Music Video
This unit is about studying the techniques and planning that go in to making a music video. This includes editing, special effects, genres, filming and pre and post production.
In this unit we will be expected to make a music video based on a song that we have chosen and use the techniques we have learned.
Analysis:
Lifted Up (1985) by Passion Pit (categorised as 'Indietronica') is a video that uses colour change and acting to convey tone in its video. The first verse has very dark colours with harsh flashing lights to cause the user discomfort which emphasises the uncomfortable feeling the singer, Michael is acting out in the video. There are what seems like around a hundred people dancing around him, bumping in to him and invading his personal space in general. He is wearing a cardigan and button down, which is more smart clothing compared to the people raving around him, which adds to the conservative tone he is giving off. All of this shows a sense of alienation he has from the people around him who seem to want to interact with him as he sings the song they are dancing to.
As the chorus hits the low-key, intermittent lighting changes to colourful, dreamy patterns of light being projected on to his face as he continues to sing, dazed by the accidental punch to the face he received in the first verse. Flashing, motion blurred footage of him being shoved around joyfully is played behind this image, creating an image of a much calmer face in front of the chaos he is actually in the midst of. This lighting and song changes shows him beginning to adjust to his surroundings.
As the new verse starts, before the lyrics begin we see him standing in the middle of the crowd (who now have glowsticks to add to the neon colour palette) with the same light show shining on him. He is looking around, now somewhat contentedly and the crowd are dancing to themselves. Halfway through, a flashing mouthguard is put in his mouth by a dancer which he accepts and continues to sing. This shows him slowly beginning to embrace his surroundings, even cracking a smile at some points.
When the chorus hits again, it is in the same format as the last except the people in the background are now dancing in slow motion and are sometimes mirrored, which frames Michael's head in the middle well. At this point he looks as though he is enjoying himself. His body language is relaxed with his eyes half lidded or sometimes closed and his head slightly tilted back. There are also different shots of his head with varying opacity played over one another, creating a dreamy aesthetic with all of these techniques combined.
After the chorus the break arrives and the lighting changes to reddish orange, connoting passion. The crowd is now still and facing the front and only Michael is bopping back and forth and clapping blissfully while singing. When the final chorus hits bright, small lights shine on his body and he bursts in to dance, jumping, eyes closed and opening his mouth fully to sing. He wrings his hands and touches his face often, obviously uninhibited. He seems to start literally 'lifting up' as the crowd starts to get further and further below him, which adds to the point that he is finally completely unbothered by his surroundings and has ascended, metaphorically and literally. The video ends with the vocals in the background accompanying him swaying his head back and forth, eyes closed with a big smile on his face.
J-Boy by Phoenix is an indiepop song with a video that is based much more on simply a recording of the performance. It begins by being presented on a music TV show, reminiscent of Top of the Pops, which was prominent from the 60's to the early 2000's. This 70's/80's style is created through the filter used, the font in the intro, music and the logo that is present in the corner of the video. The filter gives the video a surreal glow and makes any light in the shot flare. The music featured in the video itself sounds like it could be from the 80's or 90's. The band is dressed in clothing that you would find from the period such as printed button downs. Many also have the long hair to match.
The light show at some points in the video is extremely retro with spinning geometric patterns and starbursts that seem dated today, but were seen as futuristic and cutting edge at the time, adding to the dreamy, retro genre. The equipment also does this, with the lead vocalist holding a microphone with a lead, reminding the viewer that this is meant to be seen as what was a live performance before people used wireless mics.
After the song is done, the crowd applauds them and they go backstage, the transition they use is a circle wipe instead of just cutting straight there or using a more modern transition. Finally, when the video is done instead of just going black it turns off like an old TV would and turns to a blue screen with a stripe of static.
The lighting used on stage as soon as the band begins to play is red, connoting sexuality which is boosted by the sigh at the beginning of the song and the low synth. The performers also appear languid and sway loosely.
Chase and Status - All Goes Wrong framing devices
Once In A Lifetime by Talking Heads is a new wave song from the 80's about consumerism and the dizzying concept of age progression. The whole music video is created to be as chaotic as the song to push the lyrics as much as possible. The video starts with David Byrne dipping and diving in front of a blue screen image of what looks like neon coloured cells rippling back and forth. He's visibly sweating, and every time he rises up he puffs heavily, all this as though he has a fever. He then strikes a pose like that of a preacher, adding to the vocals that match this character.
Behind him appears multiple religious rituals (where he imitates the movements, in order to express conformity) that he dances over erratically, most likely to show a panicked attitude towards organised religion or rather, uses organised religion imagery as a vessel for his message, as well as consumerism and the course of living that western civilization deems acceptable (marriage, car, children) if the lyrics are anything to go on. Although he has all of these things, he questions how it all happened ('How did I get here?') and whether or not he truly wants it: a classic existential, mid-life crisis.
The video is obviously low budget, using a zoom lens and blue screen. This put together is somewhat grating but, of course, works to get the desired tone of the video.
In the chorus the lyrics: 'Many good days go by, let the water hold me down' David is seen walking slowly in a lunge pattern with copies of himself behind him doing the same thing, adding to the conformity idea, as well as the black and white suit, formal dress being something that is more imposed on people to whom this video and song is catering to.
Bjork - Human Behaviour analysis
1. The hole in the ground and coffin in which the actor is placed direct the eye to the centre of the screen where the action is.
2. Long shot is surrounded by graves and trees that draw the eye to the funeral in the centre.
3. The bodies of two funeral goers obscure everything else to frame the grieving woman in the middle.
4. Houses and tables frame the actors at the table who are placed in the centre.
5. Actor walking down the street is framed by the wall and the car, tree, etc.
6. Shot of grieving woman from inside the hole actor is buried in. Framed by the pit.
Music Video Planning
Strengths: Familiar song to work with, vague lyrics which gives me a wider range of themes to use. All ideas that come to mind to carry out
Weaknesses: Lyrics are vague and ambiguous so if you want to stick to a literal portrayal this would be difficult
Opportunities: Vagueness means you can do near enough what you want with the lyrics
Threats: Still inexperienced with After Effects and may struggle to get the desired aesthetic
Strengths: Descriptive writing, clear dark colour schemes to work with
Weaknesses:
Opportunities:
Threats:
