Music Video - Planning

After conducting research into music video production, I intend to combine studio performance and narrative in my own project. I have contacted a local band who are looking to create a music video and are particularly looking at shooting a studio style performance video.

I am particularly drawn to studio performance as there is scope to experiment with lighting, colour, camera angles and motion, as displayed in this video.

One of the most grasping aspects is the harmony between the visual and aural; the pace of the shots perfectly amplifies the music. This is achieved through the various camera movements, such as panning and zoom. Another visually enticing feature is the use of slow motion, which once again, amplifies the music, adding to the overall ambience.

The lighting set up is relatively simple by design, however it adds immeasurably to the mood, by creating high contrast and even lens flare which offers more dimension and depth. In addition to this, the lighting amplifies the music by running in time to the track, altering colour and intensity accordingly. During the chorus, there is a warmer and brighter feel overall, as opposed to the verses, where the temperature is noticeably colder and lighting is overall less intense.

Visually, I would like to achieve something similar in my own production, however would need to consider the lyrical and conceptual elements of the song I am using.

I think a studio performance in this style would be complimented by a conceptual narrative. However, as mentioned I would need to consider the musical and lyrical elements of my chosen song before developing any ideas for a narrative. I intend for the visuals to amplify the music as well as the lyrics, I would also like to edits the cuts in time to the music to reflect the pace of the audio.

Music Video - Planning

Visual Mood Board - Idea 1

Music Video - Contextual Research

Carol Vernallis - 'The Kindest Cut: functions and meanings of music video editing'

Vernallis suggests that music videos rarely follow the coherent and ordered structure of continuity editing, which most other forms of film adhere to. Perhaps this is a result of wanting to make the video somewhat memorable in its design, as opposed to following a chronological order of events, as a majority of films do. A master shot, or base track is often used, specifically if there is a performance sequence involved, this provides a foundation for structure. The camera usually moves in time to the music and there is greater freedom between the transitions of shots, following no conventional order and sometimes jump cuts are used, to speed up events, seeing as most music videos only last between 2 - 4 minutes."Music video's disjunctive editing keeps us within the ever-changing surface of the song" (VERNALLIS, 2001).

Such discontinuity allows the viewer to focus on other elements of the production, such as the music, which is just as - if not more - significant than the video itself. Whereas it is common for Hollywood film style continuity to draw the observer into the narrative. Here we see that action is rarely concluded and a narrative is simply implied, as opposed to being fully explained. "Visual hooks create continuity. Non continous shots linked by a singe feature unified by figure, shape, colour and settings."

The types of camera movements, edits and other visual elements which are used to enhance the music itself include; extreme high/low angle shots, extended tracking shots, unconventional tilts, pans and zooms. Close ups are used as a focus point, as sometimes the movement of shots is too rapid to follow and develop an understanding from.

Vernallis also suggests that the singer will most likely be positioned at the focal point of the frame and that when an artist makes eye contact with the camera, breaking the fourth wall, they are no longer simply viewed as an object.

Editing in music video, can serve different functions and often shifts purpose throughout a single production. The most common examples include; enhancing the structure and pace of the audio, reflecting star image, illustrating the lyrical content, or simply creating aesthetic appeal. “Music videos break down visual, lyrical and musical elements to the smallest constituent parts – a prop, a colour, a gesture, a few words, an intriguing riff” (VERNALLIS, 2001).

In music video, it is very often the case that what we hear influences the way we perceive the images presented to us, however what draws our focus in a visual sense will determine how we hear the music, so it works both ways. The visual and aural elements should be used in harmony, in order to form a striking and memorable music video.

References:
VERNALLIS, 2001. The Kindest Cut: functions and meanings of music video editing. Oxford Press

Music Video - Analysis of Text

The video presents a combination of the genre styles; studio performance and conceptual/experimental. The two have a specific visual style which allows them to correspond fluidly into one sequence.

The performance acts as a way of illustrating the music, whilst the conceptual elements amplify it. In addition to this, the edit has been done in such a way that each cut reflects the pace of the composition. In some instances, the lyrics are visually represented in quite a literal way; on the line 'sucked into the supermassive [black hole]' there is a shot which zooms into a black hole. Not only does this illustrate the lyrics, it also amplifies the music, as the camera movement is displayed in time to the composition.

Conceptually, the warped identities of the band and the actors, mirrors the ambiguity of the lyrics, which allows the viewer to develop their own interpretation of events. This is added to by the fact that the video, directed by Floria Sigismondi, shows a certain for influence from the 1943 production "Meshes of the Afternoon". With the reference to the mirror faced figures, there is a sense of elusive identity.

In terms of mise en scene, lighting and colour has been used to influence the mood and ambience of the video, ultimately illustrating both the music and lyrics. 

The colour red is used numerous times, perhaps to indicate the intimate essence of the lyrical content and manifest this in a visual form. It also connotes towards the lyric 'you set my soul alight', as the colour holds a relation to fire. 

There is a sense of voyeurism used, however its seems to form part of the narrative. It is presented in such instances where a male-like figure observes a female equivalent through a pair of binoculars. This appears to be a theme throughout the video; the constant observations between characters, insinuates a provocative undertone. This also presents predator like connotations, particularly enhanced by the close up of the owl eye.

There is a recognisable awareness of artistic style throughout the video, which is highlighted by technical aspects such as close ups and other various camera movements. The band are all presented in a similar way; mise en scen costume, there is a certain casual elegance in the attire of the band members adding immeasurable amounts to the concept, bringing to light the soul of the song.

Promotional Video - Client Feedback

After sending the final draft to my client, I was pleased to receive such positive feedback. There was no mention of any alterations or improvements to be made, as Jayne was pleased with the production overall.

She has also requested for me to film and photograph a selection of future events for her brand.

Promotional Video - Evaluation

Overall I feel that each task for this unit was conducted well and achieved successfully as a result of careful planning and active engagement. I feel that initial research into my clients brand was vital, as it allowed me to develop some ideas in terms of what I wanted to create visually and conceptually. I looked into her work by visiting her official website and social media pages; this helped by giving me some grounds to go by in terms of her aesthetic and visual style, so that I could incorporate it into my own work.

Doing this also allowed me to develop an idea of what type of background music I wanted to use. I contacted a producer and sent a few existing compositions along with a visual mood board as inspiration for them to work from. By doing this, I was able to find a corresponding piece of music for my work, whilst avoiding the risk of using any copyright audio material.

By conducting research prior to starting the project, I was able to have a rough idea of how long I wanted the video to be. This made the editing process easier; by focusing on what to include within a particular length of time, I was able to cut down the interview section and various other shots, to create a concise yet succinct final piece, just enough to present all the relevant information about my client's work.

I made sure to get as involved as possible in my clients work. I attended fashion shows/photo shoots and arranged to film my client in her workspace, so that I could capture the craftsmanship as well as the glamour that surrounds her final pieces. By filming a variety of footage in various locations, I was able to create a diverse montage, which showcased the best of my clients work.

Ideally, I would have liked to capture more of the craftsmanship involve in my clients work, however due to a lack of time, I was unable to do so. In essence, I feel that more of shots of Jayne in her working environment would have added to the authenticity of the overall piece and added a sense of balance between the hands on work and the final pieces displayed in the fashion shows and photo shoots.

The main obstacle that I faced, was in trying to arrange time to record interviews with my client. Her work schedule was relatively full, therefore it became a problem finding a day where she was able to let me film her in her workspace. However, this was overcome and the interview with Jayne, provided a deeper insight to her work, tying together the video overall.

In terms of editing, I found that it was easier to edit once I had the audio to work with. In this instance, the rhythmic style editing complimented the content of the video, whilst also keeping an upbeat flow to engage the viewers attention. Other elements that I had to consider during the editing process were the levels of both the music and interview; it is vital that my clients interview was clearly audible over the backing track, so that I could attain the ultimate purpose of the video, which was to promote her work. In response to the final draft that I had sent to my client, she had directed me to alter the levels of the audio tracks so that her interview was more audible.

I found that organising my videos into folders made the editing process much easier, as I was able to select the footage that I needed in order to correspond with what my client was discussing during the interview.

Music Video - Analysis of Text

One of the most striking aspects of the video, is the way visuals have been edited to cut in time to the audio track, 'preserving the videos momentum' (VERNALLIS, C. 2001). It works be amplifying the music itself which highlights the instrumentation of the piece.

In addition to this, the diverse visual elements illustrate and amplify the lyrical content of the song. An obvious example would be the lyrics that manifest in various ways, in a written form.

A sense of artistic branding is highlighted through the performance that the artist delivers during the course of the video; a simplistic yet intensely sincere presentation is reflective of the artists style.

It would seem that the genre of the video is predominantly studio performance, however the way that the lyrical content has been portrayed through the use of written indicators and manipulation of inanimate objects, there is a slight narrative that is developed.

The overall feel of the video is expressed through the various visual elements, enhancing the musical side of things. The location itself is sets a personal and familiar ambience, once again this is a device used to express artistic branding. It gives an insight into the artist style, both visual and musical elements.

References:
VERNALLIS, C. 2001 "The Kindest Cut: functions and meanings of music video editing".