Wednesday, 30 September 2015
History and Development
Researching the history and development of music videos has taught me how music videos first came about, and how they have evolved over the years, to include the features that we will be using in our own music video.
Regulation Research
Tuesday, 22 September 2015
Audience targeting
Completing this task has allowed me to consolidate my findings from my audience research in order to finalize who my target audience is. Having a clear idea of this will help when actually creating the music video, as we can make sure everything is appropriate.
Monday, 21 September 2015
Audience research
In order to find out what our target audience thinks about music videos, we created a survey. We emailed the link to everyone in our year, and also posted links on social networking sites like Facebook in order to get as many responses and opinions as possible.
https://www.surveymonkey.com/r/GN5YXTV
https://www.surveymonkey.com/r/GN5YXTV
Saturday, 12 September 2015
Textual analysis
I am going to complete a textual analysis for the music video to the song Shut Up and Dance by Walk the Moon. I decided to use this video as the song is of a similar genre to the one I hope to use, and the video resembles roughly what I would like to achieve by the end of my project.
The video starts with a medium long shot of the singer as he walks into view. The lighting is dark, with soft red and yellow disco lights flashing in the background. The audience watches through some people's shoulders which, along with the warm colours, creates a crowded, hot, stuffy atmosphere. The singer is the only person in focus in the crowded room, which establishes him as the most important person from the start. The mid shot allows us to see his awkward movements, such as running his hands through his hair.
The video cuts to other people at the party/club with facial expressions showing second hand embarrassment. The mid shot helps us to focus on their judging expressions and adds to the portrayal of the singer as somewhat gawky. The people in the shot are in close proximity to each other, indicating they are friends, whereas the shot of the singer has him isolated in the centre - the wider shot creating more space around him to emphasize this fact.
Up to this point the music has been muffled background music, helping to add to the uncomfortable situation. A title zooms in from the centre - the name of the band and the title of the song. This is when the actual song starts playing.
It then cuts to a mid shot of the singer singing straight at the camera. The lighting is much brighter and we can see him more clearly as he moves with more energy. The background is a cold blue colour which contrasts with the warm colours of the previous shots, making him seem "cooler".
The camera then tracks slowly up to the girl dancing nearby. The lighting in the background is red, as is her hair, a colour which has connotations of romance. She is the only person in focus, and the light in the background outlines her. This makes her seem of equal importance as the singer, as she holds a similar shot-style to him.
It then cuts back to the singer, tracking slowly in the same way as the shot of the girl. Both are looking into the camera in their shots, so when it cuts between them it appears they are looking at each other. We see on his face that he looks surprised to hold the attention of the girl, after everyone else has been looking at him strangely.
The importance of this is also shown by the fact that when the lyrics say "She said 'Shut up and dance with me'" she lip syncs to the singer's voice, as if she is really saying it. She is the girl the song is about.
Then there is a shot of the singer which uses special effects to create a kaleidoscope effect of his face multiple times in a row. This makes the audience feel confused, and we understand that we have an insight into his mind at that moment. The shot goes in and out of focus which adds to this feeling of disorientation.
The background changes to rainbow coloured, out of focus, light flares. The singers head is in close up in the shot, and he turns to watch a miniature version of himself and the girl dancing. We know this is happening in his head as the bright neon background makes it look dreamlike.
The camera pans along to the left and the singer looks across where he sees miniature him cuddling on a sofa with the girl, eating popcorn. This insight into his head further establishes him as the most important person in the video, and we see his romantic intentions with the girl.
Then there is a match cut where within the dream a hand with a boxing glove punches in him in the face and we snap back to reality. In reality, the singer has also been punched in the face, and the match cut makes it seem as if the punch brought him out of his fantasy.
Then there are point of view shots of the two dancing together. The bright lights echo their happy facial expressions. The fact we see both points of view adds to the idea that the girl is an important character within the story of the song, as much as the singer.
The singer falls over and there is a high angle shot of him looking disorientated on the floor. This takes us back to the embarrassing, awkward impression of him, as high angle shots make the subject look inferior, as we are looking down on him.
We then have a low angle point of view shot from the singer on the floor, where everything is swimming in and out of focus as if we, too, suffered the fall. This creates a muddled feeling and acts as a transition back to the singers fantasy in his head, brought on by the fall.
The background continues to change into different pastel coloured, pixelated patterns. The singer imagines getting married to the girl, the mirror images of his head facing towards the 'wedding' to focus our attention there, indicating he is head over heels for the girl.
The pixelated backgrounds add to the dreamlike effect, as it looks like he is in a videogame. This emphasises the fact that it is not real. It cuts to a mid shot of the girl punching the singer in the face with a pixelated boxing glove, and in the top right there are empty pixelated hearts. This links to the idea of it being like a video game, he has been punched in the face and 'lost all his lives' as he is knocked out on the floor.
It could also be said that he was metaphorically punched in the face, as when he comes round a different guy cuts in to dance with the girl. This is shown in a long shot to show the superiority of the new dancer. The long shot shows his expert dance moves, along with his flashy colour-changing outfit, added in by special effects. This makes him seem more impressive than the singer, who gets pushed back into the crowd. This section uses jump cuts to show the passing of time. The non-continuity editing makes it seem like they have been dancing for a lot longer than the singer had been dancing with the girl - adding to the idea that the new dancer is better.
There is then a mid shot of the singer again, with an overlay of a variety of shots of the couple dancing. The shot of the singer zooms in and out slightly, and he shakes his head around, which makes him seem dazed and confused. The overlay shots mean we have to focus on two things at once, which helps convey his confusion to the audience.
We then cut back to inside his head. In his vision of marrying the girl, she now hits him with her bouquet and runs off. This could reflect how the singer feels - that she has abandoned him for the other dancer. The amateur-looking art in the background makes it look comical. The fact that the girl is wearing a short dress with red converse, and the boy is wearing skinny jeans, makes it look more casual and like their relationship isn't serious.
It then fades to white as the girl is dancing with the other guy in the flashy outfit. The background changes to clouds and we can infer that we may now be inside the girl's head. She unmasks the dancer to reveal the singer, suggesting she was thinking of him whilst dancing with the other guy. The white transition and the clouds imply that this is her heaven, as these colours and images are linked to peace and tranquility.
Then there is a crane shot, showing everyone in the room joining in with the dancing together. The couple are front and centre, which contrasts to the start of the video which showed them at a distance to everyone else. It tracks higher and higher, showing the size of the crowd.
Throughout the video it cuts to the singer lip syncing at different times, but now there is a two-shot as the girl is in the shot with him. This shows how their relationship has progressed, and they are "together" now.
There is then shots of the crowd dancing. This mid shot shows the people from the start of the video who appeared to be judging the singer are now dancing happily and enthusiastically.
The video ends with a mid shot of the two kissing, showing they get their happy ending. They are framed in the centre, with all the surrounding people facing them and pointing towards them. The shot continues after the song has ended, showing the importance of the moment.
The target audience for this text is teenagers and young adults, as this is the approximate age range portrayed in the video. It could also be argued that the 80's aesthetic makes it appeal to people aged 30 and over, born in the 80's. This is shown by the clothing choices, lots of denim and bright colours, wacky hairstyles and the video-game style backgrounds used look like old fahioned game designs.
The video portrays males and females in slightly different ways. For example, the singer at the start is shown to be awkward and people are avoiding him, whereas by the end of the video he is confident and gets the girl. The girl was always "cooler" than him, with her bright red hair which matched her converse shoes, making her seem fiery and fun. The fact she wears converse with a dress makes her seem more comfortable and relaxed. However, it could be argued that the video as a whole portrays young adults as scruffy people who spend their time partying and rushing into relationships with people they just met. But, the upbeat song and colourful mise-en-scene makes this a fun, positive representation of the characters.
From doing this textual analysis I have seen the importance of different camera shots and the editing pace to help create a certain impression of the characters and get the story across. I see how important costume and lighting is to add to the atmosphere I want to create.
Now, when making my own music video I will aim to use a variety of camera shots, and concentrate on mise-en-scenee to make it look more professional.
I am now going to do a second textual analysis to compare the two videos. The second music video I have chosen is for Hello by Adele.
The video starts by setting the scene. It cleverly begins with a shot of the windowsill, dirty and covered in dead flies - implying the place isn't used - then the focus changes so we can see beyond the glass to a road with a car heading towards where the viewer is looking from the window. It starts silently, then we hear Adele talking on the phone, her hair is being blown in her face and she wears dark glasses. We see her in various shots from close ups to shots obscured by blocking, which go in and out of focus, creating some confusion as we don't know what is going on yet, and we can't properly see where she is. She is using a flip-up phone, which suggests the video is set in the past, but not more than 20 years ago. She enters what we assume to be the bulding from the first shot, and stands framed by the hallway, her footsteps the only sound, establishing her importance and solitude.
It takes 1 minute 15 seconds until the music actually starts - synced with the moment that Adele opens her eyes and looks at the camera. She pulls covers off the furniture creating clouds of dust and makes a cup of tea. This could suggest she is trying to return to an old home, or it could represent her wanting to return to an old relationship, as shown by the shots of a man smiling at the camera. We can infer that this is her ex-boyfriend, as it is followed by a shot of her looking out of the window with a small smile. Unusually for a music video, there are diegetic sounds of her rifling though papers on the desk, which could represent past memories.
She makes a phone call on an old-fashioned telephone, again hinting at the theme of the past. We then see a shot of the man walking away from her in the rain. This pathetic fallacy suggests they parted on bad terms, as rain is associated with sadness. This is then followed by shots of the man smiling and laughing again, offering the camera/Adele food that he has cooked. The shot is very dark, suggesting that the happy memories now have dark connotations. This shows that the editing is not in chronological order, and the audience infers what has happened. Then, as expected in a music video, there is a shot of Adele actually singing the song.
As the chorus starts there is a tracking shot with travels up to Adele's face in a sweeping motion, as shown in the first two shots below. This is a dramatic shot which emphasises the impact of the chorus. We then see another happy memory of the man, and because of the lyrics of the chorus, we know this is a memory because Adele is apologising for breaking his heart, which clearly hasn't happened yet. The shot of Adele looking solemnly out of the window has light falling on her face while the rest of the shot is in shadow. This could suggest that she is trying to look forward to lighter, happier things rather than dwell on the sadness of her break-up.
We then see the same shot as before, of the man walking away in the rain, but this time it starts earlier and we see him turn away from the camera, breaking eye contact. This repetition puts emphasis on the fact that he left. The setting of an empty car park contrasts with the next shot. The more built-up area, and the man's hoodie, makes it seem more harsh and urban, whereas the next shot seems more fairytale-like. This is due to the surrounding trees with the sun shining through, and the old, overgrown phone box which again links to the past. The fact it is overgrown could link to Adele's attempt to bury the past, and the fact it is a phone box could show the break down in communication between them, also shown by the shot of the receiver hanging off. We then see the man himself looking unhappy, shown by his body language as he is hunched over on the end of his bed in the dark.
We then have some close ups of the man acting more angrily towards the camera, with the majority of the shot in darkness. This gives an insight into how the relationship might have ended, as he is shown in darkness to portray him negatively. Then we see Adele looking regretfully at the camera, and she is in a much lighter and brighter surrounding, which makes us side with her as this links to 'good' in the good vs bad/light vs dark metaphor, which implies that she was not in the wrong. However, we then see a darker shot of her looking down, with a tear running down her face. The slightly high angle shot makes us look down on her, maybe insinuating that we should pity her.
Then there is a long shot of Adele walking through a field, which gives the illusion of space and freedom, perhaps representing the release after the break-up. There is then another repeat of the man walking away, with an even earlier start this time, and we see him talking angrily at the camera, heavy rain falling on him, which contrasts with the peace and serenity of the shots before. Another shot of Adele lip-syncing uses stair banisters to block the shot, and the position of her hands makes it seem as though she is telling the audience a secret.
The fairy tale style setting is used again in a long shot of a pool in the forest, with leaves swirling in the wind. We see another flashback, with Adele looking out from behind a curtain, followed my a shot of the man with a serious look on his face. The white building in Adele's shot and the black car in the man's shot follows the pattern of light/dark regarding the two different people.
The song ends with a shot of Adele looking at the camera with her coat pulled around her face, as if she's trying to hide, then cuts to black as the music finishes.
The target audience for this video is people aged 20-45. This is shown by the age of the people in the video - late twenties. Also, with the use of old fashioned telephones and phone boxes that older people would be more likely to have used themselves. It is also shown by the clothes that Adele is wearing, which make her seem more sophisticated.
The overall look of the video is much more serious and dramatic than the video for Shut Up and Dance. This is partly due to the sepia overlay on the Adele video, as opposed to the colourful lights and cartoon images in the other video.
The Adele video represents males and females in both positive and negative ways. It could be said that the dark and light colours used portray Adele in the more positive way, yet the storyline of the song could make the audience pity her for not moving on from her ex. The man is sometimes shown to be happy and laughing, but this is contrasted by the darkness of his shots, which makes us side with Adele. The video portrays romantic relationships as good while they last, but painful when they're over. This is different to the Shut Up and Dance video which portrays it as something fun and happy, not too serious. It possibly mocks serious relationships with the wedding scenes - they are both dressed casually and the girl slaps the boy, which is not how we imagine a traditional wedding.
Overall, completing a textual analysis for each of these music videos has allowed me to compare how different shots, colours and settings affect how the atmosphere of a video changes. It has also shown me some ideas I could use in my own work, such as having shots out of order so the audience can piece together the story.
The video starts with a medium long shot of the singer as he walks into view. The lighting is dark, with soft red and yellow disco lights flashing in the background. The audience watches through some people's shoulders which, along with the warm colours, creates a crowded, hot, stuffy atmosphere. The singer is the only person in focus in the crowded room, which establishes him as the most important person from the start. The mid shot allows us to see his awkward movements, such as running his hands through his hair.
Up to this point the music has been muffled background music, helping to add to the uncomfortable situation. A title zooms in from the centre - the name of the band and the title of the song. This is when the actual song starts playing.
It then cuts to a mid shot of the singer singing straight at the camera. The lighting is much brighter and we can see him more clearly as he moves with more energy. The background is a cold blue colour which contrasts with the warm colours of the previous shots, making him seem "cooler".
The camera then tracks slowly up to the girl dancing nearby. The lighting in the background is red, as is her hair, a colour which has connotations of romance. She is the only person in focus, and the light in the background outlines her. This makes her seem of equal importance as the singer, as she holds a similar shot-style to him.
It then cuts back to the singer, tracking slowly in the same way as the shot of the girl. Both are looking into the camera in their shots, so when it cuts between them it appears they are looking at each other. We see on his face that he looks surprised to hold the attention of the girl, after everyone else has been looking at him strangely.
The importance of this is also shown by the fact that when the lyrics say "She said 'Shut up and dance with me'" she lip syncs to the singer's voice, as if she is really saying it. She is the girl the song is about.
Then there is a shot of the singer which uses special effects to create a kaleidoscope effect of his face multiple times in a row. This makes the audience feel confused, and we understand that we have an insight into his mind at that moment. The shot goes in and out of focus which adds to this feeling of disorientation.
The background changes to rainbow coloured, out of focus, light flares. The singers head is in close up in the shot, and he turns to watch a miniature version of himself and the girl dancing. We know this is happening in his head as the bright neon background makes it look dreamlike.
The camera pans along to the left and the singer looks across where he sees miniature him cuddling on a sofa with the girl, eating popcorn. This insight into his head further establishes him as the most important person in the video, and we see his romantic intentions with the girl.
Then there is a match cut where within the dream a hand with a boxing glove punches in him in the face and we snap back to reality. In reality, the singer has also been punched in the face, and the match cut makes it seem as if the punch brought him out of his fantasy.
Then there are point of view shots of the two dancing together. The bright lights echo their happy facial expressions. The fact we see both points of view adds to the idea that the girl is an important character within the story of the song, as much as the singer.
The singer falls over and there is a high angle shot of him looking disorientated on the floor. This takes us back to the embarrassing, awkward impression of him, as high angle shots make the subject look inferior, as we are looking down on him.
We then have a low angle point of view shot from the singer on the floor, where everything is swimming in and out of focus as if we, too, suffered the fall. This creates a muddled feeling and acts as a transition back to the singers fantasy in his head, brought on by the fall.
The background continues to change into different pastel coloured, pixelated patterns. The singer imagines getting married to the girl, the mirror images of his head facing towards the 'wedding' to focus our attention there, indicating he is head over heels for the girl.
The pixelated backgrounds add to the dreamlike effect, as it looks like he is in a videogame. This emphasises the fact that it is not real. It cuts to a mid shot of the girl punching the singer in the face with a pixelated boxing glove, and in the top right there are empty pixelated hearts. This links to the idea of it being like a video game, he has been punched in the face and 'lost all his lives' as he is knocked out on the floor.
It could also be said that he was metaphorically punched in the face, as when he comes round a different guy cuts in to dance with the girl. This is shown in a long shot to show the superiority of the new dancer. The long shot shows his expert dance moves, along with his flashy colour-changing outfit, added in by special effects. This makes him seem more impressive than the singer, who gets pushed back into the crowd. This section uses jump cuts to show the passing of time. The non-continuity editing makes it seem like they have been dancing for a lot longer than the singer had been dancing with the girl - adding to the idea that the new dancer is better.
There is then a mid shot of the singer again, with an overlay of a variety of shots of the couple dancing. The shot of the singer zooms in and out slightly, and he shakes his head around, which makes him seem dazed and confused. The overlay shots mean we have to focus on two things at once, which helps convey his confusion to the audience.
We then cut back to inside his head. In his vision of marrying the girl, she now hits him with her bouquet and runs off. This could reflect how the singer feels - that she has abandoned him for the other dancer. The amateur-looking art in the background makes it look comical. The fact that the girl is wearing a short dress with red converse, and the boy is wearing skinny jeans, makes it look more casual and like their relationship isn't serious.
It then fades to white as the girl is dancing with the other guy in the flashy outfit. The background changes to clouds and we can infer that we may now be inside the girl's head. She unmasks the dancer to reveal the singer, suggesting she was thinking of him whilst dancing with the other guy. The white transition and the clouds imply that this is her heaven, as these colours and images are linked to peace and tranquility.
Then there is a crane shot, showing everyone in the room joining in with the dancing together. The couple are front and centre, which contrasts to the start of the video which showed them at a distance to everyone else. It tracks higher and higher, showing the size of the crowd.
Throughout the video it cuts to the singer lip syncing at different times, but now there is a two-shot as the girl is in the shot with him. This shows how their relationship has progressed, and they are "together" now.
There is then shots of the crowd dancing. This mid shot shows the people from the start of the video who appeared to be judging the singer are now dancing happily and enthusiastically.
The video ends with a mid shot of the two kissing, showing they get their happy ending. They are framed in the centre, with all the surrounding people facing them and pointing towards them. The shot continues after the song has ended, showing the importance of the moment.
The target audience for this text is teenagers and young adults, as this is the approximate age range portrayed in the video. It could also be argued that the 80's aesthetic makes it appeal to people aged 30 and over, born in the 80's. This is shown by the clothing choices, lots of denim and bright colours, wacky hairstyles and the video-game style backgrounds used look like old fahioned game designs.
The video portrays males and females in slightly different ways. For example, the singer at the start is shown to be awkward and people are avoiding him, whereas by the end of the video he is confident and gets the girl. The girl was always "cooler" than him, with her bright red hair which matched her converse shoes, making her seem fiery and fun. The fact she wears converse with a dress makes her seem more comfortable and relaxed. However, it could be argued that the video as a whole portrays young adults as scruffy people who spend their time partying and rushing into relationships with people they just met. But, the upbeat song and colourful mise-en-scene makes this a fun, positive representation of the characters.
From doing this textual analysis I have seen the importance of different camera shots and the editing pace to help create a certain impression of the characters and get the story across. I see how important costume and lighting is to add to the atmosphere I want to create.
Now, when making my own music video I will aim to use a variety of camera shots, and concentrate on mise-en-scenee to make it look more professional.
I am now going to do a second textual analysis to compare the two videos. The second music video I have chosen is for Hello by Adele.
The video starts by setting the scene. It cleverly begins with a shot of the windowsill, dirty and covered in dead flies - implying the place isn't used - then the focus changes so we can see beyond the glass to a road with a car heading towards where the viewer is looking from the window. It starts silently, then we hear Adele talking on the phone, her hair is being blown in her face and she wears dark glasses. We see her in various shots from close ups to shots obscured by blocking, which go in and out of focus, creating some confusion as we don't know what is going on yet, and we can't properly see where she is. She is using a flip-up phone, which suggests the video is set in the past, but not more than 20 years ago. She enters what we assume to be the bulding from the first shot, and stands framed by the hallway, her footsteps the only sound, establishing her importance and solitude.
The overall look of the video is much more serious and dramatic than the video for Shut Up and Dance. This is partly due to the sepia overlay on the Adele video, as opposed to the colourful lights and cartoon images in the other video.
The Adele video represents males and females in both positive and negative ways. It could be said that the dark and light colours used portray Adele in the more positive way, yet the storyline of the song could make the audience pity her for not moving on from her ex. The man is sometimes shown to be happy and laughing, but this is contrasted by the darkness of his shots, which makes us side with Adele. The video portrays romantic relationships as good while they last, but painful when they're over. This is different to the Shut Up and Dance video which portrays it as something fun and happy, not too serious. It possibly mocks serious relationships with the wedding scenes - they are both dressed casually and the girl slaps the boy, which is not how we imagine a traditional wedding.
Overall, completing a textual analysis for each of these music videos has allowed me to compare how different shots, colours and settings affect how the atmosphere of a video changes. It has also shown me some ideas I could use in my own work, such as having shots out of order so the audience can piece together the story.
Thursday, 10 September 2015
Preliminary tasks
As preparation for our main task, we created two videos - an advert and a music video. For the advert, we were given a random item in groups and had to create an advert for that item.
Our group had a toy wand, and had different ideas about whether to advertise it as a toy or as a real wand. We decided to use green screen to make it look like the wand could make things levitate. This was a challenge as we had to re-film the green screen sections because the wand was too lightly coloured to show up. We had fun filming the section where the white board is cleared, as we left the camera filming and ran in to wipe the board while Chloe held the wand in place, so when we edited we could cut out the people running in so it looked like magic. Making this advert made us think more about creative ways we could film and edit to make things look like magic. For example, we had a shot when the person holding the wand pointed it at the camera and we lifted it up on the tripod, so it looked like the camera was flying. Unfortunately, with this section we had too much footage, so had to cut it out as our video was too long for an advert, which should be clear and concise. We used a title at the end, over a shot of someone displaying the wand, which made it look like a stereotypical infomercial-style advert. Our bubbly American voice over was also intended to make our advert seem like this recognizable style of advert. Whilst adding this voice over, we found that we had to cut it up to spread throughout the video as they were speaking to quickly for the pace of the editing.
This is our advert:
Majik Wand Advert from Emily Friend on Vimeo.
Secondly, we made a music video. As we had to use a song we were unfamiliar with, it was difficult to come up with an idea for the video. We decided to film at the school art exhibition, and use the bright colours and pictures to be like a colourful candy shop. We tried to capture the "aesthetics" of the song, rather than having a singer lip-syncing like in a typical music video. A real life example of a video which does this is Collar Full by Panic at the Disco, which does not have any people in it at all, just shots of city lights and signs. Although this is just a video of the audio and not a proper music video, it still uses the videos of the lights to capture the aesthetic of the song, rather than using a still image.
We used the editing software to alter the hue of some shots to make it look brighter and more unnatural. We also used green screen in this video, which ended up giving the illusion of a sugar rush with the moving background. We took still images of letters spelling out "Candy Shop" which we found on signs and posters, and edited them quickly together so it reads "Candy Shop" one letter after another. Making this video showed us the importance of quick editing to the beat of the song to make it look more like a traditional music video. We managed to create an interesting looking video even within the short time span of a few hours, but it made us realised how time consuming the process is.
This is our music video:
Candy Shop from Emily Friend on Vimeo.
Our group had a toy wand, and had different ideas about whether to advertise it as a toy or as a real wand. We decided to use green screen to make it look like the wand could make things levitate. This was a challenge as we had to re-film the green screen sections because the wand was too lightly coloured to show up. We had fun filming the section where the white board is cleared, as we left the camera filming and ran in to wipe the board while Chloe held the wand in place, so when we edited we could cut out the people running in so it looked like magic. Making this advert made us think more about creative ways we could film and edit to make things look like magic. For example, we had a shot when the person holding the wand pointed it at the camera and we lifted it up on the tripod, so it looked like the camera was flying. Unfortunately, with this section we had too much footage, so had to cut it out as our video was too long for an advert, which should be clear and concise. We used a title at the end, over a shot of someone displaying the wand, which made it look like a stereotypical infomercial-style advert. Our bubbly American voice over was also intended to make our advert seem like this recognizable style of advert. Whilst adding this voice over, we found that we had to cut it up to spread throughout the video as they were speaking to quickly for the pace of the editing.
This is our advert:
Majik Wand Advert from Emily Friend on Vimeo.
Secondly, we made a music video. As we had to use a song we were unfamiliar with, it was difficult to come up with an idea for the video. We decided to film at the school art exhibition, and use the bright colours and pictures to be like a colourful candy shop. We tried to capture the "aesthetics" of the song, rather than having a singer lip-syncing like in a typical music video. A real life example of a video which does this is Collar Full by Panic at the Disco, which does not have any people in it at all, just shots of city lights and signs. Although this is just a video of the audio and not a proper music video, it still uses the videos of the lights to capture the aesthetic of the song, rather than using a still image.
We used the editing software to alter the hue of some shots to make it look brighter and more unnatural. We also used green screen in this video, which ended up giving the illusion of a sugar rush with the moving background. We took still images of letters spelling out "Candy Shop" which we found on signs and posters, and edited them quickly together so it reads "Candy Shop" one letter after another. Making this video showed us the importance of quick editing to the beat of the song to make it look more like a traditional music video. We managed to create an interesting looking video even within the short time span of a few hours, but it made us realised how time consuming the process is.
This is our music video:
Candy Shop from Emily Friend on Vimeo.
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