Preliminary Task

Why does love do this to me? 

I think we worked well and especially I think the chair scene where there are multiple shots of our actress went well. However we did not have enough footage to finish the entire video so therefore we were limited to the amount of locations and variations of shots we had in the video.

My Audience Survey and What I Found Out

 1. What age bracket are you in?


By asking this question I can work out an age group in which I will be aiming my media product out. By finding this out I can look who to aim my ancillary tasks at.

By looking at the data I have collected I can see I've mainly aimed my questionnaire at 17 to 19 year olds which could effect my data as I have not given a representitive figure for all age groups. I tried to get opinions of all ages although I did not succeed in doing it fairly. Although I do believe my media product will be aimed at a younger generation from 16 to 22 year olds.



2. What gender are you?

By asking this question I can figure out what gender I can aim my product at.

I can see from the data that I have mainly asked an even amount of people when questioning them.

3. What genre of music do you like? (Multiple Choice)

By asking this question I can see what types of genre are favoured and what genre is more preferred therefore helping me base my decision for my genre of music for my video.

I can see half of the pie chart is favoured by rop and rock. With my preferred artist being Paolo Nutini this to me has supported my decision to do a song from this artist because he sings songs from this genre,

4. What are your favourite kind of music video's?

By asking this question it allows me to consider what type of music video I should base my video around.

All three kinds of music video seem popular so therefore I may mix up my themes and have two I like the idea of having a concept video however I think this could be hard to produce. I also like the idea of a narrative video playing along to a story and this also seems favoured by the people I ask fro my questionnaire but I would also play some performance based shots within playing up to the camera.

5. What is your favourite music video and why?


Here are a few examples of what people said were their favourites.



















6. Where do you get your music from?

By asking this question I can see who where people buy media products and where I would aim my products.

I can see buying online is very popular so therefore if I were producing music, I am more likely to try and sell it online by Itunes, Spotify and Google Music.

7. Do you prefer music videos that are lyrically relevant or abstract?

I can see from my questionnaire that people prefer relevant lyrics so therefore matching what people do in lyrics when they sing it.


8. What do you expect to see in music videos?

The main response from this is women portrayed as sex symbols, I am going to break this and stick to an interesting theme.


9. Do you think females are portrayed in a positive way in music video's? And why?

People said that females aren't portrayed positively, I can see this has changed from the early years of music video where females like Joan Jett where portrayed as strong individuals.


10. What aspects of music videos do you like and what makes them interesting?

People said that they liked the idea of concept music videos that are different from the rest and break the norms and conventions which make they more interesting.


11. What do you prefer?

I can see from the questionnaire that people prefer energic, fast paced music. So therefore I will do a fast song in which I will have fast pace editing to go with this.

12. Do you like the artist, Paolo Nutini, or any of his songs?

I can see people like the artist Paolo Nutini, which means that people will like his songs in order for me to make one into a music video.

13. What do you feel when you listen to his song, New Shoes?

People said they liked this song but I also found out that people also really liked his song Jenny don't be hasty so therefore I will consider using this song for my music video.


14. What colours do you prefer?

By asking this question I can find out what colours people prefer so therefore by finding this out I can see what colours I should use in my music video. People predered bright vivid colours so therefore I will use them in my video, in which bright, vivid colours will attract the audiences attentsion.

15. What fashion style do you prefer?

I can see that people prefer a casual style of clothing not going over the top so therefore I will try and stick to this. Although I like the idea of the postmodern approach to the changing of the modern world.

Director Study

Jake Nava

Director Study

Final Cut Express Skills

I have been working on my final cut skills in order to progress and continue to use final cut express and feel confident when using it to create my music video. I therefore researched into using skills within final cut express in order to make my music video more advanced. I looked into using colour correction to add different colours into frames and correcting colours within the frame that don't look quite right.

Final Cut Express; colour correction

View more presentations from OliviaPeters29

In addition to my own knowledge on colour correction, I have researched and looked at tutorials online and found a few good ones that are helpful.

Lyrics to Paolo Nutini Music Video

New Shoes - Music Video Option 1

Woke up cold one Tuesday,
I'm looking tired and feeling quite sick,
I felt like there was something missing in my day to day life,
So I quickly opened the wardrobe,
Pulled out some jeans and a T-Shirt that seemed clean,
Topped it off with a pair of old shoes,
That were ripped around the seams,
And I thought these shoes just don't suit me.

[CHORUS:]
Hey, I put some new shoes on,
And suddenly everything is right,
I said, hey, I put some new shoes on and everybody's smiling,
It's so inviting,
Oh, short on money,
But long on time,
Slowly strolling in the sweet sunshine,
And I'm running late,
And I don't need an excuse,
'cause I'm wearing my brand new shoes.

Woke up late one Thursday,
And I'm seeing stars as I'm rubbing my eyes,
And I felt like there were two days missing,
As I focused on the time,
And I made my way to the kitchen,
But I had to stop from the shock of what I found,
A room full of all off my friends dancing round and round,
And I thought hello new shoes,
Bye bye them blues.

[CHORUS]
Hey, I put some new shoes on,
And suddenly everything is right,
I said, hey, I put some new shoes on and everybody's smiling,
It's so inviting,
Oh, short on money,
But long on time,
Slowly strolling in the sweet sunshine,
And I'm running late,
And I don't need an excuse,
'cause I'm wearing my brand new shoes.
Take me wandering through these streets,
Where bright lights and angels meet,
Stone to stone they take me on,
I'm walking to the break of dawn. [x2]

[CHORUS (x2)]
Hey, I put some new shoes on,
And suddenly everything is right,
I said, hey, I put some new shoes on and everybody's smiling,
It's so inviting,
Oh, short on money,
But long on time,
Slowly strolling in the sweet sunshine,
And I'm running late,
And I don't need an excuse,
'cause I'm wearing my brand new shoes.


Hey, I put some new shoes on,
And suddenly everything is right,
I said, hey, I put some new shoes on and everybody's smiling,
It's so inviting,
Oh, short on money,
But long on time,
Slowly strolling in the sweet sunshine,
And I'm running late,
And I don't need an excuse,
'cause I'm wearing my brand new shoes.
Take me wandering through these streets 


NEW LYRICS - MARINA AND THE DIAMONDS - RADIO ACTIVE


Lying on a fake beach, you'll never get a tan,Baby I'm gonna leave you drowning until you reach for my hand
In the night your heart is full and by the morningWell baby I'm the one who left you you're not the one who left me.
When you're around me I'm RadioactiveMy blood is burning Radioactive
I'm turning RadioactiveMy blood is Radioactive
My heart is nuclearLove is all that I fearI'm turning RadioactiveMy blood is Radioactive
Waiting for the nightfallFor my heart to light upOh baby I want you to die forFor you to die for my love
In the night your heart is fullAnd by the morning emptyWell baby, I'm the one who left you, you're not the one who left me.
When you're around me I'm RadioactiveMy blood is burning RadioactiveI'm turning RadioactiveMy blood is Radioactive
My heart is nuclearLove is all that I fearReady to be let down,Now I'm heading for a meltdown.
Tonight I feel like Neon GoldI take one look at you and I grow cold . . . and I grow cold . . and I grow cold
When you're around me I'm RadioactiveMy blood is burning RadioactiveI'm turning RadioactiveMy blood is Radioactive
My heart is nuclearLove is all that I fearReady to be let down, now I'm heading for a meltdown.
My heart is nuclearLove is all that I fear.

Stuart Hall - Encoding and decoding model

Stuart Hall - Encoding and decoding model


1.The media industry tend to focus on three main areas:



- Institution: The people who produce texts and their reasons for it, the endcoders. Factors considered might be the encoders social background, i.e. religion, race etc, and their available budget for the production. These all contribute to the overall media product.

- The Content: The actual content of the media text itself. Exploring the genre, codes and conventions, narrative and representation.

- Audience: The media industry looks at who the audience are, the impact the text may have on them and their reactions to the media text.

2. Those who create media texts are known as encoders. The encoders create meaning and connotations for their text, keeping in mind an assumption of how the text will be understood and how the targeted audience will receive the text.

3. The audience, also referred to as decoders, will all take a meaning out of the text. This may vary from person to person as they try to understand the encoders intended meaning.

4. All signs and symbols are polysemic and thus all media texts are polysemic. Each individual will decode media texts in a different way. Hall suggest there are 4 key ways in which media texts are decoded:


•Dominant reading: the reader fully shares the text’s code and accepts and reproduces the preferred reading.


•Negotiated reading: the reader partly shares the text’s code and broadly accepts the dominant reading, but sometimes resists and modifies it in a way that reflects their own position, experiences, and interests.


•Oppositional reading: the reader is in a social situation that places him or her in direct opposition to the dominant code. The reader understands the dominant reading but does not share the text’s code and rejects the reading, bringing to bear an alternative frame of reference.


•Aberrant reading: the reader is unable to take the meaning that the encoder put into the text. There is a gap (dissonance) between the cultural assumptions of the encoder and the cultural context of the decoder. They just don’t get it.

5.When creating a media text, all encoders often wants their audience to take a dominant reading approach. To ensure their texts are received in such as way by the audience, the encoder may try and make the text less polysemic and not as open to multiple meanings.

6. Encoders will try to speak to their audience in an appropriate way so that they will understand and relate to the text. This is known as the mode of address. Usually the encoders will make assumptions about the decoders knowledge, interests and perception of the world, encoding their texts accordingly.[Take girl's magazines for example.] These are assumptions are cultural and can have an impact on the way the decoder receives the text.

7. The assumed language and points of reference an encoder uses to connect with an assumed target audience is known as the ‘Public Idiom.’

Steve Archer

Steve Archer

In addition to looking at Goodwin's key elements of music videos I have researched Steve Archer as he has drawn attention to the need to consider the relationship between narrative and performance in music promos. The following are the key elements of a music video:

1. Lyrics

Lyrics tend to help establlish a general feeling, or mood, or sense of subject matter rather than offering a coherent meaning. key lines may play a part in the visuals associated with the song but very rarely will a music video simply illustrate the lyrics wholesale.

2.Music

A music video tends to make use of the tempo of the track to drive the editing and may emphasise particar sounds from the track by foregrounding instruments such as guitar, keyboard or drum solo.

3.Genre

while some music videos transcend genres others can be more easily categorised. Some, but not all, music channels over a period of time, you will be able to identify a rage of distinct features which characterise the video of different genres. These features might be reflected in types of mise en scene, themes, performance, camera and editing styles.


4.Camerwork


As with any moving image text, how the camera is used and how images are seguenced has a significant impact on the meaning. camera movement, angle and shot distance all need to be analysed. Camera movement may accompany movement of performers (walking, dancing ect) but it may also be used to create a more dynamic feel to stage performance, for instance, by constantly ciircling the band as they perform on stage.


5.Editing


Although the most common form of editing associated witht the music promo is fast-cut montage, rendering many of the images impossible to grasp on first viewing, so ensuring multiple vewing, some videos use slow pace and gentler shot transitions to establish mood. This is partucularly apparent in promos for many felmale solo artists with a broad audience appeal, Such as Dido. Often enhancing the editing are digital effects, which play with the orignal images to offer different kinds of pleasure for the audience. This might take the form of split-screen, colourisation and, of course, the use of blockbuster film-style CGI special effects.


6.Intertextuality


This music video is often described as a 'post-modern' form, a slippery term which is sometimes used to mean intertextuality, on of the post modernism's more easily identifiable features. Broadly, if we see music promos as frequently drawing upon existing texts in oder to spark recognition in the audience, we have a working definition of intertextuality. Not all audiences will necessarily spot a reference and this need not significantly detract by those who recognise the reference and feel flattered by this. Arguably, it also increases the audience's engagement with, and attentiveness to product, an important facility in a culture where so many images and narratives complete for out attention.


7. Narrative and Performance


Narrative in songs, as in poetry, is rarely complete and often fragmentary. the same is true of music promos, which tend to suggest story-lines or offer complex fragments in non-linear order, leaving the viewer with the desire to see them again.

The Video allows the audience more varied access to the performer than a stage performance can. the close-up, allowing eye contact and close observation or facial gestures, and role play, within a narrative framework, present the artist in a number or ways not possible in a live concert.

The Label

The Labels


The Majors - They are dominant in the market.


Advantages 

• Well financed - better production, distribution, marketing and talent acquisition.
• Can offer artists stability, prestige, advances, top production resources.

The Independents - They lack the ability of major distributions.


Advantages

• More Creative - they aim to find more new talent, use creative tactics for marketing, build better brand loyalty. 
• Speed - They do not have to undertake a long approval process, so therefore they can faster than the major labels in releasing. 
• They can understand the artist and trends faster.
• Better Regional Connections.

Sub-labels and imprints - They are separate companies or division owned. They create music for a niche and are distributed by the major labels.


Specialty Labels - They form non traditional distribution, focus on non main stream. 


Paolo Nutini was scouted by Atlantic records at the age of 19. 


Atlantic records quoted

"Born and raised in Paisley, Scotland, Paolo Nutini, is a 19-year-old singer/songwriter who has been blessed with a soulful, passionate voice and the natural gift of being able to tell a story in a song. Nutini has absorbed the soul of the great American R&B singers and channeled it into something original, captivating, and dynamic."

Paolo's first Atlantic release, an EP entitled "LIVE SESSIONS," is an intimate introduction to this compelling new artist via performances captured at a series of small venues in London. Songs such as "Jenny Don't Be Hasty" and the anthemic "These Streets" reveal Nutini to be an artist who knows an awful lot about the vicissitudes of life and love, with a unique gift for expressing the attitudes and experiences of someone both of his age and well beyond it.

However looking at my survey I have discovered he is mainly an unheard talent so therefore with an interesting music video he would be able to raise his profile. This is why I will look into making a music video that is both visually interesting as well as the narrative being captivating. 

Atlantic Records 

Atlantic Records is an American record label best known for its many recordings of rhythm and blues, rock and roll, and jazz Over its first 20 years of operation. Atlantic earned a reputation as one of the most important American independent recording labels. So therefore I think that it is fitting with an artist like Paolo Nutini that he is with a record label that is independent label that can understand the artist and the genre that he sings. As Atlantic Records is mainly based around the blues and rock and roll they can therefore give him time and effort into making him well known.