First Draft Video Feedback

• 'Very good use of mise-en-scene in first scene, authentic to '50's', 'Diner/Monroe era', good use of colours throughout, as well as conotations eg, red - love/lust'
• 'Authentic setting as well as realistic lipsyncing, beauty spot is a nice touch, good use of cuts. Only negative feedback is the shadow on the white background and when she looks into the camera near the begining and sings, this doesn't look as good, I think the facial expression needs to be straighter.
• 'Very good picture quality, good mise-en-scene, maybe look at lipsyncing, the person is very static'
• 'Really good lipsyncing, good locations and mise-en-scene, the artist looks believable. Really good camera quality, good start.'
• 'Good locations and lighting. The theme works really well and the mise-en-scene matches the theme well. Really good.'
• 'Bed shot appears grainy with the spotlight and looks out of place with the other clean shots, could be replaced.'
• "Shot quality is very good, the girl is very effective and the mise-en-scene for the most part is effective."
• The lip syncing looks a bit forced in places as if she isn't singing the song - this can be a bit distracting."
• "From 48 seconds on the video works best - when you get to the hook/chorus and increase the amount of shots you utilise"

Feedback Evaluation
Firstly, we appreciate that our feedback notices the references to the 1950s era and mise-en-scene as this was intentional and was vital that it was recognised by our audience. This enables the connotations of bright red to be interpreted by our audience and adds entertainment and drama to our video. Therefore, we will remain with our shot types as our set up has clearly been effective as it has been recognised in our feedback.

On the other hand, we disagree with the comments regarding the use of shadows on the white background as it was intentional to make it appear blank. We think the shadows add a dimension to it rather than with no shadows which may have made it unrealistic. Also, the comments regarding facial expression has been misinterpreted as we wanted to create both serious, fun and charming persona of our artist which is represented through serious facial expression to then laughing facial expressions. We will not be changing this as the mix of serious and fun is later developed in the video and is not immediate in the first 20 seconds. We chose not to have our artist moving around alot, hense the feedback of our artist appearing static, because we wanted to focus on the face and lip syncing. We also thought that the theme of the song, although upbeat, was not appropriate to have dancing etc.

We agree that some parts of the lip syncing is effective in some places however appears out of place and therefore forced in others as the words don't match up. For our final version we will edit uneffective shots, such as lying on the sofa at the beginning, and replaced them with cleaner and clearer lip syncing shots.

Music Video Draft

Album Tracks: Titles

The album name will be called 'Ghosts' and these are the track listings that will appear on both of our Digipaks.

Animatic Story Board

Application of Narrative Theories & Conventions: Music Video

For our music video, many narrative theories have to be applied to ensure the purpose and meaning of the video is portrayed through the shots.

Our video will follow the genre caterogory of amplification. This is because we will cut between both performance and narrative but these will not directly illustrate the denotations of the lyrics  but also unusual ideas, such as our homage to the 'Living Dead' icons of today such as Marilyn Monroe or Judy Garland. Whereas at some shots we will interpret the lyrics exactly, such as by using a 'black balloon' prop in a shot and edit it alongside the lyric of the same relevance i.e. 'Sucked into a black balloon'.

The Musical Synaesthesia is relevant to our music video as the elements of the song will determine the progress and pace of the shots and the time it takes to change them. For example, the dominant musical arrangement of the strong bassline in our chosen song 'Living Dead' is key as it varies from a slow pace to a faster pace at the chorus. Therefore, we will interpret this dominant beat by changing shots simultaneously to the beat. This will be more evident in the chorus, as the beat speeds up to the repetitive lines such as 'Dead, dead, dead'. We have decided to change the shot at each bass and word change so that it adds to fast up-beat song and the action shots will entertain the audience.

The conventions of a Performance Video for a solo artist can also be applied as only one individual will feature throughout the entire video. It is therefore important to promote and emphasise the image of our artist. As we are not incorporating dance routines, we will enhance the 'repeatability' of our artist by the person engaging the viewer with close up shots of the face with frequent eye contact shots which will feature rolling and provocative gesturing with the eyes. We will also follow a hybrid form by cutting between performance of vocalisation of singing to other narrative actions that do not feature any vocalisation, such as with walking or posing toward the camera.

The Star Image is important as the artist's personality and style have to be promoted but continually adapted and changed to meet audience needs and preferences. So for example, by adopting our 50s style mise-en-scene this manipulates the artist's image with the new single to broaden the appeal to new fan bases by adopting a new style that they may like more than their previous music video images.

Again, the Audio-Visual Technical Codes are again relevant due to the changing pace of the bass within the song and the extended vowels and consonants of long lines in comparison to the shorter chorus lines. The camera shots therefore during the chorus feature more close ups and extreme close-ups especially during the lines which require vocalisation. Whereas the verses contain longer seconds during each shots and shots that are further away such as long shot or extreme long shot that do not require any vocalisation so it is not as important to focus on the mouth. The camera movements follow more active actions during the chorus such as twirling of the dresses or fast poses of the star with hand-held action shots; whereas during the verses the camera movement is more stable with a tripod or more controlled hand-held shots.

Straus's Theory of Narrative can be applied to our music video as we will use the binary opposites of both location and the style of our star. For example, in terms of location we will switch between outside shots and inside shots to meet our genre category of amplification but also portray our 50s theme better. In terms of mise-en-scene we will change from a bright pink dress in the indoor scenes to a black dress and a white faux when our star is outside. This contrast will be effective for our amplifcation narrative. 

Todorov's Theory of Narrative could also be applied to the cut between the performance and narrative. This is because as the video progresses from the location of the bedroom to a perfect 'equilibrium' state of mind to a disequilibrium that is formed as the star becomes more frustrated with her apparent 'lonely' lifestyle which would later be evident in the diner as she sits alone. However, the leave interpretation and stick the conventions of the genre category of amplification a new equilibrium will not be formed but will instead return back to shots in the room in the final chorus where the previous equilibrium began.

Therefore this can also relate to Barthe's Theory of Narrative by using the Enigma Code which will leave the audience questioning the artist's life at the end of the video and how, if ever, her lonely state would be resolved. Also, the Semantic Code could also be applied as we will use different mise-en-scene to represent different emotions or foreshadowing. For example, red lipstick and clothing that will be used may reflect her sexuality and obsession with fame but may also suggests that this will lead to her death - such as with other icons like Marilyn Monroe.

Representation: Music Video

REPRESENTATIONS:

By adopting the 1950s inspired look we hope to make our artist appeal more to a wider audience but also by crafting a identifiable aesthetic which fans will be able to relate to her performances. 

The Artist
The representation of our artist is key in order to create a stereotypical look from the 1950s that our young audience can immediately associate with in order to interpret the abstract locations and other props within our music video. Therefore by manipulating the mise-en-scene and location we will be able to create a whole new star image. However, for outfits such as a 1950s dress and hair will also reveal the legs so we will be conforming to the provocative sexuality that women are now expected to convey within the contemporary music industry. As we use several close up shots of her putting on her shoes, clothes etc. this will portray our artist more provocatively in order to appeal to a mass audience. By also emphasising the artist by have heavy make-up such as vivid red lipstick this will also represent the artist in a feminine way, in order to fit a pleasing aesthetic which the audience - in particularly the male gender - will be drawn into more. 

This also addresses the relevance of the 'Male Gaze' because within our storyboard our artist will be making eye contact with the camera. This also gives the audience power in other shot types where the artist is looking away therefore giving the audience power as they are watching the artist without their acknowledgement. 

The Locations
We will also manipulate the representation of locations to fit in with this. For example, by using a 'done up' and well presented room with luxurious furnishings it will give off an unrealistic ideal of having a lifestyle of luxury that our artist has within the video. By doing this it also adds interest to the artist and enhances their star image as they are thought to live a 'better lifestyle'. The unusual furnishings also removes the artist from the modern day characteristic of bedroom furnishings and suggests perhaps they are in a different world of their own. Another example would be outdoor shots in a floral and well kept garden; suggesting that this could only be obtained by a glamorous, wealthy and pretty woman. 

Again, by using a 50s style diner that adopts conventional architecture and furnishings typical of the time, such as bold quilted seating and checked floor tiles, it allows the audience to enter the abstract world of our artist as she almost revisits another time period. 

Risk Assessment: Music Video

RISK ASSESSMENT

LIGHTING AND ELECTRONICS

1. When using lighting ensure all plugs are inserted correctly and are not loosely fitted
2. Check bulbs work before inserting them into a live stand.
3. Ensure all wires are not tangled and to the side of any walkways - make all personnel aware  of wires and their location before filming.
4. Do not keep lighting and bulbs on without supervision or they could overheat and set a light.
5. Make sure all stands are turned and stable as they could fall over.
6. If using lighting outside with an extension lead ensure that area is dry or covered to avoid damaging the cables and/or causing a fuse.
7. Do not cover with any textiles or open raw materials.
8. Ensure stands are fully attached and twisted to the furthest possible point to make sure they remain stable throughout filming.

VIDEO CAMERA & CAMERA

1. Make sure video camera is fully attached to the tripod before filming.
2. Safely pack away and check video camera is fully functional before and after filming.
3. Keep fingers clear of closing tripod - close the tripod slowly to avoid injury.

LOCATION: THE MAIN BEDROOM

1. Ensure all occupants, directors and actors are aware of all fire exits and call points before filming.
2. Do not run on set as this could result in a fall and injury.
3. Do not cover electronics with any textiles furnishings.
4. Ensure when using make-up equipment electronics such as hair straighteners and curlers that they are kept on a solid flat surface and under supervision whilst turned on and plugged in. Make sure they are turned off and moved aside to cool down after use.
5. Do not block fire exits with props or equipment such as suitcases or unused lighting equipment
6. Refer back to all relevant LIGHTING AND ELECTRONICS risk assessment also when using these.
7. Do not leave any props or equipment on the floor as this could is extremely accident-prone if stepped on
8. Do not leave any sharp items such as knifes, scissors or equipment open and ensure they are put away efficiently and safely.

LOCATION: GARDENS

1. Make sure all lighting cables are suitable for outdoor use, if weather is wet ensure cables and plugs are covered safely with a water-proof cover
2. Make sure areas for smoking are safely with no open flammable materials that could set alight if in contact with loose ash e.g. wood or bark
3. Make sure cigarette lighter is safely put away and closed after use and not left on the floor which could be stepped on and broken
4. Ensure cigarette is firmly in the cigarette holder when using the prop

LOCATION: THE DINER

1. Ensure all spills are mopped up immediately.
2. Do not run - especially as tiles could be slipped on, ensure floor is not wet.
3. Refer back to all relevant VIDEO CAMERA & CAMERA risk assessment also when in this location.
4. Make sure filming equipment etc creates no threats or hazards to other people on location as this is an area open to the public.