Below you will see the shooting schedule I have drawn up for the filming of my music video. A copy of this will be given to my actress; Georgine Caddy, so that she knows as well as I when and where we are filming.
I would like to note two things. First, between the interior kitchen (day) filming and interior bathroom (day) filming there is a break for lunch, which is why there is a decent sized gap, also between the interior hallway (night) filming and interior study (night) filming there is a break for dinner, which is again why there is a decent sized gap. Second, on the shooting schedule below I have used Adobe Photoshop to cover up my home address under the "Location" column on each sheet. This is simply to preserve my personal information, on the actual shooting schedule it is completely visible so that my actress knows where the filming location is.
To make the images below appear smaller on the screen, simply click them.
As part of Pre-Production, a meeting was held with myself and Miss Alexandra Simon-Lewis, to agree upon shooting dates for the music video.
Unfortunately, there has been a problem with using Miss Simon-Lewis as my actress. The reason why I cannot use her is due to sudden circumstances within her personal life, and I will say no more about this.
Luckily one of my other originally considered actresses - Miss Georgina Caddy, has kindly offered to replace her. At first I would not allow it, since I thought I would be taking time away from her, causing her to work to a tighter time-frame for shooting her music video, although luckily she has told me she will not be able to begin shooting until around the 29th of December due to her actress being out of the country. With this in mind I made the decision to use Miss Caddy for my music video, since the reason I had not used her in the first place was mainly due to her having a music video to shoot as well.
I held a second meeting with Miss Caddy, and the dated for shooting were agreed upon:
The evening/night filming would take place at 3:00 pm on Friday the 14th of December.
The day filming would take place at 9:00 am on Saturday the 15th of December.
Myself and Miss Caddy also agreed that if any additional shooting should need to take place we will do so at 12:30 pm on Monday the 17th of December, and also if there is still filming required after that, we would hold another meeting to decide on further dates.
I will of course post on my blog if any further dates were required for shooting, in order to keep everyone up to date on what is going on.
Finally, during the meeting Myself and Miss Caddy agreed upon the costume she was going to wear, as well as the amount of makeup, still of course going for the look mentioned on my moodboard - "clothing that would be considered normal, everyday clothes with perhaps a hint of "indie" style thrown in".
That's all for now everyone, so until next time :)
Over the last week I have been handing out my questionnaire to anyone who fits in my target audience; males and females between the ages of 13 and 21 who enjoy acoustic music and are of any social class, ethnicity or culture, and now I can reveal the results of the questionnaire.
I managed to get answers from 60 people by using people from my school, outside of school, and even strangers who met my target audience in Bishops Stortford and Harlow. Just a reminder, here is what the questionnaire asked my target audience:
and here are the results in the form, ANSWER - NUMBER OF PEOPLE WHO GAVE THAT ANSWER:
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1. ALL NARRATIVE - 24
ALL PERFORMANCE - 6
BOTH NARRATIVE AND PERFORMANCE - 20
DON'T MIND - 10
2. SOMETHING DIFFERENT - 39
STICK WITH CONTEMPORARY - 7
DON'T MIND - 14
3. YES - 35
NO - 10
UNSURE - 15
4. GLAMORISED - 8
"DOWN TO EARTH" - 41
DON'T MIND - 11
5. FAST-PACED - 4
SLOW-PACED - 49
BOTH - 7
6. YES - 41
NO - 9
SOMETIMES - 10
7. YES - 35
NO - 11
DON'T MIND - 14
8. YES - 6
NO - 46
SOMETIMES - 8
9. YES - 38
NO - 0
SOMETIMES - 5
DON'T MIND - 17
10. YES - 46
NO - 2
DON'T MIND - 12
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I have to say, consider my target audience and the type (from the 4C's) they are often most like; THE EXPLORER, mainly these results did not surprise me, the only result that did was the results of question 1, as acoustic music videos often contain both narrative and performance and therefore finding people who like acoustic music who say they'd prefer to see one that is all narrative was different. Although this could be because, as they've shown in question 2, they want to see something different (much like THE EXPLORER) and therefore want something other than the norm of acoustic music videos.
These results will definitely impact the my ideas and the way I create my music videos, as I will try to cater to the majority vote in order to appeal to the largest number possible within my target audience.
That raps it up for this post everyone :) be sure to leave a comment about how your audience reacted to your questionnaires :)
My shooting script lists the locations I will be using as well as the days I will be shooting in each location.
____________________
DAY 1
INTERIOR. THE STUDY - DAY (NUMBER OF SHOTS: 20)
INTERIOR. THE HALLWAY - DAY (NUMBER OF SHOTS: 2)
INTERIOR. THE KITCHEN - DAY (NUMBER OF SHOTS: 4)
INTERIOR. THE BATHROOM - DAY (NUMBER OF SHOTS: 4)
INTERIOR. THE EXTENSION - DAY (NUMBER OF SHOTS: 5)
INTERIOR. THE LOUNGE - DAY (NUMBER OF SHOTS: 2)
TOTAL NUMBER OF SHOTS: 37 DAY 2
EXTERIOR. THE GARDEN - EVENING (NUMBER OF SHOTS: 1)
INTERIOR. THE LOUNGE - NIGHT (NUMBER OF SHOTS: 4)
INTERIOR. THE HALLWAY - NIGHT (NUMBER OF SHOTS: 6)
INTERIOR. THE STUDY - NIGHT (NUMBER OF SHOTS: 5)
TOTAL NUMBER OF SHOTS: 16
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So as you can see, I plan to do all my filming across a two day period. The animation however will be done over a longer period of time. This is because the drawing and uploading of my drawings can take quite a large amount of time, since so many drawings are required to create a smooth looking animation.
I am unsure as to how long the animation process will take, however I will begin drawing after, or if I have the time, before, my filming is complete.
I would like to note that the number of shots displayed above (both total and per location) are of course only concerning the filming. This is because the animation process, as mentioned, will take place after (and possibly before) filming, and this shooting scripts concerns the actual shooting of the music video i.e. using of camera.
My script explains the linear narrative to my music video.
______________________________
"Dream Catch Me" Music Video
by
James Carolan
last revised December 7th 2012
INTERIOR. THE STUDY - DAY
A long shot reveals a girl sitting, facing away from the camera, preoccupied. We see her drawing on some paper and see what she is drawing. She finishes her drawing, only to hear her phone ring and have a new message. Upon picking up the phone and reading the message the girl seems distressed through her facial expression. The girl drops her phone onto the desk and rushes out of the room.
INTERIOR. THE HALLWAY - DAY
A medium long shot reveals the girl walking down the stairs at a mild pace, with a sad expression on her face.
INTERIOR. THE KITCHEN - DAY
A medium long shot shows the girl hurrying to the bathroom, nearly in tears. She closes the door behind her quickly.
INTERIOR. THE STUDY - DAY
A shot of the girls phone is seen, while slowly zooming in on the message. The message reads; "Georgina, I'm really sorry but it's not working out. I'm breaking up with you. Sorry to do it like this. Please don't call or text me again", which is followed by a shot of her drawing, slowly zooming in on the characters.
INTERIOR. THE BATHROOM - DAY
A long shot shows the girl, sitting on the closed lid toilet, crying. The shot zooms in on her slowly to emphasize her sadness and distress.
INTERIOR. THE STUDY - DAY
The shot cuts back to the study, showing that characters she has drawn, giving them emphasis.
INTERIOR. THE BATHROOM - DAY
A medium shot shows the girl wiping her tears with tissues. She drops them onto the floor and her facial expression shows she is in deep thought.
INTERIOR. THE HALLWAY - DAY
A shot reveals the study, with its door open, where the girl's drawing were.
INTERIOR. THE STUDY - DAY
A shot reveals the desk, then in a medium shot, the female character the girl had drawn, which now comes to life, showing a sad emotion and one of wonder at why the girl was so sad. The animated girl looks over at the phone on the desk, and runs along the paper to get a better look at what is on the phone. The animated boy follows the animated girl soon after, and the animated girl reads the message on the phone, understanding why the girl is so upset. The animated girl looks back at the animated boy with sadness and he understands even though the animated girl has said nothing, by the sad expression he gives.
INTERIOR. THE KITCHEN - DAY
The bathroom door opens, and a close up of the girl's feet, tilting to see her face, shows she is holding a box of tissues and is about to leave the bathroom.
INTERIOR. THE STUDY - DAY
A medium long shot shows the drawings, both sitting, looking depressed by the news the girl has received.
INTERIOR. THE KITCHEN - DAY
A mid close up of the girl shows the back of her head, as she rests her head on her hand, where her arm is resting on her elbow, which is on the table. In front of her is the box of tissues she carried out of the bathroom.
INTERIOR. THE STUDY - DAY
A mid close up of the animated girl shows her still looking depressed, but at that moment, a reafction shot, as her facial expression changes to that of inspiration as she gets an idea. The animated girl looks at the pencil then smiles, at that moment the animated boy notices her readying herself to jump, and as she does she latches onto the pencil lying on the desk, dragging it closer. The animated girl successfully pulls the pencil close enough to hold and the animated boy and girl both share a smile. The the pencil goed from lying flat on the desk to upright, moving around, seemingly being used to draw, although we cannot see what is actually being drawn.
INTERIOR. THE EXTENSION - DAY
A medium shot reveals the girl sitting on a chair with her arms wrapped around her legs. She gets up and walks forward, looks over at a picture, showing her and a boy; the same boy who broke up with her. She looks saddened, and walks up the stairs.
INTERIOR. THE STUDY - DAY
A shot shows the pencil rolling away from the paper. The animated boy and animated girl look at a stack of bricks.
INTERIOR. THE LOUNGE - DAY
A long shot reveals the girl watching the television in the dark, and a close up shows she is still depressed.
INTERIOR. THE STUDY - DAY
A long shot sows the animated boy and animated girl working together. They pass bricks, the animated boy lays down cement with a trowel, the animated girl slams a pole into bricks to hold up bricks at another height, and the animated boy waters buds that almost instantly grow into flowers.
EXTERIOR. THE GARDEN - EVENING
An establishing shot shows the sun going down and that now the events that will follow are taking place at night.
INTERIOR. THE LOUNGE - NIGHT
A long shot shows the girl sitting on th floor, in the dark, with her arms wrapped round her legs, and the log burner next to her alight. She checks her watch then proceeds to get up and walk towards the door out of the lounge.
INTERIOR. THE HALLWAY - NIGHT
A long shot shows the girl closing the lounge door.
INTERIOR. THE STUDY - NIGHT
A medium shot/reaction shot reveals the animated boy and animated girl look at each other, as they have heard the girl shut the lounge door.
INTERIOR. THE HALLWAY - NIGHT
A medium long shot shows the back of the girl as she ascends the stairs.
INTERIOR. THE STUDY - NIGHT
A medium long shot shows the animated boy calling over the animated girl, using a hand gesture.
INTERIOR. THE HALLWAY - NIGHT
A medium shot reveals the girl reaching the top of the stairs.
INTERIOR. THE STUDY - NIGHT
A medium shot shows the animated boy and animated girl looking at each other and then holding hands and looking outwards, just as they did when the girl originally drew them.
INTERIOR. THE HALLWAY - NIGHT
A medium shot shows the girl looking at the doorknob to the study. She grabs hold of it and turns it.
INTERIOR. THE STUDY - NIGHT
A long shot shows the study door opening and the girl walk in. She sits at her desk, and we see by her facial expression she has noticed something. She picks up her original drawing and we see a smile on her face for the first time since the beginning of the video. We see the original drawing, which has now changed, and had on it the animated boy and animated girl smiling, holding hands, next to many flowers and a supportive message made of drawn brick, saying; "WE LOVE YOU". Then, the music video ends by slowly fading to black.
______________________________
I hope you all enjoy my script for my music video :)
It can really help to picture my music video if it is read it whilst looking at my storyboards :)
I based my script off of the same script format used on the "Ghostbusters II" script, which you can see below. I would also like to express I do not own, nor do I claim to own anything associated with "Ghostbusters II". Also I am not using the script commericially in any way and the only reason I posted a page from it here is for educational purposes. I am simply saying this in case there are any copyright issues to do with putting a page of the script here.
Behind every music video is the director, and in this post I would like to talk about a music video director who is very well-known as well as a director who has particularly affected me and why.
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The director I will be talking about who is particularly well known is:
Hype Williams
Hype Williams (previously known as "HYPE") is a music video director, born in 1970 in Queens, New York in the US.
It seems little is known about Williams' start in his career, but he has been active since 1991 and is still working today. Over the years Williams has worked with a large number of famous musical artists such as, "2pac", "Jay Z", Christina Aguilera, "Coldplay", "Ne-Yo" and more.
Throughout Williams's career some signature styled has emerged. He showed a tendency to use a "fisheye" lens when filming, seen in music videos for songs such as "Gimme Some More" by "Busta Rhymes" and "The Rain (Supa Dupa Fly" by "Missy Elliott" but he dropped this in 2003 after experiencing his lowest production activity since the start of his career. However since 2003 another signature style has emerged; combining a center camera focus on the artist/actor's body from the torso upward and a solid colour background with a soft different-colour light being shown in the center of the background. This can be seen in music videos for songs such as "Gold Digger" by Kanye West, and "Digital Girl" (Remix) by Jamie Foxx. One other signature style is his use of postitioning shots in regular widescreen ratio, while a second shot is split and placed in the upper and lower bars, such as in music videos for "So Sick" by "Ne-Yo" and "Gomenasai" by "t.A.T.u.", William's also uses aerial and tracking shots which often move backwards or forwards, seen in "Rock the Boat" by Aaliyah and "Not Myself Tonight" by Christina Aguilera.
In terms work outside of his career as a director of music videos, Williams has worked on much less. Williams was a writer for couple of pieces as well as a producer for others. One piece he worked on was called "Belly" which he was both a writer and producer on. Williams also worked as an actor on the TV movie "Lil Jon Makes a video: Snap Yo Fingers". Despite Williams' other work he is still arguably known for his work as a music video director.
Some of the videos that Williams' has worked on can be seen below:
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And now, the director who has particularly affected me is:
Steven Barron
Steven Barron is a music video director, born in 1956 in Dublin, Ireland.
Barron made his debut in 1979, and went on to direct some of the 1980s most memorable music videos including "Billie Jean" by Michael Jackson, "Take On Me" by "A-Ha", and "Money For Nothing" by "Dire Straits". Because of these, and other music videos, Barron is also arguably well-known.
Barron not only directed music videos though, he also directed films such as the "Teenage Mutant Ninja Turles" movie and the film "Coneheads", as well as several award miniseries including "Merlin", "Dreamkeeper", and more.
The reason Steven Barron has affected me is because of his famous music video for "Take On Me" by "A-Ha". I saw this music video when I was much younger and it has always stuck with me because of the amazing animation the video uses. When I was thinking of ideas for my music video I was watching all of my favourite bookmarked music videos on 'YouTube'. When I came across "Take On Me" I was instantly inspired to use animation within my own music video. This is why this video has affected me, because without it I wouldn't have been inspired by animation when I was so young and been inspired to use it in my music video.
Some of Barron's most well known music videos can be seen below:
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That raps it up for this post everyone :)
Be sure to comment saying what directors have affected you and why.
Instead of simply putting up a post containing my ideas for the outline of my music video, and then discussing them. I thought it would be a better demonstration of my ideas with a moodboard :)
Below you will see my moodboard that I put together showing and explaining my ideas to do with my music video, please note my moodboard also discusses all the locations and props I will need/be using.
Although you can see my moodboard, even with my HD camera, some of the text is not legible. So for the benefit of those viewing this post I have taken the time to type everything that is on my moodboard, in the sections the text applies to.
In the center is simply the lyrics for the song I have chosen ("Dream Catch Me")
Every time I close my eyes... it's you And I know now who I am Yeah yeah yeah And I know now
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me yeah Dream catch me when I fall Or else I won't come back at all
You do so much But you don't know... it's true And I know now who I am Yeah yeah yeah And I know now
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me yeah Dream catch me when I fall Or else I won't come back at all
See you as a mountain a fountain of God See you as a descant soul in the setting sun you as a sound just as silent as none
I'm yours
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me, yeah Dream catch me when I fall Or else I won't come back at all
In the "Actress" section"
(below the word "actress")
I have considered a number of people I know to play the role of the main character within my music video.I have also made a decision onwhom I will be using on the basis of various reasons.
(next to the top left picture) Georgina Caddy
While Georgina was willing to do the music video there were some difficulties. These included distance between us, as well as the fact she is also doing Media A2, so I did not want to take away her valuable time that she could have spent filming her music video.
(next to the picture slightly to the left)
Isabella Hannah
Isabella, when asked was also willing to take part in my music video. However distance was an issue as well as her choice of A2. Isabella has an incredibly workload with Art, History and English Literature and I will not risk her losing marks in any subject.
(next to the top right picture)
Alexandra Simon-Lewis
Alexandra is the person I have chosen for the role in my music video for a number of reasons. She was willing to take part, does not have exams in January and is not far away so travel is not a problem since I can drive to collect her for the shooting of my music video.
In the "Location" section
(to the right of the word "Location")
The following pictures relate to my likely shooting locations.
(to the right of the picture of an outside of my house)
My home; the easiest place to shoot and it works perfectly for all my ideas i.e. the amount of animation I will include (since I can then work on it anytime because I am constantly in the shooting location).
(to the left of the picture of a desk)
My study; where the music will begin and where all the will take place.
(below the images of my lounge and log burner)
My lounge; this location is only a maybe, although I am really considering using my log burner for a shot that looks both thoughtful and natural (due to the light emanating from it).
below the image of my bathroom)
My bathroom; a location I will use simply because it works well in terms of the story my music video tells.
In the "Inspiration" section
(below the word "Inspiration")
The idea for including animation in my music video began whilst looking at the music video for "Take On Me" by "A-Ha".
(to the right of the still from the "Take On Me" music video)
I have always liked animation and in the past have dabbled in various forms of it. Using animation in my music video will be hard due to time restrictions but it is something I am determined to complete.
(to the left of the 'Newgrounds' logo)
The site I gained my inspiration to do simple characters is 'Newgrounds'.
(the the right of the still from an animation)
'Newgrounds' hosts mainly animators, amongst them is "BarfQuestion", who often draws heartwarming stop-motion animation using very simple drawings; this is where I found the inspiration to use simple cute drawings instead of elaborate ones (such as the ones in the "Take On Me" music video).
(to the right of the 'YouTube' and 'Vimeo' logos)
Websites other than 'Newgrounds' that have given me inspiration include the popular video sharing websites; 'YouTube' and 'Vimeo', since they both contain many music videos, animations and independent films with some really incredible stories behind them.
In the "Story" section
(to the right of the word "Story")
The idea behind the story is a typical boy-girl relationship. The boy breaks up with the girl via text (making us side with the poor, hurt girl). The girl is hurt and in her absence her drawings come to life to console her over her recent, painful break-up. I wanted to give the story in the music video a heartwarming feel, which is why I felt simple, cute animation could achieve this. If I hadn't used animation I would've used a young boy actor to pose as a sibling who makes their sister feel better in some way, although I don't have access to a young male actor.
In the "Mise-en-scene" section
(to the right of the word "Mise-en-scene")
I have talked about location that I will be shooting in separately to this, as in the kind of places that will be seen within the frames of my shots. So here I will be talking about the props involved within the music video, as well as the kind of clothing the star (a girl) of my music video will be wearing. Also the type of lighting I will be using within my music video.
(to the left of the images of clothing and above the images of makeup)
In terms of costume, I wanted to go for clothing that would be considered normal, everyday clothes with perhaps a hint of "indie" style thrown in. This meant choosing slothing that wasn't high end or glamorous, dark or depressing, or far too formal. I chose clothing such as jeans, baseball boots, a beanie, a jumper/check shirt, a few accessories such as bracelets and if I choose not to use shoes, perhaps some colourful socks. Because I wanted the main character within the music video to appear quite ordinary, I would probably use no/very little makeup, although if I do use some it won't stand out, it will be along the lines of powders and foundations to just give my actress a clear look to their skin i.e. their face.
(to the left of the images of props)
In terms of props my music video actually will not contain an incredibly vast amount. The props will include the phone the girl in the music video uses, the pencil that creates some of the animations that come to life, the piece of paper the animations are on (since the star interacts with it), and finally tissues that the girl will use since she will be crying. It is unlikely, though not impossible, that I will need to use any props other than these.
(between the images of lighting)
In terms of lighting I will be trying to achieve a very natural style of lighting to my music video. I will therefore be aiming for high-key lighting. I am seriously considering shooting during both day and night, and if that is the case I will use open curtains to allow for natural sunlight in the day. At night however I will use room lights to make the lighting natural (i.e. of a normal house at night, this may have to be achieved though through three-point-lighting which will allow the star, and environment they are in to be seen more clearly.
(below the image of fire)
During shooting at night I want to use my log burner to create a warm, orange lighting effect on the sad main character of the story, since I think it will work quite well.
In the "Animation" section
(below the word "Animation")
These are all simply ideas I may use, as I want animation to play a large part in my music video.)
(to the left of the image of a stickman)
"Pivot" - a basic animation program which is free to download. If I do use this, instead of directly inserting the animation I will record the animation in progress on my monitor to simulate it happening in real time.
(to the right of the yellow stick note)
The idea behind the yellow sticky notes is that they will come to life. The words would separate and the letters would move to form a supportive message for the main character in the music video.
I may/probably will not use this idea for 2 reasons, 1, it is going to be incredibly time consuming (even more so than regular animation). 2, it will be incredibly troublesome to actually animate since keeping track of which letters have moved where would be very hard to do.
(to the right of the simple drawing of the boy and girl)
This is my favourite idea, a simple hand drawn animation that I would incorporate into the music video through multiple pictures taken on a high definition camera.
(below the image of a stickman)
Originally I has considered spending much more time drawing more detailed characters, although nearly immediately I reconsidered as I knew I would have to produce many drawings in a limited time frame, so instead of the kind of detail seen in animation such as they type used in the music video "Take On Me" by "A-Ha", I decided to go with a more cute and sweet style through the simple drawings, such as my favourite example (seen on the right). <---the direction here referred to the hand drawn image of the boy and girl.
__________
This concludes my post on outlining and discussing my ideas for my music video. Please remember this post alsocovers outlining and discussing my ideas on the story and discusses the location and props I will need/be using, which are tasks for the pre-production of my music video.
The images below show the risks associated with my filming, as well as the severity of the risk and the likelihood of it happening, which when multiplied give a risk assessment out of 100, as it explains on the sheets.
From this you can see that there aren't an incredible amount of risks associated with shooting within and outside my house and that the most risky hazards are the stairs, the log burner and the three-point-lighting. But as you can see above, with every hazard, I will do everything possible to reduce the likelihood of the hazard affecting anyone during filming
I have now drawn up a complete storyboard to do with my music video, which can be seen below.
I have also provided a full list of shots relating to each frame. The reason behind why I put the list of shots on here instead of on the storyboard is I was worried about the amount of space under each frame and also that my handwriting may not be legible due to the scanner.
I want to make note of a few things though. First, the shots I have named for each frame are those that I see are most appropriate, for example on sheet 3 the middle left and middle center frame are said to be establishing shot simply because they show you the music video is bringing the viewer back to another location (even though it is within the house). Second, some of the shots I have listed are actually edits and movements, simply because in some frames the star is not present and these edits and movements are happening within the frame, so I thought it worth mentioning them. Third, I have used terms for shots, such as close up and long shot, for the animated characters as well as the star within the music video, simply because it allows me to tell what kind of shot is happening in the frame and the drawings do resemble basic anatomy so I can actually list the shots being used on them. Finally, I want to make sure that it is known that technically every shot used on the animation characters is a bird's eye view shot, since I will be taking pictures of my drawing from directly above, I chose to mention this here as, if I listed it to the frames people may get confused and think it is a bird's eye view shot because the drawing is drawn in that way and it isn't the actual camera placement.
TL (top left): long shot
TC (top centre): mid close up
TR (top right): point of view shot/action match (edit)
ML (middle left): mid close up
MC (middle centre): mid close up
MR (middle right): point of view shot/eyeline match (edit)/action match (edit)
BL (bottom left): mid close up
BC (bottom centre): mid close up/reaction shot
BR (bottom right): action match (edit)
TL: action match (edit)
TC: medium long shot
TR: medium long shot
ML: action match (edit)
MC: zoom in (movement)
MR: long shot/zoom in (movement)
BL: long shot/zoom in (movement)
BC: medium shot
BR: medium shot/pan right (movement)
TL: medium shot
TC: action match (edit)
TR: mid close up
ML: establishing shot
MC: establishing shot
MR: medium shot
BL: medium shot
BC: point of view shot/eyeline match (edit)
BR: long shot
TL: long shot
TC: point of view shot
TR: medium shot/reaction shot
ML: close up/tilt up (edit)
MC: medium long shot
MR: mid close up
BL: mid close up
BC: eyeline match (edit)
BR: mid close up/reaction shot
TL: long shot
TC: action match (edit)
TR: action match (edit)
ML: action match (edit)
MC: medium shot
MR:medium long shot
BL: eyeline match (edit)
BC: mid close up/reaction shot
BR: medium shot
TL: establishing shot
TC: medium long shot/action match (edit)
TR: long shot
ML: close up
MC: long shot
MR: long shot
BL: long shot
BC: long shot
BR: establishing shot
TL: long shot
TC: medium shot
TR: medium long shot
ML: long shot
MC: long shot
MR: action match (edit)
BL: medium shot/reaction shot
BC: medium long shot
BR: medium long shot
TL: medium shot
TC: medium shot
TR: medium shot
ML: action match (edit)
MC: long shot
MR: mid close up
BL: mid close up
BC: mid close up
BR: point of view shot
These of course outline all the shots that will take place within my music video as well as for how long the shot will be and during which specific part of the song. By following this from start to finish, filming then editing my music video together should run smoothly (definitely more smoothly than if I hadn't planned for how long each shot last and through which specific part of the song at least).
Below you will see the Treatment Sheet I have drawn up for my music video :)
Here's a little information on what Treatment Sheets are ;
In order to decide which video to make, music companies will ask for treatment sheets from several different directors. Once they are all submitted, the company along with the artist will decide which idea like the best.
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Proposed Song: "Dream Catch Me" - Newton Faulkner
Synopsis of Song Lyrics: The lyrics talk about a man obsessing about a girl aswell as a place that the man goes to when he's alone, where he can be dream and be anything he wants aswell as do anything he wants. The lyrics also talk about how the man idolises the women and has completely given himself to her, and finally it talks about how if his dreams don't "catch" him when he "falls" asleep, then he will never wake up again.
Propsed Storyline and Characters: The idea behind the story is a typical boy-girl relationship. The boy breaks up with the girl via text (making us side with the poor, hurt girl). The girl is hurt and in her absence her drawings come to life to console her over her recent, painful break-up. The animation will most likely be simple and sweet to give the music video the strongest heartwarming feel possible. There will be some link between the lyrics and the music video. The link will be that the place my actress goes to will be the room she draws in, within the video. The part which says "it is us I see" relates to the fact the actess has drawn what are supposed to be her and her (ex) boyfriend. And finally, the part which says the words "dream catch me when I fall, or else I won't come back at all" relates to how the drawings make her feel better when she's sad, as it seems otherwise she may remain heartbroken.
Setting: The music video I will produce will be set in modern daywithin a home for the entire video. The home is to be seen by the audience as the home of the character involved in my music video.
Length: There will be a short introductory narrative at the beginning of the song (by which I mean prior to the beginning of the song) but no narrative after the song has finished, as the music video will end as the music ends, therefore the video will last around four and a half minutes.
Format: The format will be Digital, and it will be edited on Final Cut Pro X.
STYLE Genre, Mood, Etc: The genre is Acoustic music and the video will aim to make audiences feel sorry for the loving girl, as her boyfriend broke up with her in a very cold and distant way, but then intrigued by what it is her drawings are doing now they've come to life. It ends with a very heartwarming feeling, as the audience discovers that what the drawings were doing was working to make the girl feel better. The actress playing the girl in the video will really push the audience to feel sorry for her, as she will appear very distraught by the break up, using crying and props such as tissues, etc.
Camerawork/Type of Shots: I will use a variety of shots including medium shots, long shots, establishing shots, point-of-view shots, close-ups, and more.
Length of Shots/Editing: The video's majority of takes will be long as the mood of the music fits in well with long takes, also because it allows the narrative to flow well and allows the audience to grasp how the girl within the video is feeling. There will be a small section of short takes within the opening narrative of the video, as this is when the girl will recieve the new she has been broken up with, and as a result will storm off distraught.
Movement and Action: The movements and actions of the girl within the music video will be quicker at first (when she recieves the news about the break up - as she will be distraught), but after the introductory narrative the movements and actions will become slower and limited (as instead of distraught, she will give off more of a depressed mood, and also because it fits in well with the music). In terms of the animations, their movements will also be slow and limited for a good deal of the music video, as they will also be depressed by the news the girl recieved, but after the animations formulate the plan to cheer the girl up, their movements and actions will become more lively.
Visual Qualities: The video will be shot in colour the entire time although the drawings will be completely black pencil on paper - meaning there will be no colour in the drawings that appear in the music video and no colour in the animation segments. Natural lighting and the lack thereof, will be used to show the passage of time within the music video, as there will be scenes earlier in the day using natural lighting and scenes in the evening using artificial lighting.
Handling of Narrative: The narrative can be seen as quite simple, in terms of the typical boy breaks up with girl style stroy, but the theme of the drawings coming to life in order to make her feel better may seem more complex. It will still work out fine though, as the audience is meant to wonder what the drawings are doing right until the end of the video, where they realise what the drawings' intentions were. The ending is where the heartwarming feeling comes in.
Target Audience: The target audience for this music video will be both males and females who enjoy acoustic music between the ages of (but not limited to) 13 to 21. The music video may also appeal to those who enjoy uplifting, heartwarming stories, aswell as those who enjoy animation within music videos, and just animation in general.
TECHNICAL ASPECTS Production Methods: I, James Carolan, will act as director, producer, editor and animator for the production of the music video, and as such my roles will include coming up with a storyboard, drawing and then animating my drawings, arranging lighting within the music video, editing the takes from filming and assembling the video, funding any costs needed for the music video, and more. My actress will play the part of the girl within the music video, who will just be tasked with following my directions when filming the music video.
Equipment: The equipment I will need will be a camera (for the filming), a tripod (to hold the camera steady during filming) and possibly a form of three-point-lighting (so that I can make sure the actress can be seen and get any desired lighting effects).
Locations: The locations will be most likely all be interior (and all interior will be around my home which is meant to play the part of my actress' home in the video) with the possibility of one or two exterior shots to show the time of the day it is within the video (showing the passage of time).
RESOURCES People: The only person within my music video will be my actress, who plays the girl dumped by her boyfriend in the story.
Time: A small amount of rehearsal time will be required initially plus time for the shooting of both day and evening scenes (so most likely; two days will be required for filming).
Budget: The budget will be low as the outift of the actress will be her casual clothes and the props within the video will be very simple.
Rationale: This music video will give a completely new angle on Newton Faulkner's song "Dream Catch Me", possibly appealing the audiences outside of his usual fanbase, as even though the music will be the same, the video's heartwarming narrative and unique design will entice audiences in and hopefully keep them coming back for, not only this music video, but other Newton Faulkner music videos.
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I hope you all enjoyed my Treatment Sheet for my music video :)
I have now created a questionnaire that people within my target audience will answer, thus giving me a better idea on how I should go about creating my music video. Just a reminder, my target audience are males and females between the ages of 13 and 21 who enjoy acoustic music and are of any social class, ethnicity or culture. The questionnaire can be seen below:
The questionnaire is actually one page long, it is just presented this way so that the questions I have written can be read on my blog.
The feedback I get will be crucial to helping me design my music video and I will be sure to make a post soon when I have gained a suitable amount of responses to my questionnaire.
That raps up this post guys, I'll see you all soon, and be sure to look out for my post about the questionnaire results :)
In this post I will talk about the audience I am aiming at with my music video, digipack and advert.
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In talking about my audience I will also be using the Cross Cultural Consumer Characterisation by two people named Young and Rubicam. The 4C's divides people into seven types, depending on their
core motivation. These seven types of people are:
THE EXPLORER
are driven by a need for discovery, challenge and new frontiers.
are young in nature, if not in reality.
are often the first to try out new ideas and experiences.
respond to brands that offer new sensations, indulgence and experiences.
in short, difference is what they seek out.
their core need in life is for discovery.
THE ASPIRER
are materialistic, inquisitive people.
are driven by other's perception of them rather than by their own values.
respond to what others perceive as being superficial; image, appearence, persona, charisma and fashion.
an attractive pack is as important to them as its contents.
their core need in life is for status.
THE SUCCEEDER
possess self-confidence.
have a strong goal orientation.
tend to be very organised.
tend to occupy positions of responsibility in society.
in terms of brands, they seek reward and prestige, and often seek out the best, because that is what they feel they deserve. They also seek out caring and protective brands as their aggressive attitude to life means they need to relax occasionally.
their core need in life is for control.
THE REFORMER
values their own independent judgement.
the most anti-materialistic of the seven types.
are often perceived as intellectual.
are socially aware and pride themselves on tolerance.
seek out the authentic and the harmonious.
are often at the leading edge of society.
unlike THE EXPLORER, they won't buy something simply because it is new.
their core need in life in enlightenment.
THE MAINSTREAM
live in the world of the domestic and the everyday.
daily routine is fundamental to the way they live.
are the mainstream of society.
are the largest type across the 4C's.
respond to the big established brands, "family" brands and offers of value for money.
their core need in life is for security.
THE STRUGGLER
live for today and make few plans for tomorrow.
often seen by others as victims and losers, aimless, disorganised people with few resources apart from their own physical abilities.
advancement in life depends more on luck than actually doing work.
heavy consumers of alcohol and junk food.
visual impact and physical sensation are an important element of their brand choices.
in essence, they seek escape.
THE REDESIGNED
are predominantly older people with constant, unchanging values built up over time.
in their eyes the past is bathed in a warm nostalgic glow.
respect institutions..
enjoy acting in traditional roles.
their brand choice is driven by a need for safety and economy, and they choose above all what is familiar to them.
their aim in life is basic; to survive.
---------- The audience I am aiming my music video, digipack and advert are males and females between the ages of (but not limited to) 13 and 21 who enjoy acoustic music and are of any social class, ethnicity or culture, since acoustic music can be enjoyed by all and because my products won't use themes that are common to any particular class or group.Out of all the 7 types from the 4C's, my audience fits THE EXPLORER. This is because my music video is not afraid to try something new with its narrative and animation, and is not afraid to stand out and be different to other music videos (since animation isn't used incredibly often). Therefore my music video appeals to this type right across the board, making it the perfect experience for them. ---------- That raps it up for this post everyone :) I hope you and enjoyed the information here and be sure to comment telling me what type you are most like as well as who your target audience are and why. I'm most like THE EXPLORER :) Until next time :)
A narrative music video means a music video in which a storyline of some sort is present in the music video, instead of performance, meaning the artist plus others being aware they're part of the music video and are therefore performing for the viewers. Those within narratives often don't acknowledge that they're part of a music video, since the music video is telling a story.
examples of narrative music videos can be seen below:
There are a number of theories to do with narrative, here are the three main theorists:
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Tzvetan Todorov, who suggested that conventional narratives are structured in five stages:
1. a state of equilibrium at the outset;
2. a disruption of the equilibrium by some action;
3. a recognition that there has been a disruption;
4. an attempt to repair the disruption;
5. a reinstatement of the equilibrium
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Vladamir Propp, who suggested that characters took on the role of narrative 'spheres of action' or functions. The seven spheres of action are:
The Hero. Usually male, is the agent who restores the narrative equilibrium often by embarking upon a quest (or search), saves the Princess and wins her hand (Propp distinguishes between the victim hero, who is the centre of the Villain's attentions, and the seeker hero who aids others who are the villains victims. The Hero is invariably the text's protagonist or central character.
The Villain, who creates the narrative disruption.
The Donor, who gives the Hero something, it may be an object, information or advice, which helps in resolution of the narrative.
The Helper, who aids the Hero in the task of restoring the equilibrium.
The Princess (the victim), who is usually the character most threatened by the Villain and has to be saved, at the climax, by the Hero. The father's (who in fairy tales was often the king) role is usually to give the Princess away to the Hero at the narrative's conclusion. He may also despatch the hero.
The Dispatcher, who sends the hero on her or his task (who can also be the Princess's father).
The False Hero, who appears to be good but is revealed, at the narrative's end, to have been bad.
Characters can fulfill more than one sphere of action and spheres of action can be made up of more than one character; so a Princess may also be a Helper and a text may have several Villains.
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Levi-Strauss, who argued that any narrative structure must be made up of binary oppositions, or a conflict between two qualities or terms. Levi-Strauss was less interested in the order of events in a story but more the arrangement of themes and ideas.
An example of binary oppositions within a Westerm would be:
Cowboys Native Americans
Christian Pagan
Domestic Savage
Weak Strong
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In terms of my music video, the theory that best applies is Tzvetan Todorov's.
looking at his theory above and then my music video, this is how the five stages apply to my music video:
1. The girl in the video is happy in her relationship with her boyfriend.
2. The boy breaks up with the girl causing her to become upset.
3. The drawings come to life and realise that the boy has broken up with the girl, which is why she is upset and no longer happy.
4. The drawings set about creating something to make the girl (their creator) happy again.
5. The girl realises what the drawings have done and as a result is cheered up and is happy again, reinstating the equilibrium.
The reason I have chosen to create a music video that is all narrative and no performance (contrasting with typical Acoustic music videos) is because I believe the entire length of the song will be required to tell the story I wish to tell. Use of the full song for narrative will allow it to be clear to the viewer and not restricted, as I really want to make sure the short story I wish to tell is not confusing, otherwise the heartwarming effect at the end will not be felt by viewers since they won't understand what's going on, thus undermining the main effect of the narrative; the heartwarming ending.
And now, some key questions about the narrative of my music video:
STRUCTURE: My narrative is structured in the style of Tzvetan Todorov's theory of narrative, as you can see above.
CHARACTER: Right from the offset we see that the boy in the relationship is the bad guy, as he sends a very harsh text to the girl, breaking up with her. This then amplifies the fact that the girl is the victim in the narrative. Further on we see the drawing come to life and learn of what has happened to the girl, which they respond to with a scheme to make her feel better (but we only relaise their intentions at the end of the music video) which identifies them as the kind, caring helper of the victim.
AUDIENCE: The audience plays the observer of the story, and is meant to (through the harsh text from the boy) position themselves on the side of the girl and against the boy. As the narrative progresses the audience then meets the drawings, who they become intrigues by, as they cannot tell what the intentions of the drawing are, and by the end the audience also sides with the drawings, as they realise the drawings intentions all along were only to make the girl feel better as they care very much for her.
IDENTIFICATION: The girl being broken up with in a cold way by the boy is something that female audiences can identify with, as it is something that does happen in real life and therefore those who have been in that position can relate with the girl.
THEME: The major themes of the narrative are the hardships faced when a relationship has just ended (especially when it is ended very harshly and very coldly by the other partner). The hardship of overcoming the emotions of break-ups alone, and the warm feelings that are experienced when people realise they have support for the hard times, even when it was not obvious to them at first. The values and ideologies the narrative embodies is that of being there for those you care about, especially during their times of need, as well as demonstrating how devastating break-ups can be for some and therefore trying to show the value of communication when ending a relationship (which is clearly lacking in my video, resulting in the very distressed girl).
OTHER: The role of music with the narrative in my video is in relation between certain lyrics and visuals (such as the place the song talks about being the room the girl draws in within my music video). The Acoustic genre is a defining feature for why my narrative is about a boy, a girl and the drawing that make her feel better, as the style of music very much suits the story I wished to tell and therefore is a key feature (as it is of course a music video and requires music to my narrative, otherwise it would just be a story). The mise-en-scene's role with the narrative is using the setting of a house (which is used as the girl's house in the narrative and to tell the entire narrative itself, since it uses various rooms such as the girl's study, where the drawings take place, etc.). Finally, the editing's role in the narrative is using "Soft" editing i.e. the music video in general is slow paced and doesn't use cuts such as jump cuts, which may be seen in faster paced music videos. This allows the audience to really absorb and understand what's going on in the narrative, thus allowing them to follow it throughout, resulting in the heartwarming feeling at the end.
Anyway guys and girls, that raps up this post :)
Be sure to leave a comment on what kind of video you're doing; narrative, performace, or a mixture of both.
I presented a PowerPoint presentation to my A2 class recently. The topic of the presentation was a pitch for what my music video was about. The task was to cover:
My idea for my music video.
The codes and conventions of the type of music videos associated with the genre of my chosen song.
How my music video is similar to/contrasts the codes and conventions of the type of music videos associated with the genre of my chosen song.
My target audience.
How I will reach my target audience.
The media institution that may be interested in distributing my music video.
Technical difficulties that may arise during the creation of my music video.
How I will overcome any technical difficulties I may experience during the creation of my music video.
The PowerPoint presentation can be seen below, as I uploaded it to http://www.slideshare.net/ (a presentation, document and video sharing website) and have embedded it in my blog.
As I will be using a copyrighted song for my music video I am required to ask for permission from the record label (in this case Sony Music Entertainment) to use their song.
I have called Sony Music Entertainment on their UK contact number and obtained the email address I need in order to make my request.
Below you can see a screen shot of the draft of the email I sent asking permission to use the song 'Dream Catch Me' by Newton Faulkner (I have kept a draft of the email I sent as I want to record all interaction between myself and the people who I'm requesting permission from, as proof I have in fact contacted them)
I am still awaiting a reply and will update this post as soon as I get one :)
I have now chosen the song I will use for my music video.
I will use "Dream Catch Me" by Newton Faulkner, since it ties well in with my current ideas about what I will include in my music video, which will be shown in a later post.
The lyrics for "Dream Catch Me" can be seen below.
Every time I close my eyes... it's you And I know now who I am Yeah yeah yeah And I know now
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me yeah Dream catch me when I fall Or else I won't come back at all
You do so much But you don't know... it's true And I know now who I am Yeah yeah yeah And I know now
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me yeah Dream catch me when I fall Or else I won't come back at all
See you as a mountain a fountain of God See you as a descant soul in the setting sun you as a sound just as silent as none I'm yours
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
There's a place I go when I'm alone Do anything I want, be anyone I wanna be But it is us I see And I cannot believe I'm falling
That's where I'm going, where are you going Hold it close, won't let this go Dream catch me, yeah Dream catch me when I fall Or else I won't come back at all
I also managed to find the official music video for "Dream Catch Me", which can below.
The music industry consists of a variety of companies and individuals who make money through the creation and sale of music. These include people such as the professionals who create and sell the music, such as the publishers, producers, record labels, etc., the professionals who assist musicians, such as talent managers, business managers, etc., those who broadcast music, such as television networks, online services, etc., and more.
In the music industry, a record label is a brand/trademark associated with the marketing of music and music videos, and often record labels also handle many other elements, including production, manufacture, distribution, marketing, promotion and enforcement of copyright for music and music videos. They can also conduct talent scouting and development of new artists, and handle maintaining contracts between their artists and the artists' managers. This shows clearly that record labels can be quite basic as well as massively influencing and integrated into many processes of the music industry, demonstrating their power and capabilities.
Since 1929 there have been a number of major record labels. The differences between major and independent record labels are simply this; record labels may be small, very localised and independent (what we've termed "indie"), while others may be part of a larger international media group (which are the major).
The progression of the major labels can be seen across this time-line below:
In 1988, the major record labels were named the "Big Six", and since then the number of major labels has always been named the "Big .....". The reduction in the number of major labels has been due to a number of reasons:
Around 1998 - 2004, Universal Music Group acquired Polgram, reducing the "Big Six" to the "Big Five".
A joint venture between Sony Music and BMG Music, completed in 2004, resulted in Sony BMG, reducing the "Big Five" to the "Big Four".
Sony BMG became Sony Music Entertainement with BMG's 50% stake being aqcuired by Sony, not affecting the number of major labels, though was that Universal Music Group acquired EMI in 2012, and a consortium in led by Sony/ATV in 2012, led to the acquisition of EMI Music Publishing, making Sony/ATV the world's largest music publisher, and reducing the "Big Four" to the "Big Three".
Music videos offer artists the chance to show off not only their musical talent but their unique qualities to the public, through their music videos, and some artists have become famous thanks to the power that music videos possess. Music has always been able to be played via radio and on radio channels via television, but with music videos more channels are open to the promotion of the artist, such as MTV, ideally allowing for more revenue to be gained from the artists and a greater awareness of their music to be gained. The substance of music videos, i.e. the visuals, can be a very strong method of gaining new fans for artists as the most unique videos entice audiences and videos with touching and relateable visuals stick with the viewer, again allowing a wider fan base and thus more revenue for the record label behind the artist. Therfore, as you can see, the role of music videos within the music industry has and always will be for promotion.
It's important to remember though that everyone has their own favourite music videos, and so I've decided to list my 5 favourite music videos from the list of top 100 by 'NME'.
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5. Bohemian Rhapsody - Queen
I have always loved this music video for the song itself and for the unique transition back and forth between seeing the band play the music and the strange scenes of them in the dark, singing, whilst facing upwards. I believe the reason I admire this video is also the reason why others admire it. It's unique which makes it memorable and also the song is very memorable, as it is arguably one of Queen's most well known and most loved songs.
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4. Da Funk - Daft Punk
This video's theme is incredibly strange, but at the same time that's what first attracted me and many others to it. To see this six-foot-tall dog named Charles walking around with everyone acting casual made me laugh as well as always remember this video. I think it is the unique and strange nature of this video, like Bohemian Rhapsody, that makes it memorable and liked by so many, despite the song being seemingly not the main focus, even though it is in fact a music video.
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3. The Scientist - Coldplay
While the idea of having a music video run completey backwards has been done before, the feeling this song gives goes incredibly well with the tragic visuals we see (of the fact he and a girl he was with were in a car crash). This is the reason why I like this video so much; the connection between visuals and style of music. The song on it's own is obviously a major attraction but visuals matter just as much as the song in my opinion, as here the director (Jamie Thraves) has made a fantastic pairing, leaving a truly memorable and loved music video in the minds of many.
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2. Islands - The xx
There's something about this music video that stick within my mind. I believe the reason I liek it so much is that the repetition is something that hasn't been done before, and also I love how over the course of the music video there are constantly very subtle changes that eventually lead to the video being altered completely. I think this is the same reason why the fans like this video, it's unique, and as I've said, videos that are unique stick within the viewer, since they really stand out from the crowd by saying "I'm different!".
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1. This Too Shall Pass - OK Go
I love the ingenuity in this video and clearly so do many others (with 39 million views on 'YouTube' alone). The music is great but the visuals here are what make this video really special, as when talking about giving a unique image this video is the perfect example. This contraption stands out among music videos as it is not only an incredibly fun and cool feat of human design, but it has been designed to work incredibly well with the music (as you can see by the start of diferent parts of the contraption being perfectly in sync with the music). I will always regard this music videos as one of my favourite of all time and the number 1 out of 'NME''s list of top 100 greatest music videos.
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Anyway everyone, that wrpas up this post about the top 100 music videos (and of them, my 5 favourite).
Be sure to leave a comment on what your favourite 5 music videos are and why :) I look forward to hearing what they are and your reasons behind your choices are.
I am now glad to say I have begun my Production Diary and have plenty to upload :)
The Production Diary works in three stages:
1. Pre-Production (before the shooting of my music video)
- Keep note of discussions had with those involved with the music video about the music video. - DONE!!!
- Coming up with an idea for the outline/story of my music video and discussing it. - DONE!!!
- Creating a storyboard. - DONE!!!
- Create a shot list. - DONE!!!
- Discussing the locations and props I will need/be using. - DONE!!!
- Creating a shooting script. - DONE!!!
- Taking a risk assessment of each location I'll be using in my music video. - DONE!!!
2. Production (the actual shooting of the music video)
- Keep note of when filming will, and has taken place. - DONE!!!
- Make copies of my shooting script for everyone involved in my music video. - DONE!!!
- Create a call sheet.
- Make copies of my storyboard for everyone involved in my music video. - DONE!!!
- Take note of which cameras and memory units I am using for filming. - DONE!!!
- Film my music video. - DONE!!!
3. Post-Production (the editing process that comes after the music video has been shot)
- Create an edit log. - DONE!!!
- Upload all of my chosen takes to create what's called the 'rough edit'. - DONE!!!
- Begin editing my 'rough edit' in order to create continuity between my takes. - DONE!!!
- Manipulate sound and overlay my chosen song. - DONE!!!
- Make final touches to finish the creation of my music video. - DONE!!!
- Create a questionnaire about my music video (for those who have viewed it) - DONE!!!
- Organise a preview screening with those who can give feedback about my music video (through the questionnaire). - DONE!!!
- Make any more final touches in response to audience feedback, thus completing my music video. - DONE!!!
