CD/MAG AD: Editionalising

Just as we saw with DVDs last year (initial vanilla releases followed by special/collector's/ultimate editions; unrated version; director's cut), albums - especially best ofs - are increasingly sold in mutltiple versions. There's an example below, starting with a digipak and working up to a CD+DVDs set.

This is something you can be thinking of as you begin to think about the digipak + mag ad. The JoyDiv team from last year won plaudits from the exam board for adding a limited edition vinyl edition; you could consider this, or a 'bonus live DVD', without taking too much more time.
Other than researching examples of both digipaks and mag ads, the key to these is thinking of imagery early that you could then be photographing while out on your filming shoots (or even practice run-throughs), though you might also opt for a more abstract look. Just remember, your Eval has a Q about the links between your 3 texts.

Source for following article: http://loudwire.com/rammstein-made-in-germany-retrospective/

Rammstein ‘Made in Germany 1995 – 2011′ Retrospective Drops December 6

by: Amy Sciarretto 29.10.11

Rammstein are Germany’s most famous purveyors of subversive, industrial aggro and they are about to make fans incredibly happy, thanks to a career retrospective, dubbed ‘Made in Germany 1995-2011.’ The release is set to drop on Dec. 6 via Vagrant Records.

The retrospective will be made available in three different configurations, so you can choose according to your level of fandom for this enigmatic band, known for playing with fire and engaging in simulated homoerotic activity on stage.

The standard edition will feature the ‘Best Of’ album as a CD digipak, while the special edition will add the ‘Best Of’ remix album to the standard edition. If that doesn’t satisfy your hankering for noisy Teutonic rock, then you’ll want to seek out the super deluxe edition, which include the ‘Best Of’ album and the ‘Best Of’ remixes, along with three DVDs.

The DVDs will be comprised of the band’s full video catalog and all previously available “Making Of” videos, along with eight previously unreleased “Making Of” videos. The super deluxe edition will be encased in -what else?- a steel box and will come with a 240-page booklet. It’s an exclusive piece, as only 1200 copies will be made available in the US. Hello, collector’s item!

As if all of this wasn’t enough, all the songs and videos have been specifically remastered for this particular release.

The retrospective isn’t all that’s going on in the Rammstein camp right now. Rammstein’s new single ‘Mein Land’ is set to drop on Nov. 11. It will be available as a four-track set via iTunes, and will include an unreleased track, ‘Vergiss Uns Nicht,’ as well as remixes from BossHoss and Mogwai. It will also be accompanied by the Jonas Akerlund-directed video for the single. The video premieres on the band’s website on Nov. 11. So mark your calendars, stat!

M.LANG INDIE: Jesus + Mary Chain

A band notorious for its fraternal flare-ups (the brothers in the band were reknowned for fighting on stage), but also an obstinate attitude towards pop (they were seen as noise-smiths rather than tune-smiths) the Jesus and Mary Chain naturally didn't produce straightforward commercial videos.

Here's examples from classic J+MC tracks which exuded Indie attitude, by which I mean...

• low-key, naturalistic lighting (practical as much as aesthetic: low budget!)
• some strange, elliptical framing
• whip pans that lead to ... nothing!
• distorted footage
• performance which is so wan, exuding such froideur, its the antithesis of the exciting, energising rock performance we're so used to seeing
• the lipsynching in particular is reluctantly done, but shots of drumming and guitar playing also slowed down to be out of synch with the music
• just like Iron Maiden on the German Top of the Pops back in the 80s (when the band swapped intruments repeatedly, making a mockery of the miming) these vids stand as an uneasy compromise: marketing and commercial returns seem like a dirty word to Indie bands and fans BUT the band's record co needs the vids to sell records and the band to raise their profile + build their fanbase
• this reluctant, contrary attitude is also where the Pixies' Velouria single-shot vid arose from
• neither are so surreal as to be not be recognisable as m.vids tho: we see many of the standard signifiers of performance (some focus on singer, MS/MCUs of playing instruments, reasonable pace of editing), its just that the delivery is alien to the hyped up norm

J+MC vids on YouTube.

JUST LIKE HONEY


HAPPY WHEN IT RAINS


APRIL SKIES


HEAD ON

DIGIPAK CONCEPT: Judas Priest eg

Your digipak is for an album.
That means you have to create a tracklisting and briefly justify it.

Singles and best ofs are common, but with some bands with extensive back catalogues other 'themes' are used - the ballads, heaviest of, etc. Here's an interesting take from a UK metal band thats been going for around 40 years (and are bigger in the US than they are here, which is typical for successful UK metal bands), and recently featured on the final of American Idol, demonstrating their mainstream pull.

Judas Priest asked members of a wide range of bands to pick their favourite Priest tracks and used their selections to create a Chosen Few compilation, as detailed below.

You need to start thinking about the digipak and mag ad early - you must take separate photographs and not rely on screengrabs!!!

German metal band The Scorpions are another useful example: they've released a comp of their ballads, their rockier material, and a compilation of both!

 Here's UK sleaze metal outfit Dogs D'Amour striving to avoid the 'best of' label, and working with the fact that they didn't have many 'hits'!

Finally, US funk-matallers Faith No More, reformed to play Download in 2011, with an alternative to their Is This It? The Best Of album.

The following is quoted from http://loudwire.com/judas-priest-rob-halford-ian-hill-interview-chosen-few-upcoming-album/

One interesting aspect about your new compilation ‘The Chosen Few’ is that artists from completely different backgrounds picked some of the same tracks. David Coverdale from Whitesnake and Randy Blythe from Lamb of God both picked ‘The Green Manalishi.’ Klaus Meine from Scorpions and Corey Taylor from Slipknot both picked “You’ve Got Another Thing Comin’.” Were you surprised by the unlikely pairings?

Halford: Yeah, absolutely surprised. We had no idea what anyone was going to pick, did we Ian?

Hill: No, it was totally up to them. It’s our only compilation album where we had absolutely no control whatsoever of what’s going on it.

Halford: It’s great that you should marry the guys together though. That Klaus from Scorpions and Corey from Slipknot should both like that particular track and say what they’ve said about particular songs that they enjoy from Priest. It really shows you the way that metal has this amazing generational crossover to two totally different worlds.

Members of Black Sabbath and Metallica were among the acts that chose the tracks for ‘The Chosen Few.’ What songs would you choose from those three acts if you were helping to put together a similar compilation for them?

Halford: For Black Sabbath, I’d probably pick ‘Black Sabbath,’ because that’s like the most evil song ever written. For Metallica, I’d probably pick ‘Blackened.’ I’m into old school Metallica personally and old school Sabbath.

Hill: It’s funny; I’d have to go listen to the albums again. There’s always a hidden gem somewhere. You always pick out, “Oh yeah, I used to love listening to that,” and then you tend to discard the rest of the album as time goes on. We’ve been doing albums now for 30 or 40 years and even with our songs I forget what the hell we’ve done on our albums, so I’d have to look back and listen to them all again and see if there are any hidden gems in there before I just blurt out what I’ve been listening to for the last 30 years.

Both 2011 compilations ‘Single Cuts’ and ‘The Chosen Few’ only cover your work until the early ‘90s; do you feel like this represents your career in the right way or do you feel that some of your later material should have been included?

Halford: I think it’s just a fun retrospective. You can’t do it all in one go, it’s impossible. I think you just have to look at the moment that you’re working with. Maybe there’ll be a ‘Chosen Few 2’ or ‘Chosen Few 3.’

Hill: The other thing is that there was a gap there where Rob wasn’t with us and the two albums we’ve done since Rob’s return are still very, very familiar and very fresh. In a lot of cases they haven’t sunk in yet – the great songs off the last two albums. They haven’t gotten established yet, so that’s maybe one of the reasons.

It seems like when you’re around for such a long time it’s hard for the new stuff to really sink in with the fans.

Halford: That’s the way it goes, yeah.

Hill: Of course, as far as singles are concerned, we haven’t had any singles off the last two albums. [Laughs]

Halford: We’ve never been a singles band. We love our label to death, Sony. That’s why we thought why do you want to do this? They said, “Well we did release single tracks to promote the records, particularly in America, some of which did really well, some of which just filtered through to introduce the new release.” We had no idea that our label had done so much. It was just the idea that we were going to do the ‘Single Cuts.’

When you’ve been together for 40 years, that’s what bands do now. It’s time to reminisce about your life in music and to put together these box sets that you may or may not choose to add to your collection. Some fans just want to go from studio album to studio album and don’t want the box sets, but pretty much all of the Priest fans are like, “Give me it all, I want everything! I want the lot. I want to put my ‘Singles Cuts’ next to my ‘Metalogy,’ I want to put that next to my remasters.”

Hill: It’s a good concept though; you’ve now got the singles out. I’d be great if they then go for the Judas Priest production pieces and then the heavier songs or the faster songs. You can pick out any little area of heavy metal, which is immense really and we’ve done a lot of all of it over the years.

GENRE: Gregorian Chants/Metal mash

AC/DC's Hells Bells as Gregorian chants... click on the pic for info on a good eg of postmodern hybridity:

Fisheye + pomo eg: Monster Magnet's Powertrip

Good eg of fisheye at work in this 1998 vid, but also highly postmodern: signifiers of 70s glam as well as modern bling-based R+B and the pimp posturings of many rappers

This is meant to juxtapose the band as authentic but with a sense of humour.

For me it actually screams insincerity - a corporate poodle using a glammed-up, high budget vid to promote the brand message that they're above ... glammed up, high budget vids

Another reading in this - the women sat around the floor seem to me to form an intertextual reference to the classic Electric Ladyland album cover (Jimi Hendrix Experience) from 1968, which I won't embed (for obvious reasons if you're familiar with it)

Anti-X Factor FB Campaign: Nirvana for Xmas no.1

SamB raised this, and I'm sure many of you are aware of the 2009 campaign which successfully propelled the industrial metal group Rage Against the Machine to the no.1 spot instead of whatever dreck won Cowell's show that year. Not just any band, this was one with a distinct history of radical, counter-hegemonic lyrics and actions, including various campaigns
My interest was briefly drawn again last year when it was proposed that the avant-garde composer John Cage's piece which consisted of silence (conductor's baton raised and orchestra putting instruments down the only sound if I remember right) for 4mins be the anti-Xfactor single. Now that would have

GENRE/AUD/NEW MEDIA: Pomo/Hybridity: the Re:Generation project

Here's a project that puts hybridity at the centre, bringing togther 5 DJs with a range of genres (eg dubstep's Skrillex with classic rock band The Doors):

Visit the website at http://www.regenerationmusicproject.com/

You should swiftly notice the Hyundai branding; music + vids are increasingly used for branding exercises which are much more subtle than straight ads. The brand message is that Hyundai is cutting edge, defies barriers and categories; is timeless.

Here's how the Music Guardian reported the story:

Skrillex to reopen the Doors

Doors keyboardist Ray Manzarek says the divisive dubstep star will work with the band as part of a new music documentary

• Sean Michaels
• guardian.co.uk, Friday 14 October 2011 10.55 BST
• Article history



Break on through … Skrillex teams up with the Doors




The "most hated man in dubstep" is helping to reopen the Doors. Skrillex will produce "the first new Doors track of the 21st century", according to keyboardist Ray Manzarek, as part of a new documentary.
"Basically, it's a variation on Milestones by Miles Davis," Manzarek told Rolling Stone magazine. "If I do say so myself, sounds fucking great, hot as hell." Forty years after the death of Jim Morrison, Manzarek returned to the studio with Robby Krieger and John Densmore. The Doors had been assigned to work with Skrillex, real name Sonny Moore, as part of the forthcoming documentary RE:GENERATION. "[Sonny] plays his beat, all he had to do was play the one thing," Manzarek said. "I listened to it and I said, 'Holy shit, that's strong.'"
RE:GENERATION is directed by Amir Bar-Lev, who helmed 2007's My Kid Could Paint That and a 2010 documentary on Pat Tillman. Produced in association with the Grammys, it unites artists with unexpected producers: Crystal Method recorded with Martha Reeves, Erykah Badu with Mark Ronson, while Nas and DJ Premier teamed up with the Berklee College of Music Orchestra.
Not every team-up went smoothly. Eectronic act Pretty Lights were sent to Nashville to work with country artists LeAnn Rimes and Ralph Stanley. "When Ralph showed up, I tried to tell him what I wanted to do and his response was, 'I think we'll just do it my way,'" said Pretty Lights' Derek Vincent Smith.
RE:GENERATION will be released to coincide with the 2012 Grammy awards on 12 February.

Group pic/info on blogs

A perfect example of what you're aiming to do below: the blogs/YouTube channels of the others in the group AND the company blog all clearly highlighted, and a nice touch of making the pic link to a post on the group.

I've seen one example of pointless 'info' such as nicknames; a bit more maturity should be shown - keep details to your media attributes, which can include past work, festival success, and music tastes, film/TV tastes if you think its relevant (ie this influences your work/ideas). If you're assigning roles (may be more than one for each person), detail what this actually means/entails.

Company blogs

A really simple job but one which showcases your use of new media technologies, and also links to how you've gone about attracting an audience: setting up a separate blog for your production company.

Here's the JoyDiv blog from last year (also linked through their QR Code): http://newtransmissionrecords.blogspot.com/

Note the branding! This can be largely a place where you copy in podcasts + behind-the-scenes vodcasts, but also build up to release. A good place for a poll too!

QR Codes

We looked at how the JoyDiv group used these last year: when scanned using a smartphone, the browser is directed to the link programmed within the QRCode, in this case their production company blog.
Here's Callum's post on this (and the accompanying vid, embedded below; there can be a place for humour on your blog, and this is a good example of appropriate use of that)

Student-led lessons from Week8

To be clear on what the thinking is with these...
You hear the phrase 'student voice' used frequently within school, though there has been much debate over the realities and extent of this. Partially with the sort of experiences you'll have at university in mind (seminars and other sessions which might be student led), but also reflecting the positive impression you've made as a cohort,

Blog schedule for end of this week (21st)

BY THE END OF WEEK 7 (17-21ST October) you should have blogged on:

THE COURSEWORK TASK

ASSESSMENT CRITERIA

HOMEWORK FOR FRI 21ST (13C) or THURS 20TH OCT

List the 10 most useful things you’ve learned to date, and …
The 3 things you’d most like to learn now about music vids

SCHEDULE THROUGH TO FEB 2012 COMPLETION

I'll issue a more detailed outline shortly, but look through this: each group will be leading a lesson on one of the themes highlighted through weeks 8-13, so 1st come 1st served in terms of choice.

This schedule is designed to enable, indeed encourage, working ahead.

Groups can divide + then share posts; use initials (or ALL) at start of each post to denote the author.

The themes are chosen not just with marks for R+P in mind, but also Section A of your exam; if you're rusty on what DCRUP + MANGeR denote, look back at your course outline (and I suggest you add this info to a post so you can always swiftly check...). If you make notes on each of these (separate sheet of paper or even unpublished blog post) as you go you'll find exam prep much, much easier - but also be looking ahead to the Eval, where many still throw away marks from bad timing. You can pre-write/plan a good deal of this.

Use http://prodeval.blogspot.com/ to help with forward planning (and working on your group's themed lesson)

See http://musividz.blogspot.com/2011/10/blog-schedule-for-end-of-this-week-21st.html for details on what should be on your blog for the end of this week/half-term.

WEEK 8 (B  31st Oct to 4th Nov): MEDIA LANGUAGE [13A: GinaJess; 13C: n/a]

Act History: superb eg + showcase work

There were some excellent posts on this last year you can look at, but also Rob's on the history of Muse is exemplary. Very well detailed, with a blend of his own words and quotations (which are clearly identified), well presented with illustrative imagery and embedded vids.
I've had emails asking about use of Wikis, which this post largely relies on.
Basically - its okay to use Wikis as the primary resource for SOME posts, but if your blog continually relies on this you are showing weak research skills. Do general googling, try Amazon book searches (and use the 'Look Inside' to access some sample pages) in conjunction with google books (again, you can read some sample pages), newspaper searches (eg Guardian), magazines, blogs etc You could also do a quick index search of Lib/F6 books.
If you want to make it clear not just to me but to the exam board how wide your research has been, start a Links List called Sources Used For Research. Put a link and description in for every source you use (so Amazon links for books). This would overlap with more specific Links Lists but:

make it easy for credit to be awarded for your work; make the evidence very easy to spot. 

When I'm justifying my marks to the exam board I have to write detailed summaries; use what you learned from marking 2011 blogs to put the evidence of your work (not just research but ticking every box - aud research/feedback, drafting etc) in a prominent space.
Imagine you're an examiner with 300 blogs to mark - which is the approx number many will be assigned. Now imagine marking two blogs: one has used links lists/summary posts to summarise work, learning and blog content, handily fitting in with the assessment criteria. This blog can be skimmed through and marks verified quickly. But a second blog hasn't done this; an hour later, after you've trawled through just some of the posts looking for evidence of excellence/proficiency etc on each criteria you think its a borderline case, but thankfully you're feeling so happy at having to spend all this time that naturally you'll award the most positive mark...

Mon 10th Oct - FINAL POINTERS!

You may be reading this while final files are being gathered in, or before the lesson - do re-read the earlier very detailed posts.

You have 2mins to pitch (this will be strict to ensure time for feedback).
You will then have a 2min Q+A (time may be reduced if we're slow to get started). EVERYONE will have to ask a question about at least one presentation - here's some sample Qs you could consider (but also respond directly to the contents of the pitch and your own thoughts!):

• how did Britney/MiniVid/class vid influence planning? did these create any ideas for editing FX for example that you haven't yet outlined?
• do you think there’s enough variety to sustain aud interest over repeated viewings?
• what would constitute the ‘shooting appropriate material’ from markscheme?
• any factors which would problematize reshoots?; have you applied any lessons/learning from your AS experience?
• what further decisions do you need to take at this stage? 
• what’s been the biggest single leap you’ve made since starting to think of + research/plan ideas?   [this could be a difficult one to answer under time pressure!]
• in one sentence, what makes you think this will be THE best project/why should others work with you on this?)

Take any remaining time to gather your thoughts, read through notes, and really try hard to maximise the eyeball time with your audience.
Remember, your task is sell your idea and persuade others to work with you!

If YouTube blocks an upload: VIMEO it

...but do provide a title for pity's sake!
In most cases, when YouTube matches audio tracks to its database it will force ads onto the page, with revenues from these shared with the copyright-holder. YouTube has signed up the major record labels to a deal along these lines.
Sometimes, you'll simply see your upload blocked (or audio disabled).
If that happens, switch to plan B: vimeo.com. Its not used by the industry, but rather artists, and is nowhere near the scale nor influence of YouTube, so isn't really a suitable alternative in general for a Media student. BUT, when you have to (and its not blocked at school, although it flags up broadly identical concerns to YouTube), use Vimeo!!!
Here's Conor/Rich's (untitled?! come on guys!!) edit:

Untitled from Conor O'Loughlin on Vimeo.

Evidencing DRAFTING tip: Use shot-in-shot

As we did with the BritVid, a nice way to help evidence your drafting work (ie, re-edits) is to include a shot-in-shot alongside your changed version. Here's an example from a Latymer group;

Single take videos

LINKED POSTS: http://musividz.blogspot.com/2010/11/artist1-pixies.html 

http://musividz.blogspot.com/2011/06/greatest-single-take-video-ever.html http://musividz.blogspot.com/2012/02/one-shot-vids.html Streets anti-vid 

I mentioned this today, and George asked about the example I gave. You can find it in this post: http://musividz.blogspot.com/2011/06/greatest-single-take-video-ever.html

As I mention in this, and the 'streets anti-vid' post, when you're in groups you should think of some fun 'alternate' video/s you can do for your track, real lo-fi fan-vid style. This idea has been used by bands as big as U2 (with the 3 vids for 'One'!)

I'll trust GeorgeG will mention this post in the next lesson...

RobS helpfully came up with another eg, Coldplay's Yellow (11.2m views at time of writing!)

Playing w/ representation of age: Biggie Smalls vid

NB: This vid does contain very strong language.

Notorious BIG/Biggie Small's 'Sky is the Limit' vid takes on the Bugsy Malone film idea, and casts kids as the adult performers. In this case it is rather dubious, as the girls' roles in particular do seem sexualised (something that should always be avoided at this age range), but it is otherwise a strong example of what can be achieved by playing around with representation of age.
You can watch the vid here.

What you should be blogging on!!!

Your blog should reflect all aspects of our Media work in and out of lessons; I've added links to relevant posts on a variety of your blogs to the list below of recent topics you should be covering.
Many of you are looking good for the 19 or 20 out of 20 for R+P that we can all aspire to; some of you have significant catching up to do. If in doubt over ANY aspect always ask!

• Your vodcast should be embedded [here's Tom's w/ Rob]
• class vid pitch too, and research underpinning it [here's Jess']
• brief summary of the winning pitch + the subsequent class project [Tom's - needs updatin]
• detail + reflect on the process: the limited research+planning time, limited shoot time - what went well/badly, and what lessons did you learn? [see SamP's]
• what have you learned in regards to using Final Cut? [see Rob's, 1 of several on distinct aspects]
• ideas for coursework pitch (including any you've rejected) [Conor has added several posts on this]
• once narrowed down, your pitch material, including relevant research into band/genre etc [here's Rob on Muse's music vids]
• sean kingston + prof green vids, analysis of these in lesson [see Sophie + Rob's]
• marking a 2011 IGS vid - see Rich's post, copied in below. Its so, so important you have a good grasp of what marks are awarded for (+ taken off for) from the outset! [also Will's on Men at Work]
• ongoing analysis of music vid examples you've looked at - once you've done the 15 that doesn't have to be a long post; even ONE detail you noticed and thought useful to remember would be fine. If you can, sit down and watch some VH1/MTV top 20 shows of whatever genre, making brief notes as you go; thats a very handy way of accessing a wide range of vids in a short space of time. I find it useful myself, not least to replenish the stack of older vids whirling about my head with some more recent examples. Watching several in a short space of time is highly instructive.
• try to keep up with my blogging too; recently I've posted on convergence using Bill Bailey eg; contrasting vid egs of Sean Kingston + Prof Green [notes to be added]; Lady Gaga + ideology; role of new media; Rihanna saying censorship helped her sales; the controversy over the MOBOs and Black British music; Streets' anti-vid and much, much more before then
• if you didn't blog on our June-July work, this and this post will help you recap the ground covered, and you'll find much more in further posts on the various topics mentioned.

Joy Division - Disorder (A2 Video Deconstruction)

Holding a shot steady, where appropriate:

Excellent

Throughout the video the almost all the shots are held steady, the exception is the very first shot, the shot is shaky for the first 3 seconds. Apart from this the rest of the shots are held steady.
A good example of when the shot is held steady is between the times 1:03 to 1:10 the reason why this shot is a good example of the shot being steady is due to the shot tracking the protagonist as he turns around on the spot. Throughout this shot it remains a close-up. This type of shot is repeated throughout the video during the same section of the song.


Framing a shot, including and excluding elements as appropriate:

Excellent

The framing of the shots has been well thought through. This is shown throughout the video an example of this is when the protagonist is walking down an ordinary street which the audience can see ordinary street objects which anchor the location. As well as this the shots used that feature the protagonist are normally centralised.



Using a variety of shot distances as appropriate, editing so that the meaning is apparent to the viewer and using varied shot transitions, captions and other effects selectively and appropriately:

Excellent

Throughout this music video there is a wide range of shots and angles used, these shots include from
close-ups to extreme long shots.

A good example showing the wide range of shots is whilst the protagonist is in a wood. The shots included are close-ups, medium, long and extreme long. The close-ups that are featured in this section including a tracking shot which follows the protagonist as he turns on the spot, the angle used is a low angle. The other close-up included in this section is whilst the protagonist is in another location, which appears to be a cramped room. Fading in and out transitions are used to link the two different locations together. The medium shot used mainly focuses on the protagonist smoking or falling down. To add to this during one shot, the shot is reduced with a black box around it and the image scrolls up signifying that it could be from an old film reel this is future anchored due to the colouring of the video being black and white. The is maintained throughout the video with the exception of a close-up of the cigarette when being smoked at the beginning which appears to have red glowing ash as the protagonist is smoking it. Long shots are used to show the audience the route the protagonist is taking whilst walking through the wood.



Shooting material appropriate to the task set:

Proficient

The footage filmed is appropriate to the task set although it could be argued that the cigarette could be taking it a step too far. The only reason for that is that there has been recent news that media that includes smoking should be given an adult certificate. Despite this the target market would be adult which would therefore rule this argument out. The target market would be aged between 15-24 and a secondary audience of 40-60. Another reason why the material is appropriate to the criteria set is because the music fits into the music video.


Selecting mise-en-scene including colour, figure, lighting, objectives and setting:

Proficient

Throughout the video each aspect has been thought of clearly and been well delivered.

During the entire music video all the colour has been extracted leaving black and white, with exception a shot of a close-up of a cigarette being smoked which appears to have red colouring. This also effects the lighting of the video although in some sequences the sequence where the protagonist is in a subway and where it appears the protagonist is in a small room) the audience can tell the group has this is because the lighting darkness and brightens up giving the sense of realism.


Using sound with images and editing appropriately for the task:

Excellent

The sound that is attached to the footage has been appropriately edited out with exception to the beginning and last shots which contains wind. Although during these sections the track isn’t being played therefore this could be deliberate. As well as this the lyrics contains no explicit lyrics. The editing for this music video has been edited appropriately so it looks like it is an actual video for the band.

In conclusion I would give this coursework 37/40.