Music videos are so 80s/90s, right? They belong with the era when MTV screened wall-to-wall vids instead of 'reality' TV? Try telling that to the millions who bought Gangnam Style; were they really simply loving the music? 1.6bn (and still climbing) have viewed the video on YT, not to mention the many re-makes (school eg, eg2), viral ads + celeb link-ups (even political protest in Seoul) - and it doesn't matter how legit it is, this nightmare for daydream Beliebers is making a lot of money, even from the parodies + dislikes. All this for a simple dance track that wouldn't have sounded out of place in 1990 ... but had a fun vid. This meme itself was soon displaced by the Harlem Shake. Music vids even cause diseases it seems!
This blog explores every aspect of this most postmodern of media formats, including other print-based promo tools used by the industry, its fast-changing nature, + how fans/audiences create/interact. Posts are primarily written with Media students/educators in mind. Please acknowledge the blog author if using any resources from this blog - Mr Dave Burrowes

Monday, 28 June 2010


DRAFT 2: I've altered the timetable discussed in Monday's lesson, on the basis that the classroom scenes could be shot during the 9.10-9.45 slot, these having no lipsynching requirement, which frees up some time for the other sections.
Before detailing that, lets just explore...

The concept is derived from a school which consistently wins the BBC award for music video, and is intended as a major stepping stone on your way to your A2 production portfolio. The idea is straightforward: a day off normal timetable to work on (re)creating a whole music video.
The day should highlight the critical importance for planning, but also get you thinking about issues around locations, costume and directing (including choreography) to take just three. We will closely review the lessons learnt following IFEST, though I will ask that you blog on your experiences, and what lessons/tips you've gained from this by Tuesday 6th!
It would be impossible to replicate this production through normal lessons, and requires you to work within a small team and as part of a larger production.
Remember the importance of using video throughout your blog to illustrate and bring to life the process followed in eventually creating your own fully fledged music video - most aspects of the day provide good opportunities for this! If you do intend filming any diary/behind-the-scenes-style footage, please pass any footage you're happy with on to the 12C documentary team via John.
As much as there are a great many opportunities to learn invaluable lessons from the day, it is also intended as FUN!!!

Yes, I did slip a homework in there! For Tuesday the 6th, please blog (including some video footage ideally) on what lessons or insights you've picked up from the day.

In addition to the above learning outcomes (and hopefully enjoyment!) there will of course be an end product: a fully edited IGS Media version of Britney's classic hit. On top of this I'd also like to see one or more re-edited text-led versions, suitable for use on the school screens, which provide some context and detail, tackling, for example, certain sequences and exploring the Media Language used (and why Britney's original director went for this; what it is trying to signify), or even the challenges faced in recreating these. It would be great if someone could use the final vid to produce a guide to some common codes and conventions of music videos!
12C will also be producing a documentary (possibly two...) on the day.
These are examples of opportunities I've tried to create for you all with your UCAS applications in mind - everyone will have the opportunity to take responsibility for editing at least one production in June/July, which provides a means of demonstrating how you embody all the attributes of 'ICREST'!!!

We will be filming around the school on what will be a normal day for everyone else, so it is important that you try not to disturb anyone! Please also remember you must bring trainers for the gym scenes (even if you're shooting documentary footage!). Guys, a white shirt (to use as a blouse) would be useful, but fear not about the skirts - I've borrowed some from those nice folks in PE!

We'll meet back in F6 at various points during the day. You will split up to shoot some scenes, and practice lipsynching, in the morning, though for most of the day we will all come together and be extras in each other's sections.
Lipsynching practice will take place in one of F6, S2, D4, C5 - these have all been booked for the entire day.
Corrdior scenes will be shot on the top floor of the new building, outside the Arts + Humanities classrooms M8-13. These can only be shot during lunchtime, which adds complications to our timetable - please be timely for the start of this and all other shoots!
Gym scenes will be shot in the gym(!), not the sportshall; trainers must be worn by everyone for this.
Carpark scenes will be shot directly outside the front entrance, on the grass verge rather than the roadway itself.
Classroom scenes will be shot in S2, D4 or C5 - that team has to decide on the best location.

We have arranged 4 teams, each responsible for shooting all shots within 1 of the 4 locations, + 12C will be shooting documentary footage (see below).
The basic idea is that we meet immediately after registration to review the day's schedule, check we've everything we need and that everyone knows what roles they're fulfilling throughout the day, until break time;  you practice lipsynching with your team in one of the four classrooms assigned to us for the day; you then, in your team, shoot any material which doesn't require more than 1, 2 or 3 on screen (depending on size of team), before we come together to shoot the GYM, CARPARK and CORRIDOR scenes.
When we start shooting these, you will all be extras at some point, depending on what was agreed during Tuesday's lesson.
The CLASSROOM team will shoot their material in the morning (9.10 or before), and will practice lipsynching after break.

12C's ROLE: 12C will be shooting a fly-on-the-wall documentary throughout the day; please engage with any requests they may give you for brief interviews, even if it is to suggest a better time to shoot it! 12C will also, however, be performing too, and you should factor in one shot as Britney for Megan, George, Alex, Callam and Amy, and include these five in your calculations for extras when completing the call sheet. [We are currently discussing whether or not to go with an on-screen presenter, which may rule one person out as an extra, but not as a Britney!]

2ND DRAFT SCHEDULE [altered after Monday's lesson]

8.45 Meet in F6; check call sheets + troubleshoot any issues; sign for any equipment
9.10-9.45 GYM/CORRIDOR/CARPARK teams: Practice lipsynching (each group assigned different classroom) - consider recording some of this!
CLASSROOM Team: shoot classroom section; will need 2-3 extras + teacher figure for 2 shots - start as soon as day's schedule has been reviewed and agreed from 8.45
10-10.40 GYM/CORRIDOR/CARPARK teams: Shoot any CUs/2-3shots your group can achieve without any extras
CLASSROOM Team: complete classroom section if necessary; otherwise practice lipsynching in 1 of the 3 assigned rooms
10.40 Meet in F6; sign for/check in any equipment; start uploading footage - pass photocopy of annotated shotlist to JC/me; change as required
10.50-11.30 Shoot gym scenes
11.30-12.10 Lunch [time can be made depending on which shots you're assigned to]
It is vital that if you have been asked to perform in the corridor scenes that you go promptly
12.10-12.50 Shoot corrdior scenes
12.50-1 Meet in F6; sign for/check in any equipment; start uploading footage - pass photocopy of annotated shotlist to JC/me; change as required
1.05-1.45 Shoot carpark scenes
1.45-2 Break/time to change [try to discuss any additional shots needed]
2-2.10 Meet in F6; sign for/check in any equipment; start uploading footage - pass photocopy of annotated shotlist to JC/me; change as required
2.10-2.40 Meet in F6 - opportunity to arrange any additional shots; review footage, pass on copies of annotated shot lists + return equipment as required.

2.40-home Meet in F6, ensure copies of all shot lists have been handed in with tapes, and all equipment signed back in.

The answer depends somewhat on which team you are in, though everybody should bring trainers.
We have ONE blond wig, but feel free to bring your own - that would certainly make the morning shoot, when we split up, a lot less complicated! (Otherwise, we'll have to try and share a wig around 3 different locations, the classroom scenes having already been shot)
Each team can fill you in on Tuesday on the precise details, eg If you are in the classroom scenes, you will need black shoes, a white blouse, skirt (we have some skirts from PE for the guys!), a pink scrunchie, folder and pen, + grey cardie for Britney (more than one size as more than 1 Britney!!!), but as a quick guide:
Even if it is just a different top/bottoms, it would be good if you came with clothing to be included in all sections: the classroom + corridor scenes have the school uniforms (chaps with black blazers!); the gym some basketball players but mainly casual sportswear, and the carpark general casualwear.
Lipstick and other makeup might be useful! (Including makeup remover!!!)
As you're planning and shooting each section (and when you're practicing lipsynching!), you will want access to the actual video for guidance. I would ask that you arrange within your group to have the mp4 on one iPod or phone. It really helps your performers, especially the Britneys, if they can hear the tune, so aim to include an audio source. (You might find it good fun to re-edit a few shots with the audio you capture on the day! If you're game, it'd be great to have some of this for the documentary - please pass on to JC any such footage you're happy for us to use in this way)

Just like any media production, this is a complex event which requires good planning on your part. It would have been useful to have denotated the original video in sequence, although it looks like there will not be time now for this. I have provided an example of how to break down the video into individual shots, plus sheets (there are plenty spare in F6 - help yourself to as many as you need) for noting the shots within your section. So, then, try to follow these steps before Music Video Day to help ensure we all get the most from it:
  1. DENOTATE (WITH TIMINGS) THE SHOTS IN YOUR LOCATIONS: - You should find that there is some repetition within these! You need to take careful note of the timing in the video (so that it can then be inserted into the edited production), plus any camera movement, shot + framing, mise-en-scene (including clothing + props), and any lyrics sang at this point, as set out on the guide sheets
  2. NOTE WHICH SEPARATE SHOTS YOU NEED TO TAKE IN A TEAM SHOTLIST: - You should find that as there is much cross-cutting, and shots are shown in a non-linear fashion, including some repetition, that you do not actually need to shoot the precise number of shots you've noted in STEP ONE; some continuous shots may be broken down into several segments through cross-cutting
  3. LOOK AGAIN AT YOUR TEAM SHOTLIST! - Think carefully; you have a minimum of 40 minutes (possibly another 40mins later in the day for reshoots, additional shots) ... can you realistically shoot ALL the shots you've listed? Are there elements you'll have to compromise on? Examples may be crane shots, props such as cars, dance moves etc
  4. ALLOCATE AT LEAST ONE SHOT AS BRITNEY TO EACH TEAM MEMBER, + 1 OR 2 FROM 12C: - Everyone shall have their chance to shine and express their inner diva! It will make for one very strange looking music video ... but then that might just make for an interesting concept video (applying Goodwin's theory of the 3 types of MV) in itself...
  5. EACH TEAM MEMBER TO BE GIVEN RESPONSIBILITY FOR SHOOTING + DIRECTING AT LEAST ONE SHOT: - There are three distinct roles then you should each fulfil within your location team: Britney(!), cinematographer (person who takes the shot, and is responsible for its framing and any movement), + director, who should work with the cinematographer, but also explicitly direct the performers - provide some guidance and feedback. Let them know precisely what you are after ... just don't be a demagogue and blast one of your amateur dancers!
  6. CREATE A CALL SHEET FROM YOUR REVISED TEAM SHOTLIST: - This is a variation on a shotlist which would be used by 2nd Asst. Directors, or PAs (Production Assts.), to organise the shoot. This would be reviewed at the start of a day's shoot and checked against as the day wore on (you would also typically have a continuity director, but this video is going to be a very postmodern, slightly surreal production, so I wouldn't worry too much about continuity!). A call sheet will include the shot details (in order you intend to shoot), timing (include video timing for reference), mise-en-scene etc PLUS a specific note on WHO will feature in each shot. You can break down who precisely your extras will be on Tuesday. ALSO note any potential problems you can foresee. If you were shooting all day, and using a professional crew, you would include target times to wrap each shot (see ehow site)
  7. MISE-EN-SCENE: LIST ALL PROPS/COSTUME/MAKE-UP REQUIRED: Again, time will be very, very tight on the day, so try to think through what you will need in terms not just of personnel/cast (see STEP 6) but also costume, props, make-up and all other aspects of mise-en-scene. We don't currently have any lighting equipment, but you could consider whether you could innovate here. Don't neglect to consider make-up, especially to help make your gentlemen Britneys look remotely feminine! [But also don't forget to include supplies of makeup remover!!!]
  8. ASSIGN A PRODUCER: - You need someone to take an overview of the shoot and strive to keep the shoot to the timetable noted on the call sheet. Strictly speaking, this is often a '2nd Asst. Director', though a producer would be well aware that time is money and would be keen to keep things moving! This role includes keeping notes as you go - there should be an opportunity in the afternoon to attempt some reshoots or shots you ran out of time for (sorry corridor folk, but you're on the tightest schedule of all there and won't really have that 2nd chance!) [read more about film crews here + here]
  9. CHOREOGRAPHY? Just how ambitious do you want to be? The more faithful you aim to be with the dancing, the slower it will be to set up shots, and the more problems you may face with extras! Think very carefully about how many extras you want to include; even if the video has 20 in a scene, is it practical for you to aim for the same? Will you have time to work on this during the lipsynch slot (see schedule, below?)
  10. TIME NOW, PLEASE... One last time, review your plans: can you achieve all this in the time available? Is there a Plan B if you quickly come to realise that you've been too ambitious? Note carefully on your call sheet which shots you think may cause most difficulty and be prepared to cut these if time does go against you on the day.
This is a rough example of a call sheet:
Sample Call Sheet                                                            

Music Video Day is on Wednesday June 30th!!!

Not just the two words that made Sir Trevor McDonald a legend (see him here expounding on the brain train - which you may want to track down after Wednesday!)...
You've been set a very demanding task here, with limited preparation time. In some ways, this is quite realistic - as you'll find when researching the music video, budgets for these are getting ever tighter, which means timetables for producing these are also being slashed. Its worth reflecting on how you might have managed, what steps you'd have taken, if you found yourself commissioned to shoot a music video in one day, even a recreation such as this!
In the anticipation of a busy but successful day, thank you for all your effort on this!

8.45 Meet in F6; check call sheets + troubleshoot any issues
9.10-9.45 Practice lipsynching (each group assigned different classroom)

10-10.40 Shoot CUs/2-3shots your group can achieve without any extras
10.40 Meet in F6
10.50-11.30 Shoot classroom scenes
11.30-12.10 Lunch [time can be made depending on which shots you're assigned to]
12.10-12.50 Shoot corrdior scenes
12.50-1 Meet in F6/time to change
1.05-1.45 Shoot outside scenes
1.45-2 Break/time to change
2-2.40 Gym Scenes
2.40 Meet in F6, ensure all shots logged and labelled

Friday, 25 June 2010

Britney Groups

As there are 4 key locations, and I'm after a documentary of the day (and the build-up/follow-up...) there are FIVE groups for this:

DOCUMENTARY TEAM: 12C: Megan, George, Alex, Callum, Amy
GYM SCENES: Lucy, Steph, Jonny B, Mary
CORRIDOR SCENES: Emma, Emmie*, Beth, Melissa
CAR PARK SCENES: Joel, Jonny H, Laura
CLASSROOM SCENES: Chris, Kasim, Elizabeth, Jenny
*Emmie won't be there on the day; needs to shoot her CU as Britney before or shortly after;

Once we've gone through the denotation of the whole vid we'll focus on organising shotlists, call lists, costume, props, schedule etc

Looking Ahead: Track Selection

Before we break up for the summer I'll issue you all with a detailed breakdown of what you can/can't do in terms of your track selection for the music video, and a list of guidelines for thinking about this. Before then, a quick summary of the key points:
  1. It CAN be copyrighted material - you are being assessed on your ability to create a video, not a song!
  2. The proviso for this is that you can evidence an attempt to contact the band and/or record label/publisher to ask permission for your use of the track
  3. It CAN'T be a track which was released as a single, and already has a music vid
  4. Check YouTube - if you find uploads of the song which have been blocked, then pick something else!!!
  5. There is no restriction on genre - that's entirely up to you, so long as you...
  6. ...Convince with your pitch presentation [not the July dry run!], like the A-Team's Hannibal Smith, that you have a plan that will come together; be able to echo Blackadder's line that "I have a plan so cunning, you could put a tail on it and call it a weasel."
  7. ...Have avoided any explicit language or explicit sexual content - we also have to think about the secondary audience for your texts: the school, younger students, etc
  8. For your own sakes, try to avoid any lengthy tunes!

Thursday, 24 June 2010

Getting hip to vox pops

Terrible title I know...but worse is to follow... (some vids will be added in due course)

A quick run through of some lessons from the 1st batch of vox popping with an AS group:

CHECK TAPE!!!! Record and upload some test footage (new tape should be fine, but rem that dirty heads can also cause damaged recording)

FRAMING – (a) for this task start again if someone else comes into frame! (may not be possible on IFEST Day!) (b) Be more tightly framed on subject

DIRECT! – you are the director so give direction! Be considerate (many get nervous when faced with a camera) BUT ensure you avoid (a) subject looking down, especially to read off paper!!! and (b) subject rambling – interject, ask politely if s/he could re-try that being a little bit briefer… (c) SHUT UP!!! Be careful with any verbal response; unless you intend your voice to be heard, use NVC (eg nod head) rather than ‘mmm hmmm’ etc! Don’t pass wind, start playing the cymbals etc

Wednesday, 23 June 2010

TASK 6: Complete Denotation

Having worked through the opening 9 shots together now you'll each be assigned a section of the video to work through and denote. We will then pull it all together so everyone has a complete shot-by-shot breakdown of the entire video.
[Obviously I changed from the following idea!] Before that though (and for anyone working ahead this could work well...) I'd like you to count the number of shots in the entire video (repeated shots count every time they're used). Once done, write it down and bring it up. Whoever gets it right first can pick which section of the Britney vid they want to work on (or if they want to work on the Media-doc to go with this)...

I've assigned you each 20secs of footage to cover, in sequence, starting with Lucy working through the shots from 0:20-0:39 and ending with Emma denoting the shots from 3:40-3:56 (220-236 secs in). Its important you do this in good detail - I'll post a completed breakdown of the opening 19secs (actually 11 shots) with Task 5.
Note: I've not asked you to find the shots within your location and denote these; we all need a complete shotlist from which we can then break down the particular shots in each location, so you've been asked to take a section each in chronological order. On Monday we can piece all this together, and then start planning in your groups.
There are multiple copies of the document below in F6, though it would be useful to type straight into the Word doc.

HITTING DE-NOTES…denoting Britney                                                            

Again, these have been printed off in F6, but it would be useful to actually download + type into this!

To give you an idea of what might come out of all this (once we get time to thoroughly deconstruct not just the video, but the process of making it, you should find you will have learned a great many practical lessons to apply to your actual production), here's how it turned out from some students from Latymer, whose teacher I'll happily credit for inspiring the idea of a Media Music Video Day!

What did you make of this?!

Here's a rough example of the 1st 20secs:
HITTING DE-NOTES…denoting Britneys 1st 9 shots COMPLETED                                                            
[You should have this by now as a handout]

TASK 5: Nine-Shot Wonder

We're going to make a start on deconstructing the video we'll be working on reconstructing during the Music Video Day and subsequent lessons for editing. As we do this, try to make brief notes on any pointers or lessons you're picking up on what challenges face you for your own production, and any do's and don'ts that occur that you.

We'll start by deconstructing the 1st 9 shots of the video, then we'll move on to assign you manageable timed chunks of the video to denote in detail, finally bringing it all together so we all have a complete, shot-by-shot breakdown.

Use the worksheet below (copies will be provided) to make your notes (you may want to make rough notes 1st, then fill this in when we feedback as a class).


HITTING DE-NOTES…denoting Britneys 1st 9 shots                                                            

How this might have looked (there is much scope for greater precision!!!):
HITTING DE-NOTES…denoting Britneys 1st 9 shots COMPLETED                                                            
Is this what you got?

TASK 4: Initial Cs+Cs

This is something we will return to frequently: a consideration of the diverse Codes + Conventions [which I typically shorten to 'Cs+Cs'] of music videos. This does not mean rules, but common elements seen in videos.
Furthermore, the Media Language used will be heavily influenced by two considerations:
You can use this sheet to help organise and keep your notes together; as time goes on you may find yourself thinking of examples at odd times and places, and this should help to pull together any scraps of paper you may have noted these on! There will be a separate, much more detailed, framework issued later for analysing particular videos.

The actual task here is to make a start brainstorming some examples of things you often see in music videos (Cs+Cs) and, if you can, thinking of an actual example to back this up.
If you think back to the AS coursework, you may remember how useful it was (to those of you who did!) to have taken detailed notes from your classmates' examples, and any that I bring up - this will help you avoid having to work all this out again on your own in a few months time!

12C have made a start with this; the 1st point we raised was the expectation of fast-paced editing; short takes, often cut to the beat (or to a guitar riff). We looked at an example of this: thrash metal band Megadeth's Peace Sells ... But Who's Buying (see it on YouTube - note: contains flashing images)

Common Codes n Conventions of Music Videos Basic 2col Notes Sheet                                                            

Feeding back on AS

I'd like you to discuss the following Qs/prompts (you can do this individually, in pairs, 3s or more) and then go up to JCs to record vox pops where you'll deliver your answers!
  1. What have you learned since starting Media Studies?
  2. Was it exactly what you expected, or have you been surprised in some ways by the work in Media?
  3. What do you think you have gained from the subject (so far)?
  4. What did you most enjoy? (you can of course provide multiple examples!)
  5. Has the way you view or 'consume' the media been changed in any way?
  6. (Assuming you would...) What reasons would you give someone thinking over their AS options to do Media?
You will be recording a range of vox pops yourselves over the next few weeks, for the IFEST work and also if you're working on the documentary of the Music Vid Day. You want to make sure you avoid...
  1. Reading prepared answers off paper
  2. Looking down, rather than at the camera
  3. Taking forever to form a sentence!
  4. Having the camera operator's voice at the same time as the subject of the vox pop
Basically, whether you're filming or being filmed doing vox pops, the aim is for a sense of spontaneity. So, even if you or your subject has been given time to prepare an answer, keep any piece of paper not just out of shot but simply away - ask 1 question at a time, and give yourself, or your subject, time if needed to re-read their notes then put these away and shoot!

    Britney vid + death version

    While YouTube remains blocked at school embedding videos is problematic, but I'm hoping this Google page will work on your student accounts:

    Once we've completed the denotation of the whole vid I'll add a post with a range of versions of this track, which has become something something of a cultural phenomenon (a meme if you want to utilise one interesting theory about culture!). For now, you could always revisit the strange death metal cover of this pop classic!

    You can find an HD version of the original Britney vid on YouTube, much better for denotation, but obviously only available to you if working from home:


    You'll know how to do this by now; the key thing is to follow the instructions below precisely as regards the name/URL:
    1. Sign in to blogger
    2. Click on Create New Blog
    3. For name, type in your G324-sum2011-FORENAME-SURNAME
    4. For address, type in the FORENAME-SURNAME-MUSICVID, so it should appear as
    5. The layout tools have changed, so you'll need to ensure you make your blog wide enough to avoid problems with embedded video clips and Scribd docs [ask if unsure!]
    6. Once its set up, please email me straight away (so I can be your first follower!); I'll put up a links list for all when everyone has done this so you can look at, and comment on, each others' work, throwing your own ideas and reference points into the mix etc
    7. Once you've done this you can create a new post and quickly blog on what we've done at this early stage
    8. Our next step will be brainstorming the Codes and Conventions of music videos, so if you're finished while others are still blogging ask me for the handout that goes with this

    Tuesday, 22 June 2010

    The 2 Tasks: Actual Vids

    True Faith vid: or Also see


    TASK 2: 2nd SET of LYRICS

    Depending on which class you are in, we may have tackled the 1st example as a whole class - this one is to be tackled individually, at first. Follow these steps to flex your creative muscles and come up with proposals for the lyrics below.
    Please do not google the lyrics as creating an idea linked to the actual video would rather defeat the purpose (and, as you'll see, indicate an extraordinary degree of weirdness...

    STEP 1: by yourself, for no more than 2-3mins, read through the lyrics below then brainstorm and list (just as a single sentence) rough ideas for creating a music video around these lyrics
    STEP 2: get together in pairs or threes and share the ideas you came up with (2-3mins)
     STEP 3: pick one out and bullet point some further detail of the visuals (shot types, mise-en-scene, editing) that would go with one of these ideas (2-3mins)
    STEP 4: briefly feedback your concept to the class, when we will also discuss the main types of music videos, referencing a Mr Goodwin (up to 5mins)
    STEP 5: we'll reflect on the steps you'd need to take to move from a raw idea to a finished, polished music video

    I feel so extraordinary
    Something's got a hold on me
    I get this feeling I'm in motion
    A sudden sense of liberty
    I don't care 'cause I'm not there
    And I don't care if I'm here tomorrow
    Again and again I've taken too much
    Of the things that cost you too much

    I used to think that the day would never come
    I'd see the light in the shade of the morning sun
    My morning sun is the drug that brings me near
    To the childhood I lost, replaced by fear
    I used to think that the day would never come
    That my life would depend on the morning sun

    When I was a very small boy
    Very small boys talked to me
    Now that we've grown up together
    They're afraid of what they see
    That's the price that we all pay
    Our valued destiny comes to nothing
    I can't tell you where we're going
    I guess there's just no way of knowing

    I used to think that the day would never come
    I'd see the light in the shade of the morning sun
    My morning sun is the drug that brings me near
    To the childhood I lost, replaced by fear
    I used to think that the day would never come
    That my life would depend on the morning sun

    I feel so extraordinary
    Something's got a hold on me
    I get this feeling I'm in motion
    A sudden sense of liberty
    The chances are we've gone too far
    You took my time and you took my money
    Now I fear you've left me standing
    In a world that's so demanding

    I used to think that the day would never come
    I'd see the light in the shade of the morning sun
    My morning sun is the drug that brings me near
    To the childhood I lost, replaced by fear
    I used to think that the day would never come
    That my life would depend on the morning sun

    I used to think that the day would never come
    I'd see the light in the shade of the morning sun
    My morning sun is the drug that brings me near
    To the childhood I lost, replaced by fear
    I used to think that the day would never come
    That my life would depend on the morning sun

    Monday, 21 June 2010

    TASK 1: Lyric to Visuals

    Your first task, effectively the start of your A2, is to take the set of lyrics provided (reproduced below) and come up with some proposals for creating a music video for these. At this stage, you have to decide for yourself what genre these might fit into; the particular artist associated with this song isn't necessarily the type of artist the lyrics alone would suggest.
    Just to emphasise then: you are tasked with thinking up ideas for a music video to go with these lyrics, not the artist who originally released the track these appeared in.
    Try to think through the different types of possibilities for this, the range of options open to a music video director.
    STEP 1: [ALL/BOTH OF YOU SHOULD BE WRITING EVERYTHING DOWN - this is the start of your A2 and will form your 1st new blog entry!!] brainstorm and list (just as a single sentence) rough ideas for creating a music video around these lyrics
    STEP 2: bullet point some further detail of the visuals (shot types, mise-en-scene, editing) that would go with one of these ideas
    STEP 3: briefly feedback your concept to the class, when we will also discuss the main types of music videos

    You will feedback your ideas in the form of brief presentations, then we'll all consider what additional steps you might take to properly plan an actual music video; make the idea reality.
    Oh baby, baby
    Oh baby, baby
    Oh baby, baby
    How was I supposed to know
    That something wasn't right here
    Oh baby baby
    I shouldn't have let you go
    And now you're out of sight, yeah
    Show me, how you want it to be
    Tell me baby
    'Cause I need to know now what we've got

    My loneliness is killing me
    I must confess, I still believe
    When I'm not with you I lose my mind
    Give me a sign
    Hit me baby one more time

    Oh baby, baby
    The reason I breathe is you
    Boy you got me blinded
    Oh baby, baby
    There's nothing that I wouldn't do
    That's not the way I planned it
    Show me, how you want it to be
    Tell me baby
    'Cause I need to know now what we've got

    [Repeat CHORUS]
    My loneliness is killing me
    I must confess, I still believe
    When I'm not with you I lose my mind
    Give me a sign
    Hit me baby one more time
    Oh baby, baby
    Oh baby, baby
    Ah, yeah, yeah
    Oh baby, baby
    How was I supposed to know
    Oh pretty baby
    I shouldn't have let you go
    I must confess, that my loneliness
    Is killing me now
    Don't you know I still believe
    That you will be here
    And give me a sign
    Hit me baby one more time

    [Repeat CHORUS:]
    My loneliness is killing me
    I must confess, I still believe
    When I'm not with you I lose my mind
    Give me a sign
    Hit me baby one more time 
    [Repeat CHORUS:]
    I must confess that my loneliness
    Is killing me now
    Don't you know I still believe
    That you will be here
    And give me a sign
    Hit me baby one more time

    If you're happy you've exhausted all the creative possibilities for this then skip ahead to Task 2, a similar task, but with song lyrics you're much less likely to be familiar with...


    There will be 4 main strands to our work through June and July, when we effectively begin the A2 coursework module:
    (1) Initial introduction to music videos
    (2) Music Video Day + subsequent editing and reflection on lessons learnt
    (3) IFEST - Media students will be working on a blog updated through the day OR a documentary on the event OR a documentary on what the Media students did that day! There will be some lessons on documentary, and interview/presenter techniques, beforehand
    (4) Practice Pitch - from tracks put forward by yourselves + me you'll be allotted a random track to prepare a detailed music video pitch for
    You should be thinking about UCAS entries at this stage; this scheme of work is partially designed, with a range of transferrable skills (think ICREST) to provide some useful material for your personal statement; help show you're not just an anonymous exam-taking machine!
    EDITING TEAMS: In addition to being responsible for editing your section of the Britney remake, there are a variety of editing tasks to be completed by or before (for IFEST) Monday 19th: IFEST DOC EDITORS - BETH + EMMA; MUSIC VID EDITORS - JOEL + JONNY H.; MUSIC VID MINI-DOCS - LUCY + STEPH; MVDay DOC EDITORS - ALEX + CALLUM; ETH + EMMA; MVDay MINI-DOC EDITORS - AMY, MEGAN, GEORGE