This is the image before the manipulation.
This is the image after manipulation.
Sunday 9 December 2007
Brightness and Contrast
I feel it is very important to experiment with the brightness and the contrast of the footage we capture. Having manipulated the images of our location shots I've found that in black and white, adjusting these elements on the images can bring out much more detail that otherwise would not be see. It makes the images much more vibrant and with will defiantly have to consider this in post production when editing our music videos. I have included an example of the affects of adjusting both brightness and contrast.
Wednesday 5 December 2007
Shot Ideas
A car pulling up at red light from the wheel at an extreme low camera angle and position works really well as we have discovered through experimenting, so does pulling away from a stationary position, where the car pulls away to reveal an interesting location.
•Use the car as a ‘dolly’ and film out the window, this will allow us to produce fast action shots (we found this to be a successful technique when filming some practice shots),
•Close-ups of feet walking.
•At the end of the song the car pulls up from behind the camera which is almost sitting on the floor, the car stops at the traffic lights, they turn green the music finishes and all that is heard and seen is the cars driving into the distance.
•Use the car as a ‘dolly’ and film out the window, this will allow us to produce fast action shots (we found this to be a successful technique when filming some practice shots),
•Close-ups of feet walking.
•At the end of the song the car pulls up from behind the camera which is almost sitting on the floor, the car stops at the traffic lights, they turn green the music finishes and all that is heard and seen is the cars driving into the distance.
Our Pitch
We will shot the video as an up and rising British ‘Hip Hop’ group covering the track..
•We want the film to be more narrative based, filming the car and driver who are separate to the artist singing.
•We plan to have three separate narrative stories in the video with the camera following each and for the artist vocal performance (lip syncing) we intent it to mainly be the Corus section of the song.
•We would like the video filmed in black and white with high contrast.
•The location will mainly be industrial sites for the narrative sections and for the vocal section we plan to have it filmed in alleys, up against walls (very simple background which allow for strong shadows to produced across the singer face).
Location Shots
These are digital images taken on a recce trip up to the Lakeside area (3/12/07). We also took up a camera which we used to take a number of practise shots. The reason for this was because we were interested in understanding how effective night time filming would be and what lighting issues would arise so we could be prepare for the actual filming of the music video. We tried to look for locations that would both have an look urban, not particularly busy and conforms to the look we wish to achieve within our music video. We took up a generator that powered a spot light which we were able to use to light up areas of the location that we taking images of (such as the road in the image above).
Technical Anaylsis Summary
I have learnt that there is on average a cut every two seconds, this makes the video flowing and keeps the audience entertained. I music video cuts from one shot to another and then goes back to the original shot. This is in example when the video cuts from Dizzee Rascal to the horses feet back to Dizzee then back to the horses feet, to a POV shot from the boy, back to Dizzee gay then back to the horses feet.
The dark, outdoor scenes with a strong light on one section are an effective way of filming at night. The dark shadows also create strong moods and the light is often coming from above Dizzee, casting a shadow over his face and creates an attitude linked to the genre.
There is also a surprising amount of close up shots of not only Dizzee, which is responsible for creating a star persona but also there are mean close ups of less important.
The dark, outdoor scenes with a strong light on one section are an effective way of filming at night. The dark shadows also create strong moods and the light is often coming from above Dizzee, casting a shadow over his face and creates an attitude linked to the genre.
There is also a surprising amount of close up shots of not only Dizzee, which is responsible for creating a star persona but also there are mean close ups of less important.
Tuesday 4 December 2007
planning review # 3 - CF
Well done - excellent pitch, reccie and a well considered idea. You still have some decisions to make about the narrative part, however I am very impressed with your response to the brief. You now need to organise your blog; add posts on reccie, practice shots, audience research, mise-en-scene, the narrative and camera ideas. Make sure your work is well documented on the blog.
Good work
Oli- your posts are still drafts - organise.
Good work
Oli- your posts are still drafts - organise.
Sunday 2 December 2007
Product Analysis: Roots Manuva- Witness the fitness
What is the relationship between music and visuals?
This is a very unusual video in relationship to the music. As this genre of music regulary shows videos of women enduring objectification as well as the frequent refrences to over indulgence and wealth. Although this is appartent it is not to the extent that is expected. The backing beat of the track is in time with the cuts showing a clear relationship between the music and the visuals. Complying with Steve Artchers conventions of a music video as it has fast cuts, montage editing and post production digital effects which can be seen when the artist runs the three legged race.
What is the relationship between lyrics and visuals?
The link between the lyrics and visuals is quite ironic, as if you were just to listen to the music without the visuals you would expect to see the objectification of women due to the verse beginning, "Witness the fitness". Instead its all about keeping fit, which is unusual for this genre of music.
Are there close-ups of the artist and star image motifs?
The construct of the star persona is presented through when the artist pulls up in a Ferrari and the young children run to the fence screaming showing how the artist is well known and his fame is noted here. Also the use of the Ferrari connotes wealth and the "because i'm worth it narrative" presented by theorist Steven Hill is also touched upon within the visuals as the artist presents where he came from by showing the primary school, which doesnt seem to be an overly wealthy area, to now having the right to "material overindulgence" connoted by the Ferrari. The fact that the artist talks into the camera and his eyes seem as though they are "looking" at the audience through the lens of the camera causes the first person mode of address. The audience therefore feel closer to the star and feel as though they are being preformed for personally. This also helps the audience to relate better to the artist, reinforcing and creating para-social intimacy. This is also constructed through the artist being at an ordinary primary school as it makes him seem no different from the rest of us making him easier to relate to. Although he clearly sets himself apart again with the use of the Ferrari.
Is it performance based or narrative based? How much of each?
The video is mainly narrative based as we follow the artist as he prepares to return to his primary school for sports day. The text at the beginning of the video adds belidity and gives the audience quick backgound knowledge so that the text is read in the correct way. However the fequent shots of the artist lipsyncing show authenticity. This could also be seen as a meta-narrative as the artist tells the audience about his past and the fact that he still has the desire to succeed in his sports day events, this causes para-social intimacy as the audience feels they have found out more about the stars past experiences.
Ideological discourses?
The text would been seen as postmodern. Using Steven Connollly's ideas we are able to see the theme of "self-referentality" as the artist refers to himself, mocking himself by going back to his primary school to win the races he came last in as a child. There is also a sense of nostagia as the artist reverts back to his old primary school to forfill his desire for retro culture.
Representations?
The artist mocks himself in the text by showing how he has had to really try and prepare for the childs sports day and then turns up in a lycra running suit. Also with the cuts between his fridge with loads of eggs in and him buying them in the supermarket. This shows the audience that the artist doesnt really take himself seriously and presents his music as fun and something to be enjoyed rather than how other black rap artist present themselves- as serious gangsters. This is a very different interpritation to the black rap artist videos and this is why it could be viewed as a postmodernist text. The fact that the rap artist is coloured and has items that connote wealth reinforce the ideals that you are only able to succeed in this genre of music if you are black.
This is a very unusual video in relationship to the music. As this genre of music regulary shows videos of women enduring objectification as well as the frequent refrences to over indulgence and wealth. Although this is appartent it is not to the extent that is expected. The backing beat of the track is in time with the cuts showing a clear relationship between the music and the visuals. Complying with Steve Artchers conventions of a music video as it has fast cuts, montage editing and post production digital effects which can be seen when the artist runs the three legged race.
What is the relationship between lyrics and visuals?
The link between the lyrics and visuals is quite ironic, as if you were just to listen to the music without the visuals you would expect to see the objectification of women due to the verse beginning, "Witness the fitness". Instead its all about keeping fit, which is unusual for this genre of music.
Are there close-ups of the artist and star image motifs?
The construct of the star persona is presented through when the artist pulls up in a Ferrari and the young children run to the fence screaming showing how the artist is well known and his fame is noted here. Also the use of the Ferrari connotes wealth and the "because i'm worth it narrative" presented by theorist Steven Hill is also touched upon within the visuals as the artist presents where he came from by showing the primary school, which doesnt seem to be an overly wealthy area, to now having the right to "material overindulgence" connoted by the Ferrari. The fact that the artist talks into the camera and his eyes seem as though they are "looking" at the audience through the lens of the camera causes the first person mode of address. The audience therefore feel closer to the star and feel as though they are being preformed for personally. This also helps the audience to relate better to the artist, reinforcing and creating para-social intimacy. This is also constructed through the artist being at an ordinary primary school as it makes him seem no different from the rest of us making him easier to relate to. Although he clearly sets himself apart again with the use of the Ferrari.
Is it performance based or narrative based? How much of each?
The video is mainly narrative based as we follow the artist as he prepares to return to his primary school for sports day. The text at the beginning of the video adds belidity and gives the audience quick backgound knowledge so that the text is read in the correct way. However the fequent shots of the artist lipsyncing show authenticity. This could also be seen as a meta-narrative as the artist tells the audience about his past and the fact that he still has the desire to succeed in his sports day events, this causes para-social intimacy as the audience feels they have found out more about the stars past experiences.
Ideological discourses?
The text would been seen as postmodern. Using Steven Connollly's ideas we are able to see the theme of "self-referentality" as the artist refers to himself, mocking himself by going back to his primary school to win the races he came last in as a child. There is also a sense of nostagia as the artist reverts back to his old primary school to forfill his desire for retro culture.
Representations?
The artist mocks himself in the text by showing how he has had to really try and prepare for the childs sports day and then turns up in a lycra running suit. Also with the cuts between his fridge with loads of eggs in and him buying them in the supermarket. This shows the audience that the artist doesnt really take himself seriously and presents his music as fun and something to be enjoyed rather than how other black rap artist present themselves- as serious gangsters. This is a very different interpritation to the black rap artist videos and this is why it could be viewed as a postmodernist text. The fact that the rap artist is coloured and has items that connote wealth reinforce the ideals that you are only able to succeed in this genre of music if you are black.
Techincal Analysis: The Streets-Never went to church
http://www.youtube.com/watch?v=gUi-ATRnMwI
Duration-3 mins 37 secs.
Duration-3 mins 37 secs.
The video uses slow cuts, due to the melow beat and lyrics.
- Mise- en- scene shot on location
- Black and white effective look, snow stands out more, reflections in window of train, the black and white could be seen as a visual style. - First person mode of address, talking/lip syncing directly to the audience
- performance based, as shots of him lip syncing which reinforces authenticity and helps the audience to better engage with Mike Skinner. - Could be seen as a disjunctive narrative, where the the video narrative is different to the lyrical narrative. - I interpreted a sense of nostalgia (relflective, regretfulness) Post Modern reference to Steve Connally, nostalgic-a desire for retro culture - Andrew Goodwin, lots of close ups - Reference to notion of looking, the reflections in train windows and mobile home - Para-social intimacy, feeling like you become closer to artist throughout, about his life. Mike Skinner is the only one on the screen to therefore engage with him more, as only focusing on him throughout. - ELS used to show his rural scenic location, makes him see more alone.
Inspirational ideas from "The Streets" videos.
Whilst researching music videos to deconstruct, I found that The Streets were suitable and focused on their music videos. When watching some of the videos I found some inspirational, imaganitive techinques used.
- Camera techiques used in video," Fit But Dont You Know It", the use of picture montage and how they are used as a framework at the beginning, with relatively quick cuts.
- "When you wasnt famous", with the silent start interacting with the audience wondering whats going to happen and considering the mise-en-scene.(Influencial technique for own video)
- "Dont mug yourself", how there is an effect of him gliding along the chairs in the cafe in the opening scene (a constant movement). Also how the pint of beer goes down. Quite playful and keeps the audience engaged.
Thursday 29 November 2007
Product Analysis: The Streets- Dry your eyes
http://www.youtube.com/watch?v=NHOf3s70w-
What is the relationship between music and visuals?
The video is introduced with a Medium long shot of an urban street setting at night, looking across a road. Immediatley establishing the location. The music then starts setting a melancholic tone from the beat of the music, with a shot of Mike Skinner sitting at a bus stop, only being lit by street lights. The visuals are cut in time with the music. The depressing mood is represented through the slow pace editing and shots of only himself in places where there are ment to be many people. For example at the swimming pool, and the stadium seats.
What is the relationship between lyrics and visuals?
The lyrics tell the audience the track is about relationship problems and troubles. The visuals reinforce the emptyness in his life relating to the lyrics as well. For exmaple throughout the whole video we do not see anyone else except him and his dog. Visuals-him in different locations, with the appropiate mise-en-scene-Snooker halls, social club, Laundrette, changing rooms, gym, swimming pool, office, street, arcade, empty stadium, supermarket, cinema, at home. All everyday familiar places, not glamorized at all.
Are there close-ups of the artist and star image motifs?
There are a number of fragmentation shots of the artists body, however they are not in a voyeuristic or in a way to exploit the artists physical appearance. The camera is completely focused on Mike Skinner the whole time as he is the only person in the video, occasionally cutting to shots of his dog. He is not represented as glamorous or wealthly, quite the opposite, dressed in simple casual wear. There are a number of close ups, showing his emotions and lip syncing. Quite frequently though his face is cast with shadows. There is a no montage of Close ups of drinking smoking swearing and drugs helping establish and give character exposition.
Genre Characteristics?
The video is not glamorous shown by locations and casual wear and fits within the cinematic style of The Streets music videos. There music is supposed to be more about reality; the music video conveys this as set in a scene which many people are familiar with not out the ordinary.
What is the relationship between music and visuals?
The video is introduced with a Medium long shot of an urban street setting at night, looking across a road. Immediatley establishing the location. The music then starts setting a melancholic tone from the beat of the music, with a shot of Mike Skinner sitting at a bus stop, only being lit by street lights. The visuals are cut in time with the music. The depressing mood is represented through the slow pace editing and shots of only himself in places where there are ment to be many people. For example at the swimming pool, and the stadium seats.
What is the relationship between lyrics and visuals?
The lyrics tell the audience the track is about relationship problems and troubles. The visuals reinforce the emptyness in his life relating to the lyrics as well. For exmaple throughout the whole video we do not see anyone else except him and his dog. Visuals-him in different locations, with the appropiate mise-en-scene-Snooker halls, social club, Laundrette, changing rooms, gym, swimming pool, office, street, arcade, empty stadium, supermarket, cinema, at home. All everyday familiar places, not glamorized at all.
Are there close-ups of the artist and star image motifs?
There are a number of fragmentation shots of the artists body, however they are not in a voyeuristic or in a way to exploit the artists physical appearance. The camera is completely focused on Mike Skinner the whole time as he is the only person in the video, occasionally cutting to shots of his dog. He is not represented as glamorous or wealthly, quite the opposite, dressed in simple casual wear. There are a number of close ups, showing his emotions and lip syncing. Quite frequently though his face is cast with shadows. There is a no montage of Close ups of drinking smoking swearing and drugs helping establish and give character exposition.
Are there intertextual reference?
There is no clear intertexual references in the video.
Is it performance based or narrative based? How much of each?
Throughout the video a number of different locations are used, with him by himself, reflecting his problems. This is a performance based video.
Representations?
Mike Skinner has created a clear style for himself through the use of everyday locations and having only featuring himself in most of his videos. We see him represented as a everyday person creating para-social intimacy through the use of casual wear and chosen loactions with feelings and problems that people can relate to.
Ideological discourses?
The music video reinforces the ideological discourse of a white centric everday life person, with locations that the audience can relate to. Reinforces masculinity on how you dont need women, reinforced masculinity of him in a gym on how men should look.Genre Characteristics?
The video is not glamorous shown by locations and casual wear and fits within the cinematic style of The Streets music videos. There music is supposed to be more about reality; the music video conveys this as set in a scene which many people are familiar with not out the ordinary.
Monday 26 November 2007
Plan
Locations
Lakeside Thurock, Essex Riverside, Queen Mary Bridge, Docks (containers/lorrypark), Basldon, Southend
Intro/Outro
Pull up at red light at the start with a silent intro, just the car pulling up at a slow/ controled speed droping the clutch an rolling up and coming to a halt. filming from the pavement, the car comes past the camera an stops to the side.
as the driver stops and engaiges the handbreak he rest on his arm looking fed up, the song starts....
at the end the same light turns green, camera cuts to a now happy driver then cuts back out to the car slowely pulling away...Fade Out
Lakeside Thurock, Essex Riverside, Queen Mary Bridge, Docks (containers/lorrypark), Basldon, Southend
Intro/Outro
Pull up at red light at the start with a silent intro, just the car pulling up at a slow/ controled speed droping the clutch an rolling up and coming to a halt. filming from the pavement, the car comes past the camera an stops to the side.
as the driver stops and engaiges the handbreak he rest on his arm looking fed up, the song starts....
at the end the same light turns green, camera cuts to a now happy driver then cuts back out to the car slowely pulling away...Fade Out
Sunday 25 November 2007
Technical Analysis - Example - I Don't Want To
http://www.youtube.com/watch?v=5IYf42qKm5s
1
Medium Close Up POV
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
2
Medium Shot
Low angle (waist high) no tilt
POV shot from seated position
Cut
3
Medium Close Up slowly zooming in
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
4
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Cut
5
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
6
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
7
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
8
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
9
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
10
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
11
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom out
12
Medium Shot
Head Height no tilt
Tracks the artist as he walks to the bar from the side
cut
13
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
14
Close Up
Level with artists and extras face no tilt
Looking at the actions of the artist and the extra from the side although he still addresses the camera with his eye
cut
15
Medium Close Up
Comes away from the side view to address the artist from the front, no tilt, level with head
In front of artist looking directly at him square on
Zoom out
16
Medium Shot
Chest height tilted very discretely up
In front of artist and the extra looking at them square on
Cut and small amount of zoom in + focus's
17
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom in
18
Medium Shot
Level with artists face no tilt
In front of artist and the extra looking at them square on
Sharp movement
19
Long Shot
Level no tilt, pans left to follow the artist
Looking at him from side although he still addresses camera by turning his head
Zoom out
20
Medium Shot
Chest height tilted down very slightly
Behind the extra looking down on the artist on the bed
cut
22
Close Up
High camera angle tilted down on artist and extra
In front of artist looking directly at him
Zoom out
23
Medium Shot
High camera angle tilted down on artist and extra
In front of artist looking directly at him
cut
24
Close Up
Level with knee tilted upwards towards waist
Shaky movement of artist jumping out of bed (handicam) looking at him from the front
cut
25
Medium Shot
Level with artist and 2nd performer, no tilt
Positions in front of artists looking straight at them
cut
26
Medium Shot
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom out
27
Medium Long Shot
Level with artists face no tilt
In front of artist looking at him square on as he turns and runs out the right of the frame cut
cut
28
Medium Shot
Still shot with no tilt that allows you to see him fall from the top of the frame to the bottom as he lands on the bed
Looks at him from the side as he falls
* first evident shot in which he does not address the camera
cut
29
Medium Shot
Level with artists face no tilt
In front of artist looking directly at him square on
cut
30
Medium Close Up
In line with the artists chest, no tilt cutting his head from the eyebrows up out the shot, allowing the extra n the bed to be seen at the bottom
Looking at the artist from a 45º angle from the front
Zoom out and movement of camera round door frame
31
Medium Shot
Level with artists chest no tilt
In front of artist and extra looking at him argue with her
cut
32
Medium Close Up
POV shot from standing, tilted down
POV shot from where he is standing in the room
cut
33
Medium Shot
Level with the artists chest no tilt
In front of artist and extra looking at him argue with her
cut
35
Medium Close Up
Level with the artists chest no tilt
Looking at him from the front with a slight angle
cut
36
Medium Shot
Level with the artists chest no tilt
Addressing him and the extra from the side and he is not looking at the camera
cut
Medium long shot
Level with waist no tilt
Looking at both the artist, the 2nd performer and the extra from the front, both facing the camera
cut
Medium Shot
Level with waist no tilt
Tracks him by panning right as he walks to the chair
cut
37
Medium Close Up
Mid level tilted down
POV shot from sitting, tilted down
cut
38
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
39
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
40
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
41
Medium Close Up
Medium height tilted down
Looking down on an extra with a yellow face??
cut
42
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
43
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
44
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
45
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
46
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
47
Medium Shot
Medium height tilted very slightly up at extra and prop
Addressing part of the narrative, looking at the extra straight on
cut
48
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
49
Medium Close Up
Tilted down from above the extras head
Looking at her from the side
cut
50
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
51
Medium Close Up
Chin height no tilt
Addressing the waiter looking at him from the front
cut
52
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
53
Medium Close Up
Level with extras face no tilt
Looking at her from the side
cut
54
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
55
Medium Close Up
Chin height no tilt
Addressing the waiter looking at him from the front
cut
56
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
zoom
58
Medium Close Up
Head height tilted down on artist
Shooting the artist from the side with his head turned to address the camera
Pans left then right quickly zooming out
59
Medium Shot
Medium height tilted very slightly down
Looking at the artist as her looks for the extra then spots her behind him
cut
60
Medium Close Up
Level with extras face no tilt
In front of artist looking directly at him square on
Zoom out
61
Medium Shot
Starts the shot tilted slightly down but when he gets up it adjust to a level position
Looking at artist
cut
62
Medium Close Up
Level with 2nd artists tilted slightly up
Looking at the 2nd artists from the front
cut
63
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
64
Medium Close Up
Level with artists face tilted up a small amount
In front of artist looking at him
cut
65
Medium Close Up
Looking at the extra from above, tilted down
Looking directly at the granny
cut
66
Close Up
Level with artists face no tilt
Looking at him from the side with his head turned square onto the camera
cut
67
Medium Close Up
Level with artists and extras faces no tilt
Positioned in front the group of people
cut
70
Close Up
Looking at artist from above tilted down
Position in front of him as he wakes up out of bed
Black out
- A cut to a close up and a zoom out is a very affective shot that not only creates an identity for the artist and promotes there star image, but it keeps the audience focused and draws them into being more focused on the video.
- There are lots of cut to closer and closer shots, for example, the artists is immediately introduced through a medium long shot, which cuts to a medium shot, then to a medium close up, the a close up. graduated transitions to closer shots.
- There are many complecated shots and post production affects that will be to hard and unrealistic to try and replicate in out video and although they work well, especially the shot that he gets dressed (duration 1.31-1.38)
- Although part of our brief involves a slight bit of narrative it will not be as detailed as this example, the whole music video is a complete narrative although he also performs by lipsinking his verses by turning his attention out from the narrative and uses a first person mode of address.
1
Medium Close Up POV
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
2
Medium Shot
Low angle (waist high) no tilt
POV shot from seated position
Cut
3
Medium Close Up slowly zooming in
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
4
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Cut
5
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
6
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
7
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
8
Medium Shot POV
Low angle (waist high) no tilt
POV shot from seated position
Jump Cut
9
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
10
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Cut
11
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom out
12
Medium Shot
Head Height no tilt
Tracks the artist as he walks to the bar from the side
cut
13
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
14
Close Up
Level with artists and extras face no tilt
Looking at the actions of the artist and the extra from the side although he still addresses the camera with his eye
cut
15
Medium Close Up
Comes away from the side view to address the artist from the front, no tilt, level with head
In front of artist looking directly at him square on
Zoom out
16
Medium Shot
Chest height tilted very discretely up
In front of artist and the extra looking at them square on
Cut and small amount of zoom in + focus's
17
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom in
18
Medium Shot
Level with artists face no tilt
In front of artist and the extra looking at them square on
Sharp movement
19
Long Shot
Level no tilt, pans left to follow the artist
Looking at him from side although he still addresses camera by turning his head
Zoom out
20
Medium Shot
Chest height tilted down very slightly
Behind the extra looking down on the artist on the bed
cut
22
Close Up
High camera angle tilted down on artist and extra
In front of artist looking directly at him
Zoom out
23
Medium Shot
High camera angle tilted down on artist and extra
In front of artist looking directly at him
cut
24
Close Up
Level with knee tilted upwards towards waist
Shaky movement of artist jumping out of bed (handicam) looking at him from the front
cut
25
Medium Shot
Level with artist and 2nd performer, no tilt
Positions in front of artists looking straight at them
cut
26
Medium Shot
Level with artists face no tilt
In front of artist looking directly at him square on
Zoom out
27
Medium Long Shot
Level with artists face no tilt
In front of artist looking at him square on as he turns and runs out the right of the frame cut
cut
28
Medium Shot
Still shot with no tilt that allows you to see him fall from the top of the frame to the bottom as he lands on the bed
Looks at him from the side as he falls
* first evident shot in which he does not address the camera
cut
29
Medium Shot
Level with artists face no tilt
In front of artist looking directly at him square on
cut
30
Medium Close Up
In line with the artists chest, no tilt cutting his head from the eyebrows up out the shot, allowing the extra n the bed to be seen at the bottom
Looking at the artist from a 45º angle from the front
Zoom out and movement of camera round door frame
31
Medium Shot
Level with artists chest no tilt
In front of artist and extra looking at him argue with her
cut
32
Medium Close Up
POV shot from standing, tilted down
POV shot from where he is standing in the room
cut
33
Medium Shot
Level with the artists chest no tilt
In front of artist and extra looking at him argue with her
cut
35
Medium Close Up
Level with the artists chest no tilt
Looking at him from the front with a slight angle
cut
36
Medium Shot
Level with the artists chest no tilt
Addressing him and the extra from the side and he is not looking at the camera
cut
Medium long shot
Level with waist no tilt
Looking at both the artist, the 2nd performer and the extra from the front, both facing the camera
cut
Medium Shot
Level with waist no tilt
Tracks him by panning right as he walks to the chair
cut
37
Medium Close Up
Mid level tilted down
POV shot from sitting, tilted down
cut
38
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
39
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
40
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
41
Medium Close Up
Medium height tilted down
Looking down on an extra with a yellow face??
cut
42
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
43
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
44
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
45
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
46
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
47
Medium Shot
Medium height tilted very slightly up at extra and prop
Addressing part of the narrative, looking at the extra straight on
cut
48
Medium Close Up
Level with extras face no tilt
In front of extra looking directly at her
cut
49
Medium Close Up
Tilted down from above the extras head
Looking at her from the side
cut
50
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
51
Medium Close Up
Chin height no tilt
Addressing the waiter looking at him from the front
cut
52
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
53
Medium Close Up
Level with extras face no tilt
Looking at her from the side
cut
54
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
cut
55
Medium Close Up
Chin height no tilt
Addressing the waiter looking at him from the front
cut
56
Medium Shot
Medium height tilted very slightly down
Looking at the artist and the performers interactions at the table
zoom
58
Medium Close Up
Head height tilted down on artist
Shooting the artist from the side with his head turned to address the camera
Pans left then right quickly zooming out
59
Medium Shot
Medium height tilted very slightly down
Looking at the artist as her looks for the extra then spots her behind him
cut
60
Medium Close Up
Level with extras face no tilt
In front of artist looking directly at him square on
Zoom out
61
Medium Shot
Starts the shot tilted slightly down but when he gets up it adjust to a level position
Looking at artist
cut
62
Medium Close Up
Level with 2nd artists tilted slightly up
Looking at the 2nd artists from the front
cut
63
Medium Close Up
Level with artists face no tilt
In front of artist looking directly at him square on
cut
64
Medium Close Up
Level with artists face tilted up a small amount
In front of artist looking at him
cut
65
Medium Close Up
Looking at the extra from above, tilted down
Looking directly at the granny
cut
66
Close Up
Level with artists face no tilt
Looking at him from the side with his head turned square onto the camera
cut
67
Medium Close Up
Level with artists and extras faces no tilt
Positioned in front the group of people
cut
70
Close Up
Looking at artist from above tilted down
Position in front of him as he wakes up out of bed
Black out
- A cut to a close up and a zoom out is a very affective shot that not only creates an identity for the artist and promotes there star image, but it keeps the audience focused and draws them into being more focused on the video.
- There are lots of cut to closer and closer shots, for example, the artists is immediately introduced through a medium long shot, which cuts to a medium shot, then to a medium close up, the a close up. graduated transitions to closer shots.
- There are many complecated shots and post production affects that will be to hard and unrealistic to try and replicate in out video and although they work well, especially the shot that he gets dressed (duration 1.31-1.38)
- Although part of our brief involves a slight bit of narrative it will not be as detailed as this example, the whole music video is a complete narrative although he also performs by lipsinking his verses by turning his attention out from the narrative and uses a first person mode of address.
Thursday 22 November 2007
Product Analysis - Example - So Many Roads
http://www.youtube.com/watch?v=7IbYJoWrOIg
What is the relationship between music and visuals?
The video is introduced by a medium long shot of an athletics track, the music is started when Example starts his run which works well. the music is steady paced much like his run, quite a mellow beat. there doesn't seem to be any more obvious links between the music and the visuals
What is the relationship between visuals and lyrics?
The editing is very simple in this video, there are a number of long shots with little cutting. there are links between the visuals and the lyrics however, when he says, "look at my shoes" the camera cut to a picture of his feet when he is jogging. Also the chorus, "so many roads" is suggested by him running try to get somewhere like you do on roads.
Are there close-ups of the artist and star image motifs?
Apart from infrequent cuts to other shots, the camera is completely focused on Example in front of him as he runs round the track, promoting his look to make him recognisable but he is not represented as glamorous, he has a simple tracksuit on and is unshaven.
Is there reference to the notion of looking?
There is the odd point of view shot of some one running behind him making you feel included in the narrative.
Are there intertextual reference?
There is no clear intertexual references in the video although some evidence of the negative relationship between police and young people
Is it performance based or narrative based? How much of each?
i think the video is almost completely performanced based, you watch Example lip sink the whole song all the way round the track, he lip sinks almost every verse uninterrupted and it cuts to other shots in the chorus which is the only bit he doesn't sing. there is a tiny narrative of some ind of race going on, police are trying to stop fans and other competing or just simply following him, however, it doesn't seem to have any relationship with the actually song.
Representations?
Example is shown to be a very simple white male, much like the everyday person, he is shown to be focused on his music like the race he is running. and no sidetracked by the bad things he has left behind
What is the relationship between music and visuals?
The video is introduced by a medium long shot of an athletics track, the music is started when Example starts his run which works well. the music is steady paced much like his run, quite a mellow beat. there doesn't seem to be any more obvious links between the music and the visuals
What is the relationship between visuals and lyrics?
The editing is very simple in this video, there are a number of long shots with little cutting. there are links between the visuals and the lyrics however, when he says, "look at my shoes" the camera cut to a picture of his feet when he is jogging. Also the chorus, "so many roads" is suggested by him running try to get somewhere like you do on roads.
Are there close-ups of the artist and star image motifs?
Apart from infrequent cuts to other shots, the camera is completely focused on Example in front of him as he runs round the track, promoting his look to make him recognisable but he is not represented as glamorous, he has a simple tracksuit on and is unshaven.
Is there reference to the notion of looking?
There is the odd point of view shot of some one running behind him making you feel included in the narrative.
Are there intertextual reference?
There is no clear intertexual references in the video although some evidence of the negative relationship between police and young people
Is it performance based or narrative based? How much of each?
i think the video is almost completely performanced based, you watch Example lip sink the whole song all the way round the track, he lip sinks almost every verse uninterrupted and it cuts to other shots in the chorus which is the only bit he doesn't sing. there is a tiny narrative of some ind of race going on, police are trying to stop fans and other competing or just simply following him, however, it doesn't seem to have any relationship with the actually song.
Representations?
Example is shown to be a very simple white male, much like the everyday person, he is shown to be focused on his music like the race he is running. and no sidetracked by the bad things he has left behind
Product Analysis - Kano - Nite Nite
Genre Characteristics?
British Rap
What is the relationship between music and visuals?
When the artists are talking to either each other or directly to the audience about their situation, it is often at night or with a dark background, this creates a clear distinction between the sequences. In the narrative based shots , were the females in the song are shown, it is filmed during the daytime and some of the time in slow motion giving an all most dreamingly impression as if it is a POV shot through the singers eyes.
What is the relationship between visuals and lyrics?
The artists singing in the opening scene is as if they are having a conversation between each other. When Leo is singing about his partner, when they are sitting on the swing it is as if it is a narrative sequence and he is invisible to her and he’s singing looking at her saying how he likes her.
Are there close-ups of the artist and star image motifs?
There are number of close-ups throughout the video. When Kano sings the opening chorus the shots cut between medium shots of his upper body to close-ups of his face when his is lip syncing.
When Leo is singing on the swing, again most of the shots are close-ups of his face and the cuts to medium shots showing the whole of the stars body. There are also a number of fragmentation shots of the artists body, however they are not in a voyeuristic or in a way to exploit the artists physical appearance.
Is there reference to the notion of looking?
There is a close up of Kano’s face and then it cuts to a shot of a women walking up the beach in swim wear. The object of this is for the audience to look at the women like Kano is doing, looking at her physical appearance (in a voyeuristic fashion).
Is it performance based or narrative based? How much of each?
The music video cuts from lip syncing sequences when the artists are singing directly to the camera, as if they are singing the song to the audience. Then it lip sync’s when they are singing the song to each other, as if you are watching a conversation and finally the audience is displaced further as there is a narrative sequence. This is in evidence when they are having an evening meal; it is as if we are watching from a distance, all most ‘fly on the wall‘ like. During the narrative shots the video is in slow motion (cranked up).
Ideological discourses?
The video does reinforce the ideological discourse of youth and beauty. The females in the video are all white and slim and suggest that this is what is considered to be beautiful.
British Rap
What is the relationship between music and visuals?
When the artists are talking to either each other or directly to the audience about their situation, it is often at night or with a dark background, this creates a clear distinction between the sequences. In the narrative based shots , were the females in the song are shown, it is filmed during the daytime and some of the time in slow motion giving an all most dreamingly impression as if it is a POV shot through the singers eyes.
What is the relationship between visuals and lyrics?
The artists singing in the opening scene is as if they are having a conversation between each other. When Leo is singing about his partner, when they are sitting on the swing it is as if it is a narrative sequence and he is invisible to her and he’s singing looking at her saying how he likes her.
Are there close-ups of the artist and star image motifs?
There are number of close-ups throughout the video. When Kano sings the opening chorus the shots cut between medium shots of his upper body to close-ups of his face when his is lip syncing.
When Leo is singing on the swing, again most of the shots are close-ups of his face and the cuts to medium shots showing the whole of the stars body. There are also a number of fragmentation shots of the artists body, however they are not in a voyeuristic or in a way to exploit the artists physical appearance.
Is there reference to the notion of looking?
There is a close up of Kano’s face and then it cuts to a shot of a women walking up the beach in swim wear. The object of this is for the audience to look at the women like Kano is doing, looking at her physical appearance (in a voyeuristic fashion).
Is it performance based or narrative based? How much of each?
The music video cuts from lip syncing sequences when the artists are singing directly to the camera, as if they are singing the song to the audience. Then it lip sync’s when they are singing the song to each other, as if you are watching a conversation and finally the audience is displaced further as there is a narrative sequence. This is in evidence when they are having an evening meal; it is as if we are watching from a distance, all most ‘fly on the wall‘ like. During the narrative shots the video is in slow motion (cranked up).
Ideological discourses?
The video does reinforce the ideological discourse of youth and beauty. The females in the video are all white and slim and suggest that this is what is considered to be beautiful.
Top Ten Tips for Making A Music Video
Choosing the Track
- Make it Short
- Myspace is a very good source for researching unknown artists with potentially good music
Write a Treatment
- Strong simple idea
- Be realistic
- Have a clear and workable concept
Plan for Everything
- Have a storyboard
- When preparing for a shoot plan people, place, props and costume
- Have everyone mobil numbers
- Shot as early as possible not near the deadline
- Reherse the performance whereever possible before shoot, not on location
Blog
- Use it to link ideas
- Put videos and photos on it
- Still shots of location
- Animation storyboard
- Put every small idea you think of on there
Equipment
- Know the equipment you are using and what it is capible of
- Do pleanty of test shots
- Remember tripod
- Remember CD player when on location
The Shoot
- Shoot each scene three times from a different set up
- Have lots of cutaways, angles and closeups
- Shoot more than you think you will need
- Label and organise all footage
Editing
- Synch the perfrmance first
- Get the whole performance together first
- Cut...cut...cut
- Dynamic work
- Do affects last
- Upoad rough cut to blog
Screenings
- Upload feedback to your blog
Analysis
- Start as early as possible
- Use your blog
- Get lots of advice from Mrs. Fernandez!
- Make it Short
- Myspace is a very good source for researching unknown artists with potentially good music
Write a Treatment
- Strong simple idea
- Be realistic
- Have a clear and workable concept
Plan for Everything
- Have a storyboard
- When preparing for a shoot plan people, place, props and costume
- Have everyone mobil numbers
- Shot as early as possible not near the deadline
- Reherse the performance whereever possible before shoot, not on location
Blog
- Use it to link ideas
- Put videos and photos on it
- Still shots of location
- Animation storyboard
- Put every small idea you think of on there
Equipment
- Know the equipment you are using and what it is capible of
- Do pleanty of test shots
- Remember tripod
- Remember CD player when on location
The Shoot
- Shoot each scene three times from a different set up
- Have lots of cutaways, angles and closeups
- Shoot more than you think you will need
- Label and organise all footage
Editing
- Synch the perfrmance first
- Get the whole performance together first
- Cut...cut...cut
- Dynamic work
- Do affects last
- Upoad rough cut to blog
Screenings
- Upload feedback to your blog
Analysis
- Start as early as possible
- Use your blog
- Get lots of advice from Mrs. Fernandez!
Product Analysis - Jay-Z - 99 Problems
http://www.youtube.com/watch?v=WwoM5fLITfk
What is the relationship between music and visuals?
A silent start with a handicam running up a set of stairs starts the video and when the beat is mixed in it is accompanied by fast very montage cutting in time with the music. Fast cutting to the beat of the track is a common trend throughout the music video. It is also black and white generating a simplistic but effective tone. A lot of actions by characters in the video, especially Jay-Z, such as pointing, nodding, clapping, winking etc are in time with a beat in the backing track. A clever touch of scratching the beat give the sound of a motorbike reving when it is accompanied by a shot of a GSXR doing a burnout.
What is the relationship between visuals and lyrics?
With very fast paced editing there are many different shots that relate to the lyrics in the track. it is quick and simple but very affective and works really well. for example, when he says, "I'm from the hood stupid what kind of facts are those" it cuts to a shot of a street sign symbolising where. "I Got beef with radio" and a shot of an electrical store selling radio players. we'll see how smart you are when the k9s come and a shot of dogs getting prepared to leave a cage. Jay-Z does a lot of lip sinking in the video and also reacts a lot to the lyrics with facial emotions. The three main shots in the video cut between referential shots, to him lip sinking, not him occupied with others. The chorus, "I got 99 problems but the bitch ain't one involves different scenes of a women and a man losing his temper, when combined with the lyrics a clear relationship between the man and women is created.
Are there close-ups of the artist and star image motifs?
there are many close ups of Jay-Z during the video especially when he is lip sinking, it is clear that he is the sole performer although there are brief references to other characters it always returns to him after each cut. star image motifs are relevant to a certain degree, there are lots of close ups promoting his face and persona but he is no represented as particulary glamorous or wealthy, this look is aided by the video being black and white so he does really stand out
Is there reference to the notion of looking?
There is an obvious point of view shot of some one running up the stairs at the start, and the frequent use of a jerky handicam is not only a good effect, but it can also look like a point of view shot, especially in scene where there is a large group, making you feel included in the narrative.
Are there intertextual reference?
There is no clear intertexual references in the video although some evidence of the negative relationship between young black males and the authorities.
Is it performance based or narrative based? How much of each?
The video have both performance and small amounts of narrative when relevant to the lyrics, there are sections of performance frequently throughout the video, in three key locations, when he is sitting on a sofa, walking along a bridge and when outside a block of apartments. There is no main narrative to the video just a few scenes to accompany the lyrics, for example, the music video turns to a narrative representation when he gets pulled over for speeding, a clear relationship between the lyrics and the visuals is created.
Representations?
Jay-Z is represented as a normal person, nothing special, although shown to be a drug dealer in one scene. there is frequent shots of women dancing in swimsuits represented in a voyeuristic way, they are objectified by the camera focused on their bodies. They are objectified and when accompanied by the lyrics are negatively represented often refered to as a 'bitch'
Ideological discourses?
The music video reinforces the ideological discourse of how growing up a a young black male is challenging and how they are affected by poverty, forcing them to commit crime such as selling drugs as a income. There is also a negative ideal that men are empowered over women and how there not causing Jay-Z any problems
What is the relationship between music and visuals?
A silent start with a handicam running up a set of stairs starts the video and when the beat is mixed in it is accompanied by fast very montage cutting in time with the music. Fast cutting to the beat of the track is a common trend throughout the music video. It is also black and white generating a simplistic but effective tone. A lot of actions by characters in the video, especially Jay-Z, such as pointing, nodding, clapping, winking etc are in time with a beat in the backing track. A clever touch of scratching the beat give the sound of a motorbike reving when it is accompanied by a shot of a GSXR doing a burnout.
What is the relationship between visuals and lyrics?
With very fast paced editing there are many different shots that relate to the lyrics in the track. it is quick and simple but very affective and works really well. for example, when he says, "I'm from the hood stupid what kind of facts are those" it cuts to a shot of a street sign symbolising where. "I Got beef with radio" and a shot of an electrical store selling radio players. we'll see how smart you are when the k9s come and a shot of dogs getting prepared to leave a cage. Jay-Z does a lot of lip sinking in the video and also reacts a lot to the lyrics with facial emotions. The three main shots in the video cut between referential shots, to him lip sinking, not him occupied with others. The chorus, "I got 99 problems but the bitch ain't one involves different scenes of a women and a man losing his temper, when combined with the lyrics a clear relationship between the man and women is created.
Are there close-ups of the artist and star image motifs?
there are many close ups of Jay-Z during the video especially when he is lip sinking, it is clear that he is the sole performer although there are brief references to other characters it always returns to him after each cut. star image motifs are relevant to a certain degree, there are lots of close ups promoting his face and persona but he is no represented as particulary glamorous or wealthy, this look is aided by the video being black and white so he does really stand out
Is there reference to the notion of looking?
There is an obvious point of view shot of some one running up the stairs at the start, and the frequent use of a jerky handicam is not only a good effect, but it can also look like a point of view shot, especially in scene where there is a large group, making you feel included in the narrative.
Are there intertextual reference?
There is no clear intertexual references in the video although some evidence of the negative relationship between young black males and the authorities.
Is it performance based or narrative based? How much of each?
The video have both performance and small amounts of narrative when relevant to the lyrics, there are sections of performance frequently throughout the video, in three key locations, when he is sitting on a sofa, walking along a bridge and when outside a block of apartments. There is no main narrative to the video just a few scenes to accompany the lyrics, for example, the music video turns to a narrative representation when he gets pulled over for speeding, a clear relationship between the lyrics and the visuals is created.
Representations?
Jay-Z is represented as a normal person, nothing special, although shown to be a drug dealer in one scene. there is frequent shots of women dancing in swimsuits represented in a voyeuristic way, they are objectified by the camera focused on their bodies. They are objectified and when accompanied by the lyrics are negatively represented often refered to as a 'bitch'
Ideological discourses?
The music video reinforces the ideological discourse of how growing up a a young black male is challenging and how they are affected by poverty, forcing them to commit crime such as selling drugs as a income. There is also a negative ideal that men are empowered over women and how there not causing Jay-Z any problems
Product Analysis - The Game- How we do
Genre Characteristics?
American gangster rap genre
What is the relationship between music and visuals?
The Game and Dr. Dre in the opening sequence are smoking and the long whining music forms a relationship with smoke. The extremely fast pace editing at the beginning of the song is done on every beat in the song. The video is very dark, filmed mostly at night, in a club or on a dark background with dim coloured light on the artists faces. The editing between the shots is fast pace and often on the beat of the music.
What is the relationship between visuals and lyrics?
In the first chorus there is no lip sequin. When Game sings about ‘chrome’ wheels, it cuts to them on a car. When 50 Cent sings “kiss my ass”, he blows a kiss. There are many cuts to the cars and the locations that are not really linked apart from he sings about money and the music videos cuts to the car. There is quite a lot of lip syncing. When 50 Cent sings “I put Lamborghini doors on that Es-co-lade”, it cuts to a shot of the car driving with the Lamborghini doors open. There is very little reference to women in the lyrics but there are many shots of female dancers in the club.
Are there close-ups of the artist and star image motifs?
There are two long close-ups of The Game and Dr. Dre before the song has begun. When the artist is singing most (nearly all) shots are close-ups. The clothes the artists are wearing are large jackets which are dark in colour, often wearing hats which reinforce the gangster image.
Is there reference to the notion of looking?
There are a number of POV shots that put the audience within in the narrative as one of the artists and when these shots take place the female actors in the videos are starring at the camera. This POV shot suggests if you are a ‘gangster’ then you’ll receive female attention.
Are there intertextual reference?
The use of cars with large chrome wheels is a common convention with US gangster rap, like with such artists as 50 cent who features in the song.
Is it performance based or narrative based? How much of each?
It is a mixture of both, and the beginning it is mostly narrative based with shots of The Game waking up and walking outside then driving his car. When he begins to lip sync is when he is singing his verse, it is with-in a narrative context.
Representations?
The female representation is very voyeuristic. In the shots of females in the club scene they are dancing erotically in suggestive positions wearing little clothing. This in evidence with shot of the women in the cage only wearing underwear and a face mask.
Ideological discourses?
The music video reinforces the ideological discourse of a gangster life being successful and as prosperous, showing the flash cars, the jewellery and how this attracts female attention. The music video reinforces very masculine values and so do the lyrics. “Cuz s**t might pop off, and if s**t pop off. Somebody gon' get laid the f**k out”, these lyrics strengthen the idea that as a male to deal with your problems, aggressive behaviour is the preferred root.
American gangster rap genre
What is the relationship between music and visuals?
The Game and Dr. Dre in the opening sequence are smoking and the long whining music forms a relationship with smoke. The extremely fast pace editing at the beginning of the song is done on every beat in the song. The video is very dark, filmed mostly at night, in a club or on a dark background with dim coloured light on the artists faces. The editing between the shots is fast pace and often on the beat of the music.
What is the relationship between visuals and lyrics?
In the first chorus there is no lip sequin. When Game sings about ‘chrome’ wheels, it cuts to them on a car. When 50 Cent sings “kiss my ass”, he blows a kiss. There are many cuts to the cars and the locations that are not really linked apart from he sings about money and the music videos cuts to the car. There is quite a lot of lip syncing. When 50 Cent sings “I put Lamborghini doors on that Es-co-lade”, it cuts to a shot of the car driving with the Lamborghini doors open. There is very little reference to women in the lyrics but there are many shots of female dancers in the club.
Are there close-ups of the artist and star image motifs?
There are two long close-ups of The Game and Dr. Dre before the song has begun. When the artist is singing most (nearly all) shots are close-ups. The clothes the artists are wearing are large jackets which are dark in colour, often wearing hats which reinforce the gangster image.
Is there reference to the notion of looking?
There are a number of POV shots that put the audience within in the narrative as one of the artists and when these shots take place the female actors in the videos are starring at the camera. This POV shot suggests if you are a ‘gangster’ then you’ll receive female attention.
Are there intertextual reference?
The use of cars with large chrome wheels is a common convention with US gangster rap, like with such artists as 50 cent who features in the song.
Is it performance based or narrative based? How much of each?
It is a mixture of both, and the beginning it is mostly narrative based with shots of The Game waking up and walking outside then driving his car. When he begins to lip sync is when he is singing his verse, it is with-in a narrative context.
Representations?
The female representation is very voyeuristic. In the shots of females in the club scene they are dancing erotically in suggestive positions wearing little clothing. This in evidence with shot of the women in the cage only wearing underwear and a face mask.
Ideological discourses?
The music video reinforces the ideological discourse of a gangster life being successful and as prosperous, showing the flash cars, the jewellery and how this attracts female attention. The music video reinforces very masculine values and so do the lyrics. “Cuz s**t might pop off, and if s**t pop off. Somebody gon' get laid the f**k out”, these lyrics strengthen the idea that as a male to deal with your problems, aggressive behaviour is the preferred root.
Sunday 18 November 2007
Idea
A narrative based music video based on 'Race Against Time' - Tank featuring Ja Rule (http://www.youtube.com/watch?v=0Ud3I-wk8AY), with a scene at the start and end with no music just the sound of the cars pulling up to a red light with a fustrated look about the driver, and at the end pulling away to a green light with a smile on the face of the driver. Fast and simple cutting to a rytheme works really well, about 8-10 cuts in quick sucsession to the beat/melody, an affective example at the very start of the video 'How We Do' -50 Cent featuring the Game. Could do it with different part of the car.
Talk to Miles about doing the Ja Rule lipsinking.
Talk to Miles about doing the Ja Rule lipsinking.
Friday 16 November 2007
Kanye West - Stronger
The freeze frames and the jump editing when Kanye West is singing/dancing is good technique to consider so there arn't long shots of us singing/dancing.
Also the dark shadows cross his face are really affective and look good.
(Just added a few screen shots about what I mean)
(But defiantly not using them shades though!)
Friday 9 November 2007
Audience Consumnption
Sam Ashdown 13F
1. How do audiences consume music channels?
There are forms of consumption when considering how audiences watch music channels. The first is ‘Focused viewing’; this involves viewer to have a deeper relationship with the channel or music and have more attentive viewing. For example, a person that enjoys the ’Indy’ genre of music will watch Karrang!, because it plays that form of music and the viewer can make a personal relationship with, the music they get pleasure from. Also you will find that often the advertisements on the genre channels with be in context with channel.
The second form is ‘Ambient viewing’; this involves the viewer making a far less attentive response to the music channel. Often this case of consumption is in communal situations and as an audio background.
2. Why are they commercially viable with such small audience shares?
The reason why theses genre channels have become commercially viable is because they are often many of them are owned by large media conglomerates. For example, having used www.barb.co.uk, channels such as The HITS only has around 0.4 percentage share and Karrang! only having around 0-1 percentage share of viewing. But both channels are owned by Emap, the media conglomerate, who can claim that, after adding all their channels together will have on average 24,000 people watching Emap any one time. This figure attracts many companies that wish to advertise on any one of their channels. Companies such as Creative Zen, who went to Emap with limited funds and asked them to advertise their product. Emap’s award winning advertising campaign meant that the Creative Zen sold out within weeks.
1. How do audiences consume music channels?
There are forms of consumption when considering how audiences watch music channels. The first is ‘Focused viewing’; this involves viewer to have a deeper relationship with the channel or music and have more attentive viewing. For example, a person that enjoys the ’Indy’ genre of music will watch Karrang!, because it plays that form of music and the viewer can make a personal relationship with, the music they get pleasure from. Also you will find that often the advertisements on the genre channels with be in context with channel.
The second form is ‘Ambient viewing’; this involves the viewer making a far less attentive response to the music channel. Often this case of consumption is in communal situations and as an audio background.
2. Why are they commercially viable with such small audience shares?
The reason why theses genre channels have become commercially viable is because they are often many of them are owned by large media conglomerates. For example, having used www.barb.co.uk, channels such as The HITS only has around 0.4 percentage share and Karrang! only having around 0-1 percentage share of viewing. But both channels are owned by Emap, the media conglomerate, who can claim that, after adding all their channels together will have on average 24,000 people watching Emap any one time. This figure attracts many companies that wish to advertise on any one of their channels. Companies such as Creative Zen, who went to Emap with limited funds and asked them to advertise their product. Emap’s award winning advertising campaign meant that the Creative Zen sold out within weeks.
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