The production meeting agenda is a brilliant way to establish the details of any project. It is a written agreement that helps a group stay clear of any disagreement down the line. Done properly, the production meeting agenda will ensure that you are able to source the correct Mise en scene for the correct star image in a media shoot at the same time ensuring conventions are followed and stuck to, monitored by the group adding to the shared production meeting agenda.
Deconstructing the personality and the image of the star of our chosen song helped us to further understand our genre and its repertoire of elements.
Design by Annabelle Webb & Henry Gray
I want our star to be represented as punk, moody and grungy. I will do so by using dark backgrounds and moody lighting.
Using cinematography I will try and convey a conventional music video but using costume and Mise en scene I will create a convincing star. I will have my star make playful gestures but make her appear as bored and uninterested as a punk goth figure. This will be done through her facial expressions and posture.
I want the moods to be joyful and loving and I will use a repertoire of elements such as random breakout in dance and snappy editing to communicate the 80s dance era through my music video.
It is important for our star image to be coherent across all of my projects and products – digipack and social media page. If our star is goth, grunge this must be how she is represented throughout. The star image is a foundational part of integrated advertising and must be employed across all platforms and mediums.
Without a risk assessment, a project is cannot be carried out. Risk assessments are a key point of health and safety. They help to create awareness of hazards and risks . Risk assessments provide control.
Our signed risk assessment for the upcoming shoot next Thursday 23/06/22
Examining shots and their contents and how they fit with our genre conventions, indie pop 80’s synth has shown me that you don’t need a moving camera, it is about what is happening in the frame. Editing is a crucial aspect of music video making. I now know that a sloppy edit can remove all value to a production and that it lets down the cinematographer hugely if the edit is bad because the great shots (if shot well are just thrown together.
We have really put a magnifying glass up to our genre in this task, helping us to further progress when building our star image and guiding us to pick out what they will do and wear in the process.
Conventional narratives of our genre are most commonly love stories of sadness. Sometimes bands in peculiar locations in trouble with an enemy force to create a sense of story. Sometimes the narrative would be a protagonist on a journey and the genre comes in through their weird experiences through a repertoire of elements such as love interests, odd looking people and antogonists.
Building up a narrative from the ground has proven itself difficult, considering already the various components and more specifically the performance and narrative our music video has been raised up from a concept into more of a solidified plan.
Choosing to go with a predominantly narrative based music video will be a challenge, but not a challenge I do not think my group members and I can’t cope with.
As a group, we want to be conventional whilst also experimenting with new styles and methods or revisiting old ones. Our teacher had the idea of using the 80s style larme material and shoulder pads as the song reminded her of the techno 80s synth heavy rock and glam metal spawning from the decade. We want our star image to tie in fittingly with our song, whilst simultaneously looking appropriate for our narrative.
Pitch video with group and teacher
Final pitch slideshow
With copyright having considerable effects on how we perform and complete the music video project in media, as a collective, we thought it would be best to ask for permission from the artist themselves or their management team in order to stay within the laws and rules of copyright infringements.
I emailed for permission from the management team of artist Grimes.
In a group collaboration of any number, it is sensible to devise an agreement to delegate the tasks and workload, dividing up the work and establishing any given skills all to ensure a group production is well managed, organised, produced and has a chance of succeeding.
signing this group agreement is making a commitment to an extent to perform your designated tasks and can act act as a reference when say an argument erupts or a feature of MES can’t be agreed on.
Choosing a final song required certain boxes the song had to check. An important box our teacher made clear we had to check was its length and it not being too long. Although Grimes’ Oblivion last for a duration of 4:11 we were warned it could be too long in length but decided to go with it as we had already thrown together multiple ideas for a narrative for the song to play behind.
Another necessary requirement our final song had to meet was the sing test, could it be lip-synced to and if so, by who? Grimes has a very particular, harmonic and high pitched voice. Baring this in mind we thought hard about what kind of narrative we would then build. We went with a mainly narrative based music video, only having lip syncing as points to break it up.
When rattling my brain for an idea for a narrative following the style, pacing and themes of my preferred choice of song, I first considered the type narrative for my music video.
I liked the idea of a love story, and although they are majorly played out, I thought it was doable and could work. An idea that came to me for some foundation as to why the narrative would follow an amplified as well as symbolic storyline was that the song, titled “Oblivion” could be reflected through the narrative. I want to show how the man and the woman followed through the story have become so entranced in their mysterious relationship that they are to the point where they are in an oblivion. In a state of being completely unaware of what is happening around their relationship.
The song, being very techno, trance, indie and upbeat means that I can play around with editing to the beat because their are so many loops, progressions and melodies to cut on. This freedom with edit gives my group and I the power to control the pace of my edit, it’s rhythm and feel.
Thinking Mise en scene, locations and star image, I want eccentric actors and cover stars. This is as To stand out as a music video, my characterizations need to be stark, bright and eye catching. My location choices must be well thought out and innkeeping with the alternative indie and dance electronic genre.
My mini pitch.
Researching music videos from other artists is a vital form of research. The knowledge of the effects possible have started to become apparent to me in doing such research. I have learnt that you can experiment with narrative structure in music videos having choice between a disjunctive, amplified, illustrative, episodic, linear, thematic, anachronic structure having free will to combine two together to create new and refreshed effects for a music video.
Ayrtn – FLO’S
The narrative of Ayrtn’s – FLO’S is partially illustrative. He Lip-syncs the vast majority of the song and some features of it are illustrated like when he “hit’s up the chip shop” for example.
The structure is linear in that he phones a girl she isn’t interested and he then goes about his day as normal to then receive a phone call from the same girl later on who has had a change of heart. The ending makes me feel happy for the Ayrtn who is the singer and main character. It illustrates him as patient, deserving and endearing.
Asap Rocky – D.M.B
The narrative of Asap Rocky’s D.M.B can be best described as disjunctive. Its structure is anachronic and chaotic. The story follows a rapper and his girlfriend (who are actually dating in real life) and they go about doing outlandish activity (usual rapper things) The song is hip hop rap and the lyrics are fast and flowy. The edits reflect the pacing of the song which makes for an effect narrative, even though it isn’t illustrative.
The ending depicts that the two are actually in love. The fast paced photo montages and low lit kiss sequence helps the audience to understand their complicated by true felt love for one another.
FKA twigs – Honda
The narrative of FKA twigs’ Honda is disjunctive and amplified. This is because the entire music video is her riding on a car but the car is a Honda which makes narrative sense, thus the amplified.
The ending is abrupt and the narrative is linear because the car is travelling forward. And her performance is stylistic and fluid and creative.
Three of my own narratives:
Bake The Pie!: A teen boy enters a bake off with some extravagant and twisted hosts (who act like Willy Wonka) the bake off goes wrong when we find out the judges have ulterior motives – to kill the contestants.
At dusk: A woman is driving around at dusk and as she drives her attention is grabbed by a dancing crowd on the side of the road running a car wash. She pays the money and gets her car wash but the experience is otherworldly like an acid trip. The car washers turn into animals and food and get on the car dancing while the woman watches in awe.
Action man: A boy has this action man figurine that he loves to play around with. One day the boy gets home from school to see his parents have thrown a yard sale and sold the action figurine the boy went straight to his room to play with. He goes to the shop later that day still sad and sees another boy less fortunate than him playing with the same action man figurine. He decides to let him keep it.
