Artist Test Footage - Projections

I have re-filmed the artist footage using a completely new setting and actor. Before this, I had planned to use another, more conventional-looking actor playing a keyboard in an open field. However, when it came to filming it, the footage came out quite dull and the actor did not look comfortable for such an optimistic song. This time I have used a less conventional-looking actor, which is a bit of a risk. However, this actor seemed a lot more comfortable and made more of an effort to look optimistic. The setting is within a blacked-out room with a projection of a rocket launch in the background. This is a very dramatic turn from the open field. Although it doesn't go with my idea of a picturesque style, I think that to link the narrative back to the rocket launch and the artist would be a wise choice to allow more chance for marketing the song within the video.

In this footage I have used a classmate to test the lighting upon a person in the setting I have chosen. I have played around with different angles, projections and lighting to get an idea on how to film the actual artist shots.


Artist Test Footage from Holly Jones on Vimeo.

What have I learnt?

• Using the spotlight in most circumstances works effectively, however, there is a shadow in the background which I feel shatters the projection of the rocket launch and the overall effect of the shot.
• The spotlight also deflects the attention away from the projection and focuses on the artist, which is alright, mostly. However, it would be better if there was an equality of focus because the rocket launch plays an important part in the narrative.
• I'll have to be very careful about how I angle the shots for the real artist footage so as not to shatter the illusion of simplicity (the artist and the projection). This needs cutting out any unwanted background such as curtain or lights.

Costume Board

Settings and Props

It is important to establish settings and props as they are some of the most basic components in a film of any genre. Settings need to be established so test footage can be carried out. This way we can tell which settings are most likely to work. Props need to be gathered so there is less confusion on the day of filming. Props are necessary both to work in harmony or contrast with the setting but also to boost understanding and illustration of the plot.

Here is a video of the settings I may use within my music video:
Music Video - Settings and Props from Holly Jones on Vimeo.

Here are the props I have added into my music video later on:

 To emphasise the age of the two character's within my story I've included a plastic pirate telescope and eye patch. These two props are related to pretend play, in which the two characters are partaking in within the music video. The obviously plastic toys add a sense of immaturity. In the music video my characters use the telescope to scan the horizon as a pirate or explorer would. The eye patch is more for comic value and compliments the telescope.

This is the chest I will be using as the front of the 'rocket ship'. In my music video, the male character drags this chest up the hill. The female character runs over and helps him carry it. This prop sets up the perfect scene to show two friends working together on a project. The chest itself looks a lot like a picnic hamper and so when placed in the field it works quite harmoniously with it's surroundings.

These fairy lights play a vital role in building the 'rocket'. I purchased battery powered fairy lights so they could be easily transferred up the hill I was filming on without having to bring along a large power source or extension cables. In my music video, the fairy lights are the finishing touch on the 'rocket'. The two characters place these lights all around the 'rocket', giving it a sci-fi look. As well as adding an otherworldly effect, they also provide soft lighting for the characters as the sun sets. This gives the ending scenes of my music video that soft, pleasant glow that is needed to spark some sort of optimistic emotion within the audience.

In the final scenes of my music video, the two characters stand in front of their 'rocket' and let off sky lanterns. Sky lanterns are like large, paper bags with a small, flammable patch attatched to the bottom. As that patch is lit, it fills the bag with hot air, causing it to rise. These lanterns can then float away. I wanted to use these in my music video so that I could show some sort of launch. So even though the 'rocket' can't actually fly away, letting these lanterns off represents some connection with flight and the sky.

The most important prop in this music video are the cardboard boxes. I have been collecting these boxes for a while in order to give me enough materials to build the 'rocket'. The boxes I have chosen vary in size and shape. When they are put together, it will look misshapen, giving it that home-made touch.

The wheelbarrow will be the characters' main haulage device for the cardboard boxes. In the music video, the female character runs across the field with a wheelbarrow full on boxes. This shows the female's resourcefulness. The wheelbarrow is very light and so the actor will be able to pick it up with ease. The green paint adds more colour to the scene and will blend well with the grass in the field.





What have I learnt?

• I have weighed out the options in terms of setting and concluded that the hill would be better due to the natural source of light and access to the open sky (to relate with the theme of the song and to safely release the sky lanterns).
• I now have a clear list of the props I need to gather together for filming. This saves me time later when I could be using the spare time for more filming.

Actor Boards

ANCILLARY TASK - Digipak final front cover selection

ANCILLARY TASK - Digipak (Front Cover Selection)

Storyboard

I hand drew this storyboard and then filmed each 'shot'. I then compiled it together, added the names of the shots and added voice-over when necessary to describe how a scene will play out.


Storyboard from Holly Jones on Vimeo.

What have I learnt?

• I now have a clear plan of how the music video will play out.
• With this plan I can sort out which scenes to film first.
• Now that my idea has been formally recorded on paper I can see that I may need more shots to fill the length of the song. I could add more artist shots or shots of the characters building the rocket.

Music and Filming Permissions

It is very important to ask for permission to use an existing media text due to laws of copyrighting. This is to avoid being found guilty of copyright infringement. In this context, the record label of a particular artist need to be contacted if someone were to use the artist's song in such things as fan-made videos.

I accessed Owl City's official website for contact details. The website gave two email addresses to refer to. One was for fans and the other for business. As Owl City and Universal Republic Records are very big names, I knew it'd be very difficult to get in contact with them. I sent emails to both addresses twice to ensure my emails weren't over-looked. I changed the formality of my email depending on where I was sending it. For the business address I used a very formal tone (see above) whereas for the fan address I slipped in phrases such as 'one of your biggest fans' and 'I love all of Adam Young's side projects' to express my passion for the artist's music. Unfortunately, I recieved no emails back. I also sent a message via Facebook to Adam Young's official Facebook page. Once again, I did not recieve a reply.

In terms of filming I needed to use a field on top of the hill near my house. This land is owned by a farmer. I visited his farm and asked if I could build a cardboard rocket and film on his field. I told him I would clean up everything once I had finished. He said I could use it as long as his cows were not occupying it.

Stuart Hall

Stuart Hall is a cultural theorist who was born in Jamaica but has lived and worked in Britain since 1951. Stuart Hall is one of the main supporters of the reception theory. The reception theory takes into account reader's responses to literature and emphasises on how readers interpret the messages within.

Audience Readings - Examples from Supersize Me Documentary

Preferred reading - Audience accept and agree with the media producer's ideas and messages.

"I dislike fast food companies for their influence over obesity in America. The text shows horrific images of the public and these stats and figures have made the issue seem more threatening."

Negotiated reading - Agreeing partially with the message of the text but other aspects can be debated.

"I want something to be done over obesity in American but I am not ready to give up fast food. This media text makes me feel guilty about what I eat by showing me these statistics and figures, however I wont be swayed until it becomes real for me."

Oppositional reading - Disagreeing with the ideas and message of a text.

"I disagree that fast food companies such as McDonald's are the main influence on obesity in America and I will continue eating at fast food restaurants. The documentary has taken a very biased view and omitted the positive sides to fast food companies."

Audience Readings - My music video

Preferred reading

"Due to the optimistic atmosphere surrounding this music video, it gives the impression that kids should be taught to embrace exploration and imagination if they are to successfully inherit this expanding world and the surrounding Universe."

Negotiated reading

"The characters within the music video seem very care-free and happy. This is a good view on childhood, however I would question how long this peace would last when today's children learn about the issues and restraints within our world."

Oppositional reading

"The characters within this music video seem to spend a lot of their time constructing useless ideas and inventions that would no doubt be shot down within the real world of today. It seems highly far-fetched and wishful."

What I have learnt?

• As with the majority of people who create media texts, I would like for my audience to accept the preferred reading. This way, Owl City's music would be more understood and thus boosting the popularity. This is the aim of the promotional music video after all.
• I should accept that some audience's may have different readings from the preferred one. If they do not find positivity within the promotional video then they will not be the suitable audience for Owl City's music.

Tzvetan Todorov

A narrative structure is evident in any media text and helps set up a clear story line for the audience to follow with ease. Some media texts such as short films and alternative genres such a psychological thrillers may deliberately use an obscure, non-linear structure to spark some sort of reaction from the audience such as fear or confusion.

Tzvetan Todorov is a philosopher from France who has done work on such things as literary theory and culture theory. Through observing Russian folk tales, Todorov suggests that most stories begin with some sort of normality or equilibrium. Something then appears to disrupt this equilibrium. This leads to the bulk of the story until a new sort of equilibrium is restored.

My music video narrative:

Equilibrium - Two kids living in a peaceful, rural area. From what we can tell, they lead normal lives and are fairly happy.

Disruption - The two kids then watch a rocket launch on YouTube which causes inspiration.

Recognition - The characters acknowledge this inspiration and act on it by drawing up plans for their own rocket.

 Repair - The two character then set about collecting the materials needed to build this rocket and fulfilling their dream. The characters face restraints such as living in a rural area with not much access to technology. They also have to get past figures of authority such as their parents.

 New Equilibrium - The kids finish their rocket and are satisfied with the outcome. They are now active in their own imaginations and pretend to fly off to discover the universe. 

What have I learnt for this?

• I now have a solid narrative structure I can follow. This will help when filming so I don't confuse the order of events and therefore confuse my audience. 
• This gives me a clear overview of my music video so I know how to plan out my filming.

Institutional Research

Regulations Research

Ofcom stands for 'Office of Communications'. It is a UK regulator for television and radio, but also regulates telecoms, mobiles and postal services. It oversees the censoring and broadcasting of different shows and makes sure people involved in productions are appropriately cared for. They ensure that no harmful or disruptive material reach inappropriate audiences.

Under 18s - Sexual Content

Mature content such as strong sexual images or language that are broadcast purely for the sake of arousal or stimulation must only be shown between 11pm and 5:30am on paid for subscription services. These services must also check that the viewer is over 18 before allowing access. Material that is not adult sex material but still shows strong sexual elements must only be broadcast after the watershed (9pm). It also must be justified by context. The representation of sexual intercourse must not be broadcast before the watershed and if so, it must be for educational purposes only.

Ofcom recognises the issues around the topic of sex and how this may affect someone below the age of 18. It may either upset the child or encourage certain behaviours that may not be legal (e.g. sex under the age of 16).

Under 18s - Offensive Language

The use of the strongest language must not be used before the watershed.Other, less potent language may be used any time as long as the broadcast is not aimed at children. Any language used in front of children must be thoroughly justified and should only be used in the most exceptional of circumstances. Frequent use of bad language will only be used after the watershed.

Ofcom recognises that strong or offensive language can be mimicked by young children.

Under 18s - Violence

Violence in media texts are a little harder to determine due to the many levels of violence and how it can be justified. The representation of violence, whether it be currently happening or it's after effects must be very restricted if broadcast before the watershed. As with offensive language and sexual content, violence must be strongly justified by the context. Dangerous or violent behaviour that could be easily imitated by a child must not be shown within programmes aimed at children. If shown before the watershed, the violence should, again, have editorial justification. Violence that can be easily imitated by children can lead to them carrying out actions they may have seen or heard on TV or Radio. To prevent this, the producer of the show must justify the violence being used, for example: making an example out of violence where the perpetrator ends up worse off.

Under 18s - Drugs, smoking, solvents and alcohol

The abuse of all the above must never be used within a programme aimed at children unless it is strongly justified, such as educational purposes. The abuse of drugs, smoking, solvents and alcohol must never be glamorised or encouraged unless there is editorial justification. The encouragement of any of these chemicals within a programme may influence the way people think of them, perhaps changing their view from bad to good.

Involving under 18s within productions

Within my music video, I will be using two 13 year old actors to portray my characters. Being under 18, there are precautions I have to acknowledge before I used them in my production. The well-being of any participants under 18 is a top priority that must be addressed.

Ofcom state: Within productions, a considerable amount of care and acknowledgement is needed in terms of the young participant's emotional and physical welfare. The dignity of the child also needs to be considered, especially when a child is acting out a role that may be for an older character. This is with or without consent from the child's parent or guardian. Children within programmes aimed at an older audience will strongly fit into this category as they may take part in violent or potentially harming scenes. Ofcom states that to cause distress or anxiety by their participation in a show or the broadcasting of that show is unacceptable. In terms of a game show, prizes handed out to a person under 18 must be appropriate, also in terms of the target audience of the show.

The actors within my music video are the same age as the target audience. Bearing in mind my young audience, I have been careful to not include any violence, drug abuse or sexual content. The use of any of these would be entirely inappropriate for such a young audience and would also dampen the optimistic mood within my production. In terms of violence and dangerous behaviour, I do plan to include slap-stick humour. I plan to get one of my characters to fall from a tree. Climbing a tree in the first place could be seen as easily imitable dangerous behaviour, however I will justify it by making the character fall. This shows that climbing trees are a risk. To lighten this up, I will show the character's friend pull him to his feet, showing that he is okay and has his friend there to help him. My music video will include no dialogue what so ever and so offensive language will not be used. If I were to include dialogue, to include offensive language within the production would be completely unfitting.

Photosensitive Epilepsy

Within my music video, lights and projections will play a large role. Ofcom states that if a programme contain flashing images, the audience should be verbally and textually warned beforehand. I think this concerns my production slightly as I use projections of a shuttle launch and fairy lights to decorate the 'rocket'. However, they do not flash and aren't the focus of the music video. I therefore think that it would be safe for people who are sensitive to light to watch it.

Distressing Images

The song I am using for my music video contains certain links to the Space Shuttle Challenger disaster of  January 28, 1986. This was the event in which a shuttle was to be launched into orbit for it's 10th mission. Within 73 seconds of lift off, the shuttle broke apart in mid-air killing all seven crew members inside the craft. I would like to involve the video footage of the launch in projections behind the artist and as a YouTube video which the two characters watch. To make this less distressing for viewers, I will make sure that the moment where the shuttle breaks apart will not be aired. Therefore, instead of focusing on disaster, the video will focus on the wonder and excitement of exploration.

What have I learnt?

• Care and caution must be greatly exercised when creating a media text.
• Sensitive materials must only be aired if justified or if there is a very low chance a child could be watching/listening.
• My music video only contains a few sensitive areas such as the Space Shuttle Challenger disaster, but I feel that I have successfully managed to avoid including anything they may upset the young audience.
• My two under-18 actors should be fully cared for and treated correctly when in filming.

Changes

As the project progresses I'm encountering more and more issues with filming. My most current issues are:

• The issue of where to build the 'rocket'
• How to get electricity to the 'building site' to power all the fairy lights
• Autumnal weather 

Where to build the 'rocket'

I have been torn for some time about where to build this rocket. In terms of convenience, the forest near my house would be ideal. Mostly because it is close to the house and a  power supply. Also, if the rocket was built there I could use a big tree for the foundations of the rocket. This would mean that building would be quick and I could focus more on the filming aspect. However, the forest is currently rather dead looking due to the autumnal weather and I want this music video to be uplifting and colourful. It also means that the natural light source will be restricted due to the coverage of the trees which would make filming even harder. I would love to build the rocket on the top of the hill a little further away from where I live. It is out in the open so there is a great source of natural light. It's also very picturesque and the open sky links in perfectly to the idea of space and adventure. 

The hill I wish to build the rocket on has a small clump of trees which I can use as the base for the rocket. This would mean I could have my picturesque scene as well as the convenience of trees. I will have to work on how to get electricity for the lights up on the hill. I will also have to ask permission from whoever owns the land. 

How to get a power source to the building site

For the finale of my music video I need the fairy lights to turn on, illuminating the rocket and ultimately giving it that 'magical touch'. However, transporting power up to the top of a hill may prove difficult. I have some theories about how to do this. For instance I could use a battery from such things as a motorbike. How I would hook this up to the lights and how the voltage would work, I'm not too sure yet. This problem has yet to be solved entirely. 

To solve this I have researched alternatives on sites such as Ebay. As a result I have found fairy lights that are able to run off a pack of AA batteries. This will solve the electricity problem as they are easily portable and do not need a heavy duty batttery pack from a machine such as a motorbike. They are priced at around £4 each and so can be afforded. I will purchase 4 packs of lights because I am unsure about the distance I'd need them to cover.

Autumnal Weather

October and November have brought more harsh weather. Rain is an instant downer on what should be an optimistic, colourful music video. Overcast days have almost meant little natural light. The cold also means I cannot put my actors in costumes more appropriate for summer.

I have decided to transition my music video from summer to autumn. I will embrace the orange and yellow tones of the trees and dress my actors in autumn attire such as scarfs and hats. I shall go for a playful autumn feel that will make setting and costume easier to fit in. Possible shots of the characters playing in a pile of leaves could help to encourage this theme.

Audience Research

Once I had my idea secure, I wanted to recieve people's opinions on it. I thought the best way to get my idea noticed by a mass audience would be the internet. To narrow the audience down to roughly my target audience, I used YouTube. I posted my idea as a comment on a lyric video of the song I want to use (Owl City - Galaxies). A potential problem I could have had with this would be that my comment would get lost within the millions of other users' comments. This was the result:

Owl City -Galaxies video (unofficial)

My comment recieved 20 'likes' from Owl City fans and an appreciative comment. I will partake in more depth into Audience Research to refine what my target audience wants from my media text. This was a useful start to confirm my idea.

I then gave a group of people around the age of my target audience a few tasks and questions to answer. Here are the results:


Audience Research from Holly Jones on Vimeo.

What I have learnt:

• Owl City fans have accepted my idea
• I can now go ahead planning more detailed aspects.
• Bright and bold colours such as orange, green and yellow were most popular when people were asked about which represented happiness for them the most. This means, I need to add more props and settings that involve these colours. The hill setting will be ideal to bring out the bright green grass. 
• Most people liked music video narratives with depth and meaning rather than a focus on the artist and material objects such as money and cars. My music video will be focusing on the joys and energy of childhood and the future prospects for young generations.
• When watching the 'Alligator Sky' music video, most people picked up on the picturesque scenery. I can mimic this by using panning shots when on top of the hill, giving the audience a good view of the rural scenery. 
• Many of the interviewees understood that the unusual costumes and narrative used in 'Alligator Sky' were reflecting the style of Owl City. I should also aim to reflect Owl City's style of music through the use of interesting characters and props such as the sky lanterns and fairy lights.
• Most interviewees associated the song 'Galaxies' by Owl City with summer and happiness. This is good as those are two themes I would like to incorporate into my music video. The children playing will give of a care-free atmosphere and hopefully the clear sky will indicate summer. 

My Target Audience

In this post I will clarify the audience I am targeting my music video at. This will help me as I make the video to keep in mind the nature of my audience. 

What will they like? What will they dislike? What is appropriate?

Age: 10-16

My target audience is of the secondary school age. Owl City's music is largely based around youthful imagination and energetic synth melodies. These characteristics can be related to around the 10-16 age group. Owl City's songs do not contain any adult themes such as sex, drug use, alcohol use, or violence. This 'PG' approach shows that Owl City aims for young audiences. The music often hints at romance such as in the song 'Deer in the Headlights':

Met a girl in the parking lot
And all I did was say hello
Her pepper spray made it rather hard
For me to walk her home
But I guess that's the way it goes

The romantic themes seem to be presented in a more humorous light and so it's not so heavy. This would match this target audience as at this age they will be maturing and learning more about relationships. Attitudes towards it may be different but with humour it eases any tensions. It also fits in with Owl City's lighthearted style.

Western Nationality
The artist from Owl City is from America and so he sings in English. This means that the majority of fans will be English speaking. This also means that most of my target audience will be of a western nationality such as: American, British or French. Although Owl City does have a large fan base in Japan, the majority will be from the west.

Social Class: E
As the age suggests, the audience will be secondary school age. Being students puts them in the E class as they do not earn any money unless they have a part-time job. Not having a job to keep them busy, students have more spare time on their hands. This spare time would be spent surfing the Internet, doing outside activities or socialising with friends. In particular they will have more time to listen to music and watch music videos. Having no income, their parents/carers will be the ones providing for them. This is important as if the child wishes to buy Owl City's album or single they will have to ask their parents/carers to purchase it for them. This means that Owl City's music and the music video I make must be suitable enough to be approved by parents/carers. Luckily, Owl City's lyrics, as mentioned earlier, are void of any adult themes and to match this I will create a music video without those themes.

Mainly Female
Owl City's music has a very sensitive and lighthearted nature to it; especially when mentioning anything to do with romance. If viewed from a stereotypical perspective, I would say that females would appeal more to it because of it's sensitive style. They also may be more interested in romance than boys of around 10-16 years old. Owl City does include a lot of space and adventure themes as well that could attract a male audience. However, I would say that the target audience would still be predominately female.

Explorer

My target audience would fit into the 'Explorer' category. Being young, they will have a lot more energy than older audiences. They will be more curious about the world around them and will want to explore it. They will be adventurous and will be open to new things. Owl City's music is very much tailored for the adventurous kids. Themes of space and foreign countries will drive their imagination and curiosity. My music video will largely be relying on this explorer attitude. The story line will be based solely around two kids becoming inspired by a shuttle launch. It will show them running around, collecting objects and using their imagination to create a rocket.




What have I learnt?

• Now I know my target audience in more detail, I can tailor my music video to suit them.
• My main characters will be two children the same age as my audience to create a relation between the two.
• My narrative will be energetic and lighthearted to fit the song and also the audience's personalities.

ANCILLARY TASK - Textual Analysis of a Digipak

Ocean Eyes

Ocean Eyes is Owl City's second full-length album he made after Maybe I'm Dreaming became successful in the US Electronic Albums chart (number 13). Ocean Eyes contains a variety of electronic songs containing quirky lyrics and heavy use of a synthesiser. Tracks with odd titles such as 'Dental Care' and 'Vanilla Twilight' are featured on this album, reflecting Owl City's reputation for strange, dream-like lyrics.

Front Cover - This is an image of the Burj Al Arab in Dubai.This building acts as a hotel and it has one of the highest ratings in the world, some calling it 'the world's only seven-star hotel'. The hotel has been designed to mimic the shape of a ship's sail. It is stationed on a separate, artificial island off Jumeirah beach. I believe that Owl City chose this image in particular because it reflected the serenity of his music. The sail-shaped building also linked in well with his ocean-themed songs such as 'Umbrella Beach' and 'The Saltwater Room'. The picturesque nature of this image attracts the audience's eye. Overwhelming blue hues emphasise the tranquil mood the album cover is meant to set upon the audience. To contrast the beautifully detail image, a bold font is used on the band's name and album title to stand out and balance the picture. If the font was more like a script, it would make the cover seem very busy. It is clear that Owl City wanted to achieve a clean, open look to the album, possibly because it is a lot easier on the eyes.

Back Cover - The back cover is predominantly an image of the Burj Al Arab again but this time from a different angle. This angle is closer and shows a darker side to the building. An image of the sky has been layered over the predominant image to create an almost dream-like effect. The track list has been aligned to the right and lines up against the straight edge of the hotel. The font is in the same colour as the deep blue sky in the picture to keep the colours from clashing. The font is the same as the font used on the front cover to keep the design together and more formal.

Digipak Sides - The sides of the digipak use the same design as the back to keep the design more formal, however the colours of the background and font has been reversed to keep it from looking too repetitive.

Overall - In conclusion, this digipak has been designed purely to reflect the themes and moods of Owl City's music. The colour scheme is based around ambient blues and whites and the bold font offsets the intricate detail of the images.

What have I learnt?:

• As with the website, the digipak must also reflect the music of the artist. Themes and moods within the music must be shown through colours and images.
• I now have an idea of what images to use. From this I can start collecting picturesque, serene images for the front and back of the digipak.
• Playing around with fonts and editing will be useful to bring out the full potential of a seemingly ordinary cover.