Attracting an audience

There are several ways in which I believe my project will attract my target audience (teenagers roughly my age):

• Biffy Clyro are a current band, rapidly climbing the ladder to massive amounts of fame, and are becoming increasingly popular amongst people of all ages
• The people in the video are all the same age as me, therefore it will appeal more to people our age, and obviously we're all good looking people, attracting all the girls (JOKING)
• The video itself is rather generic, with a theme of romance, which also plays well with young adults
• Plently of other bands have the similar style of videos, grungy heavy live sides entwined with a softer, lovey dovey story, providing an appealing contrast to the audience.
• The image of the people in the video goes hand in hand with the music, we won't be dressed formally, instead we will be very informal, messed up hair and jumping around hopefully

Biffy Clyro - Opposites digipak analysis

As the song I'm using for my music video is by Biffy Clyro, I decided it would be a good idea for me to analyse the digipak for their latest album, the one featuring the song I'm using.

Shown above is the album cover, the main point of focus being the bent tree. This is supposed to be the oldest tree in the world, located in Chile, and I believe it symbolises the strength of the band, that they plan on being around for a long time. The bones hanging from the tree also suggest strength and age, and the barren location also suggests that their strength is their main focus, and nothing around them will distract them from that. 

The text in the top left corner is bright yellow, standing out clearly against the sky-blue background, and is in Biffy's usual font, making it easily distinguishable as their own.

We can see that the back of the CD jacket has another tree, again symbolising strength and growth of the band. The side that shows the track listing has a close up shot of the branches of the tree. Again, yellow font is used to make the titles and important information on the cover stand out to the audience. At the bottom of this side is the familiar barcode as well as the copyright and licensing information in smaller print. This is so it doesn't distract the audiences attention from the main parts - the track listing.

Digipak research

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.

Elements of a Music Video

Andrew Goodwin, in 1992, identified a number of key features which distinguish the music video as a form:

• 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

In addition, Steve Archer in Media Magazine 8 has drawn attention to the need to consider the relationship between narrative and performance in music promos.

The key elements of a music video are:

• Lyrics

Lyrics tend to help establish a general feeling, or mood, or sense of subject matter rather than offering a coherent meaning. Key lines may play a part in the visuals associated with the song but very rarely will a music video simply illustrate the lyrics completely.

• Music

A music video tends to make use of the tempo of the track to drive the editing and may emphasise particular sounds from the track by foregrounding instruments such as a guitar, keyboard or drum solo.

• Genre

While some music videos transcend genres, others can be more easily categorised. Some, but not all, music channels concentrate on particular music genres. If you watch these channels over a period of time, you will be able to identify a range of distinct features which characterise the videos of different genres. These features might be reflected in types of mise en scene, themes, performance, camera and editing styles.

• Camerawork

As with any moving image text, how the camera is used and how images are sequenced has a significant impact on meaning. Camera movement, angle and shot distance all need to be analysed. Camera movement may accompany movement of performers (walking, dancing etc) but it may also be used to create a more dynamic feel to stage performance, for instance, by constantly circling the band as they perform on stage. The close up predominated, as in most TV, partly because of the size he screen and partly because of the desire to create a sense of intimacy for the viewer. It also emphasises half of the commodity on sale - the artist, and particularly the voice. John Stewart of Oil Factory said that he sees the music video essentially as having the aesthetics of the TV commercial, with lots of close-ups and lighting being used to focus on the star's face.

• Editing

Although the most common form of editing associated with the music promo is fast-cut montage, rendering many of the images impossible to grasp on first viewing, so ensuring multiple viewing, some videos use slow pace and gentler shot transitions to establish mood. This is particularly apparent in promos for many female solo artists with a broad audience appeal, such as Dido. Often enhancing the editing are digital effects, which play with the original images to offer different kinds of pleasure for the audience. This might takr the form of split-screens, colourisation and of course the use of blockbuster film style CGI special effects.

• Intertextuality

The music video is often described as a 'post-modern' form, a slippery term which is sometimes used to mean intertextuality, one of the post-modernism's more easily identifiable features. Broadly, if we see music promos as frequently drawing upon existing texts in order to spark recognition in the audience, we have a working definition of intertextuality. Not all audiences will necessarily spot a reference and this need is not significantly detract form their pleasure in the text itself, but greater pleasure might be derived by those who recognise the reference and feel flattered by this. Arguably, it also increases the audience's engagement with, and attentiveness to the product, an important facility in a culture where so many images and narratives compete for our attention.

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

Narrative in songs, as in poetry, is rarely complete and often fragmentary. The same is true of music promos, which tend to suggest storylines or offer complex fragments in a non-linear order, leaving the viewer with the desire to see them again. Often music videos will cut between a narrative and a performance of the song by the band. Additionally, a carefully choreographed dance might be a part of the artist's performance or an extra aspect of the video designed to aid visualisation and the 'repeatability' factor. Sometimes, the artist (especially the singer) will be a part of the story, acting as narrator and participant at the same time. But it is the lip-synch close-up and the miming of playing instruments that remains at the heart of the music videos, as if to assure us that the band can really kick it.

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

Other commentators have identified some other styles in music videos, including gothic, animated, dreamscapes, portraiture, furutistic and home movie.

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)

!!!!!!!MASSIVE UPDATE!!!!!!!!

I HAVE DECIDED TO CHANGE THE SONG I AM GOING TO BE MAKING A MUSIC VIDEO FOR.

DON'T WORRY! IT'S THE SAME BAND WITH A SIMILAR STRUCTURE AND SIMILAR SOUNDING SONG, ALL THAT'S REALLY CHANGED IS THE LYRICS.

WHEN WRITING MY STORYBOARD, I ACCIDENTALLY HAD THE WRONG SONG STUCK IN MY HEAD AND ENDED UP STORYBOARDING A VIDEO FOR THE WRONG SONG (STUPID I KNOW) BUT IT ALL CAME TO ME MUCH EASIER AND QUICKER THAN THE OTHER SONG, SO I'VE DECIDED TO STICK WITH IT. IT ALSO FITS BETTER WITH THE THEME OF THE VIDEO. SO THE NEW SONG IS......

*DRUM ROLL*

BIFFY CLYRO - BIBLICAL

I'LL STILL BE USING ALL MY LOCATION SHOTS ETC SO DON'T PANIC

'Walking Scenes' shots

Since a lot of the story side of the music video involves the two characters walking to a specific location, I took photos of numerous places which I thought would be good to walk through.