Wednesday, 8 June 2016
Music Video Planning
The planning for my music video has gone through multiple changes in regards to music selection and themes. I was given the opportunity to create a music video for a students band, however decided not to do so due to feeling as though it would alter the creative direction I wanted to go in. Initially I had intended to shoot a music video to a different Kanye West song titled 'Fade' feat. Post Malone and Ty Dolla $ign. I felt as though a Kanye West song would be a good starting point as I knew I wanted to create a video with a lot of energy and also felt that picking a bold artist such as Mr. West would make my video somewhat distinctive from my peers'. However, upon picking this electronic/dance influenced song I quickly became aware of many potential difficulties.
The first problem being the multiple instances of profane language. While I believe it adds to the authentic expression of emotion within the song, I knew that the video would be potentially viewed by future students and parents/guardians of such that could find it off-putting and offensive. While this was not necessarily the deciding factor upon why I ditched the song, as I considered censoring these instances, the song also seemed to be too repetitous and not substantial enough to justify its length. I felt as though the video could risk becoming somewhat boring because of this.
Finaly, after having imagined visuals that I desired to see in my video, I beleived that the pace and feeling of the song did not match this and so therefore decided to drop the song from the process. Unfortunately this wasted some otherwise useful time I could've spent developing my current idea. Swifty, I tried to search for an alternate song ranging from the likes of Daft Punk, Radiohead, Arcade Fire and even Death Grips to no luck for a few days. That was until I stumbled upon another Kanye West song titled 'Guilt Trip' from his 2013 album Yeezus. This song is very erratic and digital in nature and so I therefore plan on producing visuals combined with editing techniques that suit these qualities. After listening to the songs synth instrumental, the image of ferrofluid, a fluid containing a magnetic suspension, came to mind. I had previously seen the fluid used in the incredible opening title credits to David Fincher's remake of The Girl with the Dragon Tattoo and more recently in Lady Gaga's Fame perfume ad campaign.
I have chosen the idea of procrastination as a theme for the video (a subject I know only too well!) and a sence of escapism from reality via different experimental methods. It's the methods in particular that I want to keep unconfirmed due to their problematic nature, so this is one reason as to why my video will be experimental in nature; to both imply but not necassarily confirm the meaning behind some shots. I also strongly feel that this theme would suit a lot of my desired imagery as it is will be primarily shot from a first person perspective. To expand upon this, I plan on manipulating a lot of my imagery in Adobe After Effects in order to give the illusion of an altered reality.
In regards to editing, I plan on overlaying some imagery in the style of the instances in the film Locke starring Tom Hardy (left). This display of two separate images can create a sense of the distortion of time and space - an effect that I hope to achieve within the audience as though they were experiencing the escapism for themselves.
A couple months ago, I helped my friend (a Foundation Art student at my college) shoot some footage of flowing oil and ink in different liquids in order to achieve a psychedlic asthetic. I used the college equipment such as a macro lens, tripod and Canon 650D to capture the close up imagery and later incorporated this into a video demonstrating editing visuals to music. After seeing the huge potential of shooting and editing psychedelic art to music, this has now become a basis for my video's imagery.
Once I have shot some of the video, additional ideas may come to mind as it starts to take shape.
I plan to shoot in as high of a shutter speed as possible to ensure I can slow down any footage without compromising 25fps in post-production if the need arises.
The first problem being the multiple instances of profane language. While I believe it adds to the authentic expression of emotion within the song, I knew that the video would be potentially viewed by future students and parents/guardians of such that could find it off-putting and offensive. While this was not necessarily the deciding factor upon why I ditched the song, as I considered censoring these instances, the song also seemed to be too repetitous and not substantial enough to justify its length. I felt as though the video could risk becoming somewhat boring because of this.
Finaly, after having imagined visuals that I desired to see in my video, I beleived that the pace and feeling of the song did not match this and so therefore decided to drop the song from the process. Unfortunately this wasted some otherwise useful time I could've spent developing my current idea. Swifty, I tried to search for an alternate song ranging from the likes of Daft Punk, Radiohead, Arcade Fire and even Death Grips to no luck for a few days. That was until I stumbled upon another Kanye West song titled 'Guilt Trip' from his 2013 album Yeezus. This song is very erratic and digital in nature and so I therefore plan on producing visuals combined with editing techniques that suit these qualities. After listening to the songs synth instrumental, the image of ferrofluid, a fluid containing a magnetic suspension, came to mind. I had previously seen the fluid used in the incredible opening title credits to David Fincher's remake of The Girl with the Dragon Tattoo and more recently in Lady Gaga's Fame perfume ad campaign.
I have chosen the idea of procrastination as a theme for the video (a subject I know only too well!) and a sence of escapism from reality via different experimental methods. It's the methods in particular that I want to keep unconfirmed due to their problematic nature, so this is one reason as to why my video will be experimental in nature; to both imply but not necassarily confirm the meaning behind some shots. I also strongly feel that this theme would suit a lot of my desired imagery as it is will be primarily shot from a first person perspective. To expand upon this, I plan on manipulating a lot of my imagery in Adobe After Effects in order to give the illusion of an altered reality.
 |
| Inspirational overlay editing technique in Locke |
 |
| First makeshift attempt at filming the oil. |
Once I have shot some of the video, additional ideas may come to mind as it starts to take shape.
I plan to shoot in as high of a shutter speed as possible to ensure I can slow down any footage without compromising 25fps in post-production if the need arises.
Thursday, 26 May 2016
Continuity Editing - Video
Fellow students, Celia Ward and Lalita Ajit and I decided to shoot and edit our "Continuity Editing" video together. The purpose of the video is to demonstrate how continuity between clips can be achieved via specific juxtaposition of shots.
Editing To Audio
Editing video to audio can help to create a more immersive experience. Aligning cuts with audio can either emphasise or better conceal the edit.
For this task I decided to shoot some footage of oil in water and edit it to Tame Impala's song 'New Person, Same Old Mistakes'.
For this task I decided to shoot some footage of oil in water and edit it to Tame Impala's song 'New Person, Same Old Mistakes'.
Music Video Analysis (Arcade Fire - Afterlife)
This video was written and directed by filmmaker/photographer Emily Kai Bock
Intertextuality
Possibly inspired by the cinematography of the french sci-fi film La Jetee:
Narrative
Intertextuality
Possibly inspired by the cinematography of the french sci-fi film La Jetee:
 |
| Arcade Fire - Afterlife |
 |
| Chris Marker - La Jetee |
Three characters - two sons and a father dealing with the death? of the mother.
Father is seemingly rather poor given his job of passing out flowers on the street.
We see the different dreams of all of the males.
Cinematography
Some scenes are in black and white some are not. Those in black and white likely show the past with the mother present. It would appear as though the father is visiting her in a dream as we see him fall asleep. In contrast to the dark low key lit dream, the memories of his wife are high key.
The colours are muted in the first minute and a half - they don't have much impact. Its as if they don't have much life. Dull.
The colours are muted in the first minute and a half - they don't have much impact. Its as if they don't have much life. Dull.
We're unable to see the mothers whole face - loss of identity - she has being a memory
Illustration
it was just a glymps of you like looking through a window
Amplification
As the music starts to fade at the end of the song, so does the light coming through the windows of the basement.
The camera slowly pulls back revealing more of their home as the music starts to play.
The man literally goes towards "the light" - towards the afterlife
Costume:
Oldest child wears a red hoodie - at risk of danger? Susceptible to danger?
The boy bangs on the glass of the washing machine as the drum beats occur
The music is preluded by one and a half minutes of narrative which shows the father at work and at home having a quite meal with his two sons. It is clear that their seems to be something wrong due to the tension of their conversation. A fourth chair at the table is empty suggesting that perhaps their mother is not present.
Edits occasionally occur during a change in the song - for example if a new line, verse or instrumental portion is introduced - keeps the video snapy and insync as it were with the visuals - the visuals feel more to the pace of the music.
Illustration
it was just a glymps of you like looking through a window
Amplification
As the music starts to fade at the end of the song, so does the light coming through the windows of the basement.
The camera slowly pulls back revealing more of their home as the music starts to play.
The man literally goes towards "the light" - towards the afterlife
Costume:
Oldest child wears a red hoodie - at risk of danger? Susceptible to danger?
The boy bangs on the glass of the washing machine as the drum beats occur
The music is preluded by one and a half minutes of narrative which shows the father at work and at home having a quite meal with his two sons. It is clear that their seems to be something wrong due to the tension of their conversation. A fourth chair at the table is empty suggesting that perhaps their mother is not present.
Edits occasionally occur during a change in the song - for example if a new line, verse or instrumental portion is introduced - keeps the video snapy and insync as it were with the visuals - the visuals feel more to the pace of the music.
Music Video Analysis (Michael Jackson - Bad)
The music video for Michael Jackson's 'Bad' is one of the most iconic of all time. Directed by the now legendary filmmaker Martin Scorsese, this short film draws from a variety of influences to Jackson. Jackson surrounded by a street gang pose, dance around a Brooklyn subway station referencing the "cool" sequence choreography of West Side Story
Dance-pop genre
Sound effects are included to emphasise the dance moves and amplify the music.
The video above is just the music portion of the 18 minute long film.
Intertextuality:
West side story
The lyric "shaman" is a reference to Marvis Staples, an American gospel singer.
Inspired dance moves of James Brown
Amplification
The shot of Michael snapping his fingers together is accompanied by a sound effect and signifies the start of the music. The visuals of Michaels gang carrying out illegal acts such as spray painting amplifies the lyrics of him being "bad" - New York at the time was one of the highest areas of crime in the US and this video reflected that aspect of the city.
Purpose of the video:
Demonstrate Michael's more edgy and aggressive style of song and dance.
Momentum
edits are often made on the beat of the music
choreography is in time to the music
Cinematography
Lighting is of a primarily medium key.
Colours are grey, black muted.
Lots of artist close-ups: Michael looks good in punk inspired clothing, he does not play a celebrity in the piece but does give a notable wink to the fact that he is by breaking the fourth wall and often looking at the camera
Low angle shot to emphasise his position of authority/supremacy
Comedy
many funny moments e.i "you gonna dance us to death?"
the idea that they are dancing in a confrontation - what MJ can do best
Racial diversity - represents New York
Masculinity is a focus - there are no women in the video.
Costume
This type of urban clothing reflects the environment they're in.
Voyeurism
We see these gang members dance in formation while in a confrontation (extremely unrealistic).
Breaking of the fourth wall
The men are seen as thugs.
Star iconography
The dance routine featured in the clip is his branding along with his clothing. His dancing and vocals are his unique selling point.
freeze-frame - a Scorsese staple is utilised
a variety of camera techniques - dolly shots, close ups - long shots, zoom in, pan, tilt shots accumulate to create a thrilling piece.
Star image - Michael Jackson
Genre = narrative based, location, concept (musical esq. dance routine which takes place within a narrative)
Subscribe to:
Posts (Atom)