Thursday 18 June 2015

Indie folk as a genre

Indie folk is a music genre that arose in the 1990s from musicians in the indie (independent) rock community influenced by folk and classic country music. The genre became popular in late 1990s United States and in the United Kingdom in the early 2000s, with local scenes including Omaha, Nebraska, London and Melbourne. Indie folk combines the catchy melodies of indie rock with the acoustical sounds of contemporary folk music. The genre is also related to indie rock, folk rock, lo-fi and folk punk.
Typical instruments include acoustic guitar, double bass, piano, harmonium, mandolin, drums, banjo, violin, accordion, brass instruments and electric guitar.
Early artists include Ani DiFrance and Dan Bern. Other modern indie folk artists feature Ben Howard, Bombay Bicycle Club, Edward Sharpe & The Magnetic Zeros, Fleet Foxes, Jake Bugg and Kate Nash.

Typical codes and conventions in indie folk music videos feature:
- The fashion is very casual and natural. The artists often dress to match their setting. Some formal attire is also common, like shirts buttoned to the top and waist coats.
- Ambient lighting is often used in videos and photo-shoots to give the calm and relaxed atmosphere that the genre is associated with.
- Photo-shoots are often shot outside, using a vintage filter and soft lighting. If the band has a few members then the whole band will be in the promotional shot, and not often in strict hierarchal order to show the laid back fell of the music.
- There is a general lack of manufactured imagery to avoid constructing with the themes, everything is usually natural with a focus on the environment.
- Many videos related to the genre generally have a laid back playful theme, and show candid shots.

I will use these codes and conventions in my own music video production to exaggerate the indie folk genre. Researching the genre has given me a much better understanding of techniques to use and how effective they can me in music videos.

Below are 2 examples of primary research in the form of pre-existing indie folk music videos, the codes and conventions are apparent throughout:
Edward Sharpe & The Magnetic Zeros - Home (2012)
https://www.youtube.com/watch?v=_3hWYXOg1Cg

Lana Del Ray - Video Games (2011)
https://www.youtube.com/watch?v=cE6wxDqdOV0
Despite not classed as the indie folk genre, this music video features many codes and conventions of the indie folk genre.

Wednesday 17 June 2015

Music video production: Evaluation of the research process and outcomes

Music video analysis
To begin the research process for my music video production I researched the following techniques and referenced professional music videos that use these techniques:
- Music and visuals
- Genre
- Artist close-up
- Star iconography
- Looking and voyeurism
- Intertextuality

Process strengths -
- I researched each technique via the internet, and found examples from existing mainstream music videos. During my research into Goodwin and Vernallis' theories, I applied their said codes and conventions to the following mainstream music videos:
  1. Miley Cyrus - music and visuals
  2. Foo Fighters - genre
  3. The Strokes - artist close-up
  4. Kiss - star iconography
  5. Rihanna - looking and voyeurism
  6. Iggy Azalea - intertextuality
I found these videos on YouTube, at their direct primary source. I have also referenced the videos to prove their validity. This research has helped me to gain a better understanding of how to use the technique effectively, and see it from the audiences point of view and the effect it has on the viewer.
- Researching music videos from different genres including pop, alternative rock, indie rock, hard rock, R&B and hip hop has given me a better view on how these techniques are used throughout different genres. To improve I could have looked at a music video from the indie folk genre, as that is the genre I chose.

Process weaknesses -
-

Outcome strengths -
- I now have an improved understanding of effective visual techniques to use in music video production, which will help me greatly in creating my own music video production.

Outcome weaknesses -
-

Recommendations for further research -
-

Theorist research - Goodwin and Vernallis
I began by exploring Andrew Goodwin's theory where he identifies 5 key aspects of music videos, and then Carol Vernallis' theory based on the manufacturing and editing of music videos including narrative, editing, camera movement/framing and diegesis. During this stage of research I then looked up the theorists books, Goodwin's Dancing in the Distraction Factory (1992) and Vernallis' The kindest cut: Functions and meanings of music video editing (2001).

Process strengths -
- I planned the layout of my blog post beforehand, so the structure is clear and simple to read. I titles the sections, thought beats - seeing the sound, narrative and performance, the star image, relation of visuals to song and technical aspects of music video. This is something that I have learned to do to from previous units to be careful on my time management.
- I sourced reliable information to reference including books, websites, published research and online videos. I also used internet search engines including Google and YouTube, which adds variation to my sources.

Process weaknesses -
- Despite collecting numerous sources, I feel that a even bigger range would be more beneficial, such as magazines, journals, radio interviews, documentaries and archived radio recordings. This would give me

Outcome strengths -
- After researching Andrew Goodwin and Carol Vernallis in great detail, I now have a very clear understanding of both theorists and theories.  I feel this is extremely useful, not just in my music video production but in future projects. I applied Goodwins theory by using thought beats, relating visuals to the song Oats in the Water by Ben Howard, and featured technical aspects in my own music video. I also drew inspiration from Vernallis and considered editing and camera movements/framing when filming.

Outcome weaknesses -
- Time management was an issue which I have been trying to overcome through numerous units. Upon reflection I should have gathered all of my sources at once, rather than at different times whilst writing my blog post. This made it confusing whilst referencing quotes from the sources. I researched before I began the blog post, but also researched during, whist writing. This was to get a better understanding but this is something I could improve.



- I correctly listed references in the bibliography (alphabetical order), which makes it easier to find the references and go directly to the primary source.
- Despite researching Goodwin and Vernallis thoroughly, I feel that I did not use this research effectively enough in my music video concept, and could have expanded more.



Recommendations for further research -
I believe that I could have improved by referencing a wider range of sources e.g. magazines, journals, radio interviews, documentaries and archived radio recordings. I mainly focused on text-based sources and feel that the quality of work could be improved by stepping out of my comfort zone and finding visual/audio clips.
Despite researching Goodwin and Vernalis thoroughgly, I did not use the full extent of my research and understanding in my final music video, which has been wasted in this project but could aid me in any further music video production.

4 contemporary music video analysis
After researching key techniques used in music video and key theorists Andrew Goodwin and Carol Vernallis, I then researched 4 contemporary music videos linked to my chosen abstract indie folk genre. The videos I researched include Ben Howard - Esmerelda (2012), Ben Howard - Oats in the Water (2012), Boards of Canada - Reach for the Dead (2013) and My Morning Jacket - Spring (2015).

Process strengths -
- I took screenshots of my favourite visual moments to draw inspiration from and include in my own music video. This gave me visual influence along with photographers I researched, Kazuyuki Okajima, Syoin Kajii and Keith Johnson.

Process weaknesses -
- I could have researched the technical aspects in a greater depth, and looked at aspects such as camera angles and movement. This would have given me a better understanding of

Outcome strengths -
-

Outcome weaknesses -
-

Strengths -
- I researched 4 abstract music videos which I drew inspiration from for my own music video production.
- I took screenshots of some of my favourite technical shots from each video, to draw inspiration from when creating my own music video.


- My time management could be better managed as I took longer than I initially planned to source the videos, as I could not find many genre specific videos.

Evaluate process -
I found it very difficult to find abstract music videos linking to the indie folk genre. I discovered not many mainstream music videos exist for my planned theme of ocean scenes and waves.

Recommendations for further research -
To improve, I would analyse the techniques in greater depth to gain a better understanding and then use them in my own music video. I would also manage my time better and find a more efficient way of sourcing music videos from the indie folk genre, by using more online resources.

Questionnaire - quantitive research
Process strengths -
- When distributing my questionnaire I tried to reach a reliable audience by using family and friends. In my mind this would be a quick, easy and effective way of collecting valid results, however this did have other effects that proved to be one of my process weaknesses (see below).
- I published my survey online via www.surveymonkey.com, as this was the easiest platform to distribute and collate the results. The results are worked out automatically via percentages by the site, so it makes it easier to collate the results. I have used the site to conduct surveys before, and it has proved very effective in gathering information.

Process weaknesses -
- My questions were fairly genre specific, but I feel that I could have improved by tailoring my questions more around the indie folk genre, rather than just focusing on abstract. Questions such as "what features do you expect to see in an abstract music video" would have given me clearer results and helped me to plan my music video production in better detail. By doing this I would have had a better idea of what an audience asks, rather than asking less specific questions like "what is your gender", there were 46.15% male respondents and 53.85 female, which has little relevance and does not give me much information about how to plan, film and edit my music video.
- Although I distributed my questionnaire to a specific audience, I feel that this was an easier route and a sure way of getting quick and reliable results.  By limiting my survey to a select group of people, a wider audience could not be reached and therefore the answers were not as varied as they could have been. If I had have posted the questionnaire online to a wider audience I could have attained a wider range of audience and therefore answers. It could also be argued that by sending it to limited people there is an ethical bias, where my audience could be from a specific cultural background and therefore attain similar answers.

Outcome strengths -
- I collated my questionnaire results with an in-depth analysis of the answers by working out the percentages and then creating a graphic visual pie-chart of my results (http://sarahdavismediahnc.blogspot.co.uk/2015/05/questionnaire-results.html) which makes my results clear and easy to view.

Outcome weaknesses -


Recommendations for further research -
- I understand that by sending my questionnaire to a limited handful of people my results have been limited, despite attempting to send it to a mixture of ages, however with a majority of ages between 18-24.
- If I were to create the questionnaire again then I could also tailor my questions to make them more genre specific to the indie folk genre music genre, and abstract music videos as that was my initial aim, and would give me more detailed responses and therefore help me in planning then producing my own music video.

Focus group - quantitive research
Process strengths -
- I researched the genre and pre-existing music videos from the indie folk genre, to get a better understanding of what questions to ask the focus group. I played the group 2 clips from indie folk music videos, showing them extracts from Ben Howard's Oats in the Water and Esmerelda. The participants told me their favourite visual aspects of each video and techniques that they would change or improve.

Process weaknesses -
- The focus group was formed of 8 A2 film students, which is a limited number and could have been improved. The respondents had dissimilar interests to my indie folk genre, and when I asked them to give any suggestions of any music videos that they liked, all of the suggestions were from the pop music genre (Ed Sheeran and Sia) and were unrealistic for my time frame and budget. I feel that the audience were not suited to my abstract genre and were fixed to a more modern popular music genre. This is explained in Goodwin's theory where he states that a star image attracts a younger audience by feeding them into the mainstream. Due to this I feel that the outcome was not very beneficial in showing me what an audience wants, as they were not fans of the indie folk genre.
- I had originally planned to tape record the meeting but due to a technical malfunction I was forced to take notes. This was helpful when reviewing my feedback,  and I found that talking to a group of people face-to-face in an interview type style and asking them questions was useful as I could keep asking questions and they could expand on them, but a voice recording would have been extremely helpful and given me their responses word for word.

Outcome strengths -


Outcome weaknesses -
- When reviewing the groups answers and feedback, I realised that I could have asked more genre specific questions linking with the indie folk genre, to attain more detailed responses. Questions such as "if you were to create your own abstract music video, what would you aim to include" and "can you name some of your favourite abstract music videos in regards to concept and visuals?" would have been great to ask and gain answers to, as this would have given me a clearer understanding of what an audience wants from a music video of my genre.

Recommendations for further research -
- The validity of my focus group answers could have been resolved by conducting a focus group with an audience that already has an interest in indie folk music music and abstract music videos, or has a wider variation of key factors such as age and ethnic/cultural background.

Monday 15 June 2015

Unit 31 - development of editing technology

Early editing - cutting (editors cut, directors cut, final cut)
- There are several editing stages and the editors cut is the first. Sometimes referred to as the "assembly edit" or "rough cut", it is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Likely, prior to cutting, the editor and director will have seen and/or discussed dailies (raw footage shot each day) as shooting progresses. Screening dailies gives the editor a ballpark idea of the directors intentions. Because it is the first pass, the editors cut might be longer than the final film. The editor continues to refine the cut whilst shooting continues, and often the entire editing process goes on for many months and sometimes more than 1 year, depending on the film.
- When shooting is finished, the director can then turn their full attention to the directors cut, collaborating with the editor and further refining the cut of the film. This is the time set aside where the film editors first cut is moulded to fit the directors vision. The director and the editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed.
- Often after the director has had his chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company and/or movie studio.

Moviola
- A Moviola is a device that allows a film editor to view film whilst editing. It was the first machine for motion picture editing, when it was invented by Iwan Serrurier in 1924. Serrurier's proginal 1917 concept for the Moviola was as a home movie projector, to be sole to the general public. However, since the machine cost $600 in 1920 (equilivant to $20,000 in the 2000s), very few sold. An editor at Douglas Fairbanks Studios suggested that Iwan should adapt the device for use by film editors. Serrurier did this and the Moviola as an editing device was born in 1924.

Flatbed edit suites
- Steenbeck is a brand name that has become synonymous with a type of flatbed film editing suite which is usable with both 16mm and 35mm optical sound and magnetic sound film. The Steenbeck company was founded in 1931 by Wilhelm Steenbeck in Hamburg, Germany. Since then, the Steenbeck name has become widely known in the film editing community, and more than 25,000 machines are in operation around the world. The companion still manufactures editing tables. The editing is now based on digital media - devices such as the Lightworks non-linear film editing controller and archives still use the Steenbeck physical layout for controlling the process. The Steenbeck's lower light levels and controllable speed make it a preferred piece of equipment for film archives and restoration facilities, as prints can be quickly and easily inspected with less risk of damage compared to a movie projector. Because there is no intermittent movement, the image is created through a rotating prism which scans the frames. Steenbeck machines were known to be exceptionally easy on film stock, due to their use of soft-edged nylon rollers.

Linear and non-linear editing
- Linear video editing is a video editing post-production process of selecting, arranging and modifying images and sound in a predetermined, ordered sequence. Regardless of whether it was captures by a video camera, tapeless camcorder, or recorded n a television studio on a video tape recorder, the content must be accessed sequentially. For the most part video editing software has replaced linear editing.
- A non-linear editing system is a video or audio editing digital audio workstation system that performs non-destructive editing on source material. The name is in contrast to 20th century methods of linear video editing and film editing.

Online and offline editing
- Online editing is a post-production linear video editing process that is performed in the final stage of a video production. It occurs after offline editing. For the most part, online editing has been replaced by video editing software that operate on non-linear editing systems. High-end postproduction companies still use with NLE the Offline-Online Editing workflow. The term online originated in the telecommunication industry, meaning "under the direct control of another device" (automation). The term online changed from its original meaning to where the pictures are re-assembled at full or online resolution. An edit decision list (EDL) or equilivant is used to carry over the cuts and dissolves created during the offline edit. This conform is checked against a video copt of the offline edit to verify that the edits are correct and frame-accurate. After conforming the project, the online editor will add visual effects, lower third titles, and apple colour correction. This proecess is typically supervised by the client(s). The editor will also ensure that the program meets the technical delivery broadcast safe specs of the broadcaster, ensuring proper video levels, aspect ratio and blanking width. Projectd may be re-captured at the lowest level of video compression posible, ideally with no compression at all.
- Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and edited, without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage. The term offline originated in the computing and telecommunications industries, meaning "not unter the direct control of another device" (automation). Modern offline video editing is conducted in a non-linear editing (NLE) suite. This digital revolution has made the offline editing workflow process immeasurably quicker, as practitioners moved from time-consuming (video tape to tape) linear video editing online editing suites, to computer hardware and video editing software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas, Lightworks and VideoPad. Typically, all the original footage (often tens or hundreds of hours) is digitized into the suite at a low resolution. The editor and director are than free to work with all the options to create the final cut.

The digital era (CMX-600, edit droid and avid 1)
- The CMX-600 was the very first non-linear video editing system. This Emmy Award winning system was introduced in 1971 by CMX Systemt, a joing venture between CBS and Memorex. CBX referred to it as a "RAVE", or Random Access Video Editor. The 600 had a console with 2 black and white monitors built in, as well as a light pen used to control the system. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions, by using the light pen to select from options which were superimposed as text over the preview video. The left monitor was used to display the edited video.
- The EditDroid is a computerized analog NLE (non-linear editing system), which was developed by Lucasfilm spin-off company, the Droid Works and Convergence Corporation who formed a joint venture company. The company existed up through the mid-80's to the early 90's in an attempt to move from analog editing methods to digital. The EditDroid was never a commercial success and after the close of The Droid Works in 1987 and subsequent redevelopment of the product for seven years, the software was eventually sold to Avid Technology in 1993. Only 24 EditDroid systems were ever produced.
- Avid Technolody Inc. is an American company specialising in video and audio production technology, specificallu digital non-linear editing (NLE) systems, management and distribution services, It was created in 1987 and became a publicly traded company in 1993. Avid is headquartered in Burlington, Massachusetts. Avid products are now used in the television and video industry to create television shots, feature films and commercials. Media Composer, a professional software-based non-linear editing system, is Avid's flagship product.

Modern editing platforms (Final Cut, Premiere Pro)
- Final Cut Pro is the name given to a series of non-linear video editing software programs, first developed by Macromedia Inc. and later Apple Inc. Since the early 2000's, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It had also made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the United States professional editing market, with Avid at 22%. A published survet in 2008 by the American Cinema Editors Guild placed their users at 21% Final Cut Pro (and growing from previous surveys of this group), while others were still on Avid system of some kind.
- Adobe Premiere Pro is a timeline-based video editing software application. It is part of the Adobe Creative Cloud, which includes video editing, graphic design, and web development programs. Premiere Pro is used by broadcasters such as the BBC and CNN. It has also been used to edit feature films, such as Gone Girl, Captain Abu Raed, and Monsters. Premiere Pro is the redesigned successor to Adobe Premiere, and was launched in 2003. Premiere was one of the first computer-based NLE's (non-linear editing system), with its first release on Mac in 1991.

Film and file types
- A video file format is a file format for storing digital video data on a computer system. Video is almost always stored in compressed form to reduce the file size. A video file normally consists of a container format containing video date in a video coding format alongside audio data in an audio coding format. The container format can also contain synchromisation information, subtitles, and metadata such as title etc.

Monday 8 June 2015

Edit decision log

Here I have created an edit decision log, which has helped me to distinguish which clips I have used at which parts of the video, and the mixture of shot types I have included. I found making an EDL very useful and well worthwhile.

Design brief

After extensive research, looking into music video techniques, theories and moving image/visual influences, I have decided to create an abstract music video based around nature and the moving ocean tide.

I have decided to shoot in a scenic location as I am basing my music video around abstract and nature. I looked at location scouting and found that the most effective place to carry out my shoot was in the surrounding area of Weymouth. I decided to shoot here and researched nearby places of beauty. I also researched the weather forecast to ensure that I was going to be there on days with weather that I desired.
Shooting in such a location requires a thorough health and safety/risk assessment. I now feel comfortable doing this as I have now conducted many throughout the course. Ensuring that myself and others around me are safe is paramount to prevent any accidents.
During my shoots I have decided to take a bulk of equipment, including: Canon 5D camera, camera battery, camera SD card, camera battery charger,  fluid head tripod, laptop and a card reader. I have decided to take this list of equipment as once away and shooting I do not want the SD card to get full of footage with nowhere to offload it, limiting the amount I can film, therefore I will be taking my laptop to transfer footage.
I have worked from the visual influences of Kazuyuki Okajima, Syoin Kajii and Keith Johnson (shown below). Their bodies of work combined have given me inspiration and many ideas of techniques to modify and make personal to me.
When conducting my research I found it difficult finding a song to match my desired visuals. I knew what I wanted my music video to look visually, but needed the right song to work well in visuals and concept. I found the concept of changing/moving on and the harshness of nature interesting and knew that the visuals would work well with that concept. I got this inspiration from a video I researched from Boards of Canada. After alot of research into songs, I eventually settled on using Ben Howard's Oats in the Water as the main song for my music video. I feel that this song works well, especially after analysing an existing music video for the song. I related Andrew Goodwin's theory, and plan to cut the visuals to the beats of the music.

Here are some of my visual influences that I hope to gain inspiration from and recreate in my own music video production:

Monday 11 May 2015

Health and safety


Before filming commences I must ensure that all health and safety regulations are met. Having already conducted numerous health and safety shoots, I have researched this topic in depth and as director of the project I will be in charge of making sure that everybody involved is safe, and I must therefore prevent any potential accidents. In order to do this I must identify all of the hazards and evaluate the risks, identifying measures to control these risks.

Firstly, I must ensure that everybody is aware of fire exits and escape routes, which may be fairly easy to conduct when shooting outdoors. Although shooting in this way has separate dangers which could include road hazards (e.g. cars and trains), nature hazards (e.g. uneven ground and steep drops) and factors out of my control (e.g. other human error). Equipment should be carefully transported, set-up and used effectively to prevent any accidents. Heavy equipment (e.g. fluid head tripod) can become obstructive, however if I carry out my health and safety precautions well enough then this will not be a problem. I will attempt not to obsrtuct anybody around me and will do this by ensuring that I am constantly aware of my surroundings and people around me.

Location scouting

For this unit I plan to create a music video production with abstract visuals and a nature based theme. I decided that the best place to film would be the south coast. Here, I have researched some locations along the coastline and nearby places of interest that I would like to shoot at. I have also included the distance of each place away from the main nearby town, to attain a better understanding of methods to get there and if they are realistic with my transport and time frame. I feel that researching numerous locations is beneficial in finding the perfect shooting location, as it gives me more opportunity and scope, and I will be sure that I am finding the right location to match my visual ideas.

Bournemouth
- Poole (5.5 miles)
- Brownsea Island (7.7 miles)
- Old Harry Rocks (9 miles)

Brighton
- Brighton Pier (0.3 miles)
- Friars' Bay (7.7 miles)
- Belle Tout Lighthouse (20.2 miles)
- Beachy Head (20.8 miles)

Weymouth
- Wyke Regis (2 miles)
- Weymouth Bay (3 miles)
- Portland Bill (8.9 miles)
- Durdle Door (14.1 miles)
- Lulworth Cove (14.9 miles)
- Mupe Bay (14.9 miles)
- West Bay (17.4 miles)
- Worbarrow Bay (17.4 miles)
- Golden Cap (22.4 miles)
Durdle Door (top) and Mupe Bay (bottom).

I have decided to shoot in Weymouth/Portland, as there are many local places of interest and I feel that I would attain better footage there. Out of the towns on the south coast that I have researched, I found Weymouth to have the most striking locations nearby. I have also looked into transport, researching how to get to each place and ensuring that they are not difficult to travel to/from from the town.
Here is a weather forecast showing precipitation, humidity and wind in my planned location, for my planned filming days. This will be very helpful when shooting, as it gives me an idea of where to shoot at which day/time, plus the wind speed and therefore the wave height in mph (miles per hour).