Wednesday, 11 November 2015
Friday, 30 October 2015
Jason Mraz - I'm Yours
Watch it here - https://www.youtube.com/watch?v=EkHTsc9PU2A
The opening shot to the video features a private jet parked at a taxi-way at an airport. Due to the lighting effects we presume the location is hot during the summer. We then see the artist, Jason Mraz, sitting alone on the aircraft.
A mid-shot of Jason Mraz traveling on the back of a pickup truck shows how relaxed he is about the situation; this fits the relaxed theme of the song. Multiple shots of beaches and him partying & jamming with friends also fits the relaxed and happy tone of the song. Underwater shots of him swimming enforce the idea of happiness.
As the video progresses the tempo of the shots generally get slower with the music. The video doesn't feature any drama, live performances, or voyeurism and is very much a casual, easy listening song.
Friday, 25 September 2015
Daniel Powter - Bad Day
Watch the video here!
The opening shot of this video shows two different shots, which we presume to be two different story lines. The scene is of two people, one man and one women, waking up in the morning. This scene is repeated four times, showing the repetitiveness of these people's morning routines.
When the male actor is shaving we see an over the shoulder shot from his perspective; the pictures and stick-ups around his mirror gives the impression he is a student / young adult, who is normally happy and enjoys time with friends. As the female character leaves her abode, we can see that she lives in a small flat or apartment. The map of Manhattan & Jersey City could show that she lives in a New York Apartment. She repeats this scene 3 more times, once again showing the repetitiveness of her morning routine.
We then find out that these two people are different people in the same routine; they are both fed up of everyday life. Both of them look down in slight disappointment when seeing a couple on the bus - this leads us to believe that they are both single, not by choice. Multiple shots of meetings, office staff rooms and desks give us the impression that these people are in a 9-5 job which they find un-fulfilling. Office furniture such as the water cooler enforce this idea.
Half way through the video they both make eye contact and we find out that they work in opposite office buildings. Although after the eye contact they think nothing of it. At a train station the female draws a rain cloud over a poster of a woman with a black marker. This could once again link to her "fed-up" emotion. When the male character sees this he draws an umbrella, showing that he is a positive person. All drawing is seen over the shoulder so the audience feel a part of the story. The lighting for this scene looks artificial - giving the scene a gloomy evening look. Over time they build-up a minor story through drawing on this poster.
When the two characters meet for the first time we see the scene from a low angle; this is to give the image of the male being a hero style character. There is little lighting and the mise en scene shows a gloomy city corner.
Throughout the video there are elements of performance with the artist, Daniel Powter, playing the piano in the park. The shot type is varied but all transitions are straight cut; the tempo of the video is fairly slow, which matches the tempo of the song. The lyrics to the video have a strong narrative which is well represented in the video. The lyrics present themselves as negative and although the video starts negative the story slowly builds to a story about a man and woman meeting. According to Andrew Goodwin it is important for the artist to play an active role in the music video to connect with the audience.
Adele - Someone Like You
Watch the music video here!
An establishing shot with a black and white filter is the opening scene for this video - The backing track of the piano as the camera slowly pans right sets the video to be slow and emotional. The camera continues panning until the artist, Adele, comes into shot; as she continues walking the camera pans at her pace. There are no props, and apart from the urban scenery there is very little Mise en scene. As only one camera is used there are no specific "shot types", however, the camera does pan in and out of Adele's face to show her emotion. Using one camera is unconventional and doesn't link with the genre. Although the slow panning style is conventional.
During the chorus the camera closes in and focuses on Adele's face as she sings. By the end of the chorus the camera turns away from Adele and shows the scene of the video. The black and white filter is still active and matches the emotion of the song. According to Andrew Goodwin, it is important for the artist to play a part in the video; this allows the audience to feel more involved and connect with the artist.
After the camera does a 360° spin the camera is placed behind Adele as we follow her steps. As she stops the camera draws closer and then rotates around as she looks into the river. The video is mainly dark, with no real "lighting techniques" being used as the grey-scale filter sets the scene. The faded grey-scale effect links well with the love song and with the break-up narrative.
Towards the end of the video an extreme close up of her eyes shows her emotional glare. The lyrics to the song focus on a girl The whole video is done with one shot through one camera and Adele is the anchor. The song is narrative based; and is about a woman post break up; she's looking back at her relationship - he has moved on and found happiness with another woman, but she is struggling to get over him.
Wednesday, 15 July 2015
Thursday, 2 July 2015
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| Andrew Goodwin |
* All of these videos have been analysed using Andrew Goodwin's theory.
Sia – Chandelier
- The video has no clear relationship between the lyrics and the visuals. The dancing in the music is very finely timed to the music.
- The camera is frequently panning and zooming, focussing around the dancer in the video.
- The clothing in the video is designed to promote voyeurism & purposely revealing.
- The whole video is a performance of one dancer, and is introduced 10 seconds into the video.
- As the artist doesn’t appear in the video there is less need for a star image.
Bon Jovi – Living on a Prayer
- All shots in the Bon Jovi video are performance shots; the first 30 seconds are the setup of the performance, with the rest as the actual performance.
- Due to the rock star stereotype around the 80’s there is a higher emphasis on the star image.
- As the music lyrics don’t have a strong narrative the video does not need to follow a storyboard.
Vance Joy – Riptide
- The video for Riptide shows Dis-juncture; it is literal to the lyrics, although the visuals do not follow a story.
- There is a small amount of Voyeurism, although not many close-ups.
- There is a mix between close ups, long shots, panning shots, and frequent establishing shots.
Lily Allen – LDN
- The visuals are directly linked to the lyrics. Both the song and the video follow a story and the video is used as an illustrative tool to demonstrate this.
- The artist’s red dress promotes voyeurism; the colour is a connotation for danger to promote interest to men watching.
- There are frequent close ups, with emphasis on the artist to promote the franchises.
Iggy Azalea – Fancy
- The video is mainly a performance, although instead of being set on stage or in a studio the video is set in a classroom, with the camera anchored around the artist.
- Short skirt promoting nudity & voyeurism, keeps male interest. Although the artist is singing the song the video itself is Dis-contradictive.
Kid British - Our House Is Dadless
- The video is a direct illustration between the video and the lyrics, although does have elements of Amplification.
- The whole video is based on location. The narrative of the lyrics are matched by the video, which follows the same narrative.
- No studio recording is featured.
- There are frequent close up shots of the artist, and is generally the anchor for each scene.
- The video also offers an insight into the artist’s culture.
- There is no voyeurism at any point in the video.
- Jumping over fences and running through alleys is an example of Exhibitionism.
Jamie T – Sheila
- Strong, non-direct link between the visuals and the lyrics. Mainly Amplification with elements of illustration.
- Location / narrative based. No studio recording is featured.
- No close ups of the artists or branding, although there is a clear insight into the artists culture (Night scene in London City Centre).
Kate Nash – Foundations
- Direct link between the lyrics and the video – this is done 6through illustration and amplification.
- No studio recording; instead the video is location based, to match the narrative.
- Close ups of the artist, although to show emotion as oppose to branding.
- No clear images of voyeurism feature in the video.
- Some exhibitionism in the video as lyrics are made literal and exaggerated.
Jacob Stocker
02/07/15
Wednesday, 1 July 2015
Friday, 26 June 2015
For the music video I will be producing I will be using Final Cut Pro; this is an editing software developed by Apple for Mac iOS, therefor I will be using a Mac for the editing. As I have never used this software before I thought it would be a good idea to familiarise myself with the software. I downloaded the music video Chandelier by Sia and loaded it into Final Cut; once I had rendered the video I used the pen tool, razor tool, and some video effects to change some shots in the video. I then added a text page at the beginning to introduce the video in an animated way.
I then exported the 30 second rework of Chandelier and uploaded it onto YouTube.
Jacob Stocker
26/07/15
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