Saturday, 27 August 2011
Friday, 26 August 2011
Friday, 19 August 2011
Music Video Directors
Name: Alan Ferguson
Signed to: Yvette Lang-Einczig & Yell Productions
Over the years has worked with a variety of artists including Panic at the Disco, Katy Perry, Natasha Bedingfield, Gym Class Heroes and Jay-Z and has frequently worked on music videos with the band Fall Out Boy.
One of the major elements of Ferguson’s work that impresses me is his ingenious use of imagery and intertextuality. In videos like Katy Perry’s “Hot’N’Cold” there are some very interesting images like the Zebra to highlight the line “It’s black then it’s white” in an obscure and memorable fashion. The image appears at the end of the video to show that that the entire video is a dream.
It is Ferguson’s work on the Fall Out Boy music videos that impresses me the most. “Dance, Dance” is one of the bands most famous songs and the video makes appearances in other videos including “This Ain’t a Scene, It’s an Arms Race” which is a continuation of the plot from “Dance, Dance” and “I’m Like a Lawyer with the Way I’m Always Trying to Get You Off (Me & You)” where the video appears being watched by a group of Ugandans. Also, in the video “What A Catch, Donnie”, multiple props from other videos appear most likely due to a series of lyrics from other songs appearing in the song’s climax. While this intertexutality is clearly due to Ferguson working on so many of Fall Out Boy’s videos, it does knit the band’s videos together brilliantly in a manner that most artist’s videos never do.
Name: Dave Meyers
Bio: Born in Berkeley, California.
Worked at a local Landmark cinema at 17 where he gained his love of film before attending Loyola Marymount University where he majored in Film Production and Philosophy. In 1997 he started working on music videos and has since directed over 200 videos from a plethora of incredibly famous artists like Jay Z, Britney Spears and Aerosmith.
His goal is to "innovate the field while supporting artists in their journeys to define themselves." [Source]
The major thing that impresses me about Meyers' work is that he is totally dedicated to making his videos fit into the artist's definition to define themselves. This is something that I would like to do in my music video. Meyers also makes excellent use of imagery in his videos, usually leading to some of the most memorable music videos ever.
The spectacular CGI fireworks in Katy Perry's "Firework" video really add to the poignancy of the song. They add an amazing sense of colour and motion to the video in a way that has never been done before, linking in with Meyers desire to "innovate the field".
Pink's "Funhouse" is also an incredibly interesting video due to the juxtaposition of Pink in white having fun whilst the location is a burnt out wreck of a house. The over the top nature of the video and Pink's attitude is one that Meyers has clearly developed with Pink over the years through their work on numerous other videos including "You Make Me Sick" and "So What". While I would never be able to go to such extremes in my music video, it would be excellent if I could capture the true essence of the artists in the music video like Meyers does so well with Pink.
Signed to: Yvette Lang-Einczig & Yell Productions
Over the years has worked with a variety of artists including Panic at the Disco, Katy Perry, Natasha Bedingfield, Gym Class Heroes and Jay-Z and has frequently worked on music videos with the band Fall Out Boy.
 |
| The Zebra in Katy Perry's "Hot n Cold" music video |
It is Ferguson’s work on the Fall Out Boy music videos that impresses me the most. “Dance, Dance” is one of the bands most famous songs and the video makes appearances in other videos including “This Ain’t a Scene, It’s an Arms Race” which is a continuation of the plot from “Dance, Dance” and “I’m Like a Lawyer with the Way I’m Always Trying to Get You Off (Me & You)” where the video appears being watched by a group of Ugandans. Also, in the video “What A Catch, Donnie”, multiple props from other videos appear most likely due to a series of lyrics from other songs appearing in the song’s climax. While this intertexutality is clearly due to Ferguson working on so many of Fall Out Boy’s videos, it does knit the band’s videos together brilliantly in a manner that most artist’s videos never do.
Bio: Born in Berkeley, California.
Worked at a local Landmark cinema at 17 where he gained his love of film before attending Loyola Marymount University where he majored in Film Production and Philosophy. In 1997 he started working on music videos and has since directed over 200 videos from a plethora of incredibly famous artists like Jay Z, Britney Spears and Aerosmith.
His goal is to "innovate the field while supporting artists in their journeys to define themselves." [Source]
The major thing that impresses me about Meyers' work is that he is totally dedicated to making his videos fit into the artist's definition to define themselves. This is something that I would like to do in my music video. Meyers also makes excellent use of imagery in his videos, usually leading to some of the most memorable music videos ever.
The spectacular CGI fireworks in Katy Perry's "Firework" video really add to the poignancy of the song. They add an amazing sense of colour and motion to the video in a way that has never been done before, linking in with Meyers desire to "innovate the field".
Pink's "Funhouse" is also an incredibly interesting video due to the juxtaposition of Pink in white having fun whilst the location is a burnt out wreck of a house. The over the top nature of the video and Pink's attitude is one that Meyers has clearly developed with Pink over the years through their work on numerous other videos including "You Make Me Sick" and "So What". While I would never be able to go to such extremes in my music video, it would be excellent if I could capture the true essence of the artists in the music video like Meyers does so well with Pink.
Tuesday, 16 August 2011
Interesting Videos
Elbow’s “Grounds For Divorce” is an interesting video because of its location and its use of reversing shots. The location of a pub like this is one of the potential locations for my music video as it fits the band’s low key rock theme. The reverse shots are a bizarre occurrence in music videos and it makes the video stand out against many others which might have used a similar location or theme. It is this uniqueness that I want to emulate in my video. As long as there is something that separates it from the norm, my music video should be great.
Adele’s “Rolling in the Deep” is really interesting for similar reasons. The location, an abandoned and slightly dilapidated house, is one that I believe would theoretically work well in my music video as it fits the theme of the song. Also, the figure dancing in the dust with the sword, the smashing plates and the burning card city are all very interesting images that make the video unique.
Green Day's "American Idiot" has a very iconic video which is remembered largely for its climax. The Foo Fighters "The Pretender" uses a very similar climax and the idea of a memorable climax is something that I will have to attempt to create for my music video as it would ensure repeated viewing.
Friday, 12 August 2011
Wednesday, 10 August 2011
Research into the Industry - Genre
A genre is “a class or category of artistic endeavour having a particular form, content, technique, or the like” [Source]
The Theoretical Axiomatic Triangle of Genres
The Theoretical Axiomatic Triangle of Genres
Music has many genres all of which are simultaneously different and similar. According to musicologist Phillip Tagg, music can be classified by an "axiomatic triangle consisting of 'folk', 'art' and 'popular' musics." [Source]
Art Music
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| Beethoven's music is a perfect example of Art music |
Popular Music
 |
| Justin Bieber's music is an example of Popular Music |
Traditional Music
“Traditional music is the term increasingly used (e.g. by the Grammy Awards) for folk music that is not contemporary folk music.” [Source]
Criticisms of the Triangle
 |
| 'Sakura Sakura' is a traditional Japanese song |
Criticisms of the Triangle
However, this triangle has been criticised for being too broad in its classification as many songs fit into multiple parts of the triangle.
“Neat divisions between 'folk' and 'popular', and 'popular' and 'art', are impossible to find ... arbitrary criteria [are used] to define the complement of 'popular'. 'Art' music, for example, is generally regarded as by nature complex, difficult, demanding; 'popular' music then has to be defined as 'simple', 'accessible', 'facile'. But many pieces commonly thought of as 'art' (Handel's 'Hallelujah Chorus', many Schubert songs, many Verdi arias) have qualities of simplicity; conversely, it is by no means obvious that the Sex Pistols' records were 'accessible', Frank Zappa's work 'simple', or Billie Holiday's 'facile'." (Middleton, 1990)
Standard Music Genres
“Neat divisions between 'folk' and 'popular', and 'popular' and 'art', are impossible to find ... arbitrary criteria [are used] to define the complement of 'popular'. 'Art' music, for example, is generally regarded as by nature complex, difficult, demanding; 'popular' music then has to be defined as 'simple', 'accessible', 'facile'. But many pieces commonly thought of as 'art' (Handel's 'Hallelujah Chorus', many Schubert songs, many Verdi arias) have qualities of simplicity; conversely, it is by no means obvious that the Sex Pistols' records were 'accessible', Frank Zappa's work 'simple', or Billie Holiday's 'facile'." (Middleton, 1990)
Standard Music Genres
Most people will use the more popular way of music classification which looks at the song’s styling. These types of genre include: Blues, Classical, Country, Dance, Hip-Hop, Jazz, Pop, R&B and Rock as well as many other lesser known genres like J-Pop (Japanese Pop), Latino, Christian & Gospel and Comedy. [Source]
Pop Music
“The definition of pop music is purposefully flexible as the music that is identified as pop is constantly changing.”
 |
| Michael Jackson, world renowned King of Pop known for the likes of Thriller, Man In The Mirror and more |
"The basic form for pop music is the song and usually a song consisting of verse and repeated chorus. Most often the songs are between 2 1/2 minutes and 5 1/2 minutes in length. ... They are played on the standard electric guitar, bass and drums with vocals that have a very strong catchy chorus, or hook. Art is not a concern. Audience pleasure in listening to the song is the primary goal." [Source]
Rock Music
"Rock music is a genre of popular music that developed during and after the 1960s, particularly in the United Kingdom and the United States. It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by rhythm and blues and country music. Rock music also drew strongly on a number of other genres.
 |
| World famous rock band, Bon Jovi have produced some memorable anthems like Livin' On A Prayer and It's My Life |
Musically, rock has centred on the electric guitar, usually as part of a rock group with bass guitar and drums. Typically, rock is song-based music with a 4/4 beat utilizing a verse-chorus form, but the genre has become extremely diverse and common musical characteristics are difficult to define. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Rock places a higher degree of emphasis on musicianship, live performance, and an ideology of authenticity than pop music." [Source]
The band I am using, Modern Winter fits into the Rock Genre because of their emphasis on performance and authenticity as well as the verse-chorus form and standard rock instruments.
Tuesday, 9 August 2011
Research Into The Industry - Artists and Record Labels
The band that I am planning on using is one that is local to the Nottingham area. They all attend the same college as me, they have already recorded at least one original song and I am good friends with one of the band members. These factors made them perfect candidates for my music video.
The band is called ‘Modern Winter’ and is made up of four members, Stephen Jenkins as the lead vocalist and piano, Stephanie Campbell on bass, Tomas Walker on guitar and Matthew Jenkins on drums. The band has been together for six years, but has only had this line up for about three years.
The music industry in the 21st century is largely focused on Record Companies who usually own all of the rights to the music of the artists. These companies pay for the “recording costs and the cost of promoting and marketing the record.” [Source] As such, all artists need to find a label that are willing to take them on.
Modern Winter mainly focuses on the rock genre and as such would most likely get picked up by a record label which focuses around that niche.
However, the band is too low key to get picked up by the ‘Big Four’:
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The Universal Music Group (which accounted for 25.5% of the market in 2005 [Source] ) |
 | ||
Sony BMG Music Entertainment (21.5% of the market in 2005 [Source])
|
 |
| And the Warner Music Group (11.3% of the market in 2005 [Source] ). |
The label focuses mainly on the rock genre and has artists like Snow Patrol, Elbow, White Lies and Athlete and as such would be a decent fit for Modern Winter.
There are perhaps more likely options, with the independent labels like Aardvark Records who are “one of the rising stars of the UK music industry”. They “are a staunchly independent record label with a growing roster of original, new talent covering a variety of music genres.” [Source] Being a UK independent label, this label would be more likely to sign up a band like Modern Winter as they like original and new talent, something which Modern Winter could provide.
Monday, 25 July 2011
Music Video Treatment
Modern Winter is a local band that plays mainly rock music. I approached them on the subject of appearing and performing the song for my music video and they agreed. For this, I allowed them to choose the song that they wanted a music video as I was quite happy to create a music video with whatever song I was given. In the music industry, directors do not ask artists to create a video of a particular song, they get hired by the producers to make a video of the song the producers want making. Using this ideal, the band gave me their song “Free” to use.
“Free” is about making the most of life and not letting it pass you by. That is the message that I have got to create within the music video and the best way of doing that is to create a performance and narrative based video. The performance based part of the video will hopefully take place on a semi-professional stage as that is the most authentic location for the band, however, I may shoot a lot of my video outside because of lines like “Wake up baby smell the fresh air where” in the song. This would then link into the narrative aspect of the video, for which I have the idea of a girl walking through a field in an incredibly cliché way. She might bend down to smell the flowers and look like she’s in paradise. In an ironic fashion, the visuals will be suggesting that paradise is just a dream and to wake up from that dream and make that dream part of reality.
The video will attempt to make use of a dynamic camera, even if the speed is slower than expected so that it matches the speed of the song. Pans and tracks will be used alongside static shots like in the Foo Fighters’ ‘The Pretender’ video, even if it is at a much slower pace.
The visuals will be neither black and white nor full colour. They will instead be muted in the band’s segments, like in Air Traffic’s ‘No More Running Away'. This will make these segments seem like a dim look on reality in comparison to the bright and airy narrative scenes (Reminiscent of the first minute of this: Child of Eden Intro).
I may also utilise some intertextuality to reference the 2011 film ‘Sucker Punch’, through using a similar method of scene change between ‘reality’ and the dream world. In ‘Sucker Punch’, the main character is seen in close up, before she closes her eyes and the camera turns around her, swapping one location with the next after the turn. This would be an interesting shot and would make the video memorable even if many do not get the reference.
Still, the key of the video will be memorability. The best videos are the ones that are unique enough to be remembered and that is what I am going to attempt to do. Whether or not it is a success is a different matter, but if I can include numerous unique elements in the video then it will surely be better than if that was never a goal to begin with.
“Free” is about making the most of life and not letting it pass you by. That is the message that I have got to create within the music video and the best way of doing that is to create a performance and narrative based video. The performance based part of the video will hopefully take place on a semi-professional stage as that is the most authentic location for the band, however, I may shoot a lot of my video outside because of lines like “Wake up baby smell the fresh air where” in the song. This would then link into the narrative aspect of the video, for which I have the idea of a girl walking through a field in an incredibly cliché way. She might bend down to smell the flowers and look like she’s in paradise. In an ironic fashion, the visuals will be suggesting that paradise is just a dream and to wake up from that dream and make that dream part of reality.
The video will attempt to make use of a dynamic camera, even if the speed is slower than expected so that it matches the speed of the song. Pans and tracks will be used alongside static shots like in the Foo Fighters’ ‘The Pretender’ video, even if it is at a much slower pace.
The visuals will be neither black and white nor full colour. They will instead be muted in the band’s segments, like in Air Traffic’s ‘No More Running Away'. This will make these segments seem like a dim look on reality in comparison to the bright and airy narrative scenes (Reminiscent of the first minute of this: Child of Eden Intro).
I may also utilise some intertextuality to reference the 2011 film ‘Sucker Punch’, through using a similar method of scene change between ‘reality’ and the dream world. In ‘Sucker Punch’, the main character is seen in close up, before she closes her eyes and the camera turns around her, swapping one location with the next after the turn. This would be an interesting shot and would make the video memorable even if many do not get the reference.
Still, the key of the video will be memorability. The best videos are the ones that are unique enough to be remembered and that is what I am going to attempt to do. Whether or not it is a success is a different matter, but if I can include numerous unique elements in the video then it will surely be better than if that was never a goal to begin with.
Thursday, 21 July 2011
Foo Fighters "The Pretender" Textual Analysis
Camerawork
This particular music video has a very dynamic but abrupt camera. This easily adds an incredible pace to the video and by having the camera move to the beat of the track; it creates a rebellious tone within the video through the fury of the pacing. The unusual abruptness also adds to this rebellious tone. This anti-authoritarian styling is most likely an attempt to attract that subculture to the band like Dick Hebdige theorises.
There are also lots of close ups of the band, although the close ups mainly focus upon lead singer, Dave Grohl. This is typical of music videos as it promotes the 'star image' that Richard Dyer so fervently believes in. However, the close-ness of the close ups makes the shouting singing seem more stand-offish and this is exacerbated by the mise-en-scene and the tracking long shots.
Editing
This music video also makes use of the 'fast cut montage' which renders "many of the images impossible to grasp on first viewing thus ensuring multiple [viewings]" (Pete Fraser, Teaching Music Video (BFI, 2004)). The fast cutting is perfect for the tempo of the song and quickens the pace of the video dramatically. Very few of the shots last longer than three seconds, with most being shorter than one second and this is what gives the video its sense of speed.
The cuts are also edited to the beat, and this, along with the speed of the video, amplifies the anti-authoritarian and rebellious tone of the video.
Mise-en-scene
The Mise-en-scene in this video is incredibly interesting. The entire video takes place within an abandoned aeroplane hangar with a large black line separating the band from the rest of the hangar and a large red wall behind them. The line and the hangar provide a sense of isolation which is exacerbated when the mass of riot officers appear at the line. This creates a confrontational feel to the video and the riot officers in particular suggest the rebellious feelings against the government.
The red wall has connotations of danger and also acts like a matador's cape in the bull ring for the riot officers. By having it explode and flood the hangar with red water it symbolises the fight against the government whilst also providing a thrilling and memorable climax to the video which would most certainly ensure multiple viewings.
Ellie Goulding's "Your Song" Textual Analysis
Camerawork
As with most music videos, "Your Song" has lots of close-up shots of Ellie Goulding lip-synching. The major close up shots create an intimacy with the artist which is furthered by the intimate nature of the song.
These close ups also "[emphasise] half of the commodity on sale (not just the song, but the artist, and particularly the voice)" as Pete Fraser states in his book "Teaching Music Video". (BFI, 2004)
The static close-ups are only one part of the video. The other part is made up of various shots of Ellie Goulding having fun with friends. All of the shots include her and they fit into her "sweet girl" image which has been "constructed from a range of materials" (Richard Dyer, 1979) and culminates in this video.
The handheld camera shots have been used to look like the videos are home-made or amateurish to make Ellie feel more real and attainable than the more cinematic videos of Katy Perry and Lady Gaga. They also amplify the song's message and including the audience. The home-made styling makes the audience feel as if they filmed those shots and it really makes it seem like Ellie Goulding is singing the song to them and not to someone else.
Editing
Despite being a slow paced acoustic song, the music video contains many shots that are little more than a second long and with the longest shot barely reaching five seconds in length. This fits in with Steve Archer's thoughts on the technical aspects of music video in his "How to Study Music Videos" article (Media Magazine, February 2004)by having a certain speed to the editing with fast cutting and montage editing which "creates a visually decentred experience necessary for music video consumption." The speed of the editing could also represent how fast life flows by; after all, the lyrics do talk about "how wonderful life is, now you're in the world."
The video also cuts directly to the beat and this is something else that Steve Archer believes to be an "essential part of music video". By doing this, the video has a wonderful flow which never feels jarring and this also adds to the image of life that the fast-cut editing produces.
Mise-en-scene
One of the most obvious features of the video is the bright light on Ellie Goulding's face during the close ups.
the authenticity within the song which is exactly what music video directors strive for as emphasises the star image and the realness of the message in the song.
Shot by Shot Analysis
All music videos should follow general codes and conventions. One of the most effective ways of seeing whether this theory holds any truth is to do a shot by shot analysis of a music video.
For this task the music video for the Genki Rockets 2010 song "Make.Believe" as it is unique in being the world's first 3D and fully CGI music video which was presented at Sony's "make.believe" concert making the Genki Rockets the first band to ever host a live 3D concert. However, for it to be a music video it should follow the codes and conventions laid out by theorists and should be obvious in the shot by shot analysis.
As can be seen, this music video follows a lot of the major codes of music videos with mainly straight cuts and lots of close ups. However, "Make.Believe" was advertising Sony's 3D capabilities as well as the Genki Rockets and this could explain why there are so many long shots although this has been something that is used in lots of the Genki Rockets' videos. Also, a lot of the shots are quite long, but this is most likely down to the slower pace of the song.
However, there are other videos that break with codes and conventions too.
These include:
OK Go's "Here We Go Again" video was one shot for the entire video:
OK Go's "Last Leaf" does not include any form of lip synch or performance, it is simply a narrative told through toast:
Katy Perry's "Last Friday Night (T.G.I.F.)" which is like a short teen film with a music video in the middle:
However, in recent years, artists have been trying to push the boundaries of creativity and as such are more willing to break codes and conventions than artists in the 60s.
For this task the music video for the Genki Rockets 2010 song "Make.Believe" as it is unique in being the world's first 3D and fully CGI music video which was presented at Sony's "make.believe" concert making the Genki Rockets the first band to ever host a live 3D concert. However, for it to be a music video it should follow the codes and conventions laid out by theorists and should be obvious in the shot by shot analysis.
Track: Make.Believe Artist: Genki Rockets Date: 2010
Shot number | Shot type | Shot length | Description | Edit to next shot |
1 | Close Up | 4s | Zoom of woman’s face initially silhouetted then brightened by CGI neon lights | Straight Cut |
2 | Close Up | 2s | Side of woman’s face. Entire body spinning. | Straight Cut |
3 | Close Up | 4s | Front of woman’s face with the words Genki Rockets appearing and blowing away | Straight Cut |
4 | Long Shot | 11s | Woman encased in the neon lights slowly spinning | Graphic match fade to eye |
5 | Extreme Close Up | 4s | Zooming out from an eye | Straight Cut |
6 | Close Up | 11s | Woman in white dress lip synching | Straight Cut |
7 | Mid Shot | 4s | Woman blowing in the wind | Straight Cut |
8 | Long Shot | 12s | Woman glowing brightly and floating down to land | Straight Cut |
9 | Extreme Close Up | 1s | Her feet landing | Straight Cut |
10 | Extreme Close Up | 1/2s | Her feet landing | Straight Cut |
11 | Extreme Close Up | 1s | Her feet landing | Straight Cut |
12 | Long Shot | 5s | Woman screen right watching birds fly off into the distance | Straight Cut |
13 | Mid Shot | 5s | Overhead Shot of woman lip synching and pointing to camera | Straight Cut |
14 | Long Shot | 1s | Woman pointing up to sky as lights explode around her | Straight Cut |
15 | Long Shot | 1s | Light flying into sky and exploding | Straight Cut |
16 | Long Shot | 6s | Woman lip synching in a forest | Straight Cut |
17 | Long Shot | 8s | Woman lip synching in a forest | Straight Cut |
18 | Long Shot | 7s | Overhead Shot of woman lip synching with CGI fish flying through the air | Straight Cut |
19 | Mid Shot | 6s | Woman lip synching as fish swim through air around her | Straight Cut |
20 | Long Shot | 9s | Woman lip synching but with major focus on the tree | Straight Cut |
21 | Long Shot | 7s | Fish swimming through the trees | Straight Cut |
22 | Long Shot | 7s | Woman in space lip synching | Straight Cut |
23 | Close Up | 8s | Woman in space lip synching | Straight Cut |
24 | Long Shot | 2s | Woman looking at the rose petals around her as background fades to white | Straight Cut |
25 | Long Shot | 3s | Rose petals floating up into the sky | Straight Cut |
26 | Long Shot | 8s | Woman in a chapel lip synching but far away | Straight Cut |
27 | Long Shot | 6s | Painting of a castle with birds flying past | Straight Cut |
28 | Mid Shot | 5s | Overhead Shot of Woman lip synching to screen | Straight Cut |
29 | Long Shot | 12s | Overhead shot of Woman leaping up and flying as the CGI background flashes by | Straight Cut |
30 | Mid Shot | 5s | Side view of Woman flying and lip synching | Straight Cut |
31 | Long Shot | 4s | Point of View Shot of CGI buildings passing by | Straight Cut |
32 | Long Shot | 3s | Woman flying through the air | Straight Cut |
33 | Mid Shot | 7s | Woman flying through the air lip synching | Straight Cut |
34 | Extreme Close Up | 3s | Woman’s hand reaching out to grasp something | Straight Cut |
35 | Long Shot | 8s | Woman leaping into the screen as background changes rapidly | Straight Cut |
36 | Mid Shot | 8s | Zooming in on woman reaching towards viewer | Flash/Jump Cut |
37 | Close Up | 4s | Woman still reaching out to viewer | Flash |
38 | Long Shot | 10s | Woman leaping into the screen as the background changes | Straight Cut/Flash |
39 | Mid Shot | 1/3s | Woman reaching out to viewer | Straight Cut/Flash |
40 | Mid Shot | 1/3s | Woman reaching out to viewer | Straight Cut/Flash |
41 | Mid Shot | 1/3s | Woman reaching out to viewer | Straight Cut/Flash |
42 | Long Shot | 7s | Woman smashing through a nebula | Straight Cut |
43 | Long Shot | 3s | Woman in white dress singing to woman in neon lights | Straight Cut |
44 | Mid Shot | 4s | Woman in white dress singing | Straight Cut |
45 | Long Shot | 5s | Back of woman in white with large face of woman in neon lights singing | Straight Cut |
46 | Long Shot | 10s | Zoom in on woman in white singing | Flash |
47 | Close Up | 2s | Overhead of woman singing | Straight Cut |
48 | Long Shot | 4s | Overhead of woman singing whilst zooming out | Straight Cut |
49 | Long Shot | 3s | Woman singing at a cliff edge | Straight Cut |
50 | Mid Shot | 5s | Woman singing to camera as it spins around her | Flash |
51 | Mid Shot | 3s | Spin around woman singing under Northern lights | Straight Cut |
52 | Long Shot | 2s | Woman singing under Northern lights | Straight Cut |
53 | Long Shot | 2s | Woman singing in a desert | Straight Cut |
54 | Long Shot | 2s | Closer up of Woman singing in a desert | Straight Cut |
55 | Long Shot | 3s | Zoom in of Woman singing on water | Straight Cut |
56 | Mid Shot | 5s | Woman singing to the camera before disappearing to dust | Straight Cut |
57 | Long Shot | 4s | Lights flying up from the cliff top | Straight Cut |
58 | Close Up | 7s | Close up of Earth as light flies into space | Straight Cut |
59 | Close Up | 7s | Woman in space holding the Earth | Straight Cut |
60 | Close Up | 8s | Close up of woman in space’s face as neon lights slowly disappear. | End |
However, there are other videos that break with codes and conventions too.
These include:
OK Go's "Here We Go Again" video was one shot for the entire video:
OK Go's "Last Leaf" does not include any form of lip synch or performance, it is simply a narrative told through toast:
Katy Perry's "Last Friday Night (T.G.I.F.)" which is like a short teen film with a music video in the middle:
However, in recent years, artists have been trying to push the boundaries of creativity and as such are more willing to break codes and conventions than artists in the 60s.
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