Dynamics Sheet
- 1. Overview of planning for music videos – page one Name: In any piece of music,dynamics is important.The word refers to changes in the loudness of the music.In any song, you can expect there to be a dynamic range– from quiet to loud. If the song has littledynamic rangee.g. it’s all very loud,or all very quiet, it can be monotonous to listen to. Most songs take you on a dynamic journey. Your tasks 1. Listen to your song. 2. On the chartbelow, show the peaks and troughs of the dynamic range. 3. Label x axis with the song structure. Use the followingterms as appropriate:introduction,verse 1, 2 etc., pre-chorus (a groups of words that get used justbefore the chorus) chorus, outro (a few bars of music that play between the end of the lyricsand the end of the song) middleeight (8 bars of instrumental which aresometimes used to build into a bridge) bridge (a section of the song with different lyricsfromthe verse and chorus) the drop ( where you get a moment of silencebefore the rhythm and instruments come back in). 4. The visualsof your music video together with your editing need to reflect the dynamics of the song. Next to each section of the song, make some notes abouthow you’ll refl ect the musical dynamicswith your visual dynamics.You might liketo consider howthe followingtechniques can create visual dynamics:paceof editing, useof different shot types, camera movement, lighting,symbolism(e.g. a slowly setting/ risingsun;a candle, vehicles…) slow-mo, time lapse,cross cutting… 5. Scan the chartbelow and upload itto your blog.Make sureit looks beauti ful! Dynamics Quiet Loud Bridge Chorus Chorus x2 Chorus Bridge Verse 2 Outro Introduction Verse 1 Song Structure Overview of planning for music videos – page two Name: Followinga filmic approach,a sequencewill begin showingour protagonistviewinga series of photographs. Slowediting to build up gradually with the beat. A grey filter used to symboliseunhappy times. Quicker editing and potentialslow motion. This is the climax of the video. The editing is atits most frenetic to marry with the beat of the music,our protagonist smashes up several photo frames and bottles in ager reflecting on the fragmented relationship hehas moved on from. Sets fire to photos etc. An endingwhichismuchcalmerto marry withthe decreasingpace of the track. Lightingis lightertosymbolise the newfoundhope of the protagonist. Performance shots intertwined throughout.
- 2. Over the last sixweeks, we’ve spenta lot oftime planning our musicvideos and studying the features ofmusicvideos.Remember: you’ll beanalysing your musicvideo in theevaluation and intheexam, so youneed toensureyou’ve includedall thenecessary elements in your video. Fill in thetablebelowto giveanoverviewofhow you’ll fulfil each ofthedifferentareas. NB: I’mnotexpecting touse allthetechniques below, but youdo needto usea rangeofthem. Topic Key terms / questions How will you include thesefeatures? Goodwin How will yourvideo demonstrategenre characteristics? Key terms: Sub-genre, hybridity,codes and convention,generic conventions, subversion, intertextuality, iconography, graphics, modeofaddress,colour, symbolism, costume,mise-en-scene. In order to comply with thegenericconventions ofIndie, wewillincludelowbudget andnatural settings used inmusicvideos likeM83’s ‘Midnight City’. Furthermore, wewillusebeautiful cinematography throughout withcolourbeing used tohelp portraysymbolism. How will you showtherelationshipbetween lyrics andyourvisuals? Illustration, amplification, disjuncture We’ll seekto amplify the lyrics with symbolism being prominentthroughout. Furthermore, wewill illustratelyrics to help comply with Goodwin’s theory ofmusicvideos,and ensureour video translate ontoour target audience. How will yourshow therelationship between musicandvisuals? Thinkabouttheworkwe’ve doneon dynamics. Cutting thesong with thebeat of themusic Ensuring theclimaxofthe song is theclimaxofthe video (How) will you includeclose ups ofthe artist? How willyou develop motifs? We will achieve this by intertwining performanceshots, thus achieving Goodwin’s theoryofbrand identity, with our conceptualsections to achievethis. (How) will you makereferenceto thenotionoflooking / voyeurism? E.g. screens within screens. Include someonelooking a phoneand wewill shoot our artist througha mirror. Which intertextualreferences areyou going tomake? How areyou going to referto another media text? In our conceptualsection,we include a greatlooking housewhichresembles GreatExpectations and also contain a quota ofshots which resembleJames TW’s ‘Whenyou lovesomeone’.Thesewill add density to ourvideobut alsoallowtheaudienceto relatewithit. Narrative How / which narrativetechniques areyou planning touse? Key terms:climax / crescendo, pre-echoofevents that havenotyettakenplace,useofimages / photos to tellthestory, enigma,use ofcaptions / subtitles / text, parallelnarrative(cross cutting), linear narrative,ellipsis,repetition, non-linear narrative,dream sequences,reversal, circularnarrative, multistranded narrative, convergentnarrative, Interweaving narrative, impressionist narrative,flashback, flashforward, real / compressedtime We will use photos to tella story as our keyprotagonist reflects on a formerrelationship using images which willcutinto video. Our narrative is linear andin chronological order whichwill help our audienceconsume itas itis easier tofollow. Itwill contain flashbacks as our protagonistreflects upon happiertimes (colour graded witha brightfilter) andunhappiertimes (shownusing a grey filter). Levi Strauss (How) will you use binaryoppositions? We show binary opposites in regards to happy/unhappy periods during this couples relationship. Todorov (How) will you use equilibrium / disequilibrium? During a frenetic periodin which ourprotagonist begins tosmashup photoframes andbottles, this will showdisequilibrium. Furthermore,a stateofdisequilibrium willbedisplayed by outnumbering the happierperiod with negativeones. Representation What macro issueswill be represented in yourmusic video? Consider: gender, age, ethnicity, sexuality,class, status, physicalability / disability,regional identity,issues / events. How will you create thoserepresentations? Consider:camerawork: angle,shot type,movement; composition; mise-en-scene, editing, sound. If your video features a performance, how willyou construct the artist? What ideologies areyoutrying to promote/ critiquein your music video. Our portrayal ofthe artist willbewarm and lovable, in a highlightin tohelp convey this senseof approachability, relatability andwarmth inorder tohelp create a positive fanbase. Technical codes How will you showoff your technical skills? Lighting Three pointlighting, chiaroscuro,softlight, hardlight,rimlight, backlight, low keylighting, high key lighting,fill light, key light,non-diegeticlight,diegetic light Camerawork Cameraangles: low / high angle, eye level,POV shot,cantedangle/ Dutchshot,bird’s eye / overhead shot Camerashots: extreme closeup, closeup,medium shot, long shot, over the shoulder. Cameramovement: tracking, panning, tilting, zooming, handheld, Steadicam,craneshots… Editing Cross cutting, cross dissolve, cutin,cutaway,fade, jumpcut, non-diegetic insert, matchon action, montage, parallelediting,shot reverseshot, wipe, 180degreerule, the30-degree rule, domination ofscreen time. Composition Avoid the middle, leading lines, usediagonals,depth offield,ruleofthirds,ruleofodds,make theshot balanced, viewpoint, focus pulling. Lighting: We will use a mixtureofdiegetic, naturalistic lighting when shooting on location with carefully considered threepointlighting andlow key lighting for our shots inside tohelp portray a sense of isolation and loneliness. For our artist, hewill beshotin high key lighting and warm way. Camerawork: A varietyofcamera angles, shots andmovements to aid our portrayalofour narrative,this includes staticcamerashots during happy moments andhandheld shots during unhappy periods to represent the unbalanceoftheir relationship. For our performance elements, wewill include a rangeofclose ups to ensurewecomplywithGoodwin’s theory ofbrand identity. Editing In order to sure our editing is exemplary, wewill ‘shootfor theedit’with involves a thorough plan to ensurewe know wherewecan useaneyeline match, match ofactionetc. As for transitions, these willbe simplisticandthecuts our protagonistwill dominatescreen time. Composition Ensuring we comply withthelaws ofcomposition is something wehave discussed anddecided to use to ensureour videois top quality.