Video So Far...(December)

Last week I uploaded what I've done so far of my music video on to Youtube, but I forgot to embed it on my blog - woops!

Below is the video. There are black-screen spaces where my next (and hopefully last) shoot will be replacing - but it will all be band footage so you can sort of imagine what it'll look like. The video still has some way to go, especially colour correction but it's on its way!



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Shoot 5 (18/12/17)

Hello! Here I've uploaded a few screenshots of the files from shoot no.5. My reasons for doing this is so that I can show you what I've done in general as I obviously can't show you each video. 

This shoot went fine, despite my friend thinking I was just filming her looking through the window, so I suppose I made an error in communication there, but it all worked out. Her acting skills are mediocre and she agrees in that description, but I have got all the shots I was hoping to get. 

In my previous post, ('An Issue - Revisiting the Music Video Structure') I listed out my shotlist for this shoot, and that included some additional shots that I should get with the time. My reasons for these additional shots was to add more narrative/backstory/context to the video which I felt it was lacking. I'm hoping by adding these in we can see more of the relationship between these two people, when before, Georgie, the girlfriend, was not seen in the video at all. In the image directly below, the first 10 images are showing these additional shots.

Casting: Georgie

An official post showing who I've casted as the female role in my music video, and why.

An Issue - Revisiting the Music Video Structure

I've encountered a problem, which I take full blame for. Last night me and my friends went out, however this lead to sleeping in this morning and ruining the filming plans. Rather than scrapping the weekend, instead I'm going to create a Plan B. This Plan B will be shot tomorrow morning with Georgie. Unfortunately, Jordan is at work tomorrow so I can't film him, but I figured it may be possible to change the structure slightly.

And so, I'm going to think up something now for tomorrow, and in turn potentially change the running of events in my music video. What I'm filming tomorrow is going to be a change in POV.

Construction Summary

Construction Summary So Far...

The construction so far is going smoothly. From previous work I'm aware of the basics of constructing a series of videos together. 

Below we can see my introduction according to my planning is complete! The first four shots to the first four beats are matched up (but still need a little extra refining for timing). Following on from this is band footage which will be filmed as accordance to schedule seen in previous post. 

A tiny part of the successful pub footage is this extreme close up of a dart hitting a dart board. This is in the first verse and is so far OK.

I think my use here of camera angles and editing has come out nicely. The framing works well with Jordan's movement. Only issue is is that Jordan's lack of knowing the words is fairly visible at the start of this verse so I could either leave it, re film it, or replace it with something.

For the outro, as I had intended, I have sped up a video clip to help show the passing of time and people leaving. I think the framing of this has come out nicely, along with the lighting - although it is a little cold so I might adjust that so it's warmer toned.

Final Scene to Film: Shot List

This is the final scene I need to do, and if you look at my previous post I will also be filming the band again just a couple days after this. 

Below is the shot list, all planned out and includes crucial information for my directing. 

Shot List for Final Scene by kxrsty on Scribd

Filming Schedule, Take 2

Schedule Information by kxrsty on Scribd

Filming schedule for last shots, and re-filming section.

The Band: Shot List with Storyboard

A new, refined and more precise shot list. Please feel free to use the zoom settings below, or press full-screen for an in depth view as I'm aware the text is very small!

Shot List: The Band by kxrsty on Scribd

Here I've embedded a storyboard I've (badly) drawn out to show you an illustration of my shot list.

Filming a Band

After last week's trail of filming the band, I have decided to do some proper research into filming a band. I have realised what I need to do to higher my chance of a successful shoot, including research, shot list and any further planning possible. What would be really helped is having another person to help with the filming!! 

Anyway, I've made an attempt of a video essay which you can watch below. I've never made one before and I don't know if it'll be taken down for featuring other people's work (music videos/music/film extracts), but we'll see. 

Review: Filming the Band

So, I have now filmed the band (on the 28th), and I made myself look through the footage yesterday, and I need to do it again.

Lack of planning and stress ruined this potential shoot, but there's still a few bits of footage I can use.

Prior to filming, all my research included was watching a few music videos. Then my planning was as little as date planning, casting, costume, and a general schedule. That was flaw number one! I was also over stressed on the day which led to lack of common sense and logical thinking. A few mistakes were also made. But also, I needed more time to set up - the area of filming was very messy! I had no room to move.

I've uploaded a new post showing some research into the process for next time when I do the re-filming.

The image below pretty much sums up my lack of variety in film shots!

Updates: 3 Shoots

18th-20th - I have now filmed 3 shoots, covering about 11/19 scenes.

I was originally supposed to be filming the band today (21st), but they changed their practice day this week to 22nd, and I unfortunately I'm unable to attend this week, so it's changed to next Wednesday the 29th. I'm pretty thankful for this because the past 3 days have been incredibly stressful and I'm in desperate need of a day off.

Below are three images, one for each shoot just showing the general feel of my music video.

Shoot 1: I feel very confident about this shoot, the lighting was really nice and natural as it was during the morning. I still had my lighting equipment up for the indoor shots to even the lighting, but it was barely needed.

Shoot 2: I found this the most stressful one to film because I was trying to organise a group of 7 people (only 4 in the filming). I'm unhappy with the lighting in these shots and it's too dark, so I am considering re-filming. 

Shoot 3: This one was fun to do, bringing all my props to the house and trying filming with the dolly. The lighting was much better in these too - I can confirm filming during the day is much easier than at night. 

For the indoor shots I found it difficult to make anything look natural - the set up looking very 'set up', and the lighting was quite difficult to even out through the shots. 

I still haven't looked through these properly because I'm too scared! But, as Scorsese says, "if you don't get physically ill seeing your first rough cut, something's wrong."

Risk Assessment

Risk assessments are necessary for all organisations, whether tiny one-man band, or a large block buster film, as they help to establish any possible dangers and reduce them. I've completed a risk assessment below considering the possible dangers I may encounter on each shoot in different locations. 

The Filming Schedule

Filming Schedule - Updated by kxrsty on Scribd

There have been some problems with the dates of filming planned - for example on the 21st when we had initially planned to shoot the band, they're now practicing on the 22nd, but I'll have no transport for that evening, so we've had to reschedule to the 29th. However, this does allow me to primarily focus on the upcoming weekend instead, and not worry about the band till next week.

This schedule is complete for the 18th-20th though, but I expect updates to be made, particularly for the 29th and any other days in case we don't finish.

Edit: 15/11/17: I've been told that on Saturday we have to have finished filming by 1pm now, so time to make changes again. On a plus, in terms of locations, my friend's mum is letting me film in their garden on Sunday 26th.

Edit: 21/11/17: First three days done, but we are now unable to shoot at friend's house next week due to difficulty in timing and planning. We can do it at a later date however, so it's not crossed off. Also, Jack and his band are now filming on Tuesday 28th.

Recce (Locations)

Join me on my wonderful journey through my presentation...

Continuing on from the presentation, I haven't spoken about the pub scenario on my blog.
A couple days ago, I got stalking the owners of the pub through Companies House, and so I set out writing a letter, and a form for the owner(s) to sign. See below:

The White Horse by kxrsty on Scribd

Release Form by kxrsty on Scribd

When I arrived at the pub, I handed in the first form as the owner wasn't in, and I came back the next day. When I came back, the owner was there and I had a brief word with her about it and she agreed to let me do it. I handed her a form to sign and she said she'd sign it later for me (which I still haven't collected because she was a little scary - so I'll just get that on Sunday when I'm filming there). I didn't have high hopes she'd let me film in there, but she says it's fine, except I must tell any of her customers if they're in the shot, or at least ask their permission if I want to film them.

Casting and Participant Release Form

Casting from Kirsty Hamilton-Emery

Template of my Participant Release Form - all of those featured in my video will be required to sign one of these for me. I won't be posting the signed forms on here, but I'll be keeping them and scanning them in to my documents for safe keeping in case they're required in the future.

Music Video Written Treatment

This written treatment has been emailed to my potential casting, and the band I have managed to persuade to let me film. This written treatment is slightly different at points to the practical production sheet posted previously but it's normal to have ideas still developing.

I have used some of my own images in this treatment, however these images won't necessarily be the end product locations, they are just images I used for a previous project which I feel complies well. 

Music Video: Written Treatment from Kirsty Hamilton-Emery

Practical Production Treatment

It is done. I have it all written down and planned out and I feel sick with stress and nerves. But, to help log my own thoughts and plans I have also created a practical production pictures with images from the internet (I have no rights).

Music video practical production treatment from Kirsty Hamilton-Emery

Written Treatment from Kirsty Hamilton-Emery

The Cure's Licensing Rights

The Cure's album 'Three Imaginary Boys' was released with Fiction Records in 1979. Fiction Records was founded in 1978 and is well known for owning The Cure for over 20 years, but Fiction Records is now owned by Universal Music Publishing as of the year 2000. The Cure then signed with Geffen Records in 2003, after leaving Fiction in 2001.

I couldn't find an email for the company, so I had no choice but to ring! Below is a recording of the phone call.
(Please ignore the photo, it's very old and I don't really use soundcloud)
I have received an email from Ellie who I spoke to on the phone:

 and my form is all filled out. 

Audience Research and Profile

Here's my quick interview with a few people who listen to The Cure.
Questions: Name and age; Why do you listen to The Cure/how did you find out about them?; What other artists do you listen to? How do you listen to music?

These questions have just given me an introduction to my audience - the general trend I've found is that they're young adults, they've found The Cure through people, particularly through older family members. Other 80s bands include Depeche Mode, New Order, The Smiths, The Doors, The Who... The general way they listen to music would be through streaming, whether that be through Youtube or Spotify, but Will also listens to vinyls.

Below is my short presentation using my research and knowledge to establish an audience profile.  

Stranger Things - Interiors and Stylistics

I have embedded a short presentation logging some of my explorations into mise-en-scene I want for my music video. Stranger Things is an inspiring series showing a fantasy/drama based in the 1980s. What I'm drawn to most is the dim lighting, the costume, and the interiors of the housing we see in some shots. But also, the shots used in the series often have interesting codes attached to them for the audience to deconstruct into meaning.

The presentation is very much like my head - inconcise and random, but I needed to put some thoughts down, and I thought I may as well add it into my research.

Stranger things – Stylistics and Interiors from Kirsty Hamilton-Emery

Testing Camera Angles

Trying filming with deliberate camera angles to create more interesting picture. I have also bought some lighting equipment and have found a camcorder my parents bought so I thought I'd give that a try, and I needed to try setting up my lighting equipment too so I know what I was doing.

Reflection on Previous Practical Work

In the past I've created videos out of pure enjoyment, and I feel like this is a good time to revise over them.

In the summer, I took my camera on holiday with me in hope to create a cliche vlog of the holiday with the song 'Everybody's Talkin'' which I had initially wanted to do for my music video this year. When I realised I wasn't going to use the song, I didn't want the song to go wasted and decided to try to capture an emotional memory-jerking video of severe sunburn, heat stroke, bad food, dirty beaches, and expensive cocktails happy times that would bring tears to the eyes of viewers of such a beautiful holiday.


Another video was one I took a few days ago in hope to prove my amazing camera work to myself. I had no real plot in mind, just having my companion doing something cool on the beach, but it turned out he couldn't cartwheel, handstand, or really do anything.


In terms of my two videos featured here, they don't work. And they don't work because of the weak narrative.

In my research, I've found that videos, films, books, art work - they all have narrative. A series of pretty shots doesn't make a good video. We watch consume things hoping to read some form of story to interpret and explore.

I think it's a real shame my video in Majorca didn't work out because it was a very good opportunity, but this shows how important planning a video is (just like any form of art). Improv in terms of the whole narrative doesn't work out. I think my 'A Jump on the Beach' is better though, but it helps I had been revising over cinematography. There are different angles, but all the shots are a bit too long and are mainly of pretty scenery. But these two videos do show my 'style', and there are a lot of traits here I need to make sure I challenge if I want a successful music video.

How To: Visual Comedy

With my music video, I'm keen to have a comedy approach, but I need to do this visually as this is a music video, therefore I think researching directors like Edgar Wright, Buster Keaton, and Jacques Tati may really help. 

To  research into visual comedy I've turned to Youtube. Buster Keaton, 1895-1966, was an actor, director, comedian and stuntman. In the embedded video essay below by filmmaker and freelance editor Tony Zhou, from 1:00-4:43, we are given an introduction into Keaton's work and style which can be seen in many directors from then and now. 

'The first thing you need to know about visual comedy is that you have to tell your story through action.' - Back during the silent film era, Keaton avoided using title cards to help explain narrative, but instead relied on the visual codes. This is very relevant to me as I can't use dialogue which would be the modern alternative, but I do have the lyrics which help to guide some form of narrative or interpretation of the visuals.

At 2:10 of the video, the camera angles are looked in to and the rules of the world within the camera. Humour can be found within the reveal through camera angles, and it can be found through a 2D flat world within the camera frame (examples from 3:30-4:23).

I don't think the rest of the video is particularly useful for what I'm aiming to make, as I'm not trying to make a magic-show based video, or an explicitly humorous video. But by looking at the beginning of capturing humour on video, Keaton has helped me understand the makings of.

一一一一一一一一一一一一一
Edgar Wright, an English director, screenwriter, producer and actor, is very well known for his comedic 'Three Flavours Cornetto' trilogy consisting of Shaun of the Dead, Hot Fuzz, and The World's End. In terms of Wright's style, his use of creating comedy through visual codes is very intriguing. Many directors rely on the dialogue to produce laughter, but it's a skill to be able to incorporate comedic visuals too.

This video essay also created by Tony Zhou is very helpful to look into Wright's way of depicting a comedic approach in film. Tony Zhou explains how particularly American comedy films have 'lost their way'
'These movies aren't movies. They're lightly edited improv. Everyone stands still and talks at each-other in close-up. Almost none of these jokes come visually; they're overwhelming sound.' - Tony Zhou makes a really good point and introduction here in the video. From 1:17-2:25 Zhou juxtaposes a film with Wright's 'Hot Fuzz' to compare the use of cinematography between them. Wright has a clear talent with camera and directing - it's not just quick cuts.

'As Martin Scorsese put it: "cinema is a matter of what's in the frame and what's not in the frame." So think about the frame. And this isn't just a matter of smart or stupid comedy. Really if it works, it works.'

Tony Zhou's list of 8 things Wright does that other directors should do to construct visual comedy:

1. Things entering the frame in funny ways
2. People leaving the frame in funny ways
3. There and back again
4. Matching scene transitions
5. the perfectly-timed sound effects
6. Action synchronised to the music
7. Super dramatic lighting cues 
8. Fence gags 
9. * Imaginary gun fights

Finally, Andrew Saladino aka The Royal Ocean Film Society explores another classic comedian in film: Jacques Tati. Opening the video, Saladino reiterates Zhou's point of visual comedy being a lost art in modern film. 

Jacques Tati found comedy through:

Props. 'A good prop by itself can almost always get you a solid laugh'. I think this point also connects well with the scene from Hot Fuzz in the previous video in which Simon Pegg is travelling with only a plant. Saladino believes an everyday prop that acts as an obstacle is the most effective to use, examples from 0:40-1:56.

Sing Street (2016)

Sing Street, (2016). Directed by John Carney

Sing Street is a film that I has been on my mind every since I first watched it upon release. The film was released in 2016, but is set in Ireland in 1985. It's a simple narrative following a young boy who forms a band to win over a girl, but it's the transitions the band go through to find their style which I really love, and their home-made music videos. 

In the extract (5:30) below it's near the start of the film in which the band are making their first music video to their first original song. This is the sort of 80s rundown, realistic look that I really like; filmed in a backstreet alleyway the boys also encounter a short conversation with the school bully who we see is being abused by his father. I just really love this down-to-earth story of a normal group of kids just enjoying themselves. This film is a very good depiction of the 80s. 

This set up at the beginning of the filming of the music video is just SO 80s. The costume, the awkward postures. I love it.

The starring female of the music video, the model, she's dressed up in Japanese attire which is very random but it shows the spread in culture that the 80s saw. Fashion became something bigger and bigger, influenced by all factors.

These two shots are great examples of typical 80s music video shots. Shots of walking and playing an instrument; shots of people running down alleyways and looking about for something (anything?).

A typical scene in a car with the band members on/around it. 

If you haven't seen this film, I highly recommend it. But to sum up this post, I just had to share my love for this film and it's relevance in my ideas for my video. I would love to have similar 80s stylistics in terms of cinematography but I'm aware my music video must be proving my knowledge for music videos and how they've adapted over time, so I would have to alter parts. 

Analyses of Three Relevant Music Videos

For my music video planning, I have analysed other music videos that I feel are relevant to my own thoughts. I have chosen two songs made in the 80s (The Clash's song, and Wham!), and an 80s styled modern video released on YouTube in 2009.

 

Guess the Object - Trying Close Up Shots

This video was made so we could explore the degrees of close-up shots, but also practice editing to music. We chose an object to take close ups of to show in class so we could all take part guessing the object.

Music Video and Film: Theorists

This will be a visually uninteresting summary of key music video theorists

Joan Lynch

Lynch (1984) stated the three basic music video structures; a music video will contain at least one element of the following:

1. Performance - scenes of the artist(s) performing
2. Narrative - a story within the video/telling of a narrative
3. Concept - often influenced by experimental film, this may contain abstract or/and nostalgic elements with colour and pattern.

Jon Gow

Jon Gow identified six central genres of music videos which are defined in terms of their relationship to the display of the performance of the song.

• The anti-performance piece - no shots of performance of song
• Pseudo-reflexive performance - shots which display the process of video production
• Performance documentary - videos which contain 'verite' documentary footage of onstage performance and/or offstage activity
• The special effects extravaganza - videos in which human performance is over-shadowed by spectacular imagers
• The song and dance number - videos which focus on the physical ability of the dancing performer(s) and the vocal representation of the song, usually through lip-syncing techniques
• The enhanced performance - videos which blend performance elements with other visual elements; associational, narrative or abstract forms of motivation

Andrew Goodwin

Author of 'Dancing in the  Distraction Factory', Goodwin (born 1956) had an interest in visual language and imagery seen in music videos. After studying hundreds of different music videos, Goodwin found some key codes and conventions:

1. Music videos generally contain genre characteristics [e.g. boy bands having a dance routine/rock bands containing shots of performance]. 
2. A relationship between lyrics and visuals [e.g. singing about a breakup and seeing it or the obvious aftermath of it/singing about autumn and an autumnal setting].
3. A relationship between the music and the visuals [e.g. editing in time with beat/flashing lights to rhythm].
4. Demands form record labels on visual shots [e.g. close-up shots of artist]
5. Iconography or motifs from the artist. Artists may develop a specific style over time which is seen in each video [e.g. style of clothing/Michael Jackson's signature dance moves].
6. Often references to voyeurism. This often includes exploiting women for sex appeal and to typically attract heterosexual males [e.g. shots of women's bodies/seductive motions]
7. Sometimes there may also be references to other music videos, films, TV, artists and actors [e.g. in parody videos]

Laura Mulvey

Laura Mulvey, born 1941, made a film theory which is that of a feminist. Mulvey discovered the 'Male Gaze' theory in which film and videos are often shot from the point of view of a heterosexual male. This means women are generally sexualised in a way to please the male audience, but it's important to note that it's only the 'male gaze' if women's bodies are particularly accentuated through specific conventions such as camera movement/shots and slow motion. 

 “woman as object the combined gaze of spectator and all the male protagonists in the film. She is isolated, glamorous, on display, sexualised.”

Women were de-humanised in media through their stereotypical roles, and by having minor roles in film. Women's only roles in films and media was there effect on men and how the man's feelings moved a plot forward. While this is slowly changing, particular films to note are film-noir directors, and those of 'masculine' films aimed at men, such as Transformers, Springbreakers, Charlie's Angels.

I've embedded a video from Youtube below if you want some examples from film footage.

The New Wave and the 80s

So, I have chosen. 'Boys Don't Cry', by The Cure will be this years focus for my media coursework. Therefore, this post is going to be dedicated to:

The New Wave 

(photo from Google)

Initial Music Video Ideas

After listing some of my favourite songs out on a piece of paper, I then began to slowly cross out each song while listening to the lyrics and trying to picture a suitable narrative to it. Some songs I found were too long (e.g. Stairway to Heaven/From Eden), others I could only visualise a simple and unambitious narrative (Go Quietly/iT), others I felt didn't feel were worth the task for. Eventually I came down to two songs: 'Boys Don't Cry' by The Cure, and 'Bel Air' by Lana Del Rey.

In the above insert, I have written out in brief my initial thoughts of a narrative to each song, though I found it hard to word my images. I drew out some basic ideas for shots in the video but with my lack of drawing skill it really doesn't mean much from an outsider's viewpoint anyway. Nonetheless, I thought I would just put up my first thoughts before I begin weighing out the two and choosing one.

Analysis of a Music Video pt 1

An intro into using media language and representation in order to textually analyse a music video.

The xx - On Hold


The first thought I had seconds into this music video was the photographer William Eggleston. Eggleston (born 1939) is very well known for his over-saturated colour in his photography, and each photo telling a story in a completely original way; capturing a moment in time. His use of over-saturated colour creates an antique feel for each photo, like the way a sepia filter does. The xx using this style feels as though they've captured this video back in the 1960s southern-state of the USA, which does fit in with their general music style of a sort of wishy-washy sound of electronic synths filtered through a dream like state.

The xx - Portrait



William Eggleston, 'Untitled', 1970-1973

Following on from their 1960s style, the props shown in the video also show this: the old car, old phone box, the old house telephone (and using it as opposed to mobile). This is fully established to be their aim throughout the rest of the video. Why they've chosen to set it in Texas, 1960s time is a question though: romantic vintage aspect?

Moving onto the structure of the music video, it's a narrative showing a relationship between two young lovers, one being on the school cheer-leading team, the other being on the american football team - the heartache all teenagers can relate to (sarcasm). We can already see a stereotypical American relationship formed here, which could be argued ridiculous for a band that are defined under 'alternative indie'. The video begins with a young man making a phone call, and ends with the young woman hanging up after no exchange of words between them, but between that we have fragments of their relationship in a general linear-narrative showing the breaking down between them which relates back to the lyrics.

There are sections of performance in this video where we have the artists singing/lip-syncing. This is alternated between the two singers becoming the young characters of the love-story, and them being silhouettes telling the story.
The song 'On Hold' is using the telephone hold call button as a metaphor for the relationship between the two young people which is why it's important to have the phone call start and end the video.

The chorus has a random series of black and white grainy video showing a party which foregrounds the occasional slip in of romantic kissing shots between the lovers. By having the two juxtaposed, it makes us feel as though we're looking back at their memories when they were happy together.

Altogether, this video works aesthetically but when analysing it analytically, it's a bunch of random shots of random places while trying to tell the underlying theme of a broken relationship between two stereotypical teenagers in the US.

Transitions Music Video Project: Evalutation

To plan for our music video, the three of us wrote a list of song suggestions, then checked their copyright policies for uploading onto YouTube. For ease, we knew we had to pick a song that would be appropriate to film a music video for on college grounds over the next couple weeks. Our decision concluded with American Boy by Estelle and so we all set to learning the lyrics. We also looked at the lyrics as a group and annotated the lines with suggestions for the visuals.

Zara casted Max to be our 'American Boy' to star in the music video, lip syncing with Kanye in the song. We chose as a group to film on the outsides of the campus so you couldn't see much of the college in the background. Once out we began putting our visualisations to reality, with Bonnie directing dance and general movement. Zara took care of the camera for the first half of our filming before I took over so she could star in the video more. My job was to use a variety of shots and angles which didn't come as naturally as I thought it would. You can see that majority of the filming is mid-shots due to me not pushing myself to be more experimental.

In terms of time management, we didn't finish the full song but instead rounded it off earlier to avoid too much repetition with our limited recordings. We're all proud of our final product though, the video has character and was good fun for us all to film. We found out a lot about what makes a music video successful, and also how to use a camera to a better degree than we already knew.

The video obviously has some improvements that could've been made, such as not everyone (me) learning the lyrics to lip sync with. The video is clearly far from 'professional', the camera quality being a factor, setting (very low budget aka no budget), and many others. But for a first attempt with a light-hearted attitude, it was good fun.

A2 Media Advanced Portfolio: The Brief

A new year, a new set of tasks.

Brief

A promotional package for the release of an album, to include the following:

• ·         a music promo video
• ·         a digipak for the album’s release [4 or 6 sided]
• ·         a magazine advertisement for the album/digipak