Here is an example of the props we plan to use in our music video. These are not identical representations of what we will be using, but do offer an idea of what we will try and base our final props on.
This document discusses how the media product uses and develops conventions of real music videos. It includes shots that relate to the song lyrics, such as shots of money and a shaking hand that depict the contrast between rich and poor lifestyles. Conventions used include the artist lip syncing to match the visuals to the lyrics, using consistent outfits and makeup to create star iconography, and styling the video similarly to Ed Sheeran's "The A-Team" video. However, it does not include voyeurism or lyrics overlaying the visuals as those conventions were deemed unnecessary or unattractive for this video.
How have you used, developed or challenged forms and conventions of real life...Denzie Nkemnacho
1. The document analyzes how the music video for the song "London" uses and challenges conventions of real-life music video products based on Goodwin's five components of a music video.
2. These components include lyrics and visuals having a link, voyeurism, star image, being intertextual, and maintaining genre identity.
3. For the "London" music video, conventions like amplification of lyrics and short narrative were used, while others like heavy sexualization and solely featuring the artist were challenged.
The document discusses how the creator's music video is more "real" compared to typical high-budget music videos. It uses real actors who are not professionally attractive, costumes that are from everyday life rather than extravagant outfits, and locations that are simple and realistic rather than exotic. While poor video quality resulted from lack of budget and equipment, other real aspects like situations and characters help audiences relate more. The realness complements the simple, unedited style of the track.
The document discusses plans for a music video for the song "Weathered" by Jack Garret. It will tell a narrative story through home video-style montages of a boy transitioning to a man. Two key locations are the bowling alley and river, where scenes will show mirrors between childhood and present day. The video will use a pop art filter and detach the artist to simplify the song's meaning and make the characters more relatable. The main target audience is young females to depict young love, but it also addresses the transition to manhood that boys may relate to.
The document discusses video techniques used in 6 different music videos that could be applied to the group's own music video. These include: 1) Using a split screen to represent lyrics in Taylor Swift's "We Are Never Getting Back Together"; 2) Telling a story backwards like Beyonce's "Me Myself and I"; 3) Using a single continuous shot with simple backgrounds like Kanye West's "Mercy"; 4) Incorporating natural scenery to fit the lyrics and atmosphere like Ben Howard's "Keep Your Head Up"; 5) Including various scenes and a narrative like Coldplay and Rihanna's "Princess of China"; and 6) Adding effects like black and white and slow motion to everyday
This document summarizes how the media product uses and develops conventions of real music videos through its various elements. It discusses using a bath scene like Rihanna's to make it feel natural. Costume changes in each scene and props like a sceptre keep it interesting for viewers like target audiences who enjoy fashion. Camera angles like close-ups and birds-eye views are used to focus on the artist's lip syncing and move the fast pace similar to videos by Lady Gaga, Katy Perry, and Beyonce. The artist's dancing performance engages viewers like fans of Ke$ha. Dark lighting and fast-paced cuts on beat in editing develop conventions used in other music videos.
This document summarizes how the media product, a music video, uses and develops conventions of real music videos. It provides 10 screenshots from the video with explanations of how they demonstrate techniques inspired by other music videos. These include using visuals to sync with lyrics, portraying the artist in an indie style, using nature themes, intertextual references to water, varied camera shots, lighting techniques like lens flares, mise-en-scene with natural elements, and props or themes inspired by other videos like sparklers and a theme of forbidden love.
The document discusses how the media product challenges and develops conventions of similar real media. It summarizes how the product uses flashbacks, shots, soundtrack, and other elements in both conventional and unconventional ways compared to films like (500) Days of Summer, Juno, Bonnie & Clyde, and others. While drawing inspiration from these films, the product aims to appeal specifically to teenagers by adapting conventions for a 21st century audience and adding unique artistic elements.
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
The document discusses how the media product challenges conventions of the grime/R&B genre in its narrative structure and use of motifs. Specifically, it has a fragmented narrative broken up by a motif of the color red and ends unhappily rather than with the typical "boy meets girl" happy ending. This challenges the genre's usual narrative conventions while still using stylistic elements like urban clothing, close-up shots, and London locations. Intertextual links between the music video and other promotional materials are created through the shared motif of red.
The document discusses how a student media group's music video project for a grime/R&B song develops and challenges conventions of the genre. It develops conventions through close-up shots of the artist, use of London locations, and themes of "rags to riches" depicted through clothing. It challenges conventions by having a narrative that ends unhappily rather than the typical "boy meets girl" happy ending. This twist was meant to make the story more creative and relatable.
The music video will amplify and illustrate the song's metaphor of fire representing the destruction of a relationship by featuring troubled people running away from their problems as fire takes over. It will challenge the song's focus on a broken relationship by not directly depicting one. The video aims to be iconic and creative through many unique shots of fire from different angles, including an extreme close-up of an eye with fire, and time-lapse shots at different times of day.
The document discusses choosing costumes for characters in a music video. For the main character, they wanted something embodying rebellion and youth, so they pulled different outfit options and styled them. For less prominent characters, they created a mood board to depict the desired look. Several potential outfits were tried on the main character, ranging from a dungaree dress to showcase a "free spirit," to a denim skirt and vest representing a generic look. Ultimately, they decided on an outfit with a dress underneath an oversized jumper and fishnet tights to portray both a rebellious and feminine side through the video's scenes.
Emil Nava started his career working as a runner for film production companies like Blink Productions in London. He then worked freelance for OB Management, an artist management company. While there, he also worked with the production company Pulse. Nava gained fame for directing Jessie J's "Price Tag" music video, which had a much higher budget than his previous work. He went on to direct videos for many big artists. Now, Nava directs both music videos and advertisements, though he has less creative freedom with advertisements since the client's vision is predetermined.
This document summarizes shots from a student's music video that demonstrate how it uses and develops conventions of real music videos. It discusses shots that: 1) link lyrics and visuals, 2) represent the artist in an "indie" way rather than how a record company would, 3) illustrate the indie music genre through nature themes, 4) include intertextual references to other media texts, 5) use camera techniques like movement and angles, 6) employ lighting techniques both day and night, 7) feature a natural environment in the mise-en-scene, 8) draw from other music videos in depicting relationships, and 9) were influenced by techniques from other indie music videos that depict outdoor parties.
1) The document discusses how the media product draws from and challenges conventions of real music videos and albums. It analyzes current music videos and digipaks to understand successful elements.
2) The created music video follows theories by Goodwin on what makes a successful video, such as linking visuals to lyrics. Inspiration also came from the TV show "Skins" and music video by Alessia Cara.
3) Elements like voyeurism, intertextuality, and notions of looking were included to engage audiences and reference other works, following conventions of the genre. Costumes and aesthetics aimed to appeal to both male and female viewers.
Jamie Thraves is a British film director and music video producer known for his innovative work with artists like Coldplay, Blur, and Sam Smith. He began his career producing award-winning music videos while in university, which helped him secure a position at a production company. Some of Thraves' early music videos had low budgets but innovative styles, like the Radiohead video for "Just" which featured quick cuts and close-ups of the singer. His more elaborate videos for Coldplay and others demonstrated his directing skills and led to opportunities in feature film directing, including 2000's "The Low Down" and 2009's "The Cry of the Owl." Thraves advises using lyrics metaphorically and emotionally
Music video analysis - Katy Perry (Wide Awake) Hollieearly1
This music video belongs to the pop genre. It features Katy Perry performing and tells a symbolic story through its use of bright colors and references to fairy tales like Alice in Wonderland and Snow White. The target audience is young teenage girls ages 10 to mid 20s, and it connects with them by showing Katy Perry directly addressing the camera.
The document discusses planning for a filming day in London using social media. Screenshots show conversations on WhatsApp discussing outfit ideas and props for filming. Hayley sent a picture of an outfit she wanted to wear to get opinions. Emma's suitcase is shown containing shoes, clothes, makeup and lyrics needed for filming all day in London. A spotlight is mentioned as a potential lighting prop, but it was not needed for daytime filming.
This document discusses how the media product challenges conventions of pop music genres. It uses a continuous storyline and voyeuristic shots inspired by Britney Spears' "Baby One More Time" music video. The digipac design with consistent backgrounds fits more with R&B than pop. Split screens and mirroring images in the music video also challenge pop conventions. T-shirt designs refer to lyrics in the debut song and graffiti backgrounds in videos and products make the artist recognizable.
Evaluation Question 1 - In what ways does your media product use, develop or ...Jack Topping
This document summarizes how the media producer's products used and developed conventions of real media forms within the indie genre. Through research of music videos, albums, and websites, conventions were identified around editing style, narrative/performance integration, band styling, album covers, and title themes. The music video incorporated conventions like shot length and cuts. It developed conventions by basing the narrative on song lyrics rather than just performance. Band styling and positioning drew from indie influences. The album cover and title developed conventions of mystery and rebellion themes common to indie artists. Overall, the products aimed to appear professional by strategically using and developing conventions of real indie media forms.
This document provides a shot-by-shot analysis of the music video for Katy Perry's song "Wide Awake". It notes that the opening wide shot establishes voyeurism and references pink clouds from another Perry video. Mid and close-up shots continue this theme while highlighting Perry's pink wig and the prominent use of the color pink. Various shots are analyzed for their lighting, camera angles, and symbolic references to the fairy tale Snow White, with Perry representing different characters. Bright colors in later shots connect to other Perry music videos. The closing shot links to the pop music genre and song being played. Intertextual references to 6 other Perry videos position this as an ending video.
This document discusses shots from a music video that were inspired by other artists' videos. It provides 8 examples of shots that demonstrate different elements of filmmaking:
1) A shot showing the link between the lyrics and visuals of someone walking in the video to match the song's lyrics.
2) A shot representing the artist in a style typical of their folk/country genre.
3) A shot illustrating the music genre by showing the artist playing guitar, as seen in many folk artist videos.
4) A shot maintaining the artist's star image throughout, conforming to ideas of consistent star imagery.
The document discusses various conventions used in music videos and how the media product utilizes and develops some of these conventions:
- It uses conventions like main character roles of the boy trying to get the girl and close-up camera shots.
- It develops conventions like showing text message pop-ups to provide narrative context and using the artist in the video narrative.
- A linear narrative is used to tell the love story from start to finish, mirroring how many other music videos use a standard linear structure.
Music videos use various camera techniques, lighting, location, costumes, and props to engage viewers and represent the themes and narratives of the songs. Common elements include close-up and long shots using camera movements like tilts and pans. Mise-en-scene includes strategic use of clothing, makeup, lighting, and locations. Videos also employ jump cuts and incorporate props that relate to the song lyrics to fit the narrative within the time of the music.
The document discusses genre conventions in music videos and how the presented video adheres to or challenges certain conventions. Specifically, it discusses how the video reinforces viewers' ideas and values through its indie style and relatable lead singer. It also creates expectations by including a story and close-ups. While maintaining typical elements like realistic shots and use of a car, it challenges conventions through stills and color filters. The narrative follows a couple's argument and reconciliation, incorporating flashbacks. Representations are realistic and non-objectifying to fit the genre.
This document discusses an Emeli Sandé music video for the song "My Kind of Love". It identifies the directing company, Sonny London, and their typical visual style of using natural, rustic colors. It analyzes key selling points of the video like its realistic concept of a cancer patient living out her life. It examines how the video establishes the song's genre as R&B/soul through slow shots and depictions of relationships, and its mood of sadness through the cancer storyline. The video is seen as accurately representing Sandé's album of everyday easy-listening songs. Elements like flashbacks are praised, while the slow pace is criticized. The target audience is identified as those who live by the sea or have been
The group decided to produce a music video for Taylor Swift's song "White Horse" using a narrative and performance structure. They chose simple locations like a college canteen and living room to film the narrative parts which will show the main character as the artist who gets cheated on by her boyfriend. For the performance sections, they will use the college's "Black Room". Costumes will be simple except for the artist wearing a prom dress. The video will use various camera angles and match lip movements to the song. They received audience feedback which helped decide their final video idea.
The document discusses the conventions used and broken in the production of an alternative hip hop music video. Conventions followed include urban settings like a pub and Chinese takeaway, and editing cuts that match the rhythm of the music. Conventions broken include using a teddy bear to show emotion and locations like a park and living room that are not typically urban. Location, sound, editing, mise-en-scene, the single cover, and poster are also discussed in terms of how they do or do not follow genre conventions.
The document discusses how the media product challenges and develops conventions of similar real media. It summarizes how the product uses flashbacks, shots, soundtrack, and other elements in both conventional and unconventional ways compared to films like (500) Days of Summer, Juno, Bonnie & Clyde, and others. While drawing inspiration from these films, the product aims to appeal specifically to teenagers by adapting conventions for a 21st century audience and adding unique artistic elements.
This document summarizes how a media product uses and challenges conventions of real music videos and genres. It analyzes how the created music video, magazine advertisement, and digital album packaging incorporate elements of grime music video conventions identified by Andrew Goodwin, such as developing an iconic motif through a hat worn by the artist. Some conventions are reinforced, such as linking lyrics to visuals and amplifying the music. Others are subverted, like sexualizing the male artist rather than females and contradicting optimistic lyrics with unlucky visuals. Real grime music videos are referenced for comparison. The marketing materials also incorporate conventions of their formats through consistent branding, imagery and information.
The document discusses how the media product challenges conventions of the grime/R&B genre in its narrative structure and use of motifs. Specifically, it has a fragmented narrative broken up by a motif of the color red and ends unhappily rather than with the typical "boy meets girl" happy ending. This challenges the genre's usual narrative conventions while still using stylistic elements like urban clothing, close-up shots, and London locations. Intertextual links between the music video and other promotional materials are created through the shared motif of red.
The document discusses how a student media group's music video project for a grime/R&B song develops and challenges conventions of the genre. It develops conventions through close-up shots of the artist, use of London locations, and themes of "rags to riches" depicted through clothing. It challenges conventions by having a narrative that ends unhappily rather than the typical "boy meets girl" happy ending. This twist was meant to make the story more creative and relatable.
The music video will amplify and illustrate the song's metaphor of fire representing the destruction of a relationship by featuring troubled people running away from their problems as fire takes over. It will challenge the song's focus on a broken relationship by not directly depicting one. The video aims to be iconic and creative through many unique shots of fire from different angles, including an extreme close-up of an eye with fire, and time-lapse shots at different times of day.
The document discusses choosing costumes for characters in a music video. For the main character, they wanted something embodying rebellion and youth, so they pulled different outfit options and styled them. For less prominent characters, they created a mood board to depict the desired look. Several potential outfits were tried on the main character, ranging from a dungaree dress to showcase a "free spirit," to a denim skirt and vest representing a generic look. Ultimately, they decided on an outfit with a dress underneath an oversized jumper and fishnet tights to portray both a rebellious and feminine side through the video's scenes.
Emil Nava started his career working as a runner for film production companies like Blink Productions in London. He then worked freelance for OB Management, an artist management company. While there, he also worked with the production company Pulse. Nava gained fame for directing Jessie J's "Price Tag" music video, which had a much higher budget than his previous work. He went on to direct videos for many big artists. Now, Nava directs both music videos and advertisements, though he has less creative freedom with advertisements since the client's vision is predetermined.
This document summarizes shots from a student's music video that demonstrate how it uses and develops conventions of real music videos. It discusses shots that: 1) link lyrics and visuals, 2) represent the artist in an "indie" way rather than how a record company would, 3) illustrate the indie music genre through nature themes, 4) include intertextual references to other media texts, 5) use camera techniques like movement and angles, 6) employ lighting techniques both day and night, 7) feature a natural environment in the mise-en-scene, 8) draw from other music videos in depicting relationships, and 9) were influenced by techniques from other indie music videos that depict outdoor parties.
1) The document discusses how the media product draws from and challenges conventions of real music videos and albums. It analyzes current music videos and digipaks to understand successful elements.
2) The created music video follows theories by Goodwin on what makes a successful video, such as linking visuals to lyrics. Inspiration also came from the TV show "Skins" and music video by Alessia Cara.
3) Elements like voyeurism, intertextuality, and notions of looking were included to engage audiences and reference other works, following conventions of the genre. Costumes and aesthetics aimed to appeal to both male and female viewers.
Jamie Thraves is a British film director and music video producer known for his innovative work with artists like Coldplay, Blur, and Sam Smith. He began his career producing award-winning music videos while in university, which helped him secure a position at a production company. Some of Thraves' early music videos had low budgets but innovative styles, like the Radiohead video for "Just" which featured quick cuts and close-ups of the singer. His more elaborate videos for Coldplay and others demonstrated his directing skills and led to opportunities in feature film directing, including 2000's "The Low Down" and 2009's "The Cry of the Owl." Thraves advises using lyrics metaphorically and emotionally
Music video analysis - Katy Perry (Wide Awake) Hollieearly1
This music video belongs to the pop genre. It features Katy Perry performing and tells a symbolic story through its use of bright colors and references to fairy tales like Alice in Wonderland and Snow White. The target audience is young teenage girls ages 10 to mid 20s, and it connects with them by showing Katy Perry directly addressing the camera.
The document discusses planning for a filming day in London using social media. Screenshots show conversations on WhatsApp discussing outfit ideas and props for filming. Hayley sent a picture of an outfit she wanted to wear to get opinions. Emma's suitcase is shown containing shoes, clothes, makeup and lyrics needed for filming all day in London. A spotlight is mentioned as a potential lighting prop, but it was not needed for daytime filming.
This document discusses how the media product challenges conventions of pop music genres. It uses a continuous storyline and voyeuristic shots inspired by Britney Spears' "Baby One More Time" music video. The digipac design with consistent backgrounds fits more with R&B than pop. Split screens and mirroring images in the music video also challenge pop conventions. T-shirt designs refer to lyrics in the debut song and graffiti backgrounds in videos and products make the artist recognizable.
Evaluation Question 1 - In what ways does your media product use, develop or ...Jack Topping
This document summarizes how the media producer's products used and developed conventions of real media forms within the indie genre. Through research of music videos, albums, and websites, conventions were identified around editing style, narrative/performance integration, band styling, album covers, and title themes. The music video incorporated conventions like shot length and cuts. It developed conventions by basing the narrative on song lyrics rather than just performance. Band styling and positioning drew from indie influences. The album cover and title developed conventions of mystery and rebellion themes common to indie artists. Overall, the products aimed to appear professional by strategically using and developing conventions of real indie media forms.
This document provides a shot-by-shot analysis of the music video for Katy Perry's song "Wide Awake". It notes that the opening wide shot establishes voyeurism and references pink clouds from another Perry video. Mid and close-up shots continue this theme while highlighting Perry's pink wig and the prominent use of the color pink. Various shots are analyzed for their lighting, camera angles, and symbolic references to the fairy tale Snow White, with Perry representing different characters. Bright colors in later shots connect to other Perry music videos. The closing shot links to the pop music genre and song being played. Intertextual references to 6 other Perry videos position this as an ending video.
This document discusses shots from a music video that were inspired by other artists' videos. It provides 8 examples of shots that demonstrate different elements of filmmaking:
1) A shot showing the link between the lyrics and visuals of someone walking in the video to match the song's lyrics.
2) A shot representing the artist in a style typical of their folk/country genre.
3) A shot illustrating the music genre by showing the artist playing guitar, as seen in many folk artist videos.
4) A shot maintaining the artist's star image throughout, conforming to ideas of consistent star imagery.
The document discusses various conventions used in music videos and how the media product utilizes and develops some of these conventions:
- It uses conventions like main character roles of the boy trying to get the girl and close-up camera shots.
- It develops conventions like showing text message pop-ups to provide narrative context and using the artist in the video narrative.
- A linear narrative is used to tell the love story from start to finish, mirroring how many other music videos use a standard linear structure.
Music videos use various camera techniques, lighting, location, costumes, and props to engage viewers and represent the themes and narratives of the songs. Common elements include close-up and long shots using camera movements like tilts and pans. Mise-en-scene includes strategic use of clothing, makeup, lighting, and locations. Videos also employ jump cuts and incorporate props that relate to the song lyrics to fit the narrative within the time of the music.
The document discusses genre conventions in music videos and how the presented video adheres to or challenges certain conventions. Specifically, it discusses how the video reinforces viewers' ideas and values through its indie style and relatable lead singer. It also creates expectations by including a story and close-ups. While maintaining typical elements like realistic shots and use of a car, it challenges conventions through stills and color filters. The narrative follows a couple's argument and reconciliation, incorporating flashbacks. Representations are realistic and non-objectifying to fit the genre.
This document discusses an Emeli Sandé music video for the song "My Kind of Love". It identifies the directing company, Sonny London, and their typical visual style of using natural, rustic colors. It analyzes key selling points of the video like its realistic concept of a cancer patient living out her life. It examines how the video establishes the song's genre as R&B/soul through slow shots and depictions of relationships, and its mood of sadness through the cancer storyline. The video is seen as accurately representing Sandé's album of everyday easy-listening songs. Elements like flashbacks are praised, while the slow pace is criticized. The target audience is identified as those who live by the sea or have been
The group decided to produce a music video for Taylor Swift's song "White Horse" using a narrative and performance structure. They chose simple locations like a college canteen and living room to film the narrative parts which will show the main character as the artist who gets cheated on by her boyfriend. For the performance sections, they will use the college's "Black Room". Costumes will be simple except for the artist wearing a prom dress. The video will use various camera angles and match lip movements to the song. They received audience feedback which helped decide their final video idea.
The document discusses the conventions used and broken in the production of an alternative hip hop music video. Conventions followed include urban settings like a pub and Chinese takeaway, and editing cuts that match the rhythm of the music. Conventions broken include using a teddy bear to show emotion and locations like a park and living room that are not typically urban. Location, sound, editing, mise-en-scene, the single cover, and poster are also discussed in terms of how they do or do not follow genre conventions.
The document discusses the conventions used and broken in the production of an alternative hip hop music video. Conventions followed include urban settings like a pub and Chinese takeaway, and editing cuts that match the rhythm of the music. Conventions broken include using a teddy bear to show emotion and locations like a park and living room that are not typically urban. Location, sound, editing, mise-en-scene, the single cover, and poster are also discussed in terms of how they do or do not follow genre conventions.
The document discusses plans for camera angles, editing, lighting, color, and mise-en-scene for a music video of M.I.A.'s "Paper Planes". It will use close-ups of the actress and props, panoramic shots to show the urban setting, and point-of-view shots to involve the audience. Parts will be filmed in black and white for grittiness and parts in color with bright colors and graffiti to portray a positive outlook. Time lapse, on-beat editing, and natural lighting with filters will be used, and the video will include money, graffiti, urban clothing, and skate culture to represent the working class environment and lifestyle portrayed in the song
Q1: In what ways does your media product use, develop or challenge forms and ...kirandhillon18
The document discusses the conventions used in the group's media products, including their music video, digipak, and digipak music advert. It begins by outlining their research into existing digipak conventions. It then discusses the costumes, locations, story, and inspiration taken from other music videos. Screenshots from their music video are provided. The document focuses on developing rather than challenging conventions by maintaining a consistent style across products and using some unconventional shots.
This document summarizes how the media product challenges conventions of the pop genre in several ways. It uses a slower pace and more narrative lyrics compared to typical pop songs. Black and white filming and somber lighting are used to represent the characters' struggles, challenging upbeat representations. Inspiration is drawn from older music videos but adapted, such as using a small stage performance instead of a large crowd. Close-ups are included but editing uses longer shots instead of quick cuts.
1) The document establishes the mise-en-scene elements (costume, lighting, actors, makeup, props, setting) for an indie music video through the CLAMPS framework.
2) Costume will be everyday, dark colored clothes to relate to the sad theme of the song. Lighting will be low-key to focus on the fire with some natural light for certain scenes. Actors will portray frustration and sadness through subtle body language. Makeup and props will be natural and subtle to relate to audiences. Key props include a burning birthday card and gasoline can matching song lyrics. Outdoor and indoor settings will be ordinary locations.
3) The mise-en-scene aims to tell a story
Conventions are specific aspects of a genre that ensure a work fits within that genre and is understood by audiences. Music video conventions include the narrative style, performance style, animation, and mixtures of these. Common camera techniques are close-ups, two-shots, and point-of-view shots. Mise-en-scene elements like costumes, lighting, colors, and props also have conventions. Editing commonly uses fast cuts or slow motion. Music videos often portray an extravagant lifestyle and gender representations. The document discusses following these conventions while also potentially subverting expectations in the author's own music video project.
The document summarizes conventions used in a music video and accompanying digipak for an indie pop genre project. For the music video, conventions like narrative, setting, close-up shots, props, and lighting were used to tell a relatable story of a long-distance relationship. Performance elements and a black and white filter were not used to avoid being too complex or standing out from the footage. For the digipak, clear visual connections to the music video through props and aesthetics that fit the happy memory theme were prioritized over cartoony or band photos that did not link to the project. Maintaining the band's unique font logo was also important for identity.
This document outlines a pitch for a music video for the song "Ladykiller" by The Saturdays. It will tell a narrative story through an introduction and scenes filmed at various locations. It will feature two girls lip syncing the song and two boys chasing them. Shots will include a formal dinner party, lip syncing in front of a plain wall, and scenes of running outside. The video aims to be energetic and fun while connecting the visuals and lyrics to sell the artist. It will use different filming and editing techniques like split screens and speed adjustments.
The document discusses the music promotional package created by the student. It begins by outlining how the student researched existing music video conventions before creating their own performance-based music video. The student then provides screenshots from their music video and analyzes how each element—including locations, costumes, camera work and editing—follows typical conventions of the genre. The student also designed a digipak and poster that maintain consistency with the visual style and theme of the music video to create synergy across the promotional products. Overall, the student aimed to develop a package that aligns with common conventions of the genre to effectively promote their music.
Here is an example of the type of costumes we would like to use in our music video for Nikki J's The Way You Do. These are not photo representative but give an idea of the sort of thing we are planning to use.
This document discusses the plans for a music video mise-en-scene. It will feature a teenage girl as the main actor to portray the pressures of relationships. Costumes will include a big fur coat for the main actor and casual clothes for other actors. Locations will be urban settings and nightlife areas in London. Props will include bottles of alcohol, a clutch bag, and phones. Lighting will be dark and misty to reflect the nightlife, using spotlights on the main actor when singing alone.
This document summarizes how the media product challenges conventions of the pop genre in several ways. It uses a slower pace and longer shots to fit the somber tone of the song, whereas pop videos typically have quick cuts and pacing. It also uses black and white cinematography in the beginning to convey darker moods, rather than the bright colors typical of pop. The lyrics also discuss struggles with addiction rather than typical pop themes of love and relationships. Overall, the media product draws from conventions like close-ups but adapts them to tell a more narrative-based story confronting issues rather than focusing solely on upbeat themes.
This document discusses how the media product challenges and develops conventions of real music videos. It provides examples from shots in the video:
1) The cover uses black and white to set expectations and follow music video conventions.
2) An introductory shot of a mysterious masked figure adds suspense and follows the conventions of the house music genre.
3) Using a storyline with the mask challenges conventions by adding a narrative not seen in all music videos.
4) An abstract sign was included to make the video more memorable and challenge common music video conventions.
This document provides details on the mise en scene and production design for four different locations to be used in filming a music video. Each location is described in terms of props, costumes, lighting, colors, and makeup used to portray the intended mood and match the narrative. The first location represents an urban setting and will feature casual costumes and low natural lighting. The second focuses on a female protagonist depicted through stereotypical ballet attire, bright lighting, and obvious makeup. The third location is where the two main characters meet amid a mix of natural and artificial lighting. The fourth returns to the first location's costumes and uses natural lighting to portray bleakness and communicate the song's message and genre.
Thinking of you – katie perry A2 music video analysishollylaverick
The video provides a narrative story that aligns with the song's lyrics. It depicts a woman grieving the loss of her lover who went off to war. There are flashbacks showing her happiness with him before, contrasted with her sadness after his death. The video uses many close-ups of the artist to connect emotionally with the audience and tell the story. It references other romantic films and stories to appeal to its target teenage female demographic. Overall it uses a narrative format accompanied by the artist's own performances of the song to market the artist and her music.
The document discusses camera angles, coloring, editing, lighting, and mise-en-scene plans for a music video of M.I.A.'s "Paper Planes". Close-up, panoramic, and long shots will be used to focus on the artist and showcase the urban setting. Black and white will portray gritty aspects, while color will depict graffiti and modernization positively. Time lapses, on-beat editing, and natural lighting with filters are planned. Money, graffiti, and urban clothing will establish the working class character, and skate culture will be featured to represent teenage life.
The document outlines a film concept for a romantic comedy called "The Story of Us" by Jessie & Molly. The opening scene will feature a female character, Katy, finding a scrapbook she made of her relationship with the male character, Luke. As she looks through the scrapbook pages, she will reminisce about their relationship. The film was inspired by Blue Valentine, Legally Blonde 2, and (500) Days of Summer in its use of a photo compilation, scrapbook, and lighthearted yet artistic portrayal of a non-traditional relationship.
The music video develops conventions of real media products by using smooth transitions like fades to match the slow pace of the R&B song. Shots were edited to be in time with the song's beat. Cross fades and emerging two images were used to soften cuts and separate memories from present through black and white versus color. Close-up shots were included to represent intimacy, as seen in real R&B videos. Ending with a sensual scene alluded to romance as typical in R&B videos while avoiding nudity for appropriateness.
The document analyzes magazine advertisements for albums by Adele, Jessie J, and Rihanna. For Adele's advertisement, it notes the similarities between the poster and album cover design. It also mentions the use of award winner text and an image of the album cover to entice sales. For Jessie J's poster, it discusses the use of gold and black colors to represent wealth and mentions promoting older songs. Finally, it analyzes Rihanna's dark color scheme and highlighted song titles as ways to catch attention and appeal to fans of specific songs.
Luke used various technologies throughout the production of a music video. YouTube was used for inspiration, identifying conventions, and uploading the finished video. Microsoft Office, especially PowerPoint and Word, were used at all stages for organizing notes and presenting work. Phones were used to contact crew members, hold the script, and play music during filming. Google Earth helped find eye-catching locations quickly. A digital camera filmed the project and took photos as evidence. Sony Vegas Pro was used to edit the video, adding effects and fast cuts. Photoshop and GIMP were used to design ancillary texts, though GIMP's basic layout made it just as effective. SurveyMonkey conducted audience evaluations but was limited without a premium subscription
This document outlines the script and storyboard for a music video. It describes various scenes showing the artist and her lover going through their daily lives together, from walking hand in hand to dancing alone at night. Many scenes depict intimate moments between the couple, like hugging on the doorstep, dancing in each other's arms, and relaxing on the couch together. The storyboard explores the artist's feelings for her lover through the lyrics of the song, showing how he makes her feel comfortable, beautiful, and loved in a way no one else can.
This document outlines the script and storyboard for a music video. It describes various scenes showing the artist and her lover going through their daily lives together, from walking hand in hand to dancing alone at night. Many scenes depict intimate moments between the couple, like hugging on the doorstep, dancing in each other's arms, and relaxing on the couch together. The storyboard utilizes different camera shots, filters, and locations to portray the artist lip syncing the song and their romantic relationship.
Here is a list of potential actors and actresses for our music video. These candidates all took part in an audition process to find our lead character.
Helen Claire Gould, an author and geologist, discussed various rock types on Luke Chillingsworth's Sunday radio show. She described basalt as the most common rock in the solar system, noting its dense and fluid nature. Vesicular basalt contains gas bubbles that escaped during cooling. Biotite granite contains visible minerals like mica, albite, and quartz. Gabbro forms coarse crystals and occurs in new island settings. Obsidian and snowflake obsidian are volcanic glasses. Pumice is very light due to its frothy, glassy nature. Agglomerate forms when volcanic debris of various sizes fuses together. Banded iron formation is an ancient rock with red chert and
This document analyzes and summarizes three album covers from the R&B genre. It notes that typical R&B conventions include sexually suggestive or revealing clothing to attract male attention, as seen on covers by Kelly and Nicki Minaj. References to wealth, like Chris Brown's suit and jewelry, are also common due to R&B's association with money. The covers match these stereotypes to promote the artists and their music in line with audience expectations of the genre.
This document contains a list of song titles grouped into different genres including rock, country, love, pop, blues. Some of the rock songs listed are "You know what they do to guys like us in Prison" by My Chemical Romance and "Sugar we’re going down" by Fall Out Boy. Country songs listed include "A Little less Conversation" by Elvis Presley and "Times a Wastin’" by June Carter and Carl Smith.
Modern music videos are primarily used as marketing tools to promote the sales of songs. One of the earliest examples was a 1929 film of Bessie Smith performing "Saint Louis Blues" that was shown in theaters. In the 1950s, Tony Bennett claimed to have made one of the first music videos by filming himself walking during his song "Stranger in Paradise". The Beatles helped establish the basics of today's music videos with the musical segments in their 1964 film A Hard Day's Night. MTV's launch in 1981 further popularized the music video format by introducing them to a wider audience.
Bessie Smith appeared in a 1929 short film called Saint Louis Blues, which featured a dramatized performance of the song and was shown in theaters until 1932, making it one of the first music videos. The film was also notable as one of the earliest "talkies" or films that included sound.
The document provides a detailed shot-by-shot analysis of the opening minute of the Linkin Park music video for "Shadow of the Day". It describes the lighting, framing, and expressions of the main male character seen in various close-up and full-body shots. The analysis suggests the character begins with a mysterious and dark persona but later scenes in the bathroom imply a sense of purity or cleansing. Recreating the opening would aim to follow the original closely, though clothing the main character and perfectly achieving the dark backgrounds may be difficult.
The document provides a detailed shot-by-shot analysis of a beach scene from the film Jaws. The first two shots establish the beach location and introduce characters, a mother and child, raising tension given the film's focus on shark attacks. Subsequent shots show the sheriff appearing concerned, no lifeguards on duty building more suspense, and children in the background unnoticed by distracted adults. Music and camerawork generate panic as the viewer realizes an attack on the boy playing with an inflatable tube is imminent. The final shot reveals the deflated and bloodied tube on the shore, symbolizing the child's death in a dramatic tonal shift from happiness to terror.
The document summarizes the key elements and stylistic choices made for an opening movie sequence. It introduces the main characters Jordan, Sam, and Luke. It was inspired by the genres of action-thriller films like Taken, with elements like guns, balaclavas, and a chase scene. The sequence also hints at a reverse narrative style inspired by Memento. It aims to create tension and put the viewer on the protagonists' side through dark lighting and their portrayal as victims in the opening.
The document discusses location shots for the opening sequence of a movie about a house robbery. Shot 1 shows the exterior of the house and will be where the criminals are first seen and a chase scene occurs later. Shot 2 shows the doorbell and front door, which are important as that is how the criminals initially gain access. Shot 3 shows the landing where the initial attack and protagonist's chase down the stairs will happen. Shot 4 shows the bedroom and landing that will be used in the sequence. Shot 5 shows the protagonist's bedroom to establish his normality before the robbery. Shot 6 shows the kitchen, a key location where the woman is seen before answering the door and items are stolen. The locations were chosen to help spread out equipment
This document outlines several health and safety risks identified for a two minute movie opening and measures to address them:
1) Tripping over the tripod during filming could injure actors, so locations of the tripod will be communicated to prevent this.
2) Filming by a road risks actors being hit by traffic, so they will be informed of risks and filming will avoid roads.
3) Members of the public could be hit during chase scenes, so filming will keep distance from the public and allow them to pass.
4) The camera dropping could damage equipment or injure people, so it will remain securely attached to the tripod.
This document discusses fonts for a movie opening sequence. A font from Family Guy is rejected because it symbolizes happiness rather than suspense needed for the movie. A font from Predator is a possibility as it conveys excitement and possible death. A Friday the 13th font is also rejected as it has a scary nature unsuitable for a thriller. A Tomb Raider font is selected as it is from an action/thriller genre and symbolizes excitement through bold letters fitting for the movie's fast-paced thriller genre.
The director conveys multiple genres in the opening scenes of Edward Scissorhands through the use of visual and auditory elements. Horror is shown through the snowy Twentieth Century Fox logo and creepy music, while fairy tale elements are displayed with gingerbread pieces and childish imagery. The film also transitions between tones, using scary music before shifting to a lighter tone to appeal to wider audiences. Romance is seen through the warm bedroom scene and relationship between the little girl and grandmother. Throughout the opening, the director juxtaposes shots of the gothic castle representing horror with scenes of the colorful neighborhood and use of comedy to counteract scary elements and attract different viewers.
This document analyzes how the film Back to the Future Part II portrays its futuristic setting. The costumes feature materials and functions not seen in 1989, such as clothes that dry themselves and alter in size, showing advanced technology. The sounds of the hoverboard and flying cars also demonstrate technologies not available at the time of filming. Camera shots showcase the modernized futuristic Hill Valley and close-ups of the hoverboard scenes show the intensity of futuristic contraptions. Special effects like the hovering hoverboard and smoke/flames from vehicles further cement the film's future setting through realistic depictions of gadgets not seen in modern times.
How to Clean Your Contacts Using the Deduplication Menu in Odoo 18Celine George
In this slide, we’ll discuss on how to clean your contacts using the Deduplication Menu in Odoo 18. Maintaining a clean and organized contact database is essential for effective business operations.
APM webinar hosted by the South Wales and West of England Network on 1 May 2025.
Speaker: Carl Dalby, Group Head of AI/Digital, NDA
So, what does AI mean for you as a project professional, how can you take advantage of it to improve the success of your project? This webinar was held on 1 May 2025.
There is a lot of misinformation, myth, and misconception surrounding Artificial Intelligence in the press and on social media. Using real world examples and case studies around project and risk management, Carl Dalby looked at what AI is and is not, and how Project Professionals can use AI to help augment their decision making by gaining valuable insights into what their data is actually telling them.
Carl adapted his talk to reflect the very latest thinking in this very fast-moving sector
https://www.apm.org.uk/news/debunking-the-myths-behind-ai-what-it-really-means-for-you-as-a-project-professional/
How to Add Customer Note in Odoo 18 POS - Odoo SlidesCeline George
In this slide, we’ll discuss on how to add customer note in Odoo 18 POS module. Customer Notes in Odoo 18 POS allow you to add specific instructions or information related to individual order lines or the entire order.
Lecture 2 CLASSIFICATION OF PHYLUM ARTHROPODA UPTO CLASSES & POSITION OF_1.pptxArshad Shaikh
*Phylum Arthropoda* includes animals with jointed appendages, segmented bodies, and exoskeletons. It's divided into subphyla like Chelicerata (spiders), Crustacea (crabs), Hexapoda (insects), and Myriapoda (millipedes, centipedes). This phylum is one of the most diverse groups of animals.
Link your Lead Opportunities into Spreadsheet using odoo CRMCeline George
In Odoo 17 CRM, linking leads and opportunities to a spreadsheet can be done by exporting data or using Odoo’s built-in spreadsheet integration. To export, navigate to the CRM app, filter and select the relevant records, and then export the data in formats like CSV or XLSX, which can be opened in external spreadsheet tools such as Excel or Google Sheets.
In this concise presentation, Dr. G.S. Virdi (Former Chief Scientist, CSIR-CEERI, Pilani) introduces the Junction Field-Effect Transistor (JFET)—a cornerstone of modern analog electronics. You’ll discover:
Why JFETs? Learn how their high input impedance and low noise solve the drawbacks of bipolar transistors.
JFET vs. MOSFET: Understand the core differences between JFET and MOSFET devices.
Internal Structure: See how source, drain, gate, and the depletion region form a controllable semiconductor channel.
Real-World Applications: Explore where JFETs power amplifiers, sensors, and precision circuits.
Perfect for electronics students, hobbyists, and practicing engineers looking for a clear, practical guide to JFET technology.
CBSE - Grade 8 - Science - Chemistry - Metals and Non Metals - WorksheetSritoma Majumder
Introduction
All the materials around us are made up of elements. These elements can be broadly divided into two major groups:
Metals
Non-Metals
Each group has its own unique physical and chemical properties. Let's understand them one by one.
Physical Properties
1. Appearance
Metals: Shiny (lustrous). Example: gold, silver, copper.
Non-metals: Dull appearance (except iodine, which is shiny).
2. Hardness
Metals: Generally hard. Example: iron.
Non-metals: Usually soft (except diamond, a form of carbon, which is very hard).
3. State
Metals: Mostly solids at room temperature (except mercury, which is a liquid).
Non-metals: Can be solids, liquids, or gases. Example: oxygen (gas), bromine (liquid), sulphur (solid).
4. Malleability
Metals: Can be hammered into thin sheets (malleable).
Non-metals: Not malleable. They break when hammered (brittle).
5. Ductility
Metals: Can be drawn into wires (ductile).
Non-metals: Not ductile.
6. Conductivity
Metals: Good conductors of heat and electricity.
Non-metals: Poor conductors (except graphite, which is a good conductor).
7. Sonorous Nature
Metals: Produce a ringing sound when struck.
Non-metals: Do not produce sound.
Chemical Properties
1. Reaction with Oxygen
Metals react with oxygen to form metal oxides.
These metal oxides are usually basic.
Non-metals react with oxygen to form non-metallic oxides.
These oxides are usually acidic.
2. Reaction with Water
Metals:
Some react vigorously (e.g., sodium).
Some react slowly (e.g., iron).
Some do not react at all (e.g., gold, silver).
Non-metals: Generally do not react with water.
3. Reaction with Acids
Metals react with acids to produce salt and hydrogen gas.
Non-metals: Do not react with acids.
4. Reaction with Bases
Some non-metals react with bases to form salts, but this is rare.
Metals generally do not react with bases directly (except amphoteric metals like aluminum and zinc).
Displacement Reaction
More reactive metals can displace less reactive metals from their salt solutions.
Uses of Metals
Iron: Making machines, tools, and buildings.
Aluminum: Used in aircraft, utensils.
Copper: Electrical wires.
Gold and Silver: Jewelry.
Zinc: Coating iron to prevent rusting (galvanization).
Uses of Non-Metals
Oxygen: Breathing.
Nitrogen: Fertilizers.
Chlorine: Water purification.
Carbon: Fuel (coal), steel-making (coke).
Iodine: Medicines.
Alloys
An alloy is a mixture of metals or a metal with a non-metal.
Alloys have improved properties like strength, resistance to rusting.
Happy May and Happy Weekend, My Guest Students.
Weekends seem more popular for Workshop Class Days lol.
These Presentations are timeless. Tune in anytime, any weekend.
<<I am Adult EDU Vocational, Ordained, Certified and Experienced. Course genres are personal development for holistic health, healing, and self care. I am also skilled in Health Sciences. However; I am not coaching at this time.>>
A 5th FREE WORKSHOP/ Daily Living.
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Hopefully Before Summer, We can add our courses to the teacher/creator section. It's all within project management and preps right now. So wish us luck.
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Understanding Vibrations
If not experienced, it may seem weird understanding vibes? We start small and by accident. Usually, we learn about vibrations within social. Examples are: That bad vibe you felt. Also, that good feeling you had. These are common situations we often have naturally. We chit chat about it then let it go. However; those are called vibes using your instincts. Then, your senses are called your intuition. We all can develop the gift of intuition and using energy awareness.
Energy Healing
First, Energy healing is universal. This is also true for Reiki as an art and rehab resource. Within the Health Sciences, Rehab has changed dramatically. The term is now very flexible.
Reiki alone, expanded tremendously during the past 3 years. Distant healing is almost more popular than one-on-one sessions? It’s not a replacement by all means. However, its now easier access online vs local sessions. This does break limit barriers providing instant comfort.
Practice Poses
You can stand within mountain pose Tadasana to get started.
Also, you can start within a lotus Sitting Position to begin a session.
There’s no wrong or right way. Maybe if you are rushing, that’s incorrect lol. The key is being comfortable, calm, at peace. This begins any session.
Also using props like candles, incenses, even going outdoors for fresh air.
(See Presentation for all sections, THX)
Clearing Karma, Letting go.
Now, that you understand more about energies, vibrations, the practice fusions, let’s go deeper. I wanted to make sure you all were comfortable. These sessions are for all levels from beginner to review.
Again See the presentation slides, Thx.
A measles outbreak originating in West Texas has been linked to confirmed cases in New Mexico, with additional cases reported in Oklahoma and Kansas. The current case count is 817 from Texas, New Mexico, Oklahoma, and Kansas. 97 individuals have required hospitalization, and 3 deaths, 2 children in Texas and one adult in New Mexico. These fatalities mark the first measles-related deaths in the United States since 2015 and the first pediatric measles death since 2003.
The YSPH Virtual Medical Operations Center Briefs (VMOC) were created as a service-learning project by faculty and graduate students at the Yale School of Public Health in response to the 2010 Haiti Earthquake. Each year, the VMOC Briefs are produced by students enrolled in Environmental Health Science Course 581 - Public Health Emergencies: Disaster Planning and Response. These briefs compile diverse information sources – including status reports, maps, news articles, and web content– into a single, easily digestible document that can be widely shared and used interactively. Key features of this report include:
- Comprehensive Overview: Provides situation updates, maps, relevant news, and web resources.
- Accessibility: Designed for easy reading, wide distribution, and interactive use.
- Collaboration: The “unlocked" format enables other responders to share, copy, and adapt seamlessly. The students learn by doing, quickly discovering how and where to find critical information and presenting it in an easily understood manner.
CURRENT CASE COUNT: 817 (As of 05/3/2025)
• Texas: 688 (+20)(62% of these cases are in Gaines County).
• New Mexico: 67 (+1 )(92.4% of the cases are from Eddy County)
• Oklahoma: 16 (+1)
• Kansas: 46 (32% of the cases are from Gray County)
HOSPITALIZATIONS: 97 (+2)
• Texas: 89 (+2) - This is 13.02% of all TX cases.
• New Mexico: 7 - This is 10.6% of all NM cases.
• Kansas: 1 - This is 2.7% of all KS cases.
DEATHS: 3
• Texas: 2 – This is 0.31% of all cases
• New Mexico: 1 – This is 1.54% of all cases
US NATIONAL CASE COUNT: 967 (Confirmed and suspected):
INTERNATIONAL SPREAD (As of 4/2/2025)
• Mexico – 865 (+58)
‒Chihuahua, Mexico: 844 (+58) cases, 3 hospitalizations, 1 fatality
• Canada: 1531 (+270) (This reflects Ontario's Outbreak, which began 11/24)
‒Ontario, Canada – 1243 (+223) cases, 84 hospitalizations.
• Europe: 6,814
pulse ppt.pptx Types of pulse , characteristics of pulse , Alteration of pulsesushreesangita003
what is pulse ?
Purpose
physiology and Regulation of pulse
Characteristics of pulse
factors affecting pulse
Sites of pulse
Alteration of pulse
for BSC Nursing 1st semester
for Gnm Nursing 1st year
Students .
vitalsign
Form View Attributes in Odoo 18 - Odoo SlidesCeline George
Odoo is a versatile and powerful open-source business management software, allows users to customize their interfaces for an enhanced user experience. A key element of this customization is the utilization of Form View attributes.
What is the Philosophy of Statistics? (and how I was drawn to it)jemille6
What is the Philosophy of Statistics? (and how I was drawn to it)
Deborah G Mayo
At Dept of Philosophy, Virginia Tech
April 30, 2025
ABSTRACT: I give an introductory discussion of two key philosophical controversies in statistics in relation to today’s "replication crisis" in science: the role of probability, and the nature of evidence, in error-prone inference. I begin with a simple principle: We don’t have evidence for a claim C if little, if anything, has been done that would have found C false (or specifically flawed), even if it is. Along the way, I’ll sprinkle in some autobiographical reflections.
What is the Philosophy of Statistics? (and how I was drawn to it)jemille6
Example of Props
1. PROPS
Nikki J – The Way You Do
A mirror will beused when our
artistis back athome as we see
her natural beauty away from
the make-up that is usually
associated with the genre. A
bathroom mirror likethis is
already present at our location
so there will beno cost for this.
The use of the mirror also
provides us with a chance to
use a frame within a frame
shot, an important media
technique.
Hair and make-
up are a key part
of the genre and
will bea partof
our music video.
A kitsimilarto
this will be
present on the
bathroom table.
We already have
a hair and make-
up kit so we are
not hopingto
spend any
further money
on this.
Chocolates and Flowers will be
given to the artistby her love
interest when he enters her
house. Chocolates and Flowers
have always been a symbol of
love and are often exchanged
on Valentine’s Day. We will also
have a scene where our artist
puts the flowers into a vase.
Even if this is cliché,we feel it
does help express the love
element to the songand the
video. We arehoping to spend
around £5 on these items
overall.
Duringone scene, our
characters we will beon the
sofa whilewatchinga Romantic
Comedy film.This again helps
express the theme of love in
the music video and gives us a
chanceto show off the
characters jewellery etc… to
keep in linewith the R&B
genre. There will beno costfor
the use of this,my family have
many rom-com films and you
can also easily sourceonefrom
places such as Sky Movies,
Film4 etc…
Several scenes in our music
video will involveour
characters to be relaxingon a
sofa.The TV is also another
vital prop.Modern day life
often sees couples lyingon a
sofa whilewatchingTV. This
will also giveus a chanceto
further express the love
element of the video with the
use of a romantic comedy such
as Love Actually,Notting Hill
etc…
Jewellery is a bigpartof R&B
music videos so itis therefore
vital to includeitin our music
video. Both women and men
wear jewellery in these music
videos so we will haveto cater
for all genders.We will ask the
actors themselves to bringsome
of their jewellery alongand see
if it looks likesomethingwe
could use in our video.
There is one scene in our music video
which involves the artistlookingata photo
of her and her partner. Therefore we will
need to sourcea photo frame before we
filmour video. We will look to purchasea
cheap photo frame and print a photo of
the couple strandingtogether to place
insidethe photo frame. We will probably
spend around £4 – 6 on this item.
There will be one scene in our
music video that involves the use
of sparklers.The sparklerswill be
used to add a unique form of
aesthetic appeal when the lovers
are dancing.We understand that
the sparklers arehighly dangerous
and we will makesure precautions
are in placebefore use. It will be
hard to sourcethe sparklers atany
time of the year, so in the run up
to BonfireNight, I have already
purchased two packs of medium
sparklers at50p each.