Friday, 14 December 2012

EN: Media Evaluation Question 4

EN: Media Evaluation Question 2

EN: Media Evaluation Question 1


JS: Evaluation Q1, Q2 and Q4

In what ways does your media product use, develop or challenge forms and conventions of real media products?


  • Our music video uses many conventions of psychedelic rock videos. According to Andrew Goodwin's critical framework in 'Dancing in the Distraction Factory' (1992, Routledge), music videos demonstrate genre characteristics. Psychedelic rock videos are often enigmatic in their approach, with disjointed and unclear narratives. We have used a similar approach with our narrative to create narrative fuzz, to help identify to the audience our genre of music. 


  • In contrast, we have not identified an immediate relationship between lyrics and visuals. The lyrics are often disjunctive 'with a gun and a pack of sandwiches or nothing' and if we had illustrative visuals then our music video could have looked unusual. However, we developed the conventions of psychedelic rock videos by amplifying certain lyrics 'I want to be someone else or I'll explode'. This highlights our theme of social alienation which dominates our music video. 



  • Furthermore, there is evidence of some form of relationship between the music and visuals at the beginning of our music video. At the editing stage, we cut our footage at certain beats of the song, which gave us the ability to be synchronised and worked for aesthetic purposes; to look professional and visually appealing. On the other hand, when the cutting rate of the video increased, the link between the visuals and music was less noticeable, as our cutting rate varied and was less synchronised.
  •  As 'Radiohead' are a world renowned band and for band promotion, they are not known to promote their faces through the use of close ups,  the visual motifs for our music video would challenge conventions of modern real media products. Through the use of visual effects such as ghosting and altering time through the use of time stretcher, we developed conventions of psychedelic rock videos as through this visual style, the audience can identify that 'Radiohead' are making a track that is for the psychedelic rock video. 

  • In modern music videos, there are frequent references to the notion of looking and to gain capital from consumers, promoters sometimes use 'soft porn' for sales for music videos. This is achieved through voyeuristic shots of the female or male body, through the inclusion of close ups and meat shots. Our video challenges this view by adopting an artistic approach and having none of these shots evident. 
  • Finally in Goodwin's model, it states that intertextuality is common in music videos. As our track is an iconic song from the hugely successful film 'Romeo and Juliet' (Luhrmann, 1996), we included a shot of a character reading the VHS box of the film. This reminded the audience of the importance of the track and its history, and this is common in modern music videos, but less common in the psychedelic rock genre from bands I have explored, so we are challenging our genre.

  • The text is polysemic as it features a convoluted plot. Many music videos our group have explored from psychedelic rock bands such as 'Long Distance Calling' have disjointed videos, that are often open to interpretation. We wanted to achieve this by including a man in the middle of a lake on a lilo, as the audience try and figure out why he is there. This ensures the audience become captivated by our narrative which is common and conventional for the psychedelic rock genre.
  •  Meaning is created through the use of semiotics. The long shot of the man on the lilo is symbolic as it has connotations of loneliness which amplifies our theme of social alienation. Another symbolic shot in our piece is the close up of the man in the hospital gown, as the consumer finds out it is also the protagonist. This has connotations of fear and thus reflects the mood of some psychedelic rock tracks, for example 'Speak to Me' (Pink Floyd, 1973). We amplified this fear as we made a music video that contained elements of fear.

  • The video is postmodern in its style, for example, there is an alterior reality that highlights the power of the human mind. This was shown through editing effects such as the use of ghosting in the chase scene towards the narrative closure. Psychedelic rock has a history of using postmodernism, to convey the ideologies and beliefs of the band about what the future may hold. For example, 'Tame Impala' are a modern psychedelic rock band who comment on the present and the shape the future is taking in their 2012 album 'Lonerism'. 
  • The narrative draws on binary oppositions, such as the protagonist and antagonist. The protagonist is a character who has a sense of enigma about him, but the audience appeal to his character as they feel sympathetically towards him and this builds emotional nuance towards him. The antagonist on the other hand, due to his costume and mystery is viewed negatively by the consumer and seems to be an opposite in character. the twist in our plot was that these two contrasting figures turned out to be the same character. This binary opposition and twist develops conventions of psychedelic rock videos because usually narrative based videos focus on the troubles of one character, such as the man in Radiohead's 'Just' (Radiohead, 1994).


  • There is a discourse of gender, as the three parts in the video were played by males. The protagonist is seen in a formal suit which has connotations of business and the working world. This reinforces the residual ideology that men are the dominant sex for jobs in the business world. Conversely, the protagonist also conveys an image of fear and worry in his non-verbal language through the use of close ups. This challenges another residual ideology that men should not show feelings or be seen as 'weak'.


TB: Evaluation Questions













Thursday, 13 December 2012

Tuesday, 11 December 2012

Group: Artwork


    


 
                       

EN: Digipak Ancillary Product

Stage 1

My first step in creating a Digipak for Radiohead’s “Talk Show Host” was to think of an initial concept or idea. In my artwork I wanted to encapsulate the abstract and polysemic features of previous Radiohead album covers, while also promoting the themes expressed in our primary promotional product to create a cohesive marketable package. To do this I planned to amplify the concepts expressed within the music video of; mankind’s impact on the natural world around him, the stagnation of corporate life in a materialistic society and the feeling of existentialism in a trapped reality, by utilising a collection of Mise-en-scene props that would express these themes using semiotic code. In preparation I began to sketch the ideas onto paper so I had a clear idea on the specific shots I needed to do:
Front Cover:
A close up of a heart on a white/grey background or at the back of the brief case
Back Cover:
An image of ivy leaves in a glass vase. One possible idea to reflect themes is to replace the stems of the leaves with wire to connote man’s impact on the natural world.
Inside Cover:
A heart pinned to the inside of a brief case to represent materialistic values oppressing the individual. An alternative to this would be to have a hole cut into the briefcase and the heart exposed within.
CD Cover:
Using neon lights in the dark to wrap around in a circle around the middle of the disc

Stage 2
After I had established the original concepts I began to research on the different camera techniques I should employ went shooting the shots for real. It is then I stumbled across the technique of Light Painting through Youtube Videos:
Light Painting is a camera method that involves setting a camera to a manual focus, slow shutter speed, apature of 22 and a Iso number of 200, then using off screen lighting to literally paint an object, like using a paint brush, to light up certain areas of the prop. This creates an almost surreal airbrush effect over the object which looked very professional without the need for expensive equipment. I organized a shoot for Thursday the 29th November using a Cannon 50D camera. On the day I set up some black sheets to stop excess light and began to shoot some test shots of the leaves of ivy and glass for the back cover, these were the first results:

 As you can see the shots were not very successful, the images were too dark and the objects could not be seen. However a useful bi-product of the situation was found when I dragged the torch on screen of the camera it created whispy strands of light, and when I pointed it straight at the camera lense it formed weird burnt streaks on the image. Because of this I decided to alter my back cover to incorporate this effect and this consequently resulted in this, which I decided to keep for my final back cover:
 Stage 3
My next step was to shot the front and inside cover of the heart in a brief case. Like my back cover I used the light painting effect, but this time I made sure that I kept the light source of the camera screen and used a more powerful torch to illuminate the image more. Although I found difficulty in painting such a large object in the given camera exposer time, with failed attempts such as this:




And had difficulty in keeping the light source out of shot:
 I managed to capture my final inside cover picture:


I then employed the same technique to a close up of the heart as my front cover image:


 Stage 4
After my photo shoot I realised I needed to use an image to further link directly all our groups ancillary products. I then came up with the idea that maybe I should use the same visual technique of magnifying plant matter to create a cellular pattern onto my disc. This not only would look good visually but would also represent a coherent promotion package tied to the ad campaign. I took a circular section of the image that I liked in Photoshop CS3, used a clone stamp tool to erase and cover up the unwanted needle shape in the foreground using existing parts of the image: and then fitted it to the correct dimensions of the CD using the circular marquee tool. This is what the final result looked like:
 After this I tweaked the other images for my digipak and added text in Photoshop CS3. For the back cover I used the classic Radiohead font (Futuristic Fixed-width font) to add the track listings from the Bends Special Edition, utilizing the iconic underscoring in the text that the band utilizes and felt that the image was too dark , so I added a new adjustment layer for colour and balance onto the original photograph:

For the inside cover I also added a colour and balance layer to control the contrast and brightness of the image and also used the clone stamp tool to create more black areas on top of the image to make it fit the proper dimensions, which was quite difficult to do:

Next I added the font to the front cover and used a gradient tool to fade the grey of the middle of the image to black at the edges, so the images can fade into each other:


The final step was to collate all my images together in the digipak template and create an album cover binder from a section of my front cover:
  THE FINAL VERSION

 Analysis
In what ways does your print product use, develop or challenge forms and conventions of other similar products?
Our re-issued Special Edition of The Bends by Radiohead appeals to a specific target audience. This is because although catering to younger, new fans of the group, The Bends was originally released in 1995 and this means it would specifically attract those people who had already bought it at this time, this leaves us with a demographic of fans roughly aged between 14 and 30. This factor combined with the fact that Radiohead is of a Psychedelic Rock genre, makes us see that my digigpak does indeed follow several conventions of similar products in this situation.  I used font that is associated to the meta-narrative of Radiohead, a technique often used of album covers to immediately connote an artist just from visual motifs. Also utilising the use of abstract pictures containing visual elements that often have ulterior connotations to the reader is a trend often seen in artwork of this genre and band to create artistic polysemic texts.



On the other hand my printwork does also challenge some forms in the psychadelic rock genre. For one it takes advantage of the fanbase the band has already built up. Instead of telling the consumer the title of the album and its detail on the front  cover, it instead employs a subtle engima to draw people in by simply having the words “Special Edition” with no mention,except on the side of the case, of the album name. I think this subtly plays up to the sort of artistic and experimentation that existing fans of Radiohead would expect.
How does your product link to other print and moving image products your group has constructed?
As a group we realised that to best target our choosen demographic and to create an effective marketable package, not only to market the single “Talk Show Host” but also the Special Edition album, both our primary and three ancillary products must work in correlation as a coheisive package. This meant using similar visual motifs of font and mise-en-scene in all our media sources. The three ancillary products all employ props and visual images that amplify the themes expressed in the Music Video through semiotic meanings. An example of this the theme of corporate oppression representated by the suit in the music video and the heart in briefcase in the digipak, and also the themes of man and nature represented by the image of a figure in medical equipment in our advertisement and the lillo floating in the lake in our music video. Also my Digipak also relates to the other products we have done in our group by the simple fact that it is very disjunctive to the music it is associated with. This is a common technique in Psychadelic Rock media forms as the artwork is often accepted as a stand alone piece of art, separate to that of the music itself. 

Friday, 30 November 2012

JS: Advert - Final


My print work is an advert designed for a newspaper - The Observer. It promotes the track 'Talk show Host' as a single, while it also promotes the band name 'Radiohead'. It is conventional in the sense that it advertises the band name in a large font. This helps publicise their star image and band name, making them more renowned. The font also is similar to the iconic font the Oxford band usually use. In addition to this, putting the band name at the bottom of the advert could be seen as a challenge to the conventional poster. As Radiohead are already well-know worldwide and do not have a niche audience, I deemed it more important to promote the track rather than the band name. The use of images for connotations is also common for artistic music groups. I have seen multiple examples, such as from 'Neutral Milk Hotel' and 'Radiohead' themselves, that use photographs to infer something to the audience and to promote band ideas. I used a photo of the man in a hospital mask and a shot of a tree in sunlight to act as an antithesis, to connote feelings of enigma and fear, then joy and hope in the two images to the consumer.

Our group explored a multitude of themes. Radiohead have a history of suggesting moral messages and exploring themes in their music videos, for example, consumerism in the song 'Fake Plastic Trees'. Themes looked at included social alienation and seclusion from reality. We focused on the latter, by linking nature with our three adverts. I have the inclusion of a tree, while my font colours such as brown and green connote woodlands and natural things. We used the same font for our pieces, which is similar to Radiohead's iconic font used on much of their promotional activity. In addition to this, or work is all disjunctive and open to interpretation, as they contain connotations to which each consumer would have a personal response to the adverts.

I used several tools on photoshop that included the move tool, gradient tool and eyedropper tool. These helped me create a piece that looks more professional. These tools allowed me to control the colours to help convey the themes we have used.




I first took an image of the mysterious antagonist as the basis of my artwork, as it has connotations of fear and is enigmatic to view. This would entice the consumer into buying the product, which is the purpose of an advert. I then re-sized the page to A4, for practical reasons when printing it in school, even though 'The Observer' would have different sized dimensions. I then found the iconic font and used the eyedropper tool to select relevant and striking colours from the page, that relate to our themes.





After this I included an image of trees and altered the colour grading to make it brighter and have even more positive connotations to act as a binary opposite to the image above. I decided to position the song name in a central position at this point and have an unconventional style in putting the band name at the bottom of the advert.




Finally, I used the clone stamp tool for the '20' to create a symmetrical effect which is aesthetically appealing to the consumer. I also changed the colours once again to connote the theme of nature, again with the eyedropper tool.  


Thursday, 29 November 2012

TB: Visual Ideas

I saw an interesting visual technique used in "Lock, Stock and Two Smoking Barrels" (1998, Ritchie), at the end of the gambling scene when 'Eddy' has lost all of his money and is in serious debt. To emphasise the feelings of shock and hopelessness felt by the protagonist, a high angle shot of face has been used. A similar shot was also used in "Requiem For a Dream" (2000, Aronofsky) where the characters face is always the centre of the frame but the background surroundings are constantly in motion. In this case transitions have been used such as fades, as well as 'ghosting' which adds to the feeling of being out of control.
0.37 onwards

Wednesday, 28 November 2012

Group: Visual Effects

To reflect the abstract and disjunctive nature of the reality we are trying to portray in our music video, one of the scenes we wanted to do was where the antagonist would suddenly disappear. We decided to do this across a road when a car drives pass, to give some concealment of the figure. Through the help of the media technician we managed to do this by first importing both clips (one with the figure and car, and one without) into Photoshop CS3 and used a corner pin with transparency to align both pieces of footage exactly. Then we got the first piece of footage and applied a mask that was attached and followed the car as it drove across the screen. This meant as the car went passed it revealed the 2nd image behind it which had no figure in it; giving the impression that he has disappeared.

Group: Update On Editing Process


We decided to stay afterschool to work on the editing of our music video in Premiere. We mainly worked on the second stage of our piece, where we see the protagonist travel through the streets of an urban location to meet his antagonist. Although we found some difficulties, with the computer crashing and some difficult editing sequences, I feel it went really well. However we realised that we need to re-do some of the footage as our group has to make it fit better.

TB: Print Work

My initial idea for my print work (Advert), was to make use of the strinking images stills featured in our music video.
Such as this image here. I feel that it is interesting, inriguing and fits in well the bands metanarrative. However, I was inspired by a blog which featured different alcohols magnified under a microscope.

http://www.amusingplanet.com/2010/06/alcohol-under-microscope.html

From this I decided to take my own photographs through the lens of a microscope of a section of a twig and a butterfly wing.
http://www.amusingplanet.com/2010/06/alcohol-under-microscope.html

I am going to try to edit this image in Photoshop to create a simple, yet strinking advert that would work well with Radiohead's band image.

Tuesday, 27 November 2012

Group: Evaluation of Editing

The coursework deadline is on Friday, so to edit efficiently is hugely important. We have done multiple filming sessions so the amount of footage we have shot has been very high. It is imperative that we select the shots that we will probably use and delete the ones that will certainly not feature, as this ensures the timeline is not too cluttered with an excessive amount of footage, which becomes confusing.

The editing so far has been largely successful. We have been pleased with the shots we have, which makes the task of editing simpler. We have cut footage precisely, being aware to cut when a specific beat in the music is noticeable. With more practise, our skill at doing this has increased significantly. Also, we have used a variety of tools on the editing software; 'Premiere Elements 9'. These include the use of 'time stretcher', which gives us the ability to speed up or slow down a shot for a specific purpose. The use of 'color balance' and similar effects provide our images with a sharper, more visually appealing look. It has the ability to make precise parts of a shot look better, by making the colour of the objects bolder, or fainter according to the look you wish to adopt. For example, we altered the saturation and added a darker look to one of the shots on the lilo, to connote a feeling of concern and trepidation to the viewer.

A challenge we face editing is the difficulty of getting it all completed before the deadline. There is a pressure to ensure there is continuity as we have a narrative based music video. Editing is a lengthy process, but to overcome this difficulty, we will as a group edit at lunch times, after school and during free periods to ensure we meet the deadline.

In evaluation, if we spend our time editing, we our confident that we can complete our music video and make it successful. Also, if we continue to include a variety of effects, we believe that our music video could be successful in creating an abstract and artistic look.

Thursday, 22 November 2012

Group: Evaluation of Third Shoot 18/11/12

We went to London to film more of our music video. We spent 2 hours getting shots of the busy area in the capital, to show the part of the video in which our protagonist is preparing himself for work and walking through areas of London. This is an ideal location as it is a highly populated area and the buildings and scenery connote the business world.

We successfully filmed a variety of shots that included close ups, long shots, mid shots and establishing shots. We believe we can use some of these shots for our final piece, including one of our 6 key shots - the sped up shot of people within the area. The neagtives of the shoot was that it was not as productive as we had wished. We were informed that we were not allowed to film in a park so the number of shots we got were limited.

In conclusion, we would in the future be certain if we are allowed to film in an area before committing to that location. In contrast, the shots we did get will be used in our final piece and they were successful.


Feedback on blog

Boys, you need to ensure while you are editing that you update the blog regularly with screenshots, details of the techniques you are using, challenges you overcame, new ideas, reflection on what you have done and what you need to do to improve.

Wednesday, 21 November 2012

JS: Print Analysis - Advert



  •       This music advert serves the purpose of promoting The Verve's single 'Love is Noise'.
  •       The background is a shot of the sky, that looks scenic and visually appealing. Such a shot would usually have connotations of Heaven or divinity, but because of the grey colour scheme that also features black clouds and limited sources of light, darker connotations of struggle and pain are suggested. 
  •       Due to the visual imagery shown, the advert is successful in promoting 'The Verve' as an alternative rock band, as the poster is subjective and different from a more mainstream music advertisement from other bands at the time.
  •       The band's name is noticeably promoted in this piece of advertisement as it is in a central position, in a large font size. The name of the track is also largely promoted, as it has been capitalised. Also, the band's star image has been publicised here by the use of their 'signature' and iconic font to display their band name. 
  •       The information about the release date of the single and other pieces of valuable information are displayed at the bottom of the poster, in an attempt to encourage the consumer to buy the single, which will aid the purpose of the poster - to make capital through download sales.  

Thursday, 15 November 2012

Group:Concept Development

After filming at Bat and Ball lakes and nearly completing our opening sequence we made a final decision on the transition from the lake to London. To make the transition from a rural to an urban environment we are going to have to protagonist wake up in his bed suddenly after falling in the water. To make this unconventional and abstract from the mundane “dream” idea, the character is going to be lying in his suit dripping wet, creating an enigma of whether it was real or not.

Group: Evaluation of Second Shoot 13/11/12

For our second shoot, we went to Sevenoaks to film the opening to our music video, the shots that featured our protagonist on a lilo, who eventually sees a blurred figure in the distance. We filmed for 4 hours on Saturday 10th November and 3 hours on Sunday 11th November. We filmed using a variety of camera angles and shots, such as close ups, long shots, medium close ups, establishing shots and extreme close ups, with many of these coming from high, low, and canted angles.

Overall, the weekend was a success. The lilo shots filmed were exactly how we imagined them to be while the acting was also very convincing. Our protagonist used facial expressions to connote concern and disillusion to his surroundings, which unsettles and demonstrates to the audience his lack of understanding of his surroundings. This adds to the enigma of the opening.

A difficulty we ran into was the issue of lighting. On the Saturday, the day was grey, while on the sunday, light was prominent as the sun was shining. Due to this we had to adjust some of the Sunday shots with editing software, to make the shots appear darker than they actually were. The gloomy atmosphere suggests a feeling of uncertainty to the audience.

In hindsight, we would have checked the weather forecast closely, as although it is not always accurate, it would have increased our chances of knowing how sunny it would have been on the two days. This would have helped avoid the issue of lighting, while it will also have saved us editing time.















Monday, 5 November 2012

Group: Next Shoot

We are planning to shoot for a full day this Saturday and this Sunday. We are going to London on Saturday to film the central section of the video. We are hoping to use the track on both days. On sunday we are going to film the lake footage, and hope to finish this on that day. We have worked out that on on Wednesday 14th we all have a half day due to our timetables so have time to finish any shooting then.

Group: Evaluation of First Shoot

During the half term holiday, we identified an opportunity to start filming our music video. Our group with an actor went to London to film parts of the video, such our chase scene as well as some of the artistic shots. We approximately 3 hours filming in the capital.  However we ran into a few difficulties that in hindsight could have been avoided. We used our own SD card as well as our own camera, although this was not sensible as we found that the SD card was not working properly in the camera we had. We should have taken out some equipment from school as a back-up, so for our next shoot we will make sure that our equipment will not be an issue.

In contrast, we managed to film some of the footage on a different digital camera, where the SD card functioned properly. The list of shots completed included close ups, mid shots and establishing shots which had the potential of being used in the final piece. However, the quality of the camera made the shots look at a lower quality, while the weather was also an issue, as patches of rain persisted which limited our filming time. For our next shoot, again we will make sure that we have the correct equipment needed for effective and professional looking film. Also, we will check the weather forecast before filming next time, and hope that the weather remains positive for our next film shoot.

Sunday, 4 November 2012

Group: Lyrics

Lyrics to our chosen track - Talk Show Host by Radiohead

I want to 
I want to be someone else or I'll explode 
Floating upon this surface for the birds, 
The birds 
The birds 

You want me? 
F****** well, come and find me. 
I'll be waiting
With a gun and a pack of sandwiches, 
And nothing
Nothing
Nothing

You want me? 
Well, come and break the door down. 
You want me? 
F****** come and break the door down. 
I'm ready, I'm ready, I'm ready, 
I'm ready, 
I'm ready


Group: Evaluation of Location Reccie

Where did you go and what were your aims?

  • We embarked on a location reccie to Brighton - a setting that features beautiful and varied scenery which include a beach and a pier
  • We aimed to experiment with potential shots that we could use in our music video
  • We practised a dolly zoom shot, which connotes a feeling of disorientation. We also tried to execute a shot that featured somebody standing still, with cars speeding past him in both directions, as well as people walking past. This was a mid shot, in which editing afterwards would create the illusion that the character standing is in normal time, but objects around him are sped up. This is an example of time compression.
What did you achieve?

  • From this reccie, we analysed which of our experimental shots would be successful for our music video. As a result, we have a clearer understanding of what shots will be included in our final piece, which will improve our storyboard
  • We made a montage of ours shots from Brighton which featured a variety of shots, including close ups, mid shots, establishing shots, POV shots and extreme close ups

What problems/ obstacles did you encounter?

  • There were a multitude of hazards to be wary of with the main concern being the weather. Luckily, the weather was not a great problem as the rain disappeared after a brief downpour in the morning. 
  • We had to be wary of pedestrians within the area. Brighton is a hugely popular seaside town which attracts many tourists, so we had to make sure we did not disrupt others around us when filming

What did you learn that you can take into the next shoot?


  • We have learned that a reccie is vitally important so you can judge how good the area will be when you film. Brighton contained many visually fascinating places that would be suitable for our music video, but the busyness of the location is something we have to take into consideration for the next shoot. Therefore, we would be more inclined to film on a weekday than a weekend for outing if we went to Brighton again
  • We have learned that planning your shoots is more effective than improvising shots on the day. We managed to complete the list of shots we intended to do with time to spare, which shows the importance of planning. For our next shoot, we will complete a storyboard so we can complete shots from that, as by doing this, we will get more done than if we do not do this. 


Friday, 26 October 2012

Group: Concept Development 26/10/12

We have been looking at scenes shot in water in the hope that they will give us some ideas for camera angles.
 In particular we liked the lilo scene from 'the graduate' (Nichols, 1967), as the fades gave the scene a really surreal and dreamy feel which we would like to emulate. It also uses similar props in a similar setting so this is a really useful clip.

Another film I looked at was 'Sunset Boulevard' (Wilder, 1950). As we want to try and experiment with shooting from under the water, this shot could be useful.

Group: Concept Development 26/10/12

In terms of progressing our concept, we have reviewed a variety of footage from music videos and films for inspiration.  One piece we looked at was from the film 'Inception' (Nolan, 2010).




The altering with physics, and playing with gravity is something artisitc we are looking to include in our music video. This will add to the illusion that he is not in a normal reality, as the laws of gravity will be broken.

We are also preparing to film parts of our music video, in the upcoming half term. Therefore, we are booking equipment, for example, a tripod, in order to start filming.

Also, as a group we have learned valuable information from audience research for our quickly approaching first shoot.

Methodology:

We made a survey using the website 'surveymonkey' to ask our sample audience specific questions about our music video, to hear their thoughts and opinions on our concepts and plans. The survey was asked to ten people, as we gained an understanding on the audience's views on the song, the narrative idea and what they wish to see in the video.



We asked a variety of closed questions, with the inclusion of open, ranked and semantic differential questions. Some of the results were as expected, these include the link to Radiohead's meta-narrative As Radiohead are a band who make artistic music videos, we wished to emulate this and our concept does this as it is an enigmatic idea that is open to interpretation.

Some of the results however were surprising, the questions that received such a response were having a male protagonist is not very important. This shows an emergent ideology from our audience, that the lead in a narrative does not have to be a traditional male role, especially in a music video for the psychedelic rock genre. There is a myth, a perception that most psychedelic rock bands need to have male leads in their videos and the group itself, but the audience challenge this in their views. Bands such as 'The Pandoras' are an example of such a group who consist of females and have psychedelic tracks in their works.

In evaluation, from analysing the results, it was a fairly successful survey as it highlighted the main areas to improve on before embarking on our shoot. We now know what areas of our concept need improving for repeatability of the video. For example, we need to include more shots that will help explain a narrative in a clearer way, as the audience stressed that a clear and believable narrative will be important to the success of our video.

Thursday, 25 October 2012

Group: Schedule of Filming

Date
Location
Crew
Equipment
Monday 29th October
Bat and ball reservoir
Tom Bennell
Jamie Surgenor
Costume-suit
Lilo
Tripod
Wednesday 31st October
Tunbridge wells town centre or London.
Tom Bennell
Jamie Surgenor
Costume
Tripod