Tuesday, 29 September 2009
SD Technical Analysis
I have decided to do a shot technique analysis of the song “No More Room to Breathe” by “There for Tomorrow.” The band sounds very similar to the band we are choosing to use (You Me At Six) so therefore it includes many of the shots we would like to use in our music video.
The music video starts with an establishing shot of the band which is then frequently used during the video with XLS and LS to get the audience comfortable with the location and setting. There is also a blur at the beginning which goes really well with the music introduction, this would work well with our song as well as ours also has a gradual start.
The majority of this music video is performance based with a small narrative along side. This Song consists of many different angles and shot lengths, like you expect to see in a regular Rock Pop music video. The music video consists of mostly very quick shots lasting for about half a second or less, these fit really well with the fast paced track
Frequent CUs of the Lead Singer are commonly used. This provides the audience a good idea of what the Lead Singer looks like and gives an image to the band. This will also be a technique we would prefer to use in our music video as it is a very widespread method throughout the Rock Pop genre.
Throughout the whole music video for “No More Room to Breathe” the camera is constantly moving. This technique gives the video a professional look to it but also making it look hectic which adds to the Rock Pop atmosphere. This is again a common feature in the Rock Pop music video genre so we may try to include this in our video as much as possible.
In conclusion i feel this was an excellent video to analyse as the song is very similar to the one we are going to use. The shots used are very similar to ones we are hoping to use within our music video as well as focusing on the band which is what we hope to do. Shots such as close ups help focus on the Lead Singer whereas longer shots help show the whole band performing
MD Technical Analysis
The music video that i have chosen to analyse each individual shot in detail is performed by 'You Me At Six', our chosen band for our production. Within the video there is a small narrative within the background which we will more than likely not include within our video, but all the performance used within the video is vital to our research.
This mostly performance based song consists of many different angles and shot lengths, mostly longer than a regular 'rock pop' music video. The music video consists mostly of two and three second performance shots, which is very different to other videos that we as a group have come across within our research. Personally i think these slightly slower performance shots with interesting angles work well within the specific music video, although very fast paced the track still fits in well with the different shots chosen for the video.
Within the music video visuals also play a big part within the angles and length of shots which are used. Without interesting visuals to complete shots, longer performance shots could seem pointless. Lighting and slow motion are used to keep audience attention which is very effective.
Frequent close-ups of the lead singer also help to give the band a certain representation. It is also important from an advertising point of view as close-ups help the audience to recognise the band which at the end of the day is necessary for simply selling records. There are also shots where a crane is used to make the music video seem slightly more professional rather than a still camera positioned on a tripod. This effect also helps the video to seem as if more is going on within the performance, a vital effect for professional music video production.
In conclusion i think that this video was a good choice for analysing as it is starring the band that we have chosen as well as focusing on a performance base. The shots used are effective and have helped us as a group to make further important decisions for our production. Personally i feel that lighting and stage presence also make a big difference between professional looking and low budget visuals, so if it is at all possible to get hold of any kind of strong lighting for our video it would enable a lot more of a professional look to our video.
MD Audience Research Planning
For our audience research, we have decided we will conduct a Focus group and also a questionnaire to find out what our audience expect to see in a music video from our genre. We will start by finding a group of about 5 people who will often watch Rock Pop music videos so therefore they will be aged from teenagers to early 20s. Giving each of them a questionnaire we would have created, will help us find out what the public like to see in a music video from the Rock Pop genre such as costume, location and camera techniques. After each member of the Focus group has completed the questionnaire, we will gather their answers and discuss any ideas they might have come up with during the questionnaire. This will give us an even better idea of what our audience looks to see in a music video from the Rock Pop genre. We feel that a group discussion between us and members of our target audience is vital to create a well put together music video. Within our questionnaire we will have a mixture of question styles along with potentially more open and precise answers. The advantages of using both a focus group and a questionnaire are that we as a group are able to discuss original answers written on the questionnaire and then go back to them at the end and see if any ideas have changed after a discussion. Some of the disadvantages when using a focus group is that some people may not take it seriously, but we will be able to overcome that by using a questionnaire with a wide variety of open and precise potential answers.
MD Brighton Reccie
The Brighton trip helped our group a lot when it came to deciding on a location. Although we feel Brighton is not the place that we wish to film, the experience has opened our eyes to the wide possibility of nearby locations. Not only did the trip show us a large place with potential places to film, it bought the group together enabling conversations to take place on ideas and possible actors that could feature within our production.Some of the pictures taken as shown above are but some of the eye catching images of Brighton. For certain genres of video Brighton would work well as a location. ‘You Me At Six’ are a ‘rock pop’ band that we feel need a slightly more bright primary coloured setting rather than a windy sea side city that could suite more of a low budget style of Music Video.
The Brighton trip was also a good location for practicing different styles of shots, including MLS panning establishing shot for narrative/performance, use of high/low angle for performance, footage for sped up shot of character in crowd, POV handicam shot, 360 pan, tacking shot of character/performer walking in first person mode of address, a range of a CU’s suitable for instruments and at least two other shots of your own design.
In conclusion we as a group feel that the Brighton trip has been very helpful to our ideas of both locations and performance based shots of our chosen band. Also, the shots that we have practised have given us usage of equipment that is vital to the creation of our production.
Sunday, 27 September 2009
SD Possible Locations
For our Music Video we have realised that the location we use it vital. We have an idea of the sort of place we are looking for, a photographic studio would be the perfect location but we understand that it will be very difficult and expensive to occupy one for a long period of time. Also it is hard to find a studio that is large enough to hold a drum kit, etc so a studio is probably off limits.
The other idea we had was possibly using a warehouse of some sort such as “The Big Yellow Storage Company.” A location like this is appropriate as it is large and plain so we can customise it to make it look how we imagined it to be. Money also shouldn’t be a problem as I’m sure the company will not mind us using it for an hour or two if we give them plenty of notice, as the place is so large as well we will hardly be noticed whilst in there. The only problem we might have is that it is quite out the way so it may be difficult for other members of the band to get there.
The last location we were thinking was a hall in Bidborough. The hall is fairly large and plain with the added bonus of having a fairly big stage as well. This could be a perfect location for the music video as the equipment will easily fit on the stage and/or in the hall. The stage also has a lot of room in front of it, so we will be able to move around the front with the camera getting some good quality low angle shots. We already know the person who has the key to the hall, so booking the place should be really easy and cost free. It is also a local hall so getting to it should not be a problem for our members.
The other idea we had was possibly using a warehouse of some sort such as “The Big Yellow Storage Company.” A location like this is appropriate as it is large and plain so we can customise it to make it look how we imagined it to be. Money also shouldn’t be a problem as I’m sure the company will not mind us using it for an hour or two if we give them plenty of notice, as the place is so large as well we will hardly be noticed whilst in there. The only problem we might have is that it is quite out the way so it may be difficult for other members of the band to get there.
The last location we were thinking was a hall in Bidborough. The hall is fairly large and plain with the added bonus of having a fairly big stage as well. This could be a perfect location for the music video as the equipment will easily fit on the stage and/or in the hall. The stage also has a lot of room in front of it, so we will be able to move around the front with the camera getting some good quality low angle shots. We already know the person who has the key to the hall, so booking the place should be really easy and cost free. It is also a local hall so getting to it should not be a problem for our members.
Wednesday, 23 September 2009
Monday, 21 September 2009
SD Print Media Analysis
POSTER
ALBUM COVERThe album cover for "There for Tomorrow" is very basic yet attractive making it difficult to tell which genre they belong to. The cover shows "There for Tomorrow" in large letters which roots coming out of the bottom. The simple text and colours give you the sense that the band is a new band possibly in the indie/rock genre as they aren't necessarily trying to show their faces just yet, and initially just trying to catch the public eye. Large font in the centre of the album cover shows the band is trying to promote themselves through their name rather than their image. This again gives you the sense that the band is new as they want people to notice the large lettering on the front. The general layout and colour scheme of this album cover appeals mainly to the young, teenage audience as it is fairly straightforward and therefore making it look modern. Visual techniques are non-existent in this album cover. The only thing to attract the audience is the title in the centre of the cover with the roots coming out of the "O". The title is positioned bang in the centre of the square taking up the majority of the space, ensuring that people will notice their name. I don't feel there are any meanings generated through the cover as barely any techniques are used. There is only one use of words on the self titled album "There for Tomorrow" which uses the linguistic device of alliteration, creating an appealing title that audiences will remember easier. I believe that this album would be consumed by a young audience, aged between 12 – 20 as from the cover it connotes a modern, indie, rock sound. I also believe that this album would be consumed by a more curious music audience, looking for new bands and trying to find something different, due to its simple use of visuals on the cover.
The poster for "There for Tomorrow" is very similar to the album cover. The same text and picture is used in both prints which helps promote the album and band even more. This time the band has decided to show a picture of themselves at the top of the poster. Just from looking at the band you can tell that the band sits within the rock/indie genre due to their long hair swept to one side across their faces. The band are made up of young, teenage males with long, "scene" hair who would be most loved by teenage girls due to their attractiveness. This is a typical representation of a young teenager who is rebellious with his long hair, not caring how adults think of him. Also the tape across his mouth connotes a sense of disobedience as teenagers are always thought to swear a lot and not allowed to speak their minds. Showing a picture of themselves would help with promotion as they are a good looking band, girls would think they are cute and guys would think they are cool.
Sunday, 20 September 2009
MD Print Media Analysis
POSTER
ALBUM COVERGenre
The genre of the artist is evident within the album cover, mainly through lighting effects. The album cover shows a dark and dingy set of houses but there seems to be life within one of them. Brightly coloured patterns on the walls inside the house, lit up to full potential certainly represent more than interesting personality of the album cover designer. An album cover's colour scheme makes a noticeable difference when determining the genre of an album, in this case the dark colour with a hint of life and excitement sets the indie rock genre up with perfection. Another noticeable effect is the use of font within the top right hand corner of the album cover, the abstract font used on both the band's name and the album name have strong elements of the indie genre. The colour used for the font is that of a dark yellow, keeping with the general colour scheme of darkness surrounding individuality and character.
Although similar to the animated effects of the album cover, the promotional poster tends to give off an almost opposite sensation. The use of what at first glance seems to be a dancer with a lions head and tail represent the genre as having a glamorous front, but in reality there is more to find out. This effect also plays it's part for advertisement well as it entices the target audience to listen to the Arctic Monkey's music, simply in order to find out just what that element of reality is really all about.
Media Language
The album cover uses visual techniques throughout to create effect. The rule of thirds is used to position the title and photograph, this straightforward but efficient technique makes it simple for the audience to follow the animation down and across the page. Texture and colour also play an important part within the design, not only do they help to represent the genre they aim to attract potential buyers of the album. Having an attractive creation is important to the record label as well as the band as this advertising technique can make even more money. The general tone of the piece also plays its part within advertisement and style. To a fan of the band, the tone of the album cover will be seen as artistic flare. In this case the tone seems to do just this. Keeping consistency throughout an animation is very important to both the band and audience. Being able to show an expert and composed attitude towards the music business is admirable to an audience, and simple things for example the tone of the album cover can prove these elements of professionalism. Mise-en-scene within the album cover is also very effective for emphasising the genre of the album along with pleasing a dedicated audience. If an album jumps from genre characteristic to genre characteristic the focused audience could become less committed.
The poster uses similar effects involving visual techniques revolving around texture, colour, tone and mise-en-scene. The rule of thirds is also used once again making the poster flow well, so that at first glance the audience can understand the new album and also be entertained by the artistic animation. The abstract font used for the poster is exactly the same as the album cover, but in this case set out slightly differently. The used of continuity within print media is vital for a focused audience. The colour scheme, tone and texture within the poster also shows signs of continuity with ideas taken from the album cover or visa versa.
Intertextual references are shown throughout many pieces of artwork created for the Arctic Monkeys, but in this case none are shown. The originality of both pieces put the band in their own league and enables the audience to respect and admire the bands wants and needs for inventive success. In that sense the pieces could be considered post-modern, an attractive and smart image for a band to share.
Representation
The album cover represents the band in a way that could seem appealing to a focused and attentive audience. Fans of the Arctic Monkeys will know that their success came about through honest hard work and persistence. The album cover uses a picture of what seems to be a relatively poor housing estate, showing that the band still have that sense of reality and have not been tempted by money and fame.
Both the poster and the album cover do not seem to be particularly high budget art works either, this once again shows that sense of the band being in touch with normality. Not spending thousands of pounds on scenes for a photo shoot is recognised by most fans and help the band to communicate with the everyday people that they grew up with as youngsters.
Institution & Audience
The developed poster is a rectangular shape, this intricate construction shows an audience that it could quite easily be a page in a magazine. The outstanding image on the poster of a dancer with a lions head and tale immediately catches the eye. The way in which the page is set out also helps the audience to take in information about the new album by reading the band’s name and album title in a font that is instantly recognized by certain focused members of the audience. The poster would also almost certainly be put up on walls and even bus stops, the simple design is attractive and recognisable, passer-bys are able to acknowledge the fact that a new album is being released without having to read into detail, this shows just how affective posters can be for album sales.
The album cover on the other hand would be distributed in a slightly different fashion. When the CD is bought it would play its part along with the internet on socially popular sights such as You Tube and BBC Radio 1. This is the image that is a step up from the poster, an image that persistent fixed fans would see as iconic in their lives, where as ambient viewers would acknowledge the poster more as they would see a lot more of it around public places and in magazines that they simply flick through.
Tuesday, 15 September 2009
SD Music Video Analysis
You Are The One - Shiny Toy Guns
http://www.youtube.com/watch?v=kC5P69IdscM
Genre and Narrative
I decided to evaluate the music video for “You Are The One” by Shiny Toy Guns which is directed by Masashi Muto and produced by Kazutomo Tanjo. I chose this song due to its video and the use of wind and rain to create an atmosphere which adds to its uniqueness. The song is a fast paced tune and sits within the rock pop genre due to its heavy drums and electric guitars. Songs within this genre tend to have a performance/narrative based music videos but there are occasions where concept has been brought in to make it individual. Rock videos are very likely to have fast paced actions taking place with uses of handycam and a shaky effect.
The lyrics within this song refer to a man who is frustrated by his girlfriend as she is cheating on him, yet he still loves her. A few examples of lyrics throughout the song show his anger. For examples, “your cover melting inside,” this is saying that he can see through her lies as her cover ups are “melting” and becoming old. Another example of betrayal is when he says, “Your God knows who’s faithful,” meaning God knows who is faithful and the girl is not. One of the best lyrics in the song is where it says, “You so believe your own lies,” which is implying that she has been lying so much to him that she is now beginning to think that the lies she is telling him are true. The chorus shows how he does still love her as it says “You Are The One,” but he doesn’t want to as she cheated on him.
The tune itself has a loud drumming beat and constant electric guitar playing. It is generally fast paced until it slows down about two thirds into the song, before it builds back up again. The main thing you notice about this video is the camera is always moving when it is focused on the group, this adds the feeling the something is always going on, which then builds a rock atmosphere which then compliments the tune. Another effect used makes the whole video seem like it is shaking, this adds to the rock mood, making it seem as if the music is so powerful that the camera is moving. The tone is further emphasised by the fast cutting rhythm throughout the video due to the rapid tempo of the song which only slows down for a few seconds.
This music video is part narrative based yet mostly performance based. The narrative feature begins with a girl trapped in a large bubble of water with the band then shown to be playing in front of her. The bubble in the video could refer to the lyrics “you’re more than in my head” meaning she is trapped inside in his head and he can’t stop thinking of her. Throughout the video, she looks around inside her bubble, until the song's bridge, at which point the lead singer touches the bubble and it explodes. This could symbolise that he has finally forgot about the girl and has stopped loving her. Heavy rain then starts falling on the band, and intense winds begin to blow. These elements in the music video really emphasise the rock genre atmosphere and make the video seem a lot louder and more intense. The girl, now free from the bubble, is taken away by what appears to be an angel. The video closes with the band walking toward the camera.
Media Language
Within this music video, visual techniques play a very important part. The frequent close ups of the lead singer help give the audience a look at what he looks like and also longer camera shots give them an overall view of the whole band. The record company is aware that this can help promote the band as it gives an image to the band. Other music videos by Shiny Toy Guns are very different to this one, as they tend to be more abstract and they even have one which is entirely cartoon based. Although their videos vary in style, throughout all of them you can see the use of shakycam and parts that have slow motion. Both of these techniques are used frequently in the rock genre music videos as it builds atmosphere and helps create a powerful sensation.
Costume throughout the video isn’t bizarre but has amounts where it is abstract. The band are wearing simple white clothing which isn’t too unusual but the fact they all are wearing the same makes them look like a band. The characters in the narrative on the other hand, are wearing dark lacy clothes which is contradicting the bands pure white uniform. An angel of some sort is also shown within the music video, so wings on a human body are quite diverse in the sense that you don’t see that every day. I feel that the camera work is the most important element in the whole of the music video as the shakycam, slow motion and use of a crane each add individual effects to it. The shakycam shows the intensity of the song whereas the slow motion emphasises the loud guitar moments within the tune. The crane is also very significant as it never lets the camera be still which is another technique that will build mood. There is no sign of ‘looking’ throughout the video assuming him looking into the camera isn’t taken into account.
Like most rock music videos, “You Are The One” is a mixture between performance and narrative based, with the singer and band as the main focus. Mainstream rock videos tend to have the whole band in the picture with a narrative based around the lead singer. Shiny Toy Guns have followed this mainstream idea but have altered the narrative to be more about a girl than the actual lead singer. Also the use of wind and rain is not commonly used in the way they have done, so that makes the video slightly more unique. The performance of the band isn’t over exaggerated yet rock dance moves such as head banging are brought in for a small time to continue the rock feel of the video.
Institution and Audience
http://www.youtube.com/watch?v=kC5P69IdscM
Genre and Narrative
I decided to evaluate the music video for “You Are The One” by Shiny Toy Guns which is directed by Masashi Muto and produced by Kazutomo Tanjo. I chose this song due to its video and the use of wind and rain to create an atmosphere which adds to its uniqueness. The song is a fast paced tune and sits within the rock pop genre due to its heavy drums and electric guitars. Songs within this genre tend to have a performance/narrative based music videos but there are occasions where concept has been brought in to make it individual. Rock videos are very likely to have fast paced actions taking place with uses of handycam and a shaky effect.
The lyrics within this song refer to a man who is frustrated by his girlfriend as she is cheating on him, yet he still loves her. A few examples of lyrics throughout the song show his anger. For examples, “your cover melting inside,” this is saying that he can see through her lies as her cover ups are “melting” and becoming old. Another example of betrayal is when he says, “Your God knows who’s faithful,” meaning God knows who is faithful and the girl is not. One of the best lyrics in the song is where it says, “You so believe your own lies,” which is implying that she has been lying so much to him that she is now beginning to think that the lies she is telling him are true. The chorus shows how he does still love her as it says “You Are The One,” but he doesn’t want to as she cheated on him.
The tune itself has a loud drumming beat and constant electric guitar playing. It is generally fast paced until it slows down about two thirds into the song, before it builds back up again. The main thing you notice about this video is the camera is always moving when it is focused on the group, this adds the feeling the something is always going on, which then builds a rock atmosphere which then compliments the tune. Another effect used makes the whole video seem like it is shaking, this adds to the rock mood, making it seem as if the music is so powerful that the camera is moving. The tone is further emphasised by the fast cutting rhythm throughout the video due to the rapid tempo of the song which only slows down for a few seconds.
This music video is part narrative based yet mostly performance based. The narrative feature begins with a girl trapped in a large bubble of water with the band then shown to be playing in front of her. The bubble in the video could refer to the lyrics “you’re more than in my head” meaning she is trapped inside in his head and he can’t stop thinking of her. Throughout the video, she looks around inside her bubble, until the song's bridge, at which point the lead singer touches the bubble and it explodes. This could symbolise that he has finally forgot about the girl and has stopped loving her. Heavy rain then starts falling on the band, and intense winds begin to blow. These elements in the music video really emphasise the rock genre atmosphere and make the video seem a lot louder and more intense. The girl, now free from the bubble, is taken away by what appears to be an angel. The video closes with the band walking toward the camera.
Media Language
Within this music video, visual techniques play a very important part. The frequent close ups of the lead singer help give the audience a look at what he looks like and also longer camera shots give them an overall view of the whole band. The record company is aware that this can help promote the band as it gives an image to the band. Other music videos by Shiny Toy Guns are very different to this one, as they tend to be more abstract and they even have one which is entirely cartoon based. Although their videos vary in style, throughout all of them you can see the use of shakycam and parts that have slow motion. Both of these techniques are used frequently in the rock genre music videos as it builds atmosphere and helps create a powerful sensation.
Costume throughout the video isn’t bizarre but has amounts where it is abstract. The band are wearing simple white clothing which isn’t too unusual but the fact they all are wearing the same makes them look like a band. The characters in the narrative on the other hand, are wearing dark lacy clothes which is contradicting the bands pure white uniform. An angel of some sort is also shown within the music video, so wings on a human body are quite diverse in the sense that you don’t see that every day. I feel that the camera work is the most important element in the whole of the music video as the shakycam, slow motion and use of a crane each add individual effects to it. The shakycam shows the intensity of the song whereas the slow motion emphasises the loud guitar moments within the tune. The crane is also very significant as it never lets the camera be still which is another technique that will build mood. There is no sign of ‘looking’ throughout the video assuming him looking into the camera isn’t taken into account.
Like most rock music videos, “You Are The One” is a mixture between performance and narrative based, with the singer and band as the main focus. Mainstream rock videos tend to have the whole band in the picture with a narrative based around the lead singer. Shiny Toy Guns have followed this mainstream idea but have altered the narrative to be more about a girl than the actual lead singer. Also the use of wind and rain is not commonly used in the way they have done, so that makes the video slightly more unique. The performance of the band isn’t over exaggerated yet rock dance moves such as head banging are brought in for a small time to continue the rock feel of the video.
Institution and Audience
The music video for "You Are The One" would most likely be consumed on one of the many music channels on television but would also be popular on 'Youtube' and 'Myspace'. Due to the genre of the track, channels such as 'Kerrang' would show this video more often as the focused or ambient viewers watching are loyal to this genre of videos. Even though the video can be appreciated in a focused viewing style with the message it is trying to send, the video has many performance based shots which would also work well for the ambient viewing audience.
The record label for this particular song plays an important role concerning the promotional aspect of this video as they would send copies to music channels such as 'Kerrang' as they tend to play a lot of rock music videos but also channels such as MTV would pick up on it. This is due to it being a fairly popular song as it has featured on the game FIFA 2007 which has already boosted it's popularity.
Conclusion
In conclusion, “You Are The One” is a very interesting music video to analyse mainly due to the camera techniques used and also the use of natural occurrences such as wind and rain. Its shakycam method combines well with the face paced, energetic melody as well as the fast camera movements and quick cutting rhythm. Few of the lyrics are illustrated in the music video, but the title could resemble the girl in the bubble and “she is (or was) the one.” The performance/narrative based visuals are a typical convention of rock videos along with the dance moves and band presentation.
MD Music Video Analysis
Rooftops - Lost Prophets
http://www.youtube.com/watch?v=NI1dDIpB6k0
Genre and Narrative
The song ‘Rooftops’ is written and performed by the Welsh band Lost Prophets. The video was nominated for ‘Best Video Clip’ at the Kerrang Awards in 2006 along with winning ‘Best Album’ at The Pop Factory Awards. The band was also nominated ‘Best British Band’ in 2007.
The music video is mainly performance based with an occasional background narrative. The video keeps in line with the genre characteristics well, holding to an energetic performance along with a serious theatrical presence. The well known rock band proves itself with clothing also. Staying with the rock theme the whole group apart from the lead singer who is wearing a white jacket appear to the audience in all black outfits. Such small fashion statements as long hair also play a big part in the video. Throughout, the band members are shown to be close friends performing together on the ‘rooftops’. The confined location supports genre characteristics once again along with the time of day at which the video is shot. As the video is mainly performance based there is no element of the notion of looking, which adds to the impact and intensity of the song.
One of the main relationships between the lyrics and visuals is obvious to the audience. During the chorus the lyrics read ‘standing on the rooftops everybody scream your heart out’. At this point in the video, the band is dramatically performing to the cameras with lip synching whilst physically being on the ‘rooftops’. Another relationship between lyrics and visuals is within the pre-chorus which first appears near the end of the song. The teenagers shown in the background narrative scream to the sound of the lead singer’s voice. It is not just the lyrics that are in association with the visuals, the actual music plays a strong part. Within the quieter parts of the song just before the chorus, shots of the drummer are shown as he ends a lively verse. This correlates very well with the audio and shows good continuity editing in time with the music.
It is also relevant to draw a conclusion on whether or not the music video for ‘Rooftops’ can be considered an advert or art. There is a lot of performance which would imply an advertising feel, but the way in which the performance is shot would entail otherwise. The music video is low budget but also keeps to a professional feel and a glossy look giving the video that auteur feel. The intense lighting and variety of camera angle also play a strong part in the high fi feel of the video along with the colour and mise-en-scene that also help to achieve this.
Throughout the video a variety of long, mid and close up shots are used, each giving the audience a different reaction. The long and mid shots help the audience to understand the meaning of the video as well as setting the scene and developing the story. The close ups on the other hand contain shots of the ‘meat’ which are important to promotion of the band and the song as well as showing emotion and energy. This is what gives the element of star image motif to the video. The video shows a fast cutting rate keeping in time with the tempo and rhythm of the song. Although when the background narrative is bought in, the cutting rate decreases as it would cause to much narrative fuzz, this is a technique that works well within this video and gives the feature of a classic realist narrative. Throughout the video a lot of variety is shown which is very important for keeping audience attention, consistent lip synching and continuity editing enable a comfortable viewing.
The video itself reflects a problem in society of teenagers having to deal with parents arguing and also the feeling of never being able to achieve as well as their family or in the video’s case employee would wish. This shows an element of social realism, something in life that happens, but it is almost as if no one really wants to admit that it does or even acknowledge it. It is an illustrative video that paints a picture of society that opens people’s eyes even though the production is around eighty percent performance based.
Media Language
Within music videos visual techniques play an important role. Conventional fast paced cuts for a rock performance are expected along with different shots including canted angles, birds eye view and pans that add once again to the element of a rock video. Within the narrative of the video slow motion effects are used to emphasise the screaming of the teenagers and represents the end of a journey through early life. This effect works well and as the main audience is of a younger age group a relationship is developed enabling an even stronger more passionate performance for the band.
At the beginning of the music video mid shots of each band member are shown as introductory shots. This builds a relationship between the band and the audience, giving more insight into characters and appearances.
Intertextual references also play an important part within music video. If the audience recognises a shot from another music video or film they are able to relate to it easier, which from a producer or director’s point of view is exactly what is intended. In this music video, that I know of I can not recognise a single Intertextual reference apart from conventional rock performance based shots. Because there are no Intertextual references within ‘Rooftops’ it is possible to believe that the band wanted an individual music video, a video for other bands to gain Intertextual reference. In my opinion music videos that take it upon themselves to create original exciting ideas are set apart in their own league.
Representation
The music video could be part of a meta-narrative which would imply that the band have written the song about themselves when they were teenagers and struggling through life. When this point of view is taken, the song does seem to become inspirational. The idea of a meta-narrative would also help to sell the record, knowing that someone has been through pain and hurt and is expressing there feelings is interesting to people. It can also be seen as advice and reassurance to the younger audience.
There are obvious social groups represented within the video, the main one is teenagers that are having a hard time in life, many viewers will be able to relate with this. Another social group represented are of an older age group that are unable to understand how hard it can be to group up in the modern day social lifestyle.
Ideological discourse issues raise important questions including that of gender which is represented throughout the video, although the band is of a male dominance the background narrative divides equally between male and female. The younger age group is undoubtedly the target audience for the video and are represented throughout, not only within the performance shots of the younger band members but also within the narrative of the teenagers that are having a hard time. The dominant stereotype of teenagers being miserable is challenged within the video, it flips the blame onto adults and gives the children hope and belief that someone understands what they are going through.
Institution and Audience
This music video would be consumed through music channels as well as YouTube and MySpace. Rock channels for example Kerrang and Scuzz would show this video more as the focused or ambient viewers watching the channel are loyal to the genre of videos that are shown. Even though the video can be appreciated for the message it is trying to send in a focused viewing style, the video works well for ambient viewing as there is a lot of performance based shots.
The record label would play an important part within the promotional aspect of the video, they would send copies to the rock genre music channels for example Kerrang. In this case the video reaches out to a wider audience in comparison to just the rock fans, simply because of the lyrics, so copies would also be picked up by MTV and other big channels.
http://www.youtube.com/watch?v=NI1dDIpB6k0
Genre and Narrative
The song ‘Rooftops’ is written and performed by the Welsh band Lost Prophets. The video was nominated for ‘Best Video Clip’ at the Kerrang Awards in 2006 along with winning ‘Best Album’ at The Pop Factory Awards. The band was also nominated ‘Best British Band’ in 2007.
The music video is mainly performance based with an occasional background narrative. The video keeps in line with the genre characteristics well, holding to an energetic performance along with a serious theatrical presence. The well known rock band proves itself with clothing also. Staying with the rock theme the whole group apart from the lead singer who is wearing a white jacket appear to the audience in all black outfits. Such small fashion statements as long hair also play a big part in the video. Throughout, the band members are shown to be close friends performing together on the ‘rooftops’. The confined location supports genre characteristics once again along with the time of day at which the video is shot. As the video is mainly performance based there is no element of the notion of looking, which adds to the impact and intensity of the song.
One of the main relationships between the lyrics and visuals is obvious to the audience. During the chorus the lyrics read ‘standing on the rooftops everybody scream your heart out’. At this point in the video, the band is dramatically performing to the cameras with lip synching whilst physically being on the ‘rooftops’. Another relationship between lyrics and visuals is within the pre-chorus which first appears near the end of the song. The teenagers shown in the background narrative scream to the sound of the lead singer’s voice. It is not just the lyrics that are in association with the visuals, the actual music plays a strong part. Within the quieter parts of the song just before the chorus, shots of the drummer are shown as he ends a lively verse. This correlates very well with the audio and shows good continuity editing in time with the music.
It is also relevant to draw a conclusion on whether or not the music video for ‘Rooftops’ can be considered an advert or art. There is a lot of performance which would imply an advertising feel, but the way in which the performance is shot would entail otherwise. The music video is low budget but also keeps to a professional feel and a glossy look giving the video that auteur feel. The intense lighting and variety of camera angle also play a strong part in the high fi feel of the video along with the colour and mise-en-scene that also help to achieve this.
Throughout the video a variety of long, mid and close up shots are used, each giving the audience a different reaction. The long and mid shots help the audience to understand the meaning of the video as well as setting the scene and developing the story. The close ups on the other hand contain shots of the ‘meat’ which are important to promotion of the band and the song as well as showing emotion and energy. This is what gives the element of star image motif to the video. The video shows a fast cutting rate keeping in time with the tempo and rhythm of the song. Although when the background narrative is bought in, the cutting rate decreases as it would cause to much narrative fuzz, this is a technique that works well within this video and gives the feature of a classic realist narrative. Throughout the video a lot of variety is shown which is very important for keeping audience attention, consistent lip synching and continuity editing enable a comfortable viewing.
The video itself reflects a problem in society of teenagers having to deal with parents arguing and also the feeling of never being able to achieve as well as their family or in the video’s case employee would wish. This shows an element of social realism, something in life that happens, but it is almost as if no one really wants to admit that it does or even acknowledge it. It is an illustrative video that paints a picture of society that opens people’s eyes even though the production is around eighty percent performance based.
Media Language
Within music videos visual techniques play an important role. Conventional fast paced cuts for a rock performance are expected along with different shots including canted angles, birds eye view and pans that add once again to the element of a rock video. Within the narrative of the video slow motion effects are used to emphasise the screaming of the teenagers and represents the end of a journey through early life. This effect works well and as the main audience is of a younger age group a relationship is developed enabling an even stronger more passionate performance for the band.
At the beginning of the music video mid shots of each band member are shown as introductory shots. This builds a relationship between the band and the audience, giving more insight into characters and appearances.
Intertextual references also play an important part within music video. If the audience recognises a shot from another music video or film they are able to relate to it easier, which from a producer or director’s point of view is exactly what is intended. In this music video, that I know of I can not recognise a single Intertextual reference apart from conventional rock performance based shots. Because there are no Intertextual references within ‘Rooftops’ it is possible to believe that the band wanted an individual music video, a video for other bands to gain Intertextual reference. In my opinion music videos that take it upon themselves to create original exciting ideas are set apart in their own league.
Representation
The music video could be part of a meta-narrative which would imply that the band have written the song about themselves when they were teenagers and struggling through life. When this point of view is taken, the song does seem to become inspirational. The idea of a meta-narrative would also help to sell the record, knowing that someone has been through pain and hurt and is expressing there feelings is interesting to people. It can also be seen as advice and reassurance to the younger audience.
There are obvious social groups represented within the video, the main one is teenagers that are having a hard time in life, many viewers will be able to relate with this. Another social group represented are of an older age group that are unable to understand how hard it can be to group up in the modern day social lifestyle.
Ideological discourse issues raise important questions including that of gender which is represented throughout the video, although the band is of a male dominance the background narrative divides equally between male and female. The younger age group is undoubtedly the target audience for the video and are represented throughout, not only within the performance shots of the younger band members but also within the narrative of the teenagers that are having a hard time. The dominant stereotype of teenagers being miserable is challenged within the video, it flips the blame onto adults and gives the children hope and belief that someone understands what they are going through.
Institution and Audience
This music video would be consumed through music channels as well as YouTube and MySpace. Rock channels for example Kerrang and Scuzz would show this video more as the focused or ambient viewers watching the channel are loyal to the genre of videos that are shown. Even though the video can be appreciated for the message it is trying to send in a focused viewing style, the video works well for ambient viewing as there is a lot of performance based shots.
The record label would play an important part within the promotional aspect of the video, they would send copies to the rock genre music channels for example Kerrang. In this case the video reaches out to a wider audience in comparison to just the rock fans, simply because of the lyrics, so copies would also be picked up by MTV and other big channels.
SD Institutional Context
What is the procedure for making a music video?
Firstly, the label, artist and management would agree on what they want to release as a single. Once the track is decided upon, the video commissioner will make a shortlist of possible directors for the music video and sends the track with a broad brief. The brief would summarise the ideas for the project and would therefore be send to the already shortlisted directors. After they have recieved the broad brief, the directors provide individual outline treatments and one is then chosen. Agreements about the budget and deadlines are then discussed and the director develops the idea, using storyboards and location photos. An art director, wardrobe people and director of photography are then enlisted. Locations are then booked and the sets are designed and built. All personnel are on site for the shoot which would usually take one or two days and once it is complete, the film is transferred to the tabe for editing to commence. The editor would then produce a rough-cut of the music video for the label, artist and manager, which would take roughly three days. They then comment on it and find any faults or aspects that could be changed and edited. These changes are made and visual effects will then be added to the video. Finally the online finished video is passed to label for release to TV stations and airplay in advance of single release.
What role does the digipak play in constructing brand/promoting artist?
The digipak plays an important role in constructing a brand as well as promoting the artist. It has enabled CD’s to become more collectable and move dedicated fans away from downloading individual tracks. A digipak also makes for a much more thoughtful gift. Well known bands and artists share a lot of information contained within the digipak along with lyrics for songs and artistic photos of the band. A digipak has only recently been converted from plastic to re-cycled cardboard which is the direction which the music industry wishes to take.
What is the role of 'we media'?
The role of ‘we media’ is vital in the world that we live in today. It allows people to comment and put there own views on media. An example of ‘we media’ would be ‘Youtube’ as people can add there own videos and others can comment on them offering their opinions. Record labels can also put their artists videos on ‘Youtube’ for people to watch and then comment on, it is a way for the record labels and artists to promote themselves and therfore gain feedback on their work. Other examples of ‘we media’ are ‘Facebook’ or ‘Myspace’ as they allow people to connect and communicate with one another and share their views and opinions over the web. The purpose of ‘we media’ is to make the internet more interactive, instead of just consuming what we see on the internet, ‘we media’ allows us to comment and share our views and opinions in forums. ‘We media’ enables peer-to-peer media, this means that any citizen could provide anybody with media; it no longer has to be fed to us by large corporations.
Firstly, the label, artist and management would agree on what they want to release as a single. Once the track is decided upon, the video commissioner will make a shortlist of possible directors for the music video and sends the track with a broad brief. The brief would summarise the ideas for the project and would therefore be send to the already shortlisted directors. After they have recieved the broad brief, the directors provide individual outline treatments and one is then chosen. Agreements about the budget and deadlines are then discussed and the director develops the idea, using storyboards and location photos. An art director, wardrobe people and director of photography are then enlisted. Locations are then booked and the sets are designed and built. All personnel are on site for the shoot which would usually take one or two days and once it is complete, the film is transferred to the tabe for editing to commence. The editor would then produce a rough-cut of the music video for the label, artist and manager, which would take roughly three days. They then comment on it and find any faults or aspects that could be changed and edited. These changes are made and visual effects will then be added to the video. Finally the online finished video is passed to label for release to TV stations and airplay in advance of single release.
What role does the digipak play in constructing brand/promoting artist?
The digipak plays an important role in constructing a brand as well as promoting the artist. It has enabled CD’s to become more collectable and move dedicated fans away from downloading individual tracks. A digipak also makes for a much more thoughtful gift. Well known bands and artists share a lot of information contained within the digipak along with lyrics for songs and artistic photos of the band. A digipak has only recently been converted from plastic to re-cycled cardboard which is the direction which the music industry wishes to take.
What is the role of 'we media'?
The role of ‘we media’ is vital in the world that we live in today. It allows people to comment and put there own views on media. An example of ‘we media’ would be ‘Youtube’ as people can add there own videos and others can comment on them offering their opinions. Record labels can also put their artists videos on ‘Youtube’ for people to watch and then comment on, it is a way for the record labels and artists to promote themselves and therfore gain feedback on their work. Other examples of ‘we media’ are ‘Facebook’ or ‘Myspace’ as they allow people to connect and communicate with one another and share their views and opinions over the web. The purpose of ‘we media’ is to make the internet more interactive, instead of just consuming what we see on the internet, ‘we media’ allows us to comment and share our views and opinions in forums. ‘We media’ enables peer-to-peer media, this means that any citizen could provide anybody with media; it no longer has to be fed to us by large corporations.
Monday, 14 September 2009
SD Track Response
1. Link to chosen track - http://www.youtube.com/watch?v=aDotHhFX67g
2. Genre of the track? - The genre of our chosen track 'Take off your Colours' is pop rock. It is easy to tell the genre simply by the instrumental element of fast paced drums and electric guitar, combined with powerful vocals. The use of crescendos throughout the song add to the pop feature giving the band more of a performance impact. When the fast drum beat is also present the audience are given more of a rock genre atmosphere.
3. High or lo fi video? - The song that we have chosen will more than likely be a high fi video. We feel that the mainly performance based element we are looking for will require this feature of professional video. Our idea for having an entirely performance based video came from background research on the genre where more often than not people failed to act out convincing story lines. Within our video we plan to have fast paced cuts along with using different effects and lenses to show variation and keep audience attention which will add to the high budget effect we are looking for.
4. Comparable videos - Strong examples of comparable music videos mainly centre around our chosen genre. Bands such as Lost Prophets and There for Tomorrow have videos that concentrate on a performance element, which we feel would work well within our production. Having bands that share our inspiration for performance based videos will help us within our creation for 'Take off your colours' as ideas and techniques can be adapted and institutionalised.
Lost Prophets - Rooftops http://www.youtube.com/watch?v=xbm97i3sOM4
There for Tomorrow - No More Room to Breathe http://www.youtube.com/watch?v=P4TD7qK4YS4&feature=fvst
5. Budget of comparable video? - The budget for the Lost Prophets video is fairly low in comparison to other high profile bands, which is yet another reason for us choosing a performance based style. The basic yet effective SFX used work well for the bands appearance even though the budget was kept to a minimum.
6. Outline of treatment - Our original ideas for our music video consist of it being completely performance based. Shot with precise camera angles and intense lighting, with certain special effects that will add to the authenticity of our band's performance.
7. Suitable locations? - The perfect location for our production would be in a studio, but obviously we realise that we may not be able to get hold of one. If this situation was to arise a basic inside location would suffice. We are relying on lighting to give our video a professional, glossy look so the use of spot lights are key.
8. What characters? - We also know that the casting of the video will be very important. We realise appearance, energy and character will undoubtedly shine through above all. The lead singer will be shot as the meat of the video, so he has to be of a younger age group along with that rock star image. The singer's grain of voice is that of a younger style which is also important within casting.
9. SFX? - Within our production we know that basic effects are key to professional video creation. We realise that filters and lenses will play a big part within the video along with extravagant brightness and contrast settings.
10. Employees? - As mentioned earlier, we realise casting is a vital part of production as appearance and energy is key. As for personnel behind the camera we feel that no one is needed apart from ourselves.
2. Genre of the track? - The genre of our chosen track 'Take off your Colours' is pop rock. It is easy to tell the genre simply by the instrumental element of fast paced drums and electric guitar, combined with powerful vocals. The use of crescendos throughout the song add to the pop feature giving the band more of a performance impact. When the fast drum beat is also present the audience are given more of a rock genre atmosphere.
3. High or lo fi video? - The song that we have chosen will more than likely be a high fi video. We feel that the mainly performance based element we are looking for will require this feature of professional video. Our idea for having an entirely performance based video came from background research on the genre where more often than not people failed to act out convincing story lines. Within our video we plan to have fast paced cuts along with using different effects and lenses to show variation and keep audience attention which will add to the high budget effect we are looking for.
4. Comparable videos - Strong examples of comparable music videos mainly centre around our chosen genre. Bands such as Lost Prophets and There for Tomorrow have videos that concentrate on a performance element, which we feel would work well within our production. Having bands that share our inspiration for performance based videos will help us within our creation for 'Take off your colours' as ideas and techniques can be adapted and institutionalised.
Lost Prophets - Rooftops http://www.youtube.com/watch?v=xbm97i3sOM4
There for Tomorrow - No More Room to Breathe http://www.youtube.com/watch?v=P4TD7qK4YS4&feature=fvst
5. Budget of comparable video? - The budget for the Lost Prophets video is fairly low in comparison to other high profile bands, which is yet another reason for us choosing a performance based style. The basic yet effective SFX used work well for the bands appearance even though the budget was kept to a minimum.
6. Outline of treatment - Our original ideas for our music video consist of it being completely performance based. Shot with precise camera angles and intense lighting, with certain special effects that will add to the authenticity of our band's performance.
7. Suitable locations? - The perfect location for our production would be in a studio, but obviously we realise that we may not be able to get hold of one. If this situation was to arise a basic inside location would suffice. We are relying on lighting to give our video a professional, glossy look so the use of spot lights are key.
8. What characters? - We also know that the casting of the video will be very important. We realise appearance, energy and character will undoubtedly shine through above all. The lead singer will be shot as the meat of the video, so he has to be of a younger age group along with that rock star image. The singer's grain of voice is that of a younger style which is also important within casting.
9. SFX? - Within our production we know that basic effects are key to professional video creation. We realise that filters and lenses will play a big part within the video along with extravagant brightness and contrast settings.
10. Employees? - As mentioned earlier, we realise casting is a vital part of production as appearance and energy is key. As for personnel behind the camera we feel that no one is needed apart from ourselves.
MD Reflection On Auteur Videos
http://www.youtube.com/watch?v=IrTB-iiecqk
http://www.youtube.com/watch?v=44LPYf5aTQc
http://www.youtube.com/watch?v=3Q30-2QpZVc
Auteur music videos help to remove the stereotype which is relevant to many mainstream videos that aim to simply advertise the band. What lies beneath an auteur video consists mainly of the layers of meaning. If the focused viewing audience is left thinking about the pictures and how aesthetically beautiful they were, the video can then begin to be considered auteur. The general look and feel of the video also helps to conclude whether it is simply an advert or if there is more to it, in the form of artistic vision. The dictionary's definition of 'auteur' reads 'a filmmaker who has a personal style and keeps creative control over his or her works'. This definition further proves the chosen two links above to slot into that unique category, and how the videos have a creative element that adds to audience perception and appreciation. The music videos challenge stereotypical video creation and take obvious visual risks that more than often prove to be effective. Accepted auteur videos gain publicity for the band as well as admiration and a positive public reception, proving that well thought out artistic auteur videos really do seem to kill two birds with one stone.
http://www.youtube.com/watch?v=44LPYf5aTQc
http://www.youtube.com/watch?v=3Q30-2QpZVc
Auteur music videos help to remove the stereotype which is relevant to many mainstream videos that aim to simply advertise the band. What lies beneath an auteur video consists mainly of the layers of meaning. If the focused viewing audience is left thinking about the pictures and how aesthetically beautiful they were, the video can then begin to be considered auteur. The general look and feel of the video also helps to conclude whether it is simply an advert or if there is more to it, in the form of artistic vision. The dictionary's definition of 'auteur' reads 'a filmmaker who has a personal style and keeps creative control over his or her works'. This definition further proves the chosen two links above to slot into that unique category, and how the videos have a creative element that adds to audience perception and appreciation. The music videos challenge stereotypical video creation and take obvious visual risks that more than often prove to be effective. Accepted auteur videos gain publicity for the band as well as admiration and a positive public reception, proving that well thought out artistic auteur videos really do seem to kill two birds with one stone.
Thursday, 10 September 2009
MD Audience Consumption & Postmodernism Questions
In What Way Can Music Videos Be Considered Post Modern?
When analysing the ways in which music videos can be considered post modern it is easy to concentrate on two specific sections, use and style. When analysing consumption (use) concerning post modernism, social currency plays a big part. Social currency is information shared which encourages further social encounters, it is significant with the development in technology so would in that instance be considered as a change and diverse. Another main part to consumption when analysing what ways music videos can be considered post modern is simply the new ideas that take place and the inpiration for those new ideas. The second specific section would be the style of music video, being able to construct strong usage of intertextuality is an aspect of music video that enables a wide post modernistic impression. Many videos across the board contain intertextual references and these almost give the audience a higher role to play within the video, enabling them to interact with on screen performance. An example of intertextuality is shown within Eminem's track 'We Made You', throughout the video constant references to Star Trek are bought up to the audiences attention, this well known series could appeal to an even wider audience than that of Eminem's music. Another aspect of style would be bricolage, 'the construction or creation of a work from a diverse range of things which happen to be available'.
One final aspect of analysing music video and in what ways they can be considered post modern is whether or not music videos are actually considered an advertisement or art. There seems to be aspects of both, but on many occasions certain music video can astound audiences with the way in which they are shot and the artistic factor which they contain but this is not always the case. There are many music videos they have launched careers for example 'Here It Goes Again' by 'Ok Go', the famous video in which they perform a dance routine on Treadmills has opened many possibilities for the band's future prospects.
How Do Audiences Consume Music Videos?
The two main sections that come to mind when analysing the different ways in which audiences consume music video are that of casual viewing and that of committed viewing. The two main types of consumption identified regarding 'casual and committed viewing' are passion (active choice) and passive (menu rotation). Ambient viewing takes place when less channel surfing is concerned as well as having background audio. It concerns itself mainly toward communal situations along with mass appeal offering big impact which can also be a result of repetition. Ambient viewing is a part of secondary consumption which could be placed under the category of communal viewing. This form of ambient communal viewing would tend to take place in situations such as background music in a bar or at the work place. The second part of consumption is primary, it is a sub genre of committed viewing and presents itself in the form of focus. Dedication to specific music channels is what primary consumption is all about, they mainly target an audience where solo viewing is a regular occurrence. Focused viewing relies upon loyal audiences that will watch their music channel on a regular time table.
Both of the different types of audience (casual and committed) tend to watch and understand certain types of music video. The focused committed audience will be able to sit down and watch a narrative music video with much more ease, where as an ambient casual audience will engage more in a performance based video where there is no need to follow story lines.
What Considerations Has This Research Raised In Terms Of Planning Your Production?
The research taken place in this survey has played a big part in helping us to plan our production. The research has raised questions about how it could be possible to include intertextuality, bricolage or how to quite simply include basic audience appeal. Another factor of the research that has affected production planning is that of the casual and committed viewing, being able to appeal to both sets of audience is an important objective. Therefore within our production planning a decision will have to be made on the style of music video that we intend to create, whether or not we will include a narrative structure, performance or even a mixture of the two.
When analysing the ways in which music videos can be considered post modern it is easy to concentrate on two specific sections, use and style. When analysing consumption (use) concerning post modernism, social currency plays a big part. Social currency is information shared which encourages further social encounters, it is significant with the development in technology so would in that instance be considered as a change and diverse. Another main part to consumption when analysing what ways music videos can be considered post modern is simply the new ideas that take place and the inpiration for those new ideas. The second specific section would be the style of music video, being able to construct strong usage of intertextuality is an aspect of music video that enables a wide post modernistic impression. Many videos across the board contain intertextual references and these almost give the audience a higher role to play within the video, enabling them to interact with on screen performance. An example of intertextuality is shown within Eminem's track 'We Made You', throughout the video constant references to Star Trek are bought up to the audiences attention, this well known series could appeal to an even wider audience than that of Eminem's music. Another aspect of style would be bricolage, 'the construction or creation of a work from a diverse range of things which happen to be available'.
One final aspect of analysing music video and in what ways they can be considered post modern is whether or not music videos are actually considered an advertisement or art. There seems to be aspects of both, but on many occasions certain music video can astound audiences with the way in which they are shot and the artistic factor which they contain but this is not always the case. There are many music videos they have launched careers for example 'Here It Goes Again' by 'Ok Go', the famous video in which they perform a dance routine on Treadmills has opened many possibilities for the band's future prospects.
How Do Audiences Consume Music Videos?
The two main sections that come to mind when analysing the different ways in which audiences consume music video are that of casual viewing and that of committed viewing. The two main types of consumption identified regarding 'casual and committed viewing' are passion (active choice) and passive (menu rotation). Ambient viewing takes place when less channel surfing is concerned as well as having background audio. It concerns itself mainly toward communal situations along with mass appeal offering big impact which can also be a result of repetition. Ambient viewing is a part of secondary consumption which could be placed under the category of communal viewing. This form of ambient communal viewing would tend to take place in situations such as background music in a bar or at the work place. The second part of consumption is primary, it is a sub genre of committed viewing and presents itself in the form of focus. Dedication to specific music channels is what primary consumption is all about, they mainly target an audience where solo viewing is a regular occurrence. Focused viewing relies upon loyal audiences that will watch their music channel on a regular time table.
Both of the different types of audience (casual and committed) tend to watch and understand certain types of music video. The focused committed audience will be able to sit down and watch a narrative music video with much more ease, where as an ambient casual audience will engage more in a performance based video where there is no need to follow story lines.
What Considerations Has This Research Raised In Terms Of Planning Your Production?
The research taken place in this survey has played a big part in helping us to plan our production. The research has raised questions about how it could be possible to include intertextuality, bricolage or how to quite simply include basic audience appeal. Another factor of the research that has affected production planning is that of the casual and committed viewing, being able to appeal to both sets of audience is an important objective. Therefore within our production planning a decision will have to be made on the style of music video that we intend to create, whether or not we will include a narrative structure, performance or even a mixture of the two.
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