Imogen Heap - Goodnight & Go
Even though the music video mainly takes place within a small room, the mise-en-scene together with the lyrics keeps the attention of the audience. Imogen Heap acts like an unusual china doll, revolving round whilst her wind-up key turns. The room itself consists of cluttered toys and dolls giving it a sense of innocence. Along her collar bone is a vine of leaves giving the idea of fantasy. Later on in the video, her skirts lift up to reveal a dolls house. This reveals more of the narrative. Within a little room is a miniature doll representing the artist. The doll is dancing with a man. In the shadows is a crooked, old doll. To me, I believe the narrative is that she is trapped by an evil old man, but has fallen in love with another. I particularly like the theme of finding love in a dark place, where you wouldn't expect to find it. I may use this as part of my narrative for my music video.
Sunday, 27 September 2009
Saturday, 26 September 2009
Creating a Music Video
What we see as the audience is that of post-production. Even though the end result lasts only a short time, the planning and researching can last for months before anything is filmed. Seems like a waste of time? In order to create amazing and interesting videos of which grasp our attention, every angle and detail must be recognised and shaped into being.
The person known as a Video Commissioner is in the thick of it, joining the link between business and artist. Firstly, the Video Commissioner must have an understanding of the record labels need as well as the artist's. Many artists have specific ideas about what they want in their music videos in relation to their lyrics and taste.
BUDGETING A MUSIC VIDEO
The Video Commissioner must also have an understanding of the budget given. Depending upon the artist or artists, the budgets for music videos can range between £5,000 to sometimes over £200,000. They must set up the financial barriers for certain properties of the music video e.g. Costumes, effects etc. These figures can be determined by the current success of the artist or artists and the amount that the video may generate.
SELECTING A DIRECTOR
The Video Commissioner works closely with the artists, therefore creating a better standing of ideas they may have or the made points they wish to express in the video. The next step is to find a director to finalise these ideas. Some artists are very particular about whom they wish to direct their music video. Viewing the works created for other musicians, many have directors already in mind. Sometimes, however artists may choose a director of whom is far too expensive to hire. It is then the video commissioners responsibility to find an alternative director or directors. Once both artist and video commissioner have created a list of possible directors, the record label contacts the reps of each director giving them the information so far collected about the project. The reps in turn give this information to the director who writes a descripted concept for the music video. All concepts are read by the video commissioner who decides which treatment along with the director would be best for the artist's, labels and budgets needs. Once all of this has been decided, only then does preproduction begin.
The person known as a Video Commissioner is in the thick of it, joining the link between business and artist. Firstly, the Video Commissioner must have an understanding of the record labels need as well as the artist's. Many artists have specific ideas about what they want in their music videos in relation to their lyrics and taste.
BUDGETING A MUSIC VIDEO
The Video Commissioner must also have an understanding of the budget given. Depending upon the artist or artists, the budgets for music videos can range between £5,000 to sometimes over £200,000. They must set up the financial barriers for certain properties of the music video e.g. Costumes, effects etc. These figures can be determined by the current success of the artist or artists and the amount that the video may generate.
SELECTING A DIRECTOR
The Video Commissioner works closely with the artists, therefore creating a better standing of ideas they may have or the made points they wish to express in the video. The next step is to find a director to finalise these ideas. Some artists are very particular about whom they wish to direct their music video. Viewing the works created for other musicians, many have directors already in mind. Sometimes, however artists may choose a director of whom is far too expensive to hire. It is then the video commissioners responsibility to find an alternative director or directors. Once both artist and video commissioner have created a list of possible directors, the record label contacts the reps of each director giving them the information so far collected about the project. The reps in turn give this information to the director who writes a descripted concept for the music video. All concepts are read by the video commissioner who decides which treatment along with the director would be best for the artist's, labels and budgets needs. Once all of this has been decided, only then does preproduction begin.
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