Song decision and Ideas for fonts for the ancillary tasks:

The song Tia, Bailey and myself have decided to make a music video for is 'High Hopes' by Kodaline. This song not only fits the genre in which we would like to pursue, but it's folky tune gives us the opportunity to build a strong yet powerful narrative. The band Kodaline has a very niche audience which means that not many people will have heard of the song. 

Below are some of the possible fonts we are considering to use for our ancillary tasks. the fonts use very basic colours to give them an edgy yet rocky and minimalistic feel. I intend to use low key lighting  but highly saturate the fonts in order to make it stand out against the high key lighting used on the main image of the CD cover. 

To make our decision on which font to use, we intend to ask fellow classmates about which logo they find most effective as a form of audience research.

Our target audience- Tab Records

Locations for filming:

https://prezi.com/obiaft765ne8/locations/?utm_campaign=share&utm_medium=copy




This piece research and planning was completed by Tia Giove.

Music Video Recommendation:

A music video I would highly recommend watching would be Peter Gabriel's 'Sledgehammer' directed by Daniel Lanois. The main reason I chose this music video is that it is composed purely of stop motion animation and I find the way in which it seamlessly flows is captivating. The video features Gabriel lying under a glass table and all of the movement is done above the glass.

With our music video, we don't wish to produce a video made by using stop motion animation, but using raw footage. However, Gabriel's video gave us inspiration for a few ideas due to its artistry.

'The Kindest Cut' Theory applied to a music video: Sia 'Chandelier'

Below is a textual analysis of a music video I did in order for me to have an in depth look at what sort of edits and lighting etc are featured in music videos. 



Editing:

One of the first edits we see in the chandelier music video which draws attention to itself is the scene where a long shot is used to show the protagonist in the door frame, which then cuts to a close up of her feet after she jumps to the floor. This clearly draws attention to the edits.

In addition to this, the editing in the video is particularly sharp and the shot type rapidly changes. For example, when it goes from a close up on the protagonists face to a master shot. This creates a voyeuristic feel to the video as if we are 'spying' on the girl.

Jump Cuts:

Throughout the video, jump cuts are used to create the overall mood of the video as well as reflecting the true emotion behind the song. For example, jump cuts are most commonly used in Chandelier to show the change of pace within the the song. This is a prime example of the music working alongside the video.

Moreover, jump cuts are frequently used in the video to show the protagonist's different facial expressions and also how quickly one person's mood can alter. When taking Marjorie Feruson's (1980) categorisation of facial expressions theory into account, Chandelier subverts this theory as more than one facial expression is used, so therefore Chandelier does not fit into one of Ferguson's sub categories.

Camera movements and noticable shots:

When the protagonist dances around the room, the camera seems to dance with her, tentatively following her and zooming in on particular limbs.

The camera shots are also sped up during the chorus which will have been edited during post-production. High key lighting is also used during the chorus's which connotes that there is a feeling of hope for the depressed protagonist.

Mastershots:

In Chandelier master shots are frequently used throughout. The most common use of master shots in the video are when the protagonist is dancing or is changing location. Often, when the location in the video changes, the saturation changes- usually from low saturation to high saturation or vice versa.

Carol Vernallis: 'The Kindest Cut' theory