Initial Music Video Research

Sasha Sloan – Music Videos

Genre of music - Indie pop

      Type of music video, e.g., performance, narrative, message, etc. (we'll do this in more depth as a class) –Narrative, showing what the lyrics are saying.
Settings and locations – Houses, bars, streets and parks. Very casual everyday places.
Costumes - Doesn't wear clothes that are to stand out and flash, stays very casual. 

      Props – Not many props.
Make-up – Very minimal and natural.
Themes and tone – A lot of her videos her filmed in low lighting places or at night to help create the sadder and moodier themes of the music.
Narratives – A lot of the narratives are quite similar, depending on lyrics the narrative symbolises that.
Choreography – No choreography.

 

Song chosen - The only – Sasha Sloan

The lyrics - meaning, use of similes and metaphors – The lyrics in the song talk about feeling alone and feeling sad about being alone. Which is very relevant and relatable to a lot of teenagers and young adults which is the target audience for this kind of music. Verse 1 is about how it is making her feel and what this feeling is doing, then verse 2 talks about a couple ways of coping, which aren’t necessarily good. The pre-chorus sounds like Sloan is trying to reach out to whoever is listening.

 
The music - genre, tone, key, shift in any of the mentioned terms – The music tends to keep a slow sort of pace and the same sort of key and tone all the way through, apart from a small rap section.

 

 

Technical Skills Task: Lighting, Camera and Sound

 

Sound

For the sound task we had to record a couple of us reading part of a script with different types of sound equipment to hear and compare the difference between them. The equipment that we used was the handy audio recorder, headphones, Tascam audio recorder, XLR lead, boom mic and pole and a clapperboard, as well as doing a recording on a phone. The results of these recordings was that we found using the boom mic and pole definitely gets a clearer sound and you have more control on where you can hold it, for example it can be held right above the person speaking. Then the phone recording obviously being being the worst one when played back as all that could be heard was the wind and traffic noises. The handy audio recorder works well but still not as good as the boom mic as you cant stand as close and picks up the other loud noises.

Lighting

In the lighting task we had to try and use low key lighting, high key lighting, experiment with the color gels and also cut up some cardboard to try and create a sort of prison bar effect. The equipment we used was the three point lighting with dimmable bulbs, color gels and camera. The results of these turned out well in what we were trying to create as for the low key lighting we dimmed the lights down and only had one turned on at a time which we then used for each angle so the left side, right side and the center, to only highlight certain parts of the face which is similar to what was used in a certain scene in the film Casa Blanca. For the high key lighting we turned the dimmer on the lights higher and had all three of the light turned on at the same time, to make sure everything was lit up. We then tried lots of different color gels to see how they would look on camera and work together. They also help to create a kind of theme depending on the poses and facial expressions. We tried to create the prison bar effect by cutting up some cardboard but couldn't get it to work despite changing how bright the lights were and the color of them, it didn't create any kind of shadows.

Camera

 The camera task we had to use both single-camera and multi-camera techniques. This was done by using three cameras and tri-pods, a slider and a steadicam. To start of with for the first scene which only involved two people we used multi-camera and had one camera at a wide shot, a second camera for a over the shoulder shot and the third camera over the other persons shoulder. Then did that scene again with a single camera and attached it with the second steadicam so there was less wobbling than if you were to hold in free hand. For the second scene we started of again with the multi-camera and had to have the cameras further back as there was three people in the scene this time so it was important to make sure none of the other camera could be seen in any of the others. The camera to the left was a wide shot, the center camera was slightly closer getting a straight ahead view and the camera to the right was about the same distance as the center but got a more side view. Then for the single-camera on this scene we didn't move any of the camera and just used the wide shot once, so everyone in the scene was in frame as well as being equally and clearly seen.

Screenplay Final Draft

 

The Role of the Writer and the Commissioning Process

 Job Roles in Film and Television: Understanding the Industry

Job Roles

Screenwriter

- They prepare the the script in a way that allows readers to imagine the setting, etc. and the way it will look on the screen.

- They work with the producers, directors and actors to draft the script and then make changes, and usually working on tight deadlines.

- Once a finished screenplay has been picked up by a studio more screenwriters are brought on to work with a development producer to make sure it’s ready for production.

- In cases like those the new screenwriter can share credit with the original screenwriter, sometimes the original screenwriter could be completely replaced by another one.

- They are sometimes assisted by researchers who provide information to allow screenplays to be fact-checked.

- Screenwriters may have their screenplays overseen by script editors who then may also be supported by assistant script editors.

- Screenwriters are able to write well and innovatively, express their ideas effectively in a screenplay form.

- Understands features of a great screenplay, knows how to improve and amend one.

Script Format

When writing a script its important to follow the standard format, this starts with the proper font which is 12 point courier, all words and lines must be written in this font. It must also be remembered when to use capital letters and use a parenthetical (actor direction) instead of capitals in the dialogue. The reason this formatting is still used is because it is very visually clear and uncluttered, as well as being more appealing to the reader.

Case Study

Lee hall is a British writer who has written between 30 and 40 screenplays, only three of those being made into feature films along with his name being taken off three others. This considered to be a good hit rate in the film industry. His first screenplay that was adapted into a film was Billy Elliot which was released in 2000.

Script Editor

- Script editors review scripts to ensure that they are might at the high standard desired for production, so there is then continuity between scenes and episodes.

- They help give advice on the script to all concerned parties within a production.

- In TV dramas, they act as a contact between the script and production teams.

- They may also provide their own original ideas or concepts for episodes in this kind of setting.

- They usually work either freelance or in-house.

Script Reader

- Script readers mainly work for publicly funded organizations like regional screen agencies.

- They read screenplays and write reports (coverage reports) on their potential for development.

- A typical readers report can be 4-8 pages long, this includes a breakdown of the story and an assessment of its suitability.

- This typically contains a logline (brief summary that states central conflict of the story), premise, synopsis, tone and genre analysis, with at least two pages of comments on the strengths and weaknesses, as well as the summary and verdict.

Director

- Directors hold the creative vision throughout the whole process, from pre-production through to the final edit.

- Directors start of with a script and work with the screenwriter and sometimes the editing team. Its not uncommon for the director to also be a screenwriter.

- The director’s job is to imagine the script in a visual form to be turned into the final product.

- They then work with producers and casting directors to select the actors and with the director of photography to develop the filming style, including notes about camera shots and script changes.

- After filming, they lead the editing of a film, preparing a ‘director's cut’. That cut will then be reviewed by producers and financers before signing off the final cut.

Producer

- Producers are often the first to get involved, spotting the creative opportunity and commercial viability of a production.

- Producers are the overall decision makers.

- They will come up with the story ideas and then hire writers or choose and secure rights to scripts. This is known as ‘optioning’ a script.

- They work with creative ideas from the director and approve production costs.

- Have extensive knowledge of all the different creative processes of making a film or tv programme this includes, screenwriting, directing and editing.

- Producers know how to tell a story, making and approving creative decisions help to do this role well.

Development Producer

- Development producers find the stories and scripts and get them into good enough shape to then be commissioned by a TV channel or made into a feature film.

- They read the screenplays and analyze their strengths and weaknesses and assess whether or not they have potential and will the appeal to all the audiences.

- They make notes on ways it can be improved (script notes) and ask the scriptwriter to re-write following them.

- Development work on screenplays for films that can often take a few years to complete. In some cases, it could take ten years before they go into production.

- Development producers have good knowledge of screenwriting by understanding all the features of a great screenplay, as well as knowing how to improve and amend one.

- They are also good at explaining notes to writers and working closely with them.

- They will spot the potential and see the possibilities in early drafts, imagining the audience, as well as estimating the cost of the production based on the script.

Development Assistant

- They are part of the team that comes up with the ideas that get transformed into TV programmes. They have lots of ideas themselves and a nose for a good story.

- Development assistants help the development producer by reading scripts, novels and blogs.

- They do script coverage (writing script reports) and taking notes during story lining sessions.

- They write well and help to condense lots of different ideas into one packageable pitch.

- They also research and flesh out briefs given to them by the development producer, using their contacts and industry knowledge learned from several years’ experience.

- The development assistants are able to express ideas clearly, write well and help generate proposals that help to really sell a programme.

- Understand current programming landscape, are able to identify gaps in the market and potential new trends.

- On a day to day basis they work closely with the development researchers, brainstorming and test-driving ideas and delegating required research.

Development Researcher

- As the most junior members, they are often relied upon to bring fresh ideas.

- Development researchers are expected to spot new subjects or people that could make things more interesting. They research various topics and fact-check information.

- As they get more experienced, they edit these into small packages to show to the development producer, they can also write well.

- They might be asked to research what audiences enjoy about existing programmes to guide the development team into creating a series that audiences want to watch.

- Or they might research what broadcasters are on the lookout for and what has recently been commissioned.

- Must explore a range of subjects and people, back up research briefs with interesting and correct information, facts and figures.

- It’s important to have an interest in people and good people skills. As well as being a good writer and able to condense vast amounts of information into a clear brief.

- They must have a creative and enquiring mind, being confident in expressing new ideas, brainstorming within a team and developing ideas further.

https://www.screenskills.com/careers/job-profiles/film-and-tv-drama/

Commissioning Bodies and Methods

There are 5 different ways that a script can be commissioned and put into production such as:

- Competition, for example the BBC writers’ room.

- Corporations

- Independent production companies

- Independent directors or producers

- Organizations

Screenplay optioning is contracted permission that gives interested party’s exclusive development and shopping rights to your screenplay. Producers and development executives utilize option agreements to attain the sole rights to represent the screenplay, package it, and attempt to secure distribution sales and the necessary budget to get the screenplay produced.

Shooting and Spec Script

A shooting script is the version of a screenplay used during the production of a motion picture or a television show. Shooting scripts are different from screenplays. They include scene numbers and follow a well-defined set of procedures that specify how revisions to the screenplay are implemented and circulated among the cast and crew.

A spec script, also known as a speculative screenplay, is a non-commissioned and unsolicited screenplay. It is usually written by a screenwriter who hopes to have the script optioned and eventually purchased by a producer, production company, or a studio.

https://nofilmschool.com/shooting-script-example

Blocking a Scene

Blocking a scene is simply determining where the actors will be on the set and the first camera position. You can also think of blocking as the choreography of a dance or a ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other.

https://www.nyfa.edu/film-school-blog/the-5-stages-of-blocking-a-scene/#:~:text=Blocking%20a%20scene%20is%20simply,perfect%20harmony%20with%20each%20other

Agents

Many writers prefer to be repped by a large company with agents working across talent and media. Whereas others vastly prefer a boutique service from a smaller company that has more time to dedicate to their select client list. You need to be able to trust them, but also, you have to imagine them trusting your interests out there in the world. It's good to not agree to anything on the first meeting, instead try to arrange further meetings with other agents to see what’s out there to find the perfect fit.

If you’ve already had a couple of shorts made and they show your work in a good light, then think how much more likely a screenwriting agent is to watch a short than read a feature script. If a firm agreement has already been made towards a collaboration and having something made, this again will stand you in a good position.

https://scriptangel.com/how-to-get-a-screenwriting-agent/

Payment

When negotiating a deal, the following are important components for the screenwriter to consider.

Against – Essentially this stands for the value of unproduced script against produced scripts.

Option – Contractual agreement made between producer and writer/third party, which includes payment to hold ownership and rights on a screenplay. Option prices can reach 10% of the overall purchase price.

Guarantee/front-end – Money guaranteed to writer and paid upfront by producers, regardless of whether the film is made.

Step deal – Fee paid upfront will usually be split into gradual payments according to targets involved throughout the process of reaching a final draft.

Back-end – Money contingent on production and releases, such as a payment triggered by the first day of shooting.

Bonuses – In addition to the ‘back-end’ fee, writers may receive bonuses, which are often based upon performance markers. This may include: box office returns, compensation regarding right of first refusal of sequels, a budget bonus if the film attracts additional financing, and a sole-writer credit bonus if no other writers need to be hired. (Smaller bonuses are implemented for shared credit projects.)

UK film pay – As a general rule of thumb, screenplays account for 1% to 2% of a films budget. However, screenwriters are entitled to ask up to 5% in fees paid to them for rights to the material.

The BBC – As of 1st November 2015, the BBC agreed to increase the minimum fees of writers commissioned under the television and sketch agreements act by 2%. Small screen compensation does vary depending on origination of material.

ITV – A s of 1st May 2015, also amended their minimum script commissioning fees, according to those detailed in schedule B of the agreement.

Feature films budgeted between £750,000 and £2m – Two additional rights can be purchased as part of the total minimum payment fee.

- Total minimum payment: £14,000

- Additional use pre-payment: £5,000

- Total guaranteed payment: £19,000

https://industrialscripts.com/uk-screenwriters-pay/

Time Management

-  If a script isn't ready this could greatly impact the project as because of it being late, it may clash with other projects the actors have lined up next meaning they might not be available anymore.

- Sometimes stepping away from your screenplay for a day can help a lot. It allows you to come back and look at it with a fresh perspective.

- Pitching your screenplay to a trusted friend or family member as it can be a good way to iron out any wrinkles in you plot. It's possible you may even discover new possibilities you didn’t think of before.

- Being out and about not writing isn’t a waste of time, you can observe the people and things around you to help build ideas.

- Try not to throw away free time you have, seize every opportunity that you have.

- The main thing is to take care of yourself still especially during busy stretches of writing as you can end up wearing yourself out.

https://screencraft.org/2014/06/27/10-time-management-tips-busy-screenwriters/

Legal and Ethical Considerations

Plagiarism is when work has been taken and used that belongs to someone else and passing it of as their own by not referencing where the information came from. Copyright is a way of protecting your work and stops other people from using it without your permission. The current copyright legislation in the UK is the copyright, designs and patents act 1988. It stops people from: 

• copying the work
• distributing copies of it
• putting it on the internet 
• renting or lending copies of the work
  

An example of this is when a 2005 DreamWorks production The Island mirrors the movie Clonus in a number of ways. The makers of Clonus filed suit claiming copyright infringement. It was said a settlement was reached, the amount being in the seven figure range.

To be bias means to have a tendency to lean more towards a certain side or direction, either being in favor or against a particular topic or thing. Being completely biased means lack of having a neutral viewpoint. Screenwriters cannot be biased as they could be choosing to show a certain message or moral so its important this is done in an unbiased way to make sure the viewers aren't having it forced on them.

Libel (defamation) is the oral or written communication of a false statement about another that causes damage to the reputation of an individual or organization. Screenwriters must write truthfully in their work if what is being written is based on true stories. As this can lead to having to face libel issues which can be career ending.

https://en.wikipedia.org/wiki/Parts:_The_Clonus_Horror#Lawsuit

https://racheldayscriptwriting.wordpress.com/2016/01/06/legal-and-ethical-concerns-in-scriptwriting/

https://examples.yourdictionary.com/examples-of-bias.html

https://www.gov.uk/copyright

http://btecmediaen2.blogspot.com/

NCW Task 1

 Academic and Research Librarian

Academic and research librarians work in universities and further education colleges, their role centres around providing academic staff, researchers and students with access to the information they need and supporting the skills needed for effective research. Other job titles that you may encounter with in the field may include subject librarian, liaison librarian, information advisor, learning resource manager or learning support librarian.

In terms of qualifications and experience, library assistant posts in this sector usually do not require formal qualification and many of the larger academic libraries and some special collections also advertise graduate trainee roles. Many employers also look for CILIP  chartership or a willingness to work towards chartership for higher-grade roles.

https://www.cilip.org.uk/page/AcademicResearchLibrarians

Market Research Data Analyst

A market research data analysts study statistics and information collected through surveys, you could start as a research assistant and move into statistical work after getting more experience and doing qualifications on the job. You would usually need a degree or postgraduate qualification that includes data analysis, like: maths and statistics, marketing and analytics, business and marketing, and data science. With experience this path could take you to progress into management, or become a self-employed market research consultant.

Some skills and knowledge that are needed include: analytical thinking skills, customer service skills, maths knowledge, among others.

https://nationalcareers.service.gov.uk/job-profiles/market-research-data-analyst

XR Research Scientist

This is the job of a research scientist to further the field however possible, and overcome these challenges through research. Your job will depend on what area of research you are working on. This may include working on the hardware side or alternatively you might work in a field like the healthcare industry. It is important for research scientists to be good at project management as you may have to work in small teams, forward-thinking as you must define your aims and ensure you have the resources to get there. Then data handling is another one, which depending on your field, the results of the research will vary widely.

To become a research scientist its important to stay in academics, especially higher education and post graduate level. When studying higher education you should look to focus on XR whenever possible. This will show you have good interdisciplinary knowledge between your field and XR.

https://aixr.org/insights/job-profiles/xr-research-scientist/

Research Officer

The research officer is accountable for extensive research to enable matching, updating or creation of works, cues and production in the PRS for music systems. This is a home based role and will connect work with colleagues in the research and quality assurance teams over skype. This role involves working together and collaboratively with others. 

To become a research officer there are different things needed such as previous experience of working in a target driven environment, a background in research, data analysis or a process driven role is essential and an interest in music is preferred. As well as good written and oral communication skills, among others.

https://www.ukmusic.org/job-profiles/research-officer/

History of Music Videos

 

1. It is considered that Tony Bennet claims to have created the first music video when he was filmed walking along Serpentine in Hyde Park in 1956, which was then set to his recording of the song Stranger in Paradise.

2. In the UK one of the shows that showed bands and artists performing their songs and music was 'Top of the Pops' each show consisted of performances from some of that weeks best selling popular music records. In the USA there was a similar TV show called 'Hullabaloo' which showcased the leading pop acts of the day. With a different host each week getting a chance to perform some of their songs.

3. The song David Bowie released in 1980 was Ashes to Ashes. From looking at the lyrics mainly in the chorus I think the song is about some kind of drug addiction whereas in the video I'm not quite sure what's going on.

4. In 1981, MTV which was the first 24-hour satellite music channel launched in August. To start with only a few cable operators wanted to carry it, but it soon became a major hit.

5. In 1984 Laura Branigan released Self Control which MTV refused to play. Even though I thought there was nothing wrong with the video or song, the only reason I can think of for MTV not wanting to play it is that they thought it wasn't suitable for all of their audience.

6. In 1984 Michael Jackson released Thriller this becoming one of the most iconic music videos of all time. It was the first video about the making of a music video as well as becoming the best selling VHS to that date. It has also been said that Thriller dissolved barriers in MTV's treatment of music, revolutionised music video production, and spawned the "making of" genre of documentary.

7. In 1985, Aha released Take on me which used the rotoscoping effect in their music video. This is created by tracing live action images and then rendering them to look like actual moving sketches or drawings.

8. In 1986 Peter Gabriel released the video for Sledgehammer 

9. In 1995 Michael Jackson and Janet Jackson released Scream becoming the most expensive music video of that date. It allegedly cost over £4.4 million to make a lot of it apparently having to do with the timescale they were working with.

10. Missy Elliott's single Ching-a-ling is important to the music video timeline because it was the first ever 3D video.

11. In 2010 Lady Gaga reached 1 billion views for her her song Poker face.

12. In 2010 Professor Green released Coming to get me in collaboration with Doritos to promote their 'late night' campaign, it was a big deal because it was a 360 degree interactive music video.

13. In 2015 it was YouTube's 10 year anniversary.

14. A panoram soundie are considered to be the precursors to music videos, they were produced between the years 1940-1946. It was the trademark name of a visual jukebox that played short filmed musicals. The device consisted of a jukebox playing a closed loop 16mm film reel projected onto a glass screen. Making it kind of the beginning of music videos.

15. A big director, Hannah Lux Davis has worked with big name artists over the past years such as Ariana Grande, Anne-Marie, David Guetta and Jason Derulo. 

During lockdown in 2020 Taylor Swift surprise to the fans ended up recording and releasing two albums these being Folklore in July and then Evermore in December.

There has also been many socially impactful music videos being released that confront and show real life issues. For example in 2015 Lady Gaga released Till it happens to you which was used to raise awareness and fighting against sexual assault on college campuses, it was shortlisted for an Oscar nomination for best documentary feature. Also in 2012 Same Love was released by Macklemore and Ryan Lewis, which celebrates gay culture and how he wanted to stop homophobia in the hip-hip community.

Script proposal pitch