Planning- Inspiration

 Things that have inspired my music video 

Other music videos: 

White Ferrari - Frank Ocean 

https://youtu.be/K9AtF6lKsnU

I felt inspired when watching this video, it entails various scenes also shot in London, and various dark locations with this recurring theme of 'artificial' light and naturalistic shots, the 2 main characters appear to be in love and we see a staggered approach to how their love pans out; I liked this concept of not conforming to norms, there is little chronological order yet the concept still remains clear and the realistic imagery incapsulates exactly what I plan to capture when I start filming my music video. Also, not only just the visuals but the song is also by the same artist, therefore the tempo and editing is similar to what I am basing mine on. 

Ivy - Frank Ocean 

https://youtu.be/_Sw8INyyvfg

In keeping with the theme of frank ocean music video vibes, Ivy also entails a naturalistic mise en scene which I intend to replicate; it also holds a jumbled up order that keeps a clear structure and also shows how environments change when we are in the presence of those we love. 

Images:

I felt particularly intrigued by these 2 images, both can be found within my public Pinterest board that is dedicated to my music video (link : https://pin.it/1Z7OsMq) 

Both images, in my opinion capture these small parts of growing up, which will be specific to my 16-25 age audience) 

I like these almost dark and grunge aesthetics for the darker sections of the video as I feel capturing events can only be relayed to the audience if the environment also represents what I am trying to imply, for example if I wanted to show a darker mood I may chose a scene such as one in this image.

When looking at the lighter sections of music video I feel these images show what I intend to film, we can clearly see the stressful side of growing up, hence the array of work on the table, but this use of natural sunlight and angles provides a much happier mise en scene and this, I feel, is showing how life's problems do not just melt away when we are 'in love' but life can become brighter and more bearable, which is exactly the message I am trying to portray. 

Planning -Nights brief

Planning- Lyric run down

 Nights - Frank Ocean, lyric analysis 

Instrumental (quick panning of Eve and Scarlett's face with projector image) 

Round your city, round the clock (opening scene, lift doors opening to signal start, walking out to signal 'round')

Everybody needs you (Pan over London view (dark setting) to symbol this weight of 'everybody')
No, you can't make everybody equal (E setting stuff down on train looking tired, dark, train transition)  

Instrumental (glitching, distorted pan of S and E walking through busy London streets (separate)) 

Although you got beaucoup family (following S around everyday life) 
You don't even got nobody bein' honest with you (reflection of S in train, lonely people in LDN) 
Breathe 'til I evaporated (attempt zoom in transition to Eve lip synching on projector) 
My whole body see through (S standing in busy crows of people walking distort with Eve's video) 
Transportation, handmade (train leaving with S on it) 
And I know it better than most people (flickered shots of E + S and just S)
I don't trust 'em anyways (S leaving train) 
You can't break the law with them (flicker of S alone and S + E happy) 
Get some gushy, have a calm night (up to 'gushy' is sun, onwards is a busy night with city lights) 
Shooters killin' left and right (S goes on laptop to scroll through news 'shooters killing' intertextual) 
Workin' through your worst night (S on laptop in dark room working or on anywhere 'work related')  

Instrumental (flicker busy LDN city) 
If I get my money right 
You know I won't need you
And I tell you, (bitch) (Image of S + E happy, zoom into image transition) 
I hope the sack is full up (image becomes reality)
I'm f#ckin', no, I'm f#cked up (light environment E + S happy) 
Spend it when I get that (picnic)
I ain't tryna keep you (light bed)
Can't keep up a conversation (in clear deep convo S + E) 
Can't nobody reach you (E reach out to S, brush cheek) 
Why your eyes well up? (E now in the mirror sad, 'eyes welling up' without S)
Did you call me from a séance? (E distant in a group setting) 
You are from my past life (flicker or S + E singing this lyric, side on) 
Hope you're doin' well, bruh (flicker of S + E in same environment) 
I been out here head first (E flopping into bed, twist transition)
Always like the head first (S now being with E) 
Signal comin' in and out (S and E laughing happy) 
Hope you're doin' well, bruh (flicker alone E and S + E in bed) 
Everybody needs you (E lyric, projector) 
Everybody needs you (S lyric, projector) 
Ooh, nani nani (Eve walking) 
This feel like a quaalude (Scarlett walking)  

No sleep in my body (awake in bed looking at polaroid pics)  
Ain't no b#tch in my body 

New beginning's, ah
New beginning's, wake up akh
The sun's goin' down (sunset)
Time to start your day, bruh (work laptop S)
Can't keep bein' laid off
Know you need the money if you gon' survive
The every night sh#t
Every day sh#t
Droppin' baby off at home before my night shift
You know I can't hear none of that spend the night sh#t
That kumbaya sh#t
Wanna see nirvana, but don't wanna die yet
Wanna feel that na na though, could you come by?
Fuck with me after my shift
Know them boys wanna see me broke down and sh#t
Bummed out and shit, stressed out and sh#t
That's every day sh#t
Shut the f#ck up, I don't want your conversation
Rollin' marijuana, that's a cheap vacation

My every day shit, every night shit, my every day shit
(Every night shit, night shit, night shit, night shit)

https://youtu.be/XaN9PtE-dII - link to clean version of nights (cut off point at 2:39)

Photography- Test Shots

some website test shots taken:

From this photoshoot i  learnt the importance of good lighting, the presence of natural lighting, how to use a light reflector, how to link a projector and the best option for a camera for example TV

Images taken on a combination on SLR cameras and iPhone 11

Planning -music video conventions

Key conventions

When looking at any media product there are generic conventions for them, in specific, for a music video we would expect to see narrative structures, camerawork, shot sizes, angles, focus, movement, editing transitions, pace, synching, colour correction, mise en scene (including locations, costumes, makeup, props, lighting and performance) intertextuality and social, -political and historical contexts. 

Music video's serve a purpose, mainly to promote the artists or bands new song/ album however many create meaning to reflect the talents ideologies or raise more social issues, for example 'This is America by Childish Gambino' was seen as bringing attention to various battles of race, shootings and culture. 

In the context of my music video, looking at the planning brief on the other posts, it can be said I will be playing off of these generic conventions as I want to display this rejection of societies norms whilst also complying within a semi-acceptable reality, I will do this as I feel it is an important issue that has been taking over in the world. The overall point is that it appears normal and generic of a love story to follow Todorov's narrative theory (there is equilibrium, disruption, then a new equilibrium) but by removing this new equilibrium it begins to connote how life does not always run as smoothly as we intend.

Not only does the storyline become reflective of my ideologies and reflect the genre of the music, but the mise en scene, specifically the environment will be manipulated to use each other to show this deep contrast of a world with no love in comparison to when love is present. The video's happy setting is represented by light, sun, happy codes of expression but then in sandwiched between a more dark environment to show how monotonous life can be seen as when love is not present (not just in the relationship form but also in terms of self love, family, love of hobbies etc)  

Research -Generic Research

 Frank Ocean - Pink + White 

Blonde (alternatively titled blond) is the second studio album by American singer Frank Ocean. It was released on August 20, 2016, as a timed exclusive on the iTunes store and Apple Music and followed the August 19 release of Ocean's video album Endless. In 2013, Ocean confirmed that his follow up to Channel Orange would be another concept album. Initially known as Boys Don't Cry and teased for a July 2015 release, the album suffered several delays and was the subject of widespread media anticipation leading up to its release. Its physical release was accompanied by a magazine entitled Boys Don't Cry.

Frank Ocean ( born October 28, 1987) is an American singer, songwriter, record producer, photographer, and visual artist. Recognized for his idiosyncratic musical style, introspective and elliptical songwriting, and wide vocal range.

Firstly his music video to Pink + White, we can view generic music video conventions being displayed through use of fast speed shot types , specifically of the main character as well as shots of scenery, Frank ocean manages to maintain his 'alternative' and more 'sad' atmosphere through the casting of shadows on fields which we as the reader would expect to be sunny, again showing his rejection of a mainstream music video. Intertextuality is implicitly shown by the recreation of shots that are famous to the popular UBO show 'Euphoria' not only is this fitting to Ocean's vibe but also to his young audience. The use of low camera shots, dark environments and the reoccurring theme of natural beauty of women and the planet helps to reflect the naturalist approach his lyrics take. 

Brent Faiyaz- Dead Man Walking 

Christopher Brent Wood (born September 19, 1995), better known by his stage name Brent Faiyaz, is an American singer-songwriter and record producer from Columbia, Maryland. 

Faiyaz started making music at the age of 12. His parents were not always understanding of his dreams as a musician, which Faiyaz said was warranted as he was "always distracted" by his love for music. However his motivation was to focus on what he wanted and to prove himself right. 

It’s become almost cliché to refer to one’s music drop as a movie. Yet there are genuinely times when a composition, whether it is an album or even more impressively a single song, is cinematic. The first sound of Brent Faiyaz’s new single “Dead Man Walking” is a shrill sliding synth. From the title and the initial tone, you feel transported to those 70’s Scorsese films as a character is walking down a lonely street about to meet their demise. As the plucked string instrument arrives, it feels like raindrops falling on the already mist-filled sonic environment.

Brent enters onto the track vocally with a clear intention of completing the mission of setting the scene. He sings one line, “drop the roof and let the smoke clear,” and just lets it sit for a minute. You take in a potential double meaning here. He could directly be referencing a car releasing the smoke after a hot box. However, with the already established film idea, he could also be paralleling someone’s head being blown off, making the “Dead Man Walking” fate become realized. The target on Brent in the cover art confirms this possibility.

As Brent’s first verse begins, “Dead Man Walking” seems to refer to a reckless lifestyle Brent has now made his signature. He describes a carefree night of debauchery on the Vegas strip as he sings, “Dice rollin’ on the Las Vegas strip tonight. Slip that on, and we might miss the fight.” It’s just him and his muse who he has brought on this particular trip. A sort of Bonnie and Clyde problematic relationship ensues. In the hook, Brent displays his full intention to exist purely off of impulse as life is fleeting. He sings, “Spend, what you wanna. Be who you wanna be. A young stunner. ‘Til I D-I-E.”

Tyler the creator- Earfquake 

Tyler Gregory Okonma (born March 6, 1991), better known as Tyler, the Creator, is an American rapper, musician, songwriter, record producer, actor, visual artist, designer and comedian. He rose to prominence in the early 2010s as the co-founder and de facto leader of alternative hip hop group Odd Future and has performed on and produced songs for nearly every Odd Future release.

Tyler, the creator, has shared a new video for “EARFQUAKE,” from his just-released album IGOR. The video stars Tracee Ellis Ross (“Black-ish”) and involves Tyler performing in a blonde wig on a television set that slowly catches fire. We can see Tyler's originality seep through the performance aspect of this music video, his character portrays of a more 'alternative' style and there is little reference to much mainstream music, styles sets or props. The video is set to be more a comedic sketch but directed in such a way it seems realistic that this would be a show on television, and this is where it can be said that the host and set is intertextuality to both The Ellen Show and Saturday Night Live, we are led to believe that this is so through the diegetic dialogue at the start aswell as the stage set up and camera equipment. 

The mise en scene is sculpted in a way to show this surrealist approach due to the set being too 'perfect' to be real and this further hints at the intertextuality. This is all relevant to Tyler as he enjoys being an institute for originality and disputing mainstream conventions, not only this but his fans are known for being almost obsessed with Tyler's mannerisms and product so therefore it is expected for them to decode this video to get this final message that Tyler is again, disputing the norms of such a curated industry. 

Production -Music video test shots

 The video appears to be too large to export onto this file (so I cannot upload the taster music video as the file is too large) 

This is a quick and brief insight video into our media classes shoot that took place on the 17th of June 2021. Produced and edited together by myself and features all the members of the 12C media class.  

Shots specific to me, shot by myself, featuring model: Scarlett Rolls

Test shots, featuring Scarlett Rolls, to test out the projection of video onto the wall 

Research -Industrial context

    To gain an understanding of Universal Music Group it is important to look at their talent and people who are signed to them, some of their most popular including; Billie Eilish, DaBaby, Lewis Capaldi and Summer Walker. Most of their artists are fairly mainstream as that is their brand identity. 

Universal is a huge conglomerate and owns many other brands which are shown below: 

Universal Music Group promotes themselves as being a true activist in social responsibility and also state that they are: 

A driving force for equality and social justice, the Task Force for Meaningful Change (TFMC) works to amplify and expand UMG’s current programs, devise new initiatives and support marginalized communities in the ongoing fight for equality, justice and inclusion. Our work is divided into six areas, including:

1. Aid/Charitable Giving

   We support initiatives with organizations working in areas such as: economic empowerment and business development; housing; legal services and bail; mental health services; legislative reform; physical health services; and voting resources and education.

2. Global

   Acknowledging that racism, intolerance and bias know no borders, we are identifying and adopting global policies and initiatives to address equality, bias, equity and inclusion efforts for all UMG offices and their communities around the world.

3. Internal/Institutional Change

   We examine UMG’s workforce policies and procedures, and work environment. This includes identifying areas to improve access, recruitment, advancement and retention of a diverse workforce at all levels within the company but with a focus on leadership positions and other senior-level roles.

   We work closely with UMG HR’s Diversity & Inclusion team to continue its ongoing efforts and build upon the company’s partnership with USC Annenberg’s Inclusion Initiative.

4. Legislative/Public Policy

   We pursue constructive social change by supporting public policies via: Federal, state and local legislation to challenge laws and regulations that promote bias and systemic discrimination; and voter education, registration and participation.

5. Partners

   UMG has a history of investing in, and partnering with, entrepreneurs who have grown their business out of the community, building some of the most impactful and dynamic voices in entertainment today. Working alongside our partners in their focused efforts to initiate and support change in their communities, we reap the benefit of their insights, which help us continue to grow our own efforts in the fight for justice and equality.

6. Programming/Curation

   Just as music connects people around the world, our goal is to promote dialogue and understanding through speaker fora, counseling, and educational and creative programming focused on the themes of tolerance, equality and inclusion – especially around the intersection of Black Music, art, lifestyle, fashion, technology and creators, as well as celebrating Black artists and creators, and conducting thoughtful discussions on current events.

   We will continue to expand upon UMG HR’s Diversity & Inclusion programming, including their Belonging Table town hall series about diversity and inclusion and other series bringing outside experts to address relevant topics, ranging from economic empowerment and business development, mental health and voting.

Planning: Reflecting on moderators report

These are some key points that examiners stated where problematic and caused marks to be dropped: 

In general, less successful music either missed key elements from the brief or did not adhere to the codes and conventions of the form. Some examples were: 

• Tracks that did not fit the dance genre. Although this is a very broad field, some songs chosen could not be regarded as dance, with a number of pop/ballad tracks, for example (e.g. a low-tempo piano track by Lorde with no drums or bass; several indie rock pieces and at least one 1980s classic which, good though it was, was clearly not ‘dance’) 

• Failure to mention the name of the band/ artist/ track at the start or end of the video 

• Editing which did not match the pace/ BPM of the track (particularly important for the genre)

 • Concepts which lacked a clear through-line (for example, pieces which were effectively just environmental studies where candidates had gone into the countryside or down to the beach and simply filmed footage with little or no consideration of structure/ theme) 

• Mise-en-scene featuring school fields / classrooms/ uniform. In several centres, it was hard to see that two social groups were represented 

• Pieces where performance footage was used in a perfunctory manner or where lip-synch was not fully effective

 • Videos where some sort of simplistic narrative, e.g. a chase or use of a candidate’s holiday footage (a huge number of airplane windows were filmed through this session!), was imposed with little or no consideration of the content/ mood/ tone of the track

 • Camerawork/ camera movement which did not demonstrate the level of skill, finish or excellence required for Level 5 marks to be secured – although this is less important than it was for the legacy specification, the criteria relating to this uses the descriptors ‘sophisticated’ and ‘accomplished’; where shots are out of focus or the camera-operator is reflected in glass, it is difficult to agree that these are appropriate terms to use

Research -Contemporary Context

The industry 

 In the music video industry the key players may be the production companies, directors or even the talent themselves, some influential individuals who have been known for producing high quality and successful music videos include, Logic ft. Alessia Cara, Khali for their song 1-800-273-8255 where they raise awareness for mental health, Beyoncé for one of her newer songs ALREADY featuring Shatta Wale, Major Laze where the music video is promoting diversity and Brent Faiyaz who has been gaining mass attention for his music and his music videos which have interesting editing. 

In terms of the directors, according to 'lights film school' the top 5 are as follows; 1. Michel Gondry is the Academy award winning French filmmaker who directed the hit feature film “Eternal sunshine of the Spotless Mind” and “The Science of Sleep”. He has also directed music videos for Bjork and Daft Punk, Foo Fighters, Chemical Brothers and Radiohead to name only a few. 2. Hype Williams is undoubtedly the most famous hip hop music video director of all time. When music video budgets were still large he directed the music videos for names such as TLC, Busta Rhymes, Usher and many more. 3. Spike Jonze is a household music video directors name. He has worked on creative music video projects with The Pharcyde, Sonic Youth, Bjork, Beasty Boys, Fatboy Slim and the Notorious B.I.G. 4. Chris Cunningham should be watched by every up and coming music video director. He has a very unique style and is always pushing the boundaries of the medium. He has worked with musicians ranging from Portishead, Madonna and Placebo. 5. Floria Sigismondi

 is a photographer and filmmaker who has made her mark with her dark and mysterious images. She is currently getting into the feature film world and is well decorated in many artistic awards. She has worked with the likes of Christina Aguilera, Fiona Apple, Incubus, and David Bowie to name only a few.

Finance 

All companies must finance themselves to become established, when looking at music video production companies it is prominent that it is either their own finance they have saved or earnt from producing smaller music video's and worked their way up, loans. And when speaking about the equipment most established companies will either have already bought their own cameras and equipment, the client may have provided it, or usually smaller companies will rent their technology. 

In terms of who is paying for the music video itself It can range from the artist themselves, the producer, the record company or anyone that wants to take the chance and make the investment. It used to be that the record company would put up the money to record the albums and take care of financing the entire endeavor start to finish. Over the years, they have become much more guarded with their investment.

Distribution 

When looking at how music videos are distributed the most popular has always been Youtube as its free, easy to use and accessible to most. But there are other options, whilst they may not be as popular they are still online, Vimeo is another video sharing platform like Youtube and so is Utreon not only do these all allow companies to share their videos but this is also where viewers will access them. In terms of exchanging these music videos this can be done on mostly all social media sites, for example, Twitter is a great example of where to promote a new music video and get people speaking about it, this also relates to theorist Clay Shirky's ideas of the active audience. 

Research -Industrial Context (history of the music video)

 The History of the Music Video 

1963- The first appearance of a music video was made here, was Jan & Dean's "Surf City", made in July

1964- June 28th marked the birth of The Beatles first music video to their song A Hard Day's Night, shot in black and white and directed by Richard Lester

1975-  The band Queen ordered Bruce Gowers to make a promo video for their new single "Bohemian Rhapsody" to show it in Top Of The Pops; this is also notable for being entirely shot and edited on videotape.

1983- The most successful, influential and iconic music video of all time was released — the nearly 14-minute-long video for Michael Jackson's song "Thriller". The video set new standards for production, having cost US$500,000 to film.

1985- Music video's grew to play a central role in popular music marketing. Many important acts of this period, most notably Adam and the Ants, Duran Duran and Madonna, owed a great deal of their success to the skillful construction and seductive appeal of their videos.

1992- MTV began listing directors with the artist and song credits, reflecting the fact that music videos had increasingly become an auteur's medium. Directors i.e. Michel Gondry, Spike Jonze, and Hype Williams all brought a unique vision and style to the videos they directed.

1995- Two of the videos directed by Romanek i are notable for being two of the three most expensive music videos of all time: Michael and Janet Jackson's "Scream", which cost $7 million to produce, and Madonna's "Bedtime Story", which cost $5 million.

2005- The launch of the website YouTube made the viewing of online video much faster and easier, just like Google Videos, Yahoo! Video, Facebook, etc. which uses similar technology. Some artists began to see success as a result of videos seen mostly or entirely online, i.e. the band OK Go.

Planning - Brief (Nights)

 

Draft 2 - updated plan 

This is my initial brief and plan for my Nights music video, it contains set types, dress codes and mise en scene whilst also exploring the generic conventions I want to use, aswell as the semantics and connotations the video will hold.  

Planning- Brief (Say it)

This is my initial brief and plan for my Say It music video, it contains set types, dress codes and mise en scene whilst also exploring the generic conventions I want to use, aswell as the semantics and connotations the video will hold. This is my second brief that I have created to compare my two possible results which in turn will help me decide which video to continue with.

Research - focus groups

 

Name: Ayaah 

Age: 17

Occupation: Student 

Psychographic: Explorer 

Interests: Reading, Fashion, Cooking, Music 

Ayaah is in my target audience for my music video because she enjoys listening to all genres of music and finds music videos entertaining.

Name: Eleanor 

Age: 17

Occupation: Fashion re-seller 

 Psychographic: Aspirer 

Interests: Fashion, design, reading, interior design, social media, makeup 

Eleanor is in my target audience due to her age and passion for social media, as this young interest is what will be reflected in the music video.

Name: Ana 

Age: 17

Occupation: Student 

Psychographic: Explorer 

Interests: Fashion, art, reading, dance, makeup, cooking, Music

Ana is in my target audience as she stated that she enjoys music and likes the detail of the genre love in terms of a music video, aswell as her being  a fan of the indie genre of music.

 Name: Juliet 

Age: 17

Occupation: Student 

Psychographic: Reformer 

Interests: Travelling, Fashion, Languages, Cooking, Reading, Nature/Eco-friendly 

Juliet is in my target audience because of her age and her interests interlink with the contents and plans that correlate with my music video, she will understand any specific references to her age and interests  due to the demographic she is in. 

Name: Poppy 

Age: 27

Occupation: Social Media Influencer 

Psychographic: Explorer 

Interests: Health, Fitness, Fashion, Cooking, Travelling, Art

Poppy would not be in my target audience because of her age, due to her exceeding the 16-25 age range she may not understand all references in my media product and it may not appeal to her as much as those aged 16-25

Name: Kea

Age: 15

Occupation: GCSE student 

Psychographic: Reformer

Interests: Fashion, makeup, singing, beauty, dance, theatre, astrology 

Kea does not fit into my target audience due to her age being below 16-25, this means she may not feel my media product appeals to her due to the differences in age which also may lead to her not understanding all the references

My focus group is made up of 4 subjects who all fit into my target audience of a socially-conscious 16-25 year old, middle to upmarket demographic.

Following my audience research on music videos I asked them more questions about how they music and watch music videos.

Do you watch music videos?

Ayaah: Yes

Eleanor: Yes

Ana: Yes

Juliet: Yes

Poppy: No

Kea: Yes

How regularly do you watch music videos?

Ayaah: At least twice a week 

Eleanor: Almost every day

Ana: Maybe one a month 

Juliet: very rarely 

Poppy: Never

Kea: Every day

What is your favorite genre of  music?

Ayaah: Alternative pop/ indie

Eleanor: Mainstream hip hop 

Ana: Pop/ rock 

Juliet: Indie/ pop

Poppy: Hip hop

Kea; R&B or 90's era

Do you enjoy watching music videos?

Ayaah: Yes, but it does depend on the type of music video 

Eleanor: I do enjoy watching them, I feel that they are an interesting way to listen to music whilst have visuals to go along with the lyrics

Ana: I do, but I mainly enjoy listening to the music however the videography is important 

Juliet: I prefer to use Spotify, but if a music video fits me then I would enjoy watching a story unfold to the lyrics

Poppy: No

Kea: Yes, but the visuals must match the vibe of the song

What platform do you watch music videos on?

Ayaah: Youtube 

Eleanor: Youtube 

Ana: Youtube

Juliet: Youtube

Poppy: If I was to watch these it would be on Youtube 

Kea: Youtube

What would you like to see more of in music videos?

Ayaah: LGBTQ+ representation 

Eleanor: More trends being shown 

Ana: Social issues or real life scenarios 

Juliet: Realistic shots 

Poppy: More diversity 

Kea: shorter scenes as long scenes can be boring for me 

Do you prefer narrative or performance music videos?

Ayaah: Performative 
Eleanor: Performative 
Ana: Narrative
Juliet: Performance

Poppy: Narrative 

Kea: Performative