics and the visuals. Goodwin outlined this as one of the most common features of music videos and can be seen in many different iconic videos from across the decades. When there is a slight tonal shift, at 0:36, the boy puts the photo in his pocket and starts to leave. Due to the shift in the music and the resultant visual development, the audience get a perception of progression and purpose. In addition, when the boy leaves his house completely (at 0:43), the door slams right on the beat of the music and as the drums are heard for the first time. This also constructs an association between the music and the visuals but also contributes pace and rhythm to the product as a whole.
- Camera Shots
We used a wide variety of different shots in this initial edit. On location, we had two tools at our disposal, both capable of creating interesting, different and diverse shots. These were a professional shoulder mount, and a tripod. The shoulder mount allowed us to create stable tracking shots, following a character as they moved through a shot. Using this instead of using the camera hand held makes the shot smoother and the overall effect steady and stable. An example of one of the many shots created using this mount can be seen at 1:52. Tracking a character like seen in this shot contributes to the overall impression of movement and travel commonly found within music videos of this genre. In addition, the tripod allowed us to shoot stationary shots that also helped to construct a sense of travel as a character could step into frame, walk across it, and then leave it again - clearly giving the impression of movement. An example of one of these shots can be seen at 2:04. Furthermore, we use a rather large number of close ups throughout this initial edit, for example at 0:21. Close ups are commonly used in music videos to improve the relationship between the audience and the characters on screen (who are usually the artist themselves) and as this genre is quite intimate and warm, our use of close ups creates a more personal feel to the overall product, meaning the audience position themselves and sympathise with the character more..
Weaknesses
- Lack of visual variation.
It is clear from this initial edit that a lot of the shots, and a lot of the screen time, is dominated by the characters walking. There is a distinct lack of variation or b roll footage breaking up the video and contributing to the overall setting of the story. Although it is crucial to establish the characters as travelling/ moving throughout the video, it is also key to vary the shots by introducing filler shots of trees, cars, other pedestrians, wildlife etc. Using such shots will ensure that the audience don't get bored and that we avoid making our video too repetitive and dull. It is common for artists, whose music videos we have taken inspiration from, to feature lots of b-roll footage, intertwined with the main theme of movement/ travel. One of the clearest examples can be seen in Ben Howard's video for 'Only Love' where there are plentiful shots of him cycling through a city, frequently weaved in with b roll shots of the surrounding locations. This is something we need to focus at our next few shoots to ensure we have substantial b roll that can add variation and deviation to our music video.
- Cork Board shots
What our current edit is missing is the flashbacks to the cork board full of photographs and memorabilia we have planned to film. Over the past few months, we have been collecting and gathering up photographs and props that one would expect to find on a cork board celebrating a young couples relationship. All that is left to do is print off photographs and pin up everything onto the board itself. From here, we will get a few very long, slow panning shots of the completed board (minus the gap left in the middle by the boy removing his favourite photo) to be cross cut to and from. These shots, although also adding variation to the edit, will act as reflective flashbacks adding context to the locations the characters visit. In addition, the very slow and smooth shots are designed to imitate someone looking at it closely and puts the audience in the shoes of the character. The audience have lots of time to look carefully at the board and get a better idea of the narrative as well as forming a stronger relationship with the characters. This is a key aspect of our music video that our current edit is distinctly lacking. Having said that, we are planning it thoroughly and are nearly ready to get these shots done.
- Incomplete shoots
Currently, we still have a few more shoots to do before we begin consolidating the edit and finalising our music video. Like previously mentioned, one of these features the completed cork board. Rhere is a lot of time taken up in this edit with missing footage (the black screens) and without these final, important shoots our music video as a whole is weaker as the narrative lacks some context and a conclusion. Once these last shoots are complete and all footage that needed to be revised is re-shot, we will be in much closer to completion than we were when producing this initial edit.
Final Location choices
The locations we needed are below as well as our final decisions of where to shoot.
- Woodland/ forest path for Samuel and a bridleway/ pathway for Lucy
- Transition from street to forest path
- Statue/ Sculpture
- Girls and boys bedroom
- Beach
1) For 'Samuel', we found a small woodland path in the woodland area near the local University of East Anglia.
There are several reasons why we chose to shoot the boys walking scene here. it was easy for all our cast and crew to get to by being walking distance from the city centre and where we all lived. In addition, it is still located in quite an urban setting so continuity is consistent as the boy can realistically transition from busy streets to a woodland path. The path follows a picturesque river going under overpasses and across footbridges. On top of these factors, the path is rarely busy which will be beneficial to us during the shoots. For our remake of the music video for Bittersweet Symphony, we shot on a very busy, city centre street. Filming became problematic as we kept having to wait for members of the public to leave the frame and leave us space to walk into. For our final production, we wanted a location that wasn't particularly popular for dog- walkers and other members o the public to pass through. This allows us maximum shooting time and ensures we get enough footage and b-roll. This location in particular is aesthetically pleasing and ideal in terms of practicality.
For 'Lucy', we found a pathway/ bridleway that we believed perfect for our music video.
It is distinct enough to be easily recognisable as a different place to where Samuel is, but at the same time similar enough to hint at the fact that they may be heading to the same place. This pathway is known as 'Mariotts Way' and as it is, in total, 26 miles long, there are lots of interesting features that our character could walk through/ past and prove aesthetically pleasing to the viewers. In addition, Mariotts way starts off at a busy roundabout. Again, this provides a realistic transition from where Lucy has been walking through the streets and where she will be next when it cuts back to her.
2) Transition from a street to this woodland area.
As previously mentioned, the location we have chosen for Samuel has an entrance that realistically transitions from a busy street to a woodland path. This maintains continuity as it is very plausible that this character could walk from his house to this path in a short space of time.
In addition, for the character of Lucy, Mariotts way starts off at a busy roundabout. Again, this provides a realistic transition from where Lucy has been walking through the streets and where she will be next when it cuts back to her.
3) Statue/ Sculpture
Another reason we found Mariotts way to be the perfect location for the character of Lucy was that on the same roundabout near the entrenace, there is a large, unique red sculpture. This provided an oppurtunity for Lucy, when she walks past, to have a flashback to visiting it and taking a picture with Samuel. It is unique enough to be something a couple may have a photo with. The notable and interesting landmarks along the length of marriots way, we anticipate, will give us the chance to take several photographs of the couple to put on the corkboard. Lucy could easily then reflect upon these locations when she gets to them.
4) Bedrooms.
The bedrooms are going to be the first locations of the music video, so it is important that it establishes the characters quickly. Our criteria for choosing the bedroom locations combined a sense of realism as well as pragmatism. For Samuel, we wanted a room that clearly belonged to a teenage boy, i.e. blue walls (traditionally male) and perhaps some props that were typical of this age group. In addition, we needed a boys bedroom that already had/ could have a corkboard in it for the collage of photos. We found the perfect location was my bedroom. It is quite large and open, allowing a tripod with a camera to fit in as well as allowing our group members to fit in comfortably. In addition, i have blue wallpaper with lots of football shirts on the wall; stereotypically, my room is very clearly a boys. Furterhmore, i have a corkboard on one of the walls, perfect size for our requirements.
For the girls bedroom, again we were looking for a room that is typical of the age range and clearly belongs to a female. We found these criteria were met by our actress bedroom at her grandparents house that she stays in when she visits. Again, this bedroom was clearly suited to our actress and it is contrasting to the boys room. This room is in an inner city house so it is going to be easy for all cast and crew to get to - an added bonus to using this location.
5) The Beach
We decided to film the climax of our music video, and the moment the two characters meet, at a beach. Living in Norfolk, we have many beaches at in the area but it was crucial that we found the right one that met our criteria. We needed a large, sandy, open beach that is easy to get to and wouldn't be too busy. Furthermore, we needed a beach that would have some sort of notable landmark. This is because, the photo the boy takes off his cork board at the start of the music video is going to be of the couple at this landmark on the beach. In times of their difficulties, he goes to the place most treasured by him to reflect on their relationship. When it turns out she has arrived at the same place, he reveals that he has been carrying a photograph of them both at this location the whole time. This means we need to film at a beach that has some sort of notable object/ place/ point of interest that a couple would likely take a photo with and is easily recognised as the same place in the photo by the audience. After extensive research into local beaches in the area, a short evaluation of each can be seen below.
Following much deliberation, we have decided to go with Holkham (Wells-next-the-Sea) Beach. This is because it is a relatively open, large and sandy beach featuring an iconic row of pretty beach huts that the photo could be taken of. In addition, its large size hopefully means we could easily find a spot where there are no beach goers and film the meet up with no members of the public in shot. Moreover, the beach is lined by a large area of woodland. This benefits the continuity of our overall product as it makes the fact that the characters have walked from an urban setting to a woodland and now to a beach more realistic. The audience will get the impression that the woodland both of them have been walking through joins on to this beach - adding realism.
There are several reasons why we chose to shoot the boys walking scene here. it was easy for all our cast and crew to get to by being walking distance from the city centre and where we all lived. In addition, it is still located in quite an urban setting so continuity is consistent as the boy can realistically transition from busy streets to a woodland path. The path follows a picturesque river going under overpasses and across footbridges. On top of these factors, the path is rarely busy which will be beneficial to us during the shoots. For our remake of the music video for Bittersweet Symphony, we shot on a very busy, city centre street. Filming became problematic as we kept having to wait for members of the public to leave the frame and leave us space to walk into. For our final production, we wanted a location that wasn't particularly popular for dog- walkers and other members o the public to pass through. This allows us maximum shooting time and ensures we get enough footage and b-roll. This location in particular is aesthetically pleasing and ideal in terms of practicality.
For 'Lucy', we found a pathway/ bridleway that we believed perfect for our music video.
It is distinct enough to be easily recognisable as a different place to where Samuel is, but at the same time similar enough to hint at the fact that they may be heading to the same place. This pathway is known as 'Mariotts Way' and as it is, in total, 26 miles long, there are lots of interesting features that our character could walk through/ past and prove aesthetically pleasing to the viewers. In addition, Mariotts way starts off at a busy roundabout. Again, this provides a realistic transition from where Lucy has been walking through the streets and where she will be next when it cuts back to her.
2) Transition from a street to this woodland area.
As previously mentioned, the location we have chosen for Samuel has an entrance that realistically transitions from a busy street to a woodland path. This maintains continuity as it is very plausible that this character could walk from his house to this path in a short space of time.
In addition, for the character of Lucy, Mariotts way starts off at a busy roundabout. Again, this provides a realistic transition from where Lucy has been walking through the streets and where she will be next when it cuts back to her.
3) Statue/ Sculpture
Another reason we found Mariotts way to be the perfect location for the character of Lucy was that on the same roundabout near the entrenace, there is a large, unique red sculpture. This provided an oppurtunity for Lucy, when she walks past, to have a flashback to visiting it and taking a picture with Samuel. It is unique enough to be something a couple may have a photo with. The notable and interesting landmarks along the length of marriots way, we anticipate, will give us the chance to take several photographs of the couple to put on the corkboard. Lucy could easily then reflect upon these locations when she gets to them.
4) Bedrooms.
The bedrooms are going to be the first locations of the music video, so it is important that it establishes the characters quickly. Our criteria for choosing the bedroom locations combined a sense of realism as well as pragmatism. For Samuel, we wanted a room that clearly belonged to a teenage boy, i.e. blue walls (traditionally male) and perhaps some props that were typical of this age group. In addition, we needed a boys bedroom that already had/ could have a corkboard in it for the collage of photos. We found the perfect location was my bedroom. It is quite large and open, allowing a tripod with a camera to fit in as well as allowing our group members to fit in comfortably. In addition, i have blue wallpaper with lots of football shirts on the wall; stereotypically, my room is very clearly a boys. Furterhmore, i have a corkboard on one of the walls, perfect size for our requirements.
For the girls bedroom, again we were looking for a room that is typical of the age range and clearly belongs to a female. We found these criteria were met by our actress bedroom at her grandparents house that she stays in when she visits. Again, this bedroom was clearly suited to our actress and it is contrasting to the boys room. This room is in an inner city house so it is going to be easy for all cast and crew to get to - an added bonus to using this location.
5) The Beach
We decided to film the climax of our music video, and the moment the two characters meet, at a beach. Living in Norfolk, we have many beaches at in the area but it was crucial that we found the right one that met our criteria. We needed a large, sandy, open beach that is easy to get to and wouldn't be too busy. Furthermore, we needed a beach that would have some sort of notable landmark. This is because, the photo the boy takes off his cork board at the start of the music video is going to be of the couple at this landmark on the beach. In times of their difficulties, he goes to the place most treasured by him to reflect on their relationship. When it turns out she has arrived at the same place, he reveals that he has been carrying a photograph of them both at this location the whole time. This means we need to film at a beach that has some sort of notable object/ place/ point of interest that a couple would likely take a photo with and is easily recognised as the same place in the photo by the audience. After extensive research into local beaches in the area, a short evaluation of each can be seen below.
Evaluations of Potential Beach Locations by Isaac Winterburn on Scribd
Following much deliberation, we have decided to go with Holkham (Wells-next-the-Sea) Beach. This is because it is a relatively open, large and sandy beach featuring an iconic row of pretty beach huts that the photo could be taken of. In addition, its large size hopefully means we could easily find a spot where there are no beach goers and film the meet up with no members of the public in shot. Moreover, the beach is lined by a large area of woodland. This benefits the continuity of our overall product as it makes the fact that the characters have walked from an urban setting to a woodland and now to a beach more realistic. The audience will get the impression that the woodland both of them have been walking through joins on to this beach - adding realism.
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