Dear Moderator,
Please find the requested sample of students
below - links to other students blogs from the group are on the right
hand side of this page.
Lewis Watson Group - Video
6222; STRIKER-GOORWITCH, RUBY M
Blog
Evaluation
Advert
Digipack
6246; WILSON, REBECCA E
Blog
Evaluation
Advert
Digipack
6245; WILLSON, JACK J
Blog
Evaluation
Advert
Digipack and Inlays
Joseph SoMo Group - Video
5148; PAPIER-BANTICK, MILES
Blog
Evaluation
Advert
Digipack
6240; WEEKES, JONATHAN M
Blog
Evaluation
Advert
Digipack
Richard Lown Group - Video
5004; ANDERSON, CAROLINE I J
Blog
Evaluation
Advert
Digipack
6234; TZEN, HARRIS M
Blog
Evaluation
Advert and Digipack
Adie Gentry Group - First Cut Video (final is on the DVD)
6180; MANNINO, ROSALIA V
Blog
Evaluation
Advert and Digipack
Endo Group - Video
6148; HADDOCK, DANIEL
Blog
Evaluation
Advert
Digipack
Raided by Waves Group - Video
6053; BYFORD, HARRY G
Blog
Evaluation
Advert
Digipack
Thanks
NFGS Media Team
Showing posts with label Music Video. Show all posts
Showing posts with label Music Video. Show all posts
Friday, 11 January 2013
Friday, 8 October 2010
Music Video Conventions
Speed is the Essence:
Camera Shots: jumping directly between long shots, close ups and extreme close ups. Primarily the close up on the singer’s face is the main generic convention for music videos. Also the extreme close up on the lips for lip synching.
Camera Movement: whip pans, fast dolly track shots and fast overhead crane shots to follow the running, walking or dancing of performers. Also fast vertical tilts and horizontal pans.
Editing: various terms: jump cutting, MTV style editing or montage editing. Creating the visually de-centred experience of ‘jumping’ from location to person to instrument without any normal narrative continuity. It is often the beat or the rhythm of the track which provides the organisng principle for editing movement. The editing moves so fast it creates the need for viewing ‘repeatedly’.
Post-production digital effects: ‘split screens’ ‘colourisation’ ‘slow motion’ etc These are now conventional for music videos. Please look out for other innovative effects.
Lighting: Expressive lighting a key feature of music videos. Extreme artificial light to create the ‘bleaching’ effect on pop stars faces (making them seem ageless). Also the use of switching from colour to black & white or sepia to indicate a shift from chorus to verse. Also lighting effects such as strobes or flashing needs to be identified. This obviously links into the use of CGI in dance music videos to enhance the atmosphere.
Mise-en-scene: look for the overall artistic concept in a video. Is there a theme such as the historical period e.g. the sixties (Madonna’s ‘Beautiful Stranger’ with its intertextual link to the Austin Powers film) or the seventies (The Beastie Boys ‘Sabotage). Consider also the need for authenticity in performance videos by using the concert hall or rehearsal studio setting.
Camera Shots: jumping directly between long shots, close ups and extreme close ups. Primarily the close up on the singer’s face is the main generic convention for music videos. Also the extreme close up on the lips for lip synching.
Camera Movement: whip pans, fast dolly track shots and fast overhead crane shots to follow the running, walking or dancing of performers. Also fast vertical tilts and horizontal pans.
Editing: various terms: jump cutting, MTV style editing or montage editing. Creating the visually de-centred experience of ‘jumping’ from location to person to instrument without any normal narrative continuity. It is often the beat or the rhythm of the track which provides the organisng principle for editing movement. The editing moves so fast it creates the need for viewing ‘repeatedly’.
Post-production digital effects: ‘split screens’ ‘colourisation’ ‘slow motion’ etc These are now conventional for music videos. Please look out for other innovative effects.
Lighting: Expressive lighting a key feature of music videos. Extreme artificial light to create the ‘bleaching’ effect on pop stars faces (making them seem ageless). Also the use of switching from colour to black & white or sepia to indicate a shift from chorus to verse. Also lighting effects such as strobes or flashing needs to be identified. This obviously links into the use of CGI in dance music videos to enhance the atmosphere.
Mise-en-scene: look for the overall artistic concept in a video. Is there a theme such as the historical period e.g. the sixties (Madonna’s ‘Beautiful Stranger’ with its intertextual link to the Austin Powers film) or the seventies (The Beastie Boys ‘Sabotage). Consider also the need for authenticity in performance videos by using the concert hall or rehearsal studio setting.
Wednesday, 23 September 2009
Three Types of Video
(c) Craig Davis
Three Types of Music Video
Illustration – either a straightforward performance video or a simple narrative video (or mixture of the two) that illustrates the meaning of the lyrics and visualizes the music in a straightforward way. It could be called music video ‘denotation’.
Amplification – the conventions demonstrated by the music video creative director. They may use both performance and narrative, however, rather than simply illustrate the lyrics or sounds this director will ‘amplify’ both with creative interpretation, unusual ideas and surrealistic approaches. There is still a direct link to the song, whether it be the beat, sound or ‘connotative’ link to part of the lyrics or song title.
Disjuncture – also created by directors these videos are completely abstract and have no obvious link to the music, lyrics, song title or artist. In this sense they are a point of ‘disjuncture’ from the song.
Three Types of Music Video
Illustration – either a straightforward performance video or a simple narrative video (or mixture of the two) that illustrates the meaning of the lyrics and visualizes the music in a straightforward way. It could be called music video ‘denotation’.
Amplification – the conventions demonstrated by the music video creative director. They may use both performance and narrative, however, rather than simply illustrate the lyrics or sounds this director will ‘amplify’ both with creative interpretation, unusual ideas and surrealistic approaches. There is still a direct link to the song, whether it be the beat, sound or ‘connotative’ link to part of the lyrics or song title.
Disjuncture – also created by directors these videos are completely abstract and have no obvious link to the music, lyrics, song title or artist. In this sense they are a point of ‘disjuncture’ from the song.
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