DEVELOPMENT: Lip Syncing

Lip-Syncing:

To ensure that Reuben stands at the centre of the narrative, I have portrayed him lip-syncing in multiple different locations.
Through Lip-syncing, I have improved the professionalism of the music video through having a 'story teller' of the narrative. This increases the level of verisimilitude of the video, presenting something that the targeted demographic of 16-25 year olds will relate too and understand.

The use of multiple locations also, as well as adhering to the brief, adds to the aesthetic of the band, and the aesthetic of the 1975, which I am ultimately trying to mirror in my own representation. This kind of bold colour and street art is something that is very unique and intriguing for an audience, making the video more memorable and widening the targeted audience that may want to watch a performance narrative video, or focus on the narration and aesthetic.

Different locations of lip-syncing:

PRODUCTION: Looping Tracks to adhere to the brief

Looping Tracks to adhere to the brief:

Whilst the song tallied at a 3:46 minutes, I have extracted the last verse that involved some inappropriate representations. This took the video down to a total of 2:34 minutes.

To adhere to the brief of creating a 3 minute music video, I have looped the end of the track to extend the instrumental ending of the song.

Through doing this, I was able to, not only adhere to the brief given, but also ensure some high levels of characterisation were targeted through making a cyclical ending that mirrors that of the introduction. Through this, I am able to extensively portray the female actress in a way that allows her to be represented to adhere to the post modern ideology of the song, as well as portraying the self identity and relationship that the couple have experienced.

At the end of the video I have extended the instrumental ending to portray a character that the fun-loving mass market audience will relate to. This presents the narrative of the video as fun-loving through the 'happy ending' portrayed, something that the audiences, with a psychographic of aspirers and mainstreamers, will aspire to gain and possibly relate to in a modern society.

PRODUCTION: shots

Differing Shot types:

Within my music video, I have used a range of different shot types to adhere to the music video theory research I had done previously. 

I have chosen multiple different shot types to make the video more professional and interesting for the audience, keeping audience engagement.

Over the shoulder shots:

High-angle shots:

These shots I have mainly used when filming the main actor and singer, Reuben. I have done this ultimately to present a sense of authority for my figure and presenting someone that the audience will now view as an important part of the video despite the narrative revolving  around the main actress. I have also done it with the pair together whilst they walk out into the distance of the beach targeting a romantic generalisation of the couple 'walking off into the sunset'. This idea is then furthered at the very end of the video in which the couple walk together into the distance; one shot wearing traditional female clothes she feels uncomfortable wearing, the second the stereotypical masculine clothes. This ultimately leads the video to a climax, making the audience recognise the post modern ideology and didactic message the narrative leads too by the audience associating the song with the last shot of the couple, being happy despite traditional expectations.

Panning shot:

These panning shots show the simple shot types of two of my music video inspirations for my own piece. Pharell William's 'Happy' and Panic! At the Disco's 'Girls Girls Boys'. In these videos, the simple shot types places emphasis on the narrative rather than just the aesthetic of the video. Both of which I would like to target in this video.

PRODUCTION: Character Development

Character Development:

The main actress, in my first draft, wasn't presented at the forefront of the music video. Although she is not the centre of the music video, as is the main singer, she is necessary to portray the postmodern narrative of the song.
To improve this, I have slightly edited my initial solo singer idea and created them as both equally important in the music video, portraying a band that mirrors the 1975 with a main singer and musician. I have then taken this ideology further through including a fore fronted female character to present the postmodern ideology creating a more universal reliability for the narrative.

 




I have created some juxtaposing shots for my female character. This is ultimately to present the postmodern narrative that I am aiming to create.
Whilst, at the beginning, Reuben, the main singer, is uplifted when walking past the bold street art by the street performer, the main actress is presented as melancholy and alone. She is isolated from the happiness that Reuben feels from the uplifting music and despite the colourful street art behind her, she is presented as alone and depressed.
As the video goes on, she is presented as being unhappy wearing a casual and traditionally feminine outfit. She is presented doing traditional female makeup through wearing a formal pink dress and bright pink eye shadow. This generalisation is then juxtaposed when she wipes the makeup off and plays a traditional masculine sport. As well as this, her traditional feminine formal dress is then juxtaposed with wearing a suit with a blue tie. This juxtaposition presents the irony of traditional feminine wear through using conventional colours as well as mise-en-scene associated with that gender; pink and dresses, blue, suits and football.

DEVELOPMENT: Improving Shots

Improving Shots:

When developing my piece, I have taken more conventional 'simple' shots and replaced them with alternative shot types to add to the professionalism of my music video, whilst making it more interesting and effective for the audience.  

 

When initially editing, the over the shoulder shot in the mirror wasn't in my initial storyboard and flat plan. I have developed this to adhere to Goodwin's theory, incorporating the realism to the video and placing the audience within the music video.


Following initial editing ideas, I have chosen to reshoot and change some shots to make the video more interesting and narrative focused.

 

I have changed the wide shot of the trumpeter standing against the wall to a high-angle side shot of the character to create an initial bold aesthetic that mirrors the aesthetic of my chosen band of the 1975, making it more recognisable to one of those songs.

PLANNING: Costume

Mise-en-scene and costume.

Main Actor / Main Singer:

The main singer is wearing pastel blue and pink tie-dye trousers and neon green socks. This is complimented with a black and red bomber jacket and shoes. This presents a memorable outfit that can be easily recognisable to my model and therefore creates a sense of brand identity for my chosen product to create, in this case a Music Video.
The formal wear that the main singer wears throughout the video presents the character as someone smart, likeable and reliable, someone that audiences may aspire to be like or to have as well as presenting the didactic message of the narrative through the main actress.

Main Actress:

The main actress is being dress in red, black and white camouflage trousers and matching branded shoes, though white and red rather than black and red. This is then topped with a black crop top and a Lacey bralette underneath to present a easily recognisable and feminine look as well as mirroring and collaborating with the main singer.
Throughout, the main actress changes costume to male sports shorts and a black 1975 tour t-shirt. This is creates ultimately to juxtapose the colourful aesthetic in the beginning of the video, and although being presented as "less glamorous" presents an outfit that she feels comfortable in. This in turn creates emphasis on the narrative of the music video and not focusing too much on the aesthetic of the video as the post modern narrative of self identity. This poses something relatable for the audience demographic and, therefore, makes it relevant for that age demographic.
Also throughout, this juxtaposition is presented through the mise-en-scene of a formal event, presenting something to dramatise the video whilst keeping the video relatable.

Other musicians:

The other musicians presented is the only character presented with an instrument. This is shown as the cyclical structure of the video through appearing in the introduction as well as the end. This presents the music as being central to the video, making it relevant to the genre, as well as presenting each character as centred in the video, all part of the same band.
The slightly more formal wear of this character presents a stark contrast to the mise-en-scene being presented throughout the rest of the video, adding to the dramatisation as well as creating something memorable throughout.

PLANNING: Actor choice

Main Actor / Main Singer

The main model I have chosen shares a modernist aesthetic that mirrors that of the band, 1975. 

I specifically chose someone with a theatrical background to emphasise the naturalism of the video and increased dramatisation of the narrative of the video to not only make it relatable but also present a unique selling point of the video.

Main actress 

 

I have chosen this girl as the main actress as, as well as presenting a modern aesthetic complimenting the main singer, but also because she presents a 'normal' aesthetic of modern society. This adds to a level of relatability within the music video that will target the audience demographic of 16-25 year olds. 

The narrative of the video follows someone with a postmodern identity that challenges gender generalisations and stereotypes, this is something very popular with the modern, fun-loving 16-25 year old demographic and therefore poses a relatable unique selling point to the music video.

Other musicians

 

For the other parts of the band, I have chosen to chose a more classical and traditional character to juxtapose the modern aesthetics and emphasise the postmodern ideologies of the song I have chosen. 

This is being done through the smart jackets and sunglasses, presenting quite a formal street performer.

This adheres to the brief through creating something that may be slightly different from expectations and present a unique selling point and memorability to the audience.