These are templates that we drew out for our digipak ideas. 

Throughout the planning process we edited our idea a lot. Many things we decided at the beginning proved to be impractical or to not come out the way we had hoped. For example, we realised that the majority of the regal theme couldn't work due to access to props as well as the fact it just didn't follow codes and conventions of real media products we were looking at. We had the idea of the regal theme because of the story behind the song being written. In an interview Jessie Ware spoke about how she how she saw a picture of ... sitting on a throne wearing a crown and a lot of jewels, she said how she wanted to take him off his throne and wrote a song about that, she initially named the song 110% as a play on one of his songs called 100%. This is were we got our idea from however, we quickly realised its flaws as we hadn't followed the common codes and conventions of real media products.
However, we did keep some of the ideas including the man mouthing the words at the beginning while sitting in a throne like chair but we made it so they never came into contact. This is so the performance in the video is mirroring the lyrics of the song which is what we found to be a common convention. This is also why we cut out the idea of her walking through public places in London, as we wanted to preserve the idea that she is isolate, not even coming into contact with other performers in the song.
Our initial research and planning was very useful for establishing other factors of the video though, firstly the artists style, when we changed a lot of the planning we kept her professional, simple and mature style. As well as the video being based predominantly in a studio with changing background and coloured lights.

Planning Editing
The most common form of editing for a music promo is fast cut montage, rendering many of the images impossible to grasp on first viewing thus ensuring multiple viewing.
There are videos that do use slow pace and gentler transition to establish the mood.
This is particularly apparent for the work of many female solo artists with a broad audience appeal, such as Dido.
Often enhancing the editing are digital effects which play with the original image to offer different kinds of pleasure to the audience. This might take the form of split screen, colourisation and of course block buster film style CGI.

https://www.youtube.com/watch?v=u5CVsCnxyXg

This Radiohead music video is an example of an unusual editing method because the whole song is filmed in one take, this is not following common codes and conventions of most music videos however it works because there is a lot happening in the video and it follows a storyline.

Production Tips

-begin rehursal weeks before the shoot for the actors to get familiar with the song and video.

-have the song playing and make sure they sing along properly for the best effect.

-give them the story board .

-make the actor feel comfortable, let them imput to the production.

-use the definitive recording of the track and when starting edi put the song down first.

-shoot plenty if angles, make sure most angles cover the entire song with many many cut aways.

-visualise it like a series of beautifully composed photographs, not a film.

-upload footage straight away. 

-stack footage when editing.

-cut to different angle shots, different distances.

-make the ordinary feel extraordinary. 

-don't choose big budget projects with no budget.

Andrew Goodwin. 
We learnt about Andrew Goodwins theories of music videos.
-Narrative and Performance
We only tend to get a gist of the meaning of the song and then tend to make up our own idea of what is being told. Goodwin explains that music videos should ignore common narrative. It is important in their role of advertising.
Music videos should coherent repeatability. Narrative and performance work hand in hand, it makes it easier or the audience to watch over and over without loosing interest. The artist acting as both narrator and participant helps to increase the authenticity however the lip sync and other mimed actions remains the heart of music videos. The audience need to believe this is real.
-The Star Image
The star image is another vital aspect of music videos. Meta narrative which is a big story that describes the development of the star over time, it has an important part to play in the music video production process.
-Relation of Visuals to Song
Illustrate: Music videos can use a set of images to illustrate the meaning of the lyrics and genre, this is the most common.
Amplify: This is similar to repeatability. Meanings and effects are manipulated and constantly shown through the video and drummed into our vision.
Disjuncture: This is where the meaning of the song is completely ignored.
-Technical Aspects of Music Video
Technical aspects hold the music video together through use of camera work, movement, angle, mise-en-scene editing, sound and special effects.
Speed, camera movement, editing, cutting and post production are all forms of use of camera. Lighting and colour help set moods and emphasise key moments of the song for dramatic effect.
Mise-en-scene, the setting of music videos is vital, it needs to look authentic to attain professionalism.
Beats, music videos use cuts to go with the beat of rhythm making the vide more entertaining.
-Thought beats- Seeing the sound.
The first set is to look at the music itself. Taking into account the structure of the song.
Secondly, the voice of the song. The artists voice is extremely unique and can form identification or trademarks that work well with the star image.
Thirdly, Goodwin points out the artists mode of address. Songs can be seen as stories and the artist the storyteller, making the music video a two communication device, them telling us a story and us listening.

Today we added fillers to our video as we noticed the singer continuously sings throughout the whole video and this was not the case in our music video research. These fillers added variation to the video and broke up the structure. For example we found a clip of her smiling and added that to a section to break up her singing, we cropped the shot to make it a close up, this made it feel more personal and intimate. Our teacher gave us feedback to add more of this at the beginning, our structure was too repetitive so we looked through all of our footage to find clips that would fit the fillers. We then adjusted the colours and saturation to match the previous clips.

I created a mood board to get an idea of how we wanted to portray our artist. It shows the kind of clothes and make up we want our artists to wear as well as the shops.

I looked at comments from the real music video of 110% by Jessie Ware. 

This is only a small amount of the good comments by they all seem very positive. We have used these comments and have taken on board what people are saying and we will pay special attention to these aspects of our video. 

Creating our story board we needed to plan each line of the song so that we were fully prepared with what shots we needed and how many angles and compositions we need to shoot. 

(Carving my initials on your..) extreme close up of males mouth mouthing words

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(Carving my initials on your forehead) extreme close up of males mouth mouthing words

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(Carving my initials on your..) extreme close up of males mouth mouthing words

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(Carving my initials on your forehead) extreme close up of males mouth mouthing words
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(build up)
(singer performing in studio) Now if you’re never gonna move, oh my love

You’ll make me come to you

(cut away to dancing in light space) But I’m still (studio) dancing on my own

 Still (light room) dancing on my own

Although I’m (back to studio) coming close to you, (studio close up) oh my love

I’ll keep the (studio different angle) dancefloor warm

But I’m still (dancing-light room) dancing on my own

Still (studio) dancing on my own

(close up of singers jewellery) Won’t dance, (medium shot of male) not without you

(gracious steps) Small steps, (close up singing) they lead only to your heart

(close up behind her head) You keep me wishing in the dark

(shot of male in bussy place) What’s wrong, you cannot lose

(of singer looking out of shot) My eyes only see to your heart

You keep me wishing in the dark

(extreme close up of hands) (Carving my initials on your..)

(extreme close up of jewellery) (Carving my initials on your forehead)

(long shot walking china town) Now if you’re never gonna move, oh my love

(filler of silhouette) You’ll make me come to you But I’m still
(close up  of china town) dancing on my own Still 

(filler of silhouette) dancing on my own

(close up singing to camera china town) Although I’m coming close to you, oh my love

I’ll keep the dancefloor warm

(china town) But I’m still dancing on my own

(silhouette) Still dancing on my own

(medium close up of male looking towards her) I know you hear me but can you reach me

(singing in field) Feel free to touch me and we can play hard

(shot of male) With body’s jerking, (shot of singer) but still I’m working

(shot of singer) I’m new to moving, (shot of singer) and we can play hard

(singing in field) Now if you’re never gonna move, (road) oh my love

(singer walking down the road) You’ll make me come to you

(field) But I’m still dancing on my own

(road) Still dancing on my own

(singing in field) Although I’m coming close to you, oh my love

(road) I’ll keep the dancefloor warm

(field) But I’m still dancing on my own

(singing in field) Still dancing on my own

(singer on road reverse, sped up) We can play hard (throne in field) (Carving my initials on your..)

(singer in studio slo mo) Hard, hard (throne on bridge, time lapse) (Carving my initials on your forehead)

(silhouette) (We can play hard, (light room close up, sped up) hard, hard

(singing in china town) We can play hard, hard, hard

Hard, hard (Carving my initials on your..)

Hard, hard (Carving my initials on your forehead)

We can play hard, hard, hard

We can play hard (Carving my initials on your..)

Hard, hard (Carving my initials on your forehead)

Hard, hard

Now if you’re never gonna move, oh my love

You’ll make me come to you

But I’m still dancing on my own

Still dancing on my own

Although I’m coming close to you, oh my love

I’ll keep the dancefloor warm

But I’m still dancing on my own

Still dancing on my own

Now if you’re never gonna move, oh my love

You’ll make me come to you

But I’m still dancing on my own

Still dancing on my own

Although I’m coming close to you, oh my love

I’ll keep the dancefloor warm

But I’m still dancing on my own

Still dancing on my own

Today we did a photo shoot of our artist for the digipak and the website. We decided on a very sophisticated, professional look for our artist so we agreed on striking black eyeliner with simple make up and neat hair, with mostly plain coloured, dark clothing and heels. For a simple but effective look.

Because we have access to a photography studio we went there to do the photo shoot, here we were able to have big white or black backgrounds.

We used two 1k lights and 1 2k light for extra emphasis for lighting and shadows, they were especially dramatic when the daylight went and we were shooting with only artificial light. We also had another softer, white light and a white screen to reflect the light. 

                             

I then used photoshop to edit any imperfections from these pictures. 

For example, in this photograph the bottom of the white screen was very dirty, I used the spot healing brush tool and the rush tool to make the whole floor all white to create a more professional look. 

Location planning

Today we had a meeting with our artist, we found a female artist and we wanted to discuss ideas and schedules. We explained how we wanted to make our video. After finding an interview from Jessie J about the song she explained that she had written it about trying to get the rapper Big Pun out of his "thrown" and to try and get him to dance. We decided to use this research and slightly make a narrative music video, this is because we decided to include a male actor in our video and have him sitting in a thrown like chair. We would take this chair to many different locations with the singer encouraging him to get out of his thrown and dance.

She had an incredibly positive attitude towards this idea and we decided on time we had free to create the music video and for photo shoots. 

After this meeting we had a brief look at locations and as we were near a location I thought would work for our video. 

I thought it would look very dramatic, especially for long shots with the male actor sitting in his chair and this setting in the background. This would be a great contrast between the other types of settings we had decided on like busy high roads and other city's locations.

We thought we could use these other locations that contrast with our first one as Oxford Street and China town tend to be very busy places, we thought these would change the tempo of the song. South Bank also gives an interesting background. I think the audience would be angle to relate to these locations as we think they will be young and cultured in the same way we are trying to portray our singer. 

We also thought Millennium bridge would be a great place to film because the bridge is very modern,  adding to how we portray our artist 

Planning

Today we started brainstorming about how we want our artists to be portrayed. We were also deciding on the kind of video that would fit this type of song, along with costume and locations.

What I discovered from the research of other music videos.
After doing the research of music videos I noticed how important the editing is. It is not obvious when just watching music videos for pleasure but the majority of the time the videos but to different parts of the video exactly on the beat. However, the speed and complexity of the editing depends on how fast the video is. For example for slow songs like Adele's Rolling in the Deep the editing is slow and the camera tends to linger on shots and move slowly, but for faster songs like AlunaGeorge's You Know You Like It the editing is fast and there is experimental editing when the editing creates the illusion of the boy spinning. In this video the editing is very fast and the viewers does not see the same shot for very long before the video has progressed onto the next shot.

• I thought I should look at different editing techniques, perfect them and experiment with them when shooting the video, considering the editing before it is time to edit it. For example I thought the editing technique in the AlunaGeorge video, it changes really quickly and I thought we could use it for the part in our video where the beat is very fast.