Thursday, 18 November 2010

The Pop Music Industry

The Pop Music Industry-A Background and The Position Of My Pop Video In It


Musical taste can be a controversial topic, almost to the point of Tribalism. It is contentious because it defines and often signifies personality and lifestyle. Musical taste is about the way you dress, speak and sometimes act. A stereotypical example of this would be people who listen to the genre death metal would tend to wear black, have a few piercing etc. However, all commentators agree that music and its trends- sit at the epicentre of popular culture.

Some critics believe that music and the industry are in many ways incompatible terms. It is this ‘dynamic tension’ between the organic and synthetic that exists between the artistic and commercial forces of underpins the success of this vast media business. Our artist is organic, the music comes first, it is a DJ not something a media company has put together and the artist does what he wants, with his music and the way he presents himself, its not a “show or an act”. In our music video we really show this by not have a lot of flashy mise en scene but a very simple set up with just the DJ, some lights and his decks to show what the really importance of making a music video is, the music. We show a topic which, in life is very much discussed, the corruption of the younger generation. In our video we tried to keep the DJ’s face hidden so that kept his identity. Another feature to consider is the music industry ‘synergetic connections’ with other media forms, this codependence with other media means that a ‘mutual reliance’ can be productive but also risky.

The place of the Pop Video is only one strand of an often multimedia campaign. The music industry is dominated by 3 trans-national corporations (conglomerates) which are Universal, Sony/BMG and EMI, know was the Majors. Most Majors also own, or license, a string of smaller subsidiary companies in order to reach different kinds of audiences in different kinds of genre; these companies are known as ‘major independents. Finally, there are a huge number of small companies with little or no financial connections to the majors. This is one of our companies, meaning that we are not run by anyone allowing us to be less synthetic and more organic.

Music video serves a number of different functions, it promotes a specific single and, normally, an album. Promotes a specific artist or band whilst its creates, adapts or feeds into a ‘star image’. However, our music video does not quite follow all these conventions, it less promotes the artist but more the music which the artist generates, the artist represented as unidentifiable and hidden, which in a way could create a mysterious star image, like the Gorrilaz how all there music video’s are cartoons and when they perform live its there cartoons and you cant see them. The music video entertains as a product in its own right, it reinforces, adapts or undermines the ‘meanings’ of a song.

However, there are current ‘threats’ to the music video, in many respects the pop video is becoming defunct and irrelevant. There is illegal internet downloading with sites such a limewire costing the music industry millions. There are manufactured programmes with live feeds, the vidvet or ivideo and music television becomes more mainstreams with television channels such a MTV.

Permissions Letter


HURTWOOD HOUSE
HEADED PAPER


Dim Mak Records
Po Box 348
Hollywood
CA 90078 Date 08.10.10


Dear Sir or Madam

We are a group of A Level students working on an A Level project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project:

We Are From Venice
- The Bloody Beetroots

With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.

The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.

Yours sincerely,


Tamara Middleton
Hurtwood House School

Tuesday, 9 November 2010

Call Sheet




WE ARE FROM VENICE

THURSDAY, NOVEMBER 11TH 2010

TAMARA
MILLIE
JJ
LEO
CONTENTS

1. PRODUCTION TEAM

2. CAST LIST

3. STUDIO SET PLAN

4. LIGHTING PLAN

5. EQUIPMENT LIST

6. PROPS AND WARDROBE

7. SCHEDULE

8. STORYBOARD

9. SHOOTING ORDER




PRODUCTION TEAM

JJ BENZIMRA
(DIRECTOR)

TAMARA MIDDLETON
(PRODUCER)

MILLIE FREEMAN
(EDITOR)

LEO FAULKS
(CAMERA/LIGHTING)

CAST LIST

GLEN PEGADO
(DJ)

(GANG MEMBERS)
NIALL GREEN
JAKE CECIEL
TUNDE OGUNDARE
PATCH WADSWORTH
SULEIMAN SHITTU
RICHARD OXLEY
SEYI OLASUNKANMI




STUDIO SET PLAN


LIGHTING PLAN
(view blog post)

PROPS AND WARDROBE

DJ SET
LIT BATONS
CIGARETTES
FAKE DRUGS
EMPTY BOTTLES

BLACK/WHITE MAKE-UP
BLACK/WHITE HAIR ACCESSORIES
BLACK/WHITE JEANS
BLACK/WHITE HOODIES/SLEEVELESS T-SHIRTS
BANDANAS
HATS
BOOTS
JACKETS
DJ OUTFIT



SCHEDULE

9-12.30
STUDIO

12.30-1.15
LUNCH

1.15-3.30
BEATRICE WEBB

3.30-4
BREAK

4-6
BEATRICE WEBB




STORYBOARD
(View bellow, storyboard post)



SHOT LIST

STUDIO
Camera position: 1, 15, 19, 25, 27
Wide shot, mid shot, close-up from front
Wide shot, mid shot, close-up from side
Wide shot, mid shot, close-up over shoulder

Tracking Shots:
Left to right, in and out
Cherry Picker

LOCATIONS
Incidents:
Bonfire
Graffiti
Breaking stuff
Drinking
Smoking
Drugs
Stolen Handbag/Wallet

Camera Test


We spent an afternoon carrying out a camera test to see if various people would fit for our group. We tested 7 people, asking each of them to stand in certain positions and act out various situations with and without music.
We were looking to see if they had screen prescense and also if they would be easy to work with and take direction. Harrison Ford is famous forbeing a cartpenter in the backgroud in someone else's camera test when the director noticed that he had screen prescence and the rest is film history. I do not think any of my cast will be that good but we have been professional in the way that we have picked them.


Storyboards

Before i began storyboarding I researched how to do it. I looked at http://www.youtube.com/watch?v=gR2Gew1eN2M which proved a very useful first lesson.


Storyboarding is a real art as shown by this illustration of a hollywood storyboarder at work.



We carried out a long process of storyboarding, which involved working out where we would place our cast in the frame and how we would film them. We worked out size of shot, camera angle, camera movements and colours so that we would be ready to edit what we shot and know that it would work as we wanted it to.

Storyboarding is abit like an architect's plan for a building. We storyboarded and then shot what we had planned just like a builder uses a architect's plan.