Wednesday, 29 December 2010
Picture ideas
So here are some of the pictures we have taken to get an idea of the places we would like to start/ capture our scene in. I may note that when we do shoot our video there probably wont be any snow !
Wednesday, 15 December 2010
Notes on Genre
Girls Aloud : 'Somthing kinda ooh'
http://www.youtube.com/watch?v=Wy3SV2fvoG8
The genre of this music video is pop, as a girl group there is an obvious attraction from the female sex relating to the performance side of the song. The idea that teenage girls use them as a role model and look up to them. However, it also attracts the male sex because of the sexual gestures combined with close ups on specific body features, this means that the males watch the video and fantasise.
http://www.youtube.com/watch?v=Wy3SV2fvoG8
The genre of this music video is pop, as a girl group there is an obvious attraction from the female sex relating to the performance side of the song. The idea that teenage girls use them as a role model and look up to them. However, it also attracts the male sex because of the sexual gestures combined with close ups on specific body features, this means that the males watch the video and fantasise.
Muse: 'Super Massive Black Hole'
The genre of this music video we decided was indie/ rock, with a abstract and different video the attention is drawn mainly to the performance side that you would usually expect to see for example playing guitars, drums and singing. The idea or concept of 'Cock Rock' really fits this video drawing the attention from the female audience as well as the male. However, many opinions can argue that this music video is art.
The Street: 'When You Wasn't famous'
http://www.youtube.com/watch?v=Xm3fPCJ4DQY
The Genre of this video is Rap/R&B, this was a cheap video made purely about the acts of one man. This means that the video has to be purely about performance of the man, this means no shots of instruments but of lip singing. However, this also leaves a place for narrative. This goes with the stereotype of rap and makes people able to relate to the natural setting/ making it feel like real life. this will draw in a specific audience but perhaps not be as wide as others.
The Genre of this video is Rap/R&B, this was a cheap video made purely about the acts of one man. This means that the video has to be purely about performance of the man, this means no shots of instruments but of lip singing. However, this also leaves a place for narrative. This goes with the stereotype of rap and makes people able to relate to the natural setting/ making it feel like real life. this will draw in a specific audience but perhaps not be as wide as others.
Textual Annalysis by Hayley
The music video i chose to do is Britney Spears - Everytime. I chose this video as the lead singer is female and would relate to our music video. This song also has a theme of love in it. Britney stars as her self in the video and her video goes with the lyrics.
The video starts with a crane shot of a the city and hotel Britney is staying in. There is then a shot of Britney on a billboard showing who she is in the video. You then see shot of paparazzi and her inside the limo and this shows how famous she is and the males reaction to her fame. Throughout this you are focused on Britney as she is dressed in white and can always see the emotions on her face. There is a underneath shot of the paparazzis face which portrays them to be scary and threatening.
When they reach the hotel room, there is a series of shot reverse shots of the couple arguing and showing emotion throughout. The emotion of anger is shown by the smashing of props. There is then a sexual element when they both take off their clothes in different rooms, mirroring each other actions. Britney is shown wearing white and against a white background this suggests heaven and death. The fade in the white light shows her dying and looking at her dying self, showing the audience that she is having an outer body experience this represents weakness of the female and the pressures she is going through.
The narrative of the video is that Britney gets hurt when hassled by the paperatzi and argues with her boyfriend and collapses into the bath resulting in her dying in hospital, at the end of the video we see that non of it really happens. Through the song you constantly see and feel the emotion that the singer is going through making the video interesting for the audience to watch.
The video starts with a crane shot of a the city and hotel Britney is staying in. There is then a shot of Britney on a billboard showing who she is in the video. You then see shot of paparazzi and her inside the limo and this shows how famous she is and the males reaction to her fame. Throughout this you are focused on Britney as she is dressed in white and can always see the emotions on her face. There is a underneath shot of the paparazzis face which portrays them to be scary and threatening.
When they reach the hotel room, there is a series of shot reverse shots of the couple arguing and showing emotion throughout. The emotion of anger is shown by the smashing of props. There is then a sexual element when they both take off their clothes in different rooms, mirroring each other actions. Britney is shown wearing white and against a white background this suggests heaven and death. The fade in the white light shows her dying and looking at her dying self, showing the audience that she is having an outer body experience this represents weakness of the female and the pressures she is going through.
The narrative of the video is that Britney gets hurt when hassled by the paperatzi and argues with her boyfriend and collapses into the bath resulting in her dying in hospital, at the end of the video we see that non of it really happens. Through the song you constantly see and feel the emotion that the singer is going through making the video interesting for the audience to watch.
Wednesday, 8 December 2010
More research..
Today we was looking at high grade students music videos and videos with the same genre to give us ideas on what to do in our music video and to achieve a high grade.
http://www.youtube.com/watch?v=SU1gWzXDOFw
http://www.youtube.com/watch?v=W2zY1njHFKY&feature=related
http://www.youtube.com/watch?v=SU1gWzXDOFw
http://www.youtube.com/watch?v=W2zY1njHFKY&feature=related
Audience Questionnaire
Please take the time to fill out our questionnaire, leave a comment with your answers
Are you Male or Female?
Are you Male or Female?
What sort of genre music do you prefer to listen to?
Rock
Pop
RnB
Indie
Dance
Grime
Other_________
What music channels do you watch?
Kiss
Kerrang
MTV
MTV Base
MTV Dance
MTV Classic
4Music
Magic
Box
VHR
Q
Smash Hits
Other_________
MTV Base
MTV Dance
MTV Classic
4Music
Magic
Box
VHR
Q
Smash Hits
Other_________
In music video do you like to watch?
Romance
Action
No Narrative
Band playing
Dancing
Other______
Do you watch music videos on youtube?
What would you expect to see in a R&B video?
Monday, 6 December 2010
StoryBoard ;)
Ok so here is a basic outline of the story line we have proposed to use for our music video:
(click to view larger image)
Thursday, 2 December 2010
Information About Our Artist: Courtney Bennett !
Courtney is a young teenage female artist who has made, created and recorded her own music. At this present momment she has 11 tracks and keeps on making them aswell as posting them on sites such as soundcloud and Youtube. Due to Courtney's age she is obviously depending on the power of the internet and word of mouth to become successful simularly to celebs such as Justin Bieber and the Artictic Monkeys.
Here is a picture of Courtney.
Here is a picture of Courtney.
Wednesday, 1 December 2010
Textual Analysis on:
The Calling: Where Ever You Will Go
I decided to do my textual analysis on this video because i feel it relates to the song we are doing especially with the romance and reference to love.
At the beginning of this video there is a good selections of shots ranging from the long to medium then to close ups of the lead singer and the girl, this is a good obvious start to tell the audience the two key people in the video that will be the ones to fall in love. The video is set in a under path of a bridge where there is only the band, this is a great idea as you cannot get distracted from anything else around them. As well as this the acoustic start to the video really makes the audience be able to feel comfortable. The most effective part of the acoustic start i feel is the medium close ups and slightly low angled shot reverse shot of the female character.
The song then begins with a performs close up of the lead singer with the guitarist out of focus in the background, this represents power and also makes the audience may attention to what the singer is saying leading to them focusing on the song even more. Straight cut then followed by a panning medium shot of the whole band. One specific words such as "love" the director has edited the video to make shots of the two characters together just after close ups of the female on her own looking depressed or down.
I specifically like how the director has edited the video to intertwine the band/ lead singer with the female character however they have made it so that the female character is completely oblivious to the fact that the band are right next to her. This also relates to the lyrics of "Where Ever You Will Go" as it represents that they will always be close to her. The music video is mostly performance based but has also been combined with a narrative. There is a usual concept of a rock/pop video such as close ups of the band and the instruments such as guitar, drums and bass.
The editor has used a key idea of mise en scene when placing the lead singer in strange places such as on the top of buildings and under bridges. This is a very popular song as it has a total of 3,378,987 views on youtube. The director of this view likes to make an obvious eye contact with the lead singer and the audience, this means that the director has cut and shot the video to have set shots such as close ups.
The narrative in this music video is that the female character gets her heart broken by finding out that the guy she was with slept with someone else. This shows how the song relates to the narrative as it suggests the person is there for them. This is simular to our music video as we have decided to match our lyrics to song.
Finally i feel that the emtion in the piece is really expressed by the gestures of the characters and the emtional expresstions on the lead singers face, this really impacts the video and song which makes the audience feel more involoved, as if they are a part of it. This emtion can also have a large impact on the audience as if someone could relate to the realistic narrative story.
Mark Davies
Here is a link to the music video: http://www.youtube.com/watch?v=HffP0yzMnz8&feature=player_detailpage
I decided to do my textual analysis on this video because i feel it relates to the song we are doing especially with the romance and reference to love.
At the beginning of this video there is a good selections of shots ranging from the long to medium then to close ups of the lead singer and the girl, this is a good obvious start to tell the audience the two key people in the video that will be the ones to fall in love. The video is set in a under path of a bridge where there is only the band, this is a great idea as you cannot get distracted from anything else around them. As well as this the acoustic start to the video really makes the audience be able to feel comfortable. The most effective part of the acoustic start i feel is the medium close ups and slightly low angled shot reverse shot of the female character.
The song then begins with a performs close up of the lead singer with the guitarist out of focus in the background, this represents power and also makes the audience may attention to what the singer is saying leading to them focusing on the song even more. Straight cut then followed by a panning medium shot of the whole band. One specific words such as "love" the director has edited the video to make shots of the two characters together just after close ups of the female on her own looking depressed or down.
The editor has used a key idea of mise en scene when placing the lead singer in strange places such as on the top of buildings and under bridges. This is a very popular song as it has a total of 3,378,987 views on youtube. The director of this view likes to make an obvious eye contact with the lead singer and the audience, this means that the director has cut and shot the video to have set shots such as close ups.
The narrative in this music video is that the female character gets her heart broken by finding out that the guy she was with slept with someone else. This shows how the song relates to the narrative as it suggests the person is there for them. This is simular to our music video as we have decided to match our lyrics to song.
Finally i feel that the emtion in the piece is really expressed by the gestures of the characters and the emtional expresstions on the lead singers face, this really impacts the video and song which makes the audience feel more involoved, as if they are a part of it. This emtion can also have a large impact on the audience as if someone could relate to the realistic narrative story.
Mark Davies
Here is a link to the music video: http://www.youtube.com/watch?v=HffP0yzMnz8&feature=player_detailpage
Friday, 26 November 2010
History of the Music Video
1894- Sheet music publishers Edward B. Marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Thomas projected a series of still images on a screen simultaneous to live performances. This would become a popular form of entertainment known as the illustrated song, the first step toward music video
1926- the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bros.) featured many bands, vocalists and dancers. Spooney Melodies in 1930 was the first true musical video series.Shorts were typically six minutes in duration, and featured Art Deco-style animations and backgrounds combined with film of the performer singing.
1929- Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.
1960–1967: Visual innovation
In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Brel, and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
1964- The Beatles starred in their first feature film A Hard Day's Night, directed by Richard Lester. Shot in black-and-white and presented as a mock documentary, it was a loosely structured musical fantasia interspersing comedic and dialogue with musical sequences. The musical sequences furnished basic templates on which countless subsequent music videos were modeled. It was the direct model for the successful US TV series The Monkees (1966–1968) which similarly consisted of film segments that were created to accompany various Monkees songs
1965- The Beatles began making promotional clips (then known as "filmed inserts") for distribution and broadcast in other countries, primarily the USA, so they could promote their record releases without having to make in-person appearances.
1967- The colour promotional clips for "Strawberry Fields Forever" and "Penny Lane" were made and directed by Peter Goldman, who took the promotional film format to a new level. They used techniques borrowed from underground and avant garde film, including reversed film and slow motion, dramatic lighting, unusual camera angles and color filtering added in post-production. Reflecting the fact that these studio masterpieces were impossible for the group to perform live, their psychedelic mini-films illustrated the songs in an artful, impressionistic manner rather than trying to simulate an idealised performance or depict a narrative or plot.
1967–1973- Promotional clips grow in importance
November 1975- Queen - "Bohemian Rhapsody". Though some artists had made video clips to accompany songs (including Queen themselves; for example, "Keep Yourself Alive," "Seven Seas Of Rhye," "Killer Queen" and "Liar" already had "pop promos", as they were known at the time), it was only after the success of "Bohemian Rhapsody" that it became regular practice for record companies to produce promotional videos for artists' single releases. These videos could then be shown on television shows, such as the BBC's Top of the Pops, without the need for the artist to appear in person. A promo video also allowed the artist to have their music broadcast and accompanied by their own choice of visuals, rather than dancers such as Pan's People. According to May, the video was produced so that the band could avoid miming on Top of the Pops, since they would have looked off miming to such a complex song. He also said that the band knew they would be touring and unable to appear on the programme anyway. The video has been hailed as launching the MTV age
1974–1980 – Beginnings of music television. The long-running British TV show Top of the Pops began playing music videos in the late 1970s, although the BBC placed strict limits on the number of 'outsourced' videos TOTP could use. Therefore a good video would increase a song's sales as viewers hoped to see it again the following week. In 1980, David Bowie scored his first UK number one in nearly a decade thanks to director David Mallet's eye catching promo for "Ashes to Ashes". Another act to succeed with this tactic was Madness, who shot on 16 mm and 35 mm, constructing their clips as "micro-comedic" short films. American alternative rock group Devo created many self-produced music videos, which were included in the pioneering compilation "The Truth About Devolution", directed by Chuck Statler and Devo's video cassette releases were arguably among the first true long-form video productions.
1981–1991: Music videos go mainstream.
In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.
1992–2004: Rise of the directors.
In December 1992, MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur's medium. Directors such as Michel Gondry, Spike Jonze, Stéphane Sednaoui, Mark Romanek and Hype Williams all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze and F. Gary Gray, went on to direct feature films. This continued a trend that had begun earlier with directors such as Lasse Hallström and David Fincher.
2005–present: The Internet becomes video-friendly.
The earliest purveyors of music videos on the internet were members of IRC-based groups, who recorded them as they appeared on television, then digitised them, exchanging the .mpg files via IRC channels. The website iFilm, which hosted short videos, including music videos, launched in 1997. Napster, a peer-to-peer file sharing service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality television shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show The Real World, which premiered in 1992. 2005 saw the launch of the website YouTube, which made the viewing of online video faster and easier; MySpace's video functionality, which uses similar technology, launched in 2007. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. The band OK Go may exemplify this trend, having achieved fame through the videos for two of their songs, "A Million Ways" in 2005 and "Here It Goes Again" in 2006, both of which first became well-known online. Artists like Soulja Boy Tell 'Em and Marié Digby also achieved some level of fame initially through videos released only online.
1926- the arrival of "talkies" many musical short films were produced. Vitaphone shorts (produced by Warner Bros.) featured many bands, vocalists and dancers. Spooney Melodies in 1930 was the first true musical video series.Shorts were typically six minutes in duration, and featured Art Deco-style animations and backgrounds combined with film of the performer singing.
1929- Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister. These films were, according to music historian Donald Clarke, the "ancestors" of music video.
1960–1967: Visual innovation
In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Brel, and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
1964- The Beatles starred in their first feature film A Hard Day's Night, directed by Richard Lester. Shot in black-and-white and presented as a mock documentary, it was a loosely structured musical fantasia interspersing comedic and dialogue with musical sequences. The musical sequences furnished basic templates on which countless subsequent music videos were modeled. It was the direct model for the successful US TV series The Monkees (1966–1968) which similarly consisted of film segments that were created to accompany various Monkees songs
1965- The Beatles began making promotional clips (then known as "filmed inserts") for distribution and broadcast in other countries, primarily the USA, so they could promote their record releases without having to make in-person appearances.
1967- The colour promotional clips for "Strawberry Fields Forever" and "Penny Lane" were made and directed by Peter Goldman, who took the promotional film format to a new level. They used techniques borrowed from underground and avant garde film, including reversed film and slow motion, dramatic lighting, unusual camera angles and color filtering added in post-production. Reflecting the fact that these studio masterpieces were impossible for the group to perform live, their psychedelic mini-films illustrated the songs in an artful, impressionistic manner rather than trying to simulate an idealised performance or depict a narrative or plot.
1967–1973- Promotional clips grow in importance
November 1975- Queen - "Bohemian Rhapsody". Though some artists had made video clips to accompany songs (including Queen themselves; for example, "Keep Yourself Alive," "Seven Seas Of Rhye," "Killer Queen" and "Liar" already had "pop promos", as they were known at the time), it was only after the success of "Bohemian Rhapsody" that it became regular practice for record companies to produce promotional videos for artists' single releases. These videos could then be shown on television shows, such as the BBC's Top of the Pops, without the need for the artist to appear in person. A promo video also allowed the artist to have their music broadcast and accompanied by their own choice of visuals, rather than dancers such as Pan's People. According to May, the video was produced so that the band could avoid miming on Top of the Pops, since they would have looked off miming to such a complex song. He also said that the band knew they would be touring and unable to appear on the programme anyway. The video has been hailed as launching the MTV age
1974–1980 – Beginnings of music television. The long-running British TV show Top of the Pops began playing music videos in the late 1970s, although the BBC placed strict limits on the number of 'outsourced' videos TOTP could use. Therefore a good video would increase a song's sales as viewers hoped to see it again the following week. In 1980, David Bowie scored his first UK number one in nearly a decade thanks to director David Mallet's eye catching promo for "Ashes to Ashes". Another act to succeed with this tactic was Madness, who shot on 16 mm and 35 mm, constructing their clips as "micro-comedic" short films. American alternative rock group Devo created many self-produced music videos, which were included in the pioneering compilation "The Truth About Devolution", directed by Chuck Statler and Devo's video cassette releases were arguably among the first true long-form video productions.
1981–1991: Music videos go mainstream.
In 1981, the U.S. video channel MTV launched, airing "Video Killed the Radio Star" and beginning an era of 24-hour-a-day music on television. With this new outlet for material, the music video would, by the mid-1980s, grow to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.
1992–2004: Rise of the directors.
In December 1992, MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur's medium. Directors such as Michel Gondry, Spike Jonze, Stéphane Sednaoui, Mark Romanek and Hype Williams all got their start around this time; all brought a unique vision and style to the videos they directed. Some of these directors, including, Gondry, Jonze and F. Gary Gray, went on to direct feature films. This continued a trend that had begun earlier with directors such as Lasse Hallström and David Fincher.
2005–present: The Internet becomes video-friendly.
The earliest purveyors of music videos on the internet were members of IRC-based groups, who recorded them as they appeared on television, then digitised them, exchanging the .mpg files via IRC channels. The website iFilm, which hosted short videos, including music videos, launched in 1997. Napster, a peer-to-peer file sharing service which ran between 1999 and 2001, enabled users to share video files, including those for music videos. By the mid-2000s, MTV and many of its sister channels had largely abandoned showing music videos in favor of reality television shows, which were more popular with its audiences, and which MTV had itself helped to pioneer with the show The Real World, which premiered in 1992. 2005 saw the launch of the website YouTube, which made the viewing of online video faster and easier; MySpace's video functionality, which uses similar technology, launched in 2007. Such websites had a profound effect on the viewing of music videos; some artists began to see success as a result of videos seen mostly or entirely online. The band OK Go may exemplify this trend, having achieved fame through the videos for two of their songs, "A Million Ways" in 2005 and "Here It Goes Again" in 2006, both of which first became well-known online. Artists like Soulja Boy Tell 'Em and Marié Digby also achieved some level of fame initially through videos released only online.
Thursday, 25 November 2010
The Lyrics !
Let me be your superhero
Let me be the one for you to lean on
Let me be your superhero
Let me be the one to fly you away
I can be your hero
Hero
Hero
I can be your hero
Hero
Baby I can be
Its crazy ive never felt this way before
But when you
Came along
Everything changed and
yu make me feel invincible
Super Human
Make me feel like I belong and I can give my heart away
Without being afraid of it breaking
So my heart you can take it yeaaa
Anything you want or need
Baby just let me be
The one you call the one you want by your side
Baby let me be
Let me be your superhero
Let me be the one for you to lean on
Let me be your superhero
Let me be the one to fly you away
I can be your hero
Hero
Hero
I can be your hero haha
Hero
[RAP]
You know exactly what to say to put a smile on my face
If I ever step outa line you put me in my place
I love the way you can handle my cheeky behaviour
If you need a super hero baby Im ya saviour
Everytime I see your name on caller i.d
I put on a brave voice when really I feel weak
Tried to hide it tried to fight it
Got me trippin can’t deny it
Got me floating cloud nine rocket to the stars im flying
It’s crazy how I feel this way
Never felt this way before
Everytime I think about you make me want you more
Picture us
Picture Perfect
I’ll give you everything the one my heart my soul
Give you all the love and if you want a promise ring
So anything you want or need
Baby let me get it
Let me be
The one you call the one you want by your side
Baby let me be
Let me be your superhero
Let me be the one for you to lean on
Let me be your superhero
Let me be the one to fly you away
I can be your hero
Hero
Hero
I can be your hero
Hero
Baby I can be
I can be your hero baby
I can take you out fly away
Fly away
Yeh yeh
Together we’re invincible
Together we’re unbreakable
Baby its you and me against the world
Let me be your superhero
Let me be the one for you to lean on
Let me be your superhero
Let me be the one to fly you away
I can be your hero
Hero
Hero
I can be your hero
Hero
Baby I can be
Hero
Baby I can be
Beat Sheet
Here is a print screen of the beat sheet for our song "Super Hero".
(click to view larger image)
(click to view larger image)
Wednesday, 24 November 2010
We have found our artist!
We got in touch with Courtney and we have her permission to use her track.
Here is a print screen of the conversation,,
( click to view larger image)
here is the link to her page:
Here is a print screen of the conversation,,
( click to view larger image)
here is the link to her page:
Monday, 22 November 2010
Action Plan
Week Beginning
22.11.10-
E-mails to the band, Casting, Band Permision, History of the music video and Storyboarding
29.11.10-
What is a music video/art vs industry & Information on genre, narrative and audience & audience questionnaire
06.12.10-
Beat sheet, Textual Annaylis from each member of the group, Where are music videos shown? &Information about influential directors
13.12.10-
Information about our chosen band & Research into ancillary texts, Shooting schedule & Recce information
20.12.10-
xmas
27.12.10-
xmas
03.01.11-
Notes on mise on scene, treatment sheet & Start filming
10.01.11-
Filming
17-01.11-
Filming
24.01.11-
Editing
31.01.11-
Editing
07.02.11-
Editing
14.02.11-
Finish Video, post and response
21.02.1-
Plan of ancillary texts
28.02.11-
Ancillary Texts, Poster and Cover
07.03.11-
Finish Ancillary Texts and start evaluation
21.03.11-
Evalution
25.03.11-
Deadline
22.11.10-
E-mails to the band, Casting, Band Permision, History of the music video and Storyboarding
29.11.10-
What is a music video/art vs industry & Information on genre, narrative and audience & audience questionnaire
06.12.10-
Beat sheet, Textual Annaylis from each member of the group, Where are music videos shown? &Information about influential directors
13.12.10-
Information about our chosen band & Research into ancillary texts, Shooting schedule & Recce information
20.12.10-
xmas
27.12.10-
xmas
03.01.11-
Notes on mise on scene, treatment sheet & Start filming
10.01.11-
Filming
17-01.11-
Filming
24.01.11-
Editing
31.01.11-
Editing
07.02.11-
Editing
14.02.11-
Finish Video, post and response
21.02.1-
Plan of ancillary texts
28.02.11-
Ancillary Texts, Poster and Cover
07.03.11-
Finish Ancillary Texts and start evaluation
21.03.11-
Evalution
25.03.11-
Deadline
Wednesday, 17 November 2010
Deciding our music video ???
For our music video we have to look for a suitable band we can contact and get a responce from, this is so that the music we use is copyright free.
Here are a few of our ideas :
These are bands/artists we know of..
1) Benji Tranter
2) Drastic
3) Feed me to the lions
4) We Humans
5) Captain Knave
6) Courntey Bennett
and these are bands we are trying to contact..
1) Mike Posner
2) Pixie Lott
3) Chase and Status
4) Tinie Tempah
5) The Streets
Any bands you know or think would be hepful tell us...
Here are a few of our ideas :
These are bands/artists we know of..
1) Benji Tranter
2) Drastic
3) Feed me to the lions
4) We Humans
5) Captain Knave
6) Courntey Bennett
and these are bands we are trying to contact..
1) Mike Posner
2) Pixie Lott
3) Chase and Status
4) Tinie Tempah
5) The Streets
Any bands you know or think would be hepful tell us...
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