1st person camera test 1

Below is a small test of the Qumox SJ4000 action Camera. I think that it is a little too far to the left, and captures my helmet, so I will be looking into a different way in which to mount the camera, possibly with a bicycle helmet. I will also test again in 1080p opposed to 720p shown here, as well as some road footage.

Shot Concepts and tests

Below is my Pinterest board explaining a few of the shot ideas and concepts for the music video

Follow Brandy's board Music Video Shot Concepts on Pinterest.

Equipment and Locations

The following equipment and locations may be used:

• Jerry March Funeral Directors' woodland space,
• (My Home) Horsford,
• Many roads through Buxton and Horsford, possibly the city,
• Possibly Splash Swimming pools (must seek permission and booking),

• QUMOX SJ4000 Camera (can provide),
• Hot tub (can provide),
• Tripod, helmet camera attachment, accessories for the SJ4000 (can provide),
• Hard drive (can provide),
• Ukulele/ guitar (can provide),
• Motorbikes (can provide),

Artist's Permission of song use

My artist confirms that I would not need to pay for the song, nor it's use or upload to YouTube, well as any other songs that she owns, provided that it is obviously non-profitable, which it is.

Music Video Practical Production Treatment

This plan is very brief, and outlines the plot should I wish to use a First Person style of filming, excluding camera shots, angles (obviously, due to it being 1st person), as well as in depth editing techniques that will be covered at a later date.

Music Video - Practical

I have decided to carry out this idea opposed to the previous idea presented with the prezi storyboard due to more possibilities with editing techniques and advanced continuity transitions and edits, as well as a personal touch to the narrative to experience it through the protagonist's eyes.

The editing, to be carried out after filming, will include green screening in scenes where a setting transition is to occur but the character's hands must stay in the same place for the move on scenery, as well as maybe with water transitions. The editing will mainly just be continuity edits using objects and actions coming close to the camera to allow for a colour to dominate the screentime for a quick change to a shot of similar colour, e.g towel covering face, changing to another room where he is ready and clothed in bike gear, towel comes away, viewer sees new shot and doesn't become disorientated by the continuity edit.

Music Video Analyses

I had a hard time deciding the actual genre of my chosen song, as it is a mix of acoustics, vocals, and electronic effects and sounds, though it was defined by my artist as glitchop and electronic. Therefore I decided that it was a mix of the indie and general electronic genres.

Lisa Mitchell's 'Neopolitan Dreams', as well as her style in general, is very similar to CloZee's Eyes in Eyes; it is very simple in it's structure, bears 'Green World' (otherworldy place, such as a dream or strange location opposed to the normal location based from the narratives internal logic) elements, and a dreamy, relaxed, casual tone/theme.

The video, in this case, is one continuous shot, completely focal on the artists, the frame having a blurred effect around the edge throughout, though very subtle. This effect already places us in a place to view this as somewhat strange or dreamy, and sets the tone for what is to shortly come. The video starts off with an opening shot of the sky, rotating slightly and then looking towards the artist in a slow pan, only changing it's head on view of her to highlight objects she reaches for or dismisses, such as the bird and shoe, to which is slowly moves back. The camera captures her journey using close-ups, though is primarily shot using a mid-shot.

The props are all very basic and somewhat 'unprofessional', from the butterflies on obvious strings (at 0:29) to the man's wig (at 2:11). These props convey a very playful, fun, non-serious and childlike theme. They are also brightly coloured and evidently out of place in the woodland setting, again enforcing that dreamy state, though her dress is a soft brown colour which is easy to look at amongst the natural woodland colour palette. The props, though oddly coloured, are also soft and easy to look at, an idea that is also present with the song itself; the sounds at the beginning and throughout (presumably xylophone) being quite high pitched and soft, along with her voice. "I can dream the rest away", mixed with the photograph at the end and her tale of some kind of pain illustrates the prominent theme of a narrative music video, though elements of a performance video is apparent as she picks up the guitar and lipsynchs. Furthermore, the props used, as well as the location, illustrate the idea that professionalism and perfection don't particularly matter, and the general scene and atmosphere is very welcoming, again revealing the ideas of dreaminess and comfort.

The lighting does not change, and is shown to be natural light by the shot at the beginning, though something about the lighting is unnatural, so another visual effect besides the blurred edges must have been placed onto the video during the editing phase. The camera flash at the beginning may have been generated using software, or at least augmented for a clean, non-glaring appearance, but there are no other apparent effects besides the ones mentioned, though a video of this genre and theme does not particularly need advanced or obvious editing, as one of it's key themes is in fact simplicity, though there is a blur effect towards the end of the video as the camera focuses on the photograph and the shot slowly fades out to black.

This video is an anti-performance piece (Gow, 1992), relying on a narrative theme, as well as themes of a conceptual piece. The reason I have chosen to analyse this music video is due to the style, not the music itself; I want to do a first person perspective video, as seen here in a more action orientated example. The lighting is basically the same the whole way through, obviously being brighter outdoors, and changing on the boat due to a location change. This consistency, as well as seemingly untampered light helps to maintain the intended natural filming theme of a First-person video, as well as the shakiness of the camera as he runs. It is also interesting to note that the song didn't start instantly, and that there was an initial introduction to the narrative to unfold and give some context to the story. I may replicate this idea with my video, possibly using the first 30 seconds or so for some context or tone-setting, as my song is quite long as it is, meaning that it takes more footage to complete the song, so some basic, calm shots to start with, or general shooting with credits, titles or names will take some of the song time for good use.

The location is very ordinary and has a lot of verisimilitude, everyone acting in a formal manner, digetic phone calls and rings, talking, and people wearing uniform. This sets the scene almost instantly, and we recognise it's normality due to the micro elements conveyed. The use of the sunset when he falls into the water also demonstrates the location, as it was daytime at the office and sunset here, subtly showing us where and why things are occurring.

Because of all of the running around, the cuts used (continuity) are subtle and unobvious, and there is no narrative pause or gap as he carries on the same action throughout these cuts, so we know what happens between them and that it is just a small skip in time, I may use this in my video.

"Doors" Video analysis

To create this video, we used a variety of new and old techniques within Adobe Premier Pro. To begin, the introduction, of which consisted of standard white text contained within a black box by inserting a blank clip into the timeline. We didn't use many effects, though we did speed up, as well as flip several clips so as to retain continuity. Our editing was entirely continuity, featuring many different shot angles, such as the button pressing to break up the clip and avoid the dull waiting time, whereby we lowered one leg of the tripod to give a high angle shot, to show the camera following the actions with me and give more realism.

I have learned a lot of techniques for movement, as well as continuity, namely the foot-scene and the doors closing. Not only did we flip the walking scene to ensure everything was moving in the same direction, but we slowed it down to adjust it with the general speed of the movement and progression;the feet moved to fast for the shot beforehand. The doors closing infront of the camera also retained continuity and set the next shot up, whereby we were shown the floors changing for the knowledge that there was movement occuring, setting up the very similar opening of a set of slide doors, imporantly shot from behind to show no reveal of the origin of my path, giving the required 'doors' illusion. Trimming the shots was also important, as in some places I had to wait for a long time to change locations which was dull and unnecessary, so we used the trimming and razor tool to adjust the clip durations, as well as split them up for other clips to be inserted for continuity. This was present between the first shot from behind up until the waiting for the elevator, which was 3 clips inserted for interest and continuity.

Music Video Proposal

Music Video Proposal

(My music video proposal may obviously change as filming goes on, as new ideas, as well as drawbacks, will very likely occur).

(Also, to add to the list of resources, Refer to my equipment list. The only props that will be used are those of which are found around the house in a normal day, such as cups, plates, phones, brushes etc.)

StoryBoard

This is the storyboard and summary of what the main idea for my plot is so far.

(Due to a new idea featuring a different perspective and camera, I have decided that this rough plan shall be my backup plan).

Possible song research

After a lot of different track ideas and sample from www.jamendo.com, I decided on a track with vocals and electronic elements. The vocals allow for relevance to the music with better ease for narrative purposes, and the instrumental electronic parts allow for interesting editing and further engagement with the music and video as a whole, as well as also providing more variety in storyline. Eyes in eyes (feat.LF) by CloZee seemed to be a perfect choice due to it's structure. slowing, looping and jumping edits can be used due to some of the effects, as well as changes in location due to the music shifting dramatically at times. 

Another idea was Hazardous, (by hazardous) as it contained strong beats and sounds with lots of potential for a 'silent narrative', though the lack of vocals makes it slightly harder to use. Shine bright, by 'the way I am' is also another choice, as it is completely free to use, and has a strong narrative inbued within the lyrics and music, of which plays along the storyline. 

Clozee's song seems like something that I may need a license for, therefore I may steer away from it unless I get a response soon for my request of it's use. Sometime, by Renato Cabrera is also a nice song for the purposes of my video, having none if the issues that CloZee's songs may have, however it is approximately 6 minutes long and has a lot of repetition and a basic structure which lacks engagement and is not the kind of song to have a video that fits it well due to the looping of certain segments. Furthermore, some parts are quite obviously looped, which does ruin some of the professionalism of it and makes it less of a realistic option.

(Update) CloZee confirmed that i can use her songs for my music magazine, and so her song may be a more likely choice once again, as it contained the most viable and reliable elements for a music video.


I have also made advances and concepts on the type of editing I will include, as shown several times above. This is a basic animation of loops and simple movement, therefore the finished product will be a lot smoother, more detailed, and have a better, as well as more relevant image in the background. 

(The lady in the picture was taken from Google images, and will only be used for research and planning purposes). 

Music Video Definition

A music video is essentially the pairing of visuals alongside a soundtrack or song. The lyrics and music itself often combine for an aesthetically pleasing, as well as equally engaging tone, as well as sometimes to inspire emotion, such as with a sad narrative alongside a sad themed track, or where actions in the video act with the beat, drop or climax with a song to make the viewer experience a greater love for the song, giving them "goosebumps" if the narrative and song synchronise or inspire new context.

Music videos are divisible into three different main sections: Narrative, whereby the video tells a story; Performance, where the band is captured performing the song and lipsinking, conventionally with focus on the vocalist; And finally Conceptual, where the lyrics and song have little impact on the visuals, sometimes not at all, with the effects and images just being there as something to watch.

Music videos are to initially promote a song, which is why most extremely popular songs will have a video; to have a very popular song without a video leaves it at a disadvantage, as it would be harder to advertise itself, as well as allow playing on different media forms, such as music channels like 'Scuzz'.

Artwork Research

In my artwork, I maintain a similar style to Jonathan Desbiens, in a sense, and so I may be able to incorporate my style into the music video I produce if incorporating my earlier idea of visual effects in places of enhanced  activity within the music. 

The vivid, simplistic, colourful themes present can be used in the same way, and so will provide as a good anchor when considering what theme or style I could incorporate into the editing. This image below, drawn by me, details the general feel for the effects I want to capture, mainly the upper left side of the image. Though not identical to Zedd's video, the style is similar in it's simplicity, and could be used in the same way if I were to incorporate Adobe Flash and after effects, possibly using masking within flash as a separate animation to the video and then dropping it in the timeline at the right points.

With research, I may be able to construct a very similar style  to the Director's, or at least grasp an idea of what works with the genre, and design a background suitable.

Music Videos Research, Jonathan Desbiens

Initially I though of an emotional song, maybe featuring a narrative based video with emotive lyrics and associated instruments, such as violin or Piano. While this is still an option, much more upbeat songs appear to open more opportunities for editing, such as effects, quick camera shots and possibly more interest.

Jonathan Desbiens, or Jodeb, is a Canadian director from Shawinigan-Sud, Quebec, who directs music videos primarily of the electronic genre (and related/sub genres, such as dubstep), and focuses on CGI elements and techniques, such as polygon models falling apart in Rusko's "Roll it, Light it", frequently using 2D and 3D editing. It is also apparent that he enjoys mixing all three types of music video at times (Narrative, Performance and Conceptual).

This video, for example, has a lot of vivid colours and animations, as well as time slowing down within the narrative for more intense beats or sounds, all combining to a very powerful effect on the viewer. I believe that this style of relatively simple animation can be managed, if not simplified with slowed-down-quickly editing towards a freeze frame for the split second of animation upon an important beat of the song kicks in, such as a drop or iconic section/sound. 

The Director, Jonathan Desbiens, has worked with this artist in another video, "Clarity". In this video there was a much more conceptual feel, opposed to the although conceptual, more of a narrative/ performance video of "Find you". The effects and animation for Clarity is much more random and vivid, occasionally showing characters in a story involving some kind of crash, but mainly focusing on splashing effects, coloured splatters, light bulbs smashing, and generally colourful, powerful and expressive images to follow the music. 

I like the videos due to the emotion and power captured through strong synchronized beats paired with intense visuals such as the explosions of what appears to be snow and varying colours, as well as time slowing with the beats. My music video will potentially feature similar effects and editing, though I may leave out the concept of a performance music video.



The videos featuring Zedd include a lot of colourful and vibrant effects and images due to the songs intense, vivid nature. the artists themselves are wearing clothing depending ont he situation; Zedd himself is usually wearing everyday clothes he wears as he is just placed in to give reference to him as a performance element to the song, whereas the vocalist is often seen wearing an outfit, as they are more prominent and so relevant to the song and it's narrative, such as with the desert and cave where she is seen wearing a radiant white, the lyrics focused on "clarity" and the two protagonists on a quest for eachother. But this video being focally conceptual, the artists are not particularly focused upon and so their clothing and composition is not very applicable here. 'Find you', however, has a larger focus on narrative opposed to concept, and so can be discussed more in it's mise en scene and composition. The general tone is quite fast paced, and so the music and effects synchronise with the story as well as eachother, but the background and atmosphere reflect a snowy, natural theme, and so the effects and lighting are prominently blue and green, the first location being quite white, sleek and reflective.

This is another link to another video Jonathan directed.

http://www.jodeb.ca/#/cypress/

It is quite evident that Jonathan's work and mind alike revolve focally around CGI, as well as performance (which is quite common due to publicity and selling the song as best as possible while promoting the artist), often jumping to shots and scene where there is no actual relevance to the song as such, and is mainly just conceptual for visual enjoyment. But to achieve these powerful images he only seems to dedicate himself to the electronic genre, as this music synchronises with his editing well and fits the style.

This link shows the process which was carried out to get the cgi into the video, however due to not having the same resources I will have to think of a more simplified and laboured version.

http://www.billboard.com/articles/columns/code/5930328/zedd-matthew-koma-and-miriam-bryant-rock-out-with-cgi-in-find-you

(These videos and link were used for the purpose of reference and analysis and will not be used for anything other than this).



(Stone Sour's "Through Glass" Music Video is also extremely unique, showing a story, as well as performance of how people, namely stars, are fake and lie, being shown quite literally when the camera turns around people at a party, and as this is done, they become cardboard cutouts followed by a man to carry them off set (this video was directed by Tony Petrossian). This style of editing is more 'interactive' than Jonathan Desbiens' work, and seems too much of a challenge for what I am aiming for; Desbiens' work revolves around layered animations and effects, as well as solo-shot 3D images, and can be created without too much tampering with the composition of a shot the was "Through Glass" was made; There were direct physical influences and pauses to create the effects generated, whereas "Clarity" could have been created with simpler 2D layered drawing and green screens directly on top of a finished video clip).

Transition Music Video

With this video, we learned that planning, preparation and excess footage of a variety of shots is essential to the development of a good music video; to have little footage can bring trouble in the likely event that some footage cannot be used due to ill lighting, camera movements and shakiness, as well as just poor composition or capture.

It is also apparent from our video that not only planning the sequence of events, but having a lot of time to film them is key, as we were short on time on the day of filming. We should have also taken into account the surroundings, as it was hard to lip-sink with bystanders and spectators, as well as hear the music without causing a lot of noise, though the lighting was good for the editing; we didn't need to colour correct any scenes.

For the editing, we decided to follow the existing Ed Sheeran's "Sing" music video conventions, with basic switching between faces and activity, as well as a mixture of close ups, mid shots and long shots for the applicable actions at each point in the song to the best fit.

The editing could have been much better if we had more reliable and usable footage; we had to reuse some as well as place some clips in that were worse or just completely unlike what we wanted due to lack of footage to fill the song.

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