One of the ancillary tasks that comes with my music video is to design a digipak to go with it.
What is a digipak?
A digipak is simply the casing in which the CD comes. Originally there was 6 frames, but now it's usually just 4, a case with a front and back, then two inside images, the back usually containing the track listing and the front usually containing the album artwork.
I plan on creating one of these for my song, so while I'm having some trouble organising the filming, I can get on with making this. I'll take some photos at the first opportunity I get.
Media
Friday, 27 December 2013
Monday, 16 December 2013
Elements of a Music Video
Andrew Goodwin, in 1992, identified a number of key features which distinguish the music video as a form:
The key elements of a music video are:
It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates intending to move on to the film industry itself. From Madonna's 'Material Girl' (Mary Lambert, 1985) which drew on the song sequence Diamonds Are a Girl's Best Friend and Howard Hawks' film Gentlemen Prefer Blondes (USA, 1953), to 2Pac and Dr Dre's California Love (Hype Williams, 1996) which referenced George Miller's Mad Max (AU, 1979), there are many examples of cinematic references in music video. Television is often a point of reference as well, as in the Beastie Boys' spoof cop-show title sequence for Sabotage (Spike Jonze, 1994) or REM's news show parody Bad Day (Tim Hope, 2003). People see visual references in music video as coming from a range of sources, although the three most frequent are perhaps cinema, fashion and art photography. Fashion sometimes takes the form of specific catwalk references and sometimes even the use of supermodels, as by Robin Thicke in Blurred Lines (Diane Martel, 2013). Probably the most memorable example of reference to fashion photography (and to the fetishistic photography of Helmut Newton) is Robert Palmer's Addicted to Love (Terence Donovan, 1986), parodied many times for its band of mannequin style females, fronted by a besuited Palmer.
A description of music video as 'incorporating, raiding and reconstructing' is essentially the essence of intertextuality, using something with which the audience may be familiar, to generate both nostalgic associations and new meanings. It is perhaps more explicitly ecident in the music video than in any other media form, with the possible exception of advertising. It is suspected that the influence of videogames on music videos, particularly for younger audiences, has generated more plasticised looking characters.
The video allows the audience more varied access to the performer than a stage performance can. The close-up, allowing eye contact and close observation of facial gestures, and role-play, within a narrative framework, present the artist in a number of ways not possible in a live concert. The mise en scene in particular can be used:
- There is a relationship between the lyrics and the visuals (with visuals either illustrating, amplifying or contradicting the lyrics)
- There is a relationship between the music and the visuals (again with visuals either illustrating, amplifying or contradicting the music)
- Particular music genres may have their own music video style and iconography (such as live stage performance in heavy rock)
- There is a demand on the part of the record company for lots of close-ups of the main artist/vocalist
- The artist may develop their own star iconography, in and out of their videos, which, over time, becomes part of their star image.
- There is likely to be reference to voyeurism, particularly in the treatment of women, but also in terms of systems of looking (screens within screens, binoculars, cameras, etc)
- There are likely to be intertextual references, either to other music videos or to films and TV texts
The key elements of a music video are:
- Lyrics
- Music
- Genre
- Camerawork
- Editing
- Intertextuality
It is perhaps not surprising that so many music videos draw upon cinema as a starting point, since their directors are often film school graduates intending to move on to the film industry itself. From Madonna's 'Material Girl' (Mary Lambert, 1985) which drew on the song sequence Diamonds Are a Girl's Best Friend and Howard Hawks' film Gentlemen Prefer Blondes (USA, 1953), to 2Pac and Dr Dre's California Love (Hype Williams, 1996) which referenced George Miller's Mad Max (AU, 1979), there are many examples of cinematic references in music video. Television is often a point of reference as well, as in the Beastie Boys' spoof cop-show title sequence for Sabotage (Spike Jonze, 1994) or REM's news show parody Bad Day (Tim Hope, 2003). People see visual references in music video as coming from a range of sources, although the three most frequent are perhaps cinema, fashion and art photography. Fashion sometimes takes the form of specific catwalk references and sometimes even the use of supermodels, as by Robin Thicke in Blurred Lines (Diane Martel, 2013). Probably the most memorable example of reference to fashion photography (and to the fetishistic photography of Helmut Newton) is Robert Palmer's Addicted to Love (Terence Donovan, 1986), parodied many times for its band of mannequin style females, fronted by a besuited Palmer.
A description of music video as 'incorporating, raiding and reconstructing' is essentially the essence of intertextuality, using something with which the audience may be familiar, to generate both nostalgic associations and new meanings. It is perhaps more explicitly ecident in the music video than in any other media form, with the possible exception of advertising. It is suspected that the influence of videogames on music videos, particularly for younger audiences, has generated more plasticised looking characters.
- Narrative and performance
The video allows the audience more varied access to the performer than a stage performance can. The close-up, allowing eye contact and close observation of facial gestures, and role-play, within a narrative framework, present the artist in a number of ways not possible in a live concert. The mise en scene in particular can be used:
- As a guarantee of 'authenticity' of a band's musical virtuosity by showing them in a stage performance or a rehearsal room;
- To establish a relationship to familiar film or television genres in a narrative-based video;
- As a part of the voyeuristic context by suggesting a setting associated with sexual allure, such as a sleazy nightclub or boudoir;
- Or to emphasise an aspirational lifestyle, as in the current emphasis on the latest gadgetry
Lyrical Storyboard VERSION 2
(Opening note with strum of guitar)
Baby if you (close up of singers face) could would you go back to the (shot from stage left) start? (view from over the cymbals of the back of the singer)
(Another close up of singer's face)
Take any fresh (left to right pan of stage) steps or watch it all fall apart, again
Play another song here then you can (close up of Sean's feet as he walks towards the camera, slowly panning upwards)leave (close up of Winona sat on sofa head in hands)
With your delicate wings, I use to weave (argument unfolds, shouting, arm gestures, angry expressions, shoving)
Maybe there's an under-tow here. (Sean stands up and starts to walk away)
Or maybe this is stuck up in the air (Winona throws cup/photo/glass at him)
I know how it looks but all that glitters ain't gold (shot of fingers on guitar/drummer/singer)
You gave me magical (as chorus kicks in, slow motion of thrown item smashing)
I gave you wonderful (View of entire band straight on)
Cut that invisible cord or I'll starve you of (Medium shot of the singer/bassist/cymbals)
What's understandable, let's make immeasurable (Sean walking away from the house/Winona sitting down crying)
Moves to the left or the right but not central cause (Longshot of band)
You gave me magical (Sean walking down a main road)
I gave you wonderful
Cut that invisible cord or I'll starve you of (Winona still crying)
What's understandable, let's make immeasurable (Band, shot from right)
Moves to the left or the right but not central cause (Winona sitting staring into thin air)
You gave me magical (Low angle shot, light in corner)
I gave you wonderful (Close up of guitar)
Let's make this biblical (Bassist)
And hang from our invisible cords (Drummer)
Baby if you could would you go back to the start? (Sean sat at home playing guitar)
Take any fresh steps or watch it all fall apart again? (Winona sitting drawing)
It could have been a wonderful year (Sean looks across and see's a photo lying on his table)
Instead we might not make it to the end (Winona see's the same photo on her mirror)
Everybody cares, but nobody knows (Both of them pick the photo up)
You gave me magical, I gave you wonderful (Low angle straight on shot of band)
Cut that invisible cord or I'll starve you (Drummer high angle)
Of what's understandable (Pan from right)
Let's make immeasurable moves to the left
Or the right but not central 'cause (Singer's face)
You gave me magical, I gave you wonderful (Sean folding the photo up and putting it in his pocket)
Cut that invisible cord or I'll starve you (Winona doing the same)
Of what's understandable (Sean putting on coat)
Let's make immeasurable moves to the left (Winona putting on coat)
Or the right but not central 'cause (Singer)
You gave me magical (Sean walking)
I gave you wonderful (Winona walking)
Let's make this biblical (Sean walking)
And hang from our invisible cords (Winona walking)
You gave me magical (singer)
I gave you wonderful (Bassist)
Let's make this biblical (Drummer)
And hang from our invisible cords (Winona looking at photo again)
Woah (Slow motion shots of band)
Woah
Woah (Shot of neck of guitar playing solo)
Baby how can you walk away? (singer)
Baby how can you walk away? (Sean walking)
Baby how can you walk away? (Winona walking)
Baby how can you walk away? (Drummer)
Baby how can you walk away? (Sean looking at photo, walking onto millenium bridge)
Baby how can you walk away? (Winona looking at phot, walking onto millenium bridge)
Baby how can you walk away? (Singer)
Baby how can you walk away? (Seans feet walking/Winonas legs walking)
Baby if you could would you go back to the start? (Lights dim, just the singer)
Take any fresh steps or watch it all fall apart again? (Both of their feet standing directly opposite each other)
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