Audience Questionaire Feedback (Market Research)

Above is a graph that I have compiled after talking to the target audience of my Life video, and asking them what Location they expected me to use in the Life video. The location of the carpark was the overwhelming favourite, and many of the people I asked stated that they felt the carpark should be used as they felt it would fit in with the urban feel of the song, and they expected a song like this to have urban misc-en-scene, so it can also be distinguieshed from a pop music video.

Having watched the US TV show "The Wire", I was keen on replicating the camera methods used in the show in my music video. In "The Wire" the predominant camera method used whilst filming around the "hood" is handheld. They do this to create a sense of realism, and I was going to try and film most of my music video using the handheld camera method. However this proved vastly unpopular with the people that I asked, as they said it would look unprofessional if I didn't use a tripod. The way they voted also showed that they would prefer the tripod method with only 2 people voting for the Handheld filming method.

To try and see if people could distinguish the difference between Hip-Hop and Grime, I asked in the questionnaire what genre the people felt the song "Life" by Giggs was in. 82% of the people answered with Grime, this was reassuring to see however 16% of people still felt it was Hip-Hop and may not be fans of Grime. However I now know, that the audience now what genre my music video is headed towards, and what the video will look like.

"Don't Go There" - Textual Analysis

Life - Giggs (Music Video)

The video starts with a black and white close up shot of Giggs, with his head looking down. There are then a series of cuts, all in black and white of London, and Atlanta, and of Giggs and B.o.B. There is then a focus/OTS shot concentrating on B.o.B’s face. There is then another cut to B.o.B. moving around, however he looks directly at the camera, before another cut to a razor and a close up of it getting sprayed before being used. Before another shot from the car looking at B.o.B, before a mid-shot of graffitied wall, and then a handheld shot of Giggs walking in the street, and other youths. There is then a mid-shot of “Peckham Carwash”, and again the sequence of the razor and the car wash is repeated. There is then a cut, to a close up shot of someone getting a haircut. There is then close-ups of B.o.B, and Giggs looking towards the camera; before a midshort of a signboard which says ‘Dead End’. There is then a cut, to a tracking shot which follows B.o.B, walking up the street, and again another series of cuts follows this. Before a close up of a butchers signboard, the director is trying to make the clear distinction other than the artists, by using signboards between Peckham and Atlanta. Again there are a sequence of close-up shots between Giggs, and B.o.B, which cut between the two locations. From there the camera, cuts to in the car with B.o,B, before concentrating on Giggs, and havin a close up, of his clothes, before an extreme closeup of his “SN1” chain. There is then another cut, to in the car and then back out on the streets and tracking B.o.B. From there, we see a sequence of shots in Giggs in the studio, recording the sun the camera angles used here are mid/closeup shots. Before a shot of Giggs walking in the streets, and a close-up of shot of his face before a cut to a midshot of a gang of youths staring towards the camera. The sequence of shots, then show an a discussion with the police, and again a series of close-up/midshots. Before following Giggs, up the stairs, using a tracking shot, and then into a record shop, inbetween this there is a cut to Atlanta, which shows B.o.B. rapping. There is also lip-synching used when Giggs is rapping a verse from the song, and again the close-up camera angle is used. The misc-en-scene is then changed to Giggs sitting in a chair, with low lit lighting, and then a cut to an extreme close up of a Ralph Lauren shoe.

There is then a pan up, from the shoe to Giggs sitting on a bench to people behind him. A Further cut appears on Giggs, who is an alleyway and lip-synchs to the camera, there is then a rapid cut to Atlanta, and a change in lighting to B.o.B. The series of shots between B.o.B and Giggs are then repeated, before a mid-shot of Westminster Guild hall. There is then a birds-eye view of pedestrians crossing the road, before the re-occurring similar shots of B.o.B, and Giggs appear again, The black and white style the video, is presented in fit’s the serious feel of the song. There is then a midshot, of a high school American bus, which is then contrasted by a council estate in London, and filming the flats of the council estate. There is then a closeup, and a shot of a Brit, and an American standing next to each other. The video closes off, with several P.O.V. shots from both B.o.B, and Giggs, aswell as similar events happening for both of the artists, and some montage editing at the tail end of the video.

"Brainwashed" - Textual Analysis

Brainwashed - Devlin (Music Video)

The video begins with a long shot of a van, before cutting to a mid and then close up shot of the van. This is then followed by a sequence of four shots, (a side shot, a mid shot, a close up shot, and then back to a long shot). The camera then cuts back to the long shot of the van before an edit to inside an office. The office is low-lit, and Devlin is carrying a torch with him, which is being shone into the line of the camera, before a close-up of the object he is carrying in his hand, and then back again to him walking. The action then cuts to a close up of a camcorder being set up, and Devlin is on the other side of the camera waiting to be recorded. The next sequence of shots involves the camcorder and the view of the camcorder, and the way in which it films Devlin. This is shot inbetween two figures plotting on a big map. Where the points of ‘X’ are plotted on the map, the camera uses a close up shot, to express the detail. There are then mid/close up shots of Devlin, before these figures lay out tape, the camera tracks them, before it ends up on the roof. There are then cuts between the female vocalist, singing the hook yet we do not see her face. Then hand-held use of camera on the roof of the figures moving about, before a cut to a van driving through London, and closeups in the van. The video then follows the same pattern with Devlin in front of the camcorder, before cutting back to the white van again.

This is then closely followed by a series of P.O.V. shots, this shows the people getting out of the van, before a close up of Devlin’s lip synching. There is then some use of handheld camera work as some of the video is filmed at night, and it is showing people from the van setting up something in the street. There is then a series of fast paced edits, and close ups on Devlin as the tempo of the song increases. There is then some variation from Devlin, and then back on to the street. This is then cut, back to the white van that plays a pivotal part in the video, there is a close up of the van, before the door of the van opens, and a bright light shines straight into the camera, long shots, and then close up shots are used of the figures that have appeared in the video and in the close up shots we see they are wearing black marks. There is then a series of montage editing where the camera cuts to people in the street, mid/closeup shots are used. Long/Close up shots are used of Devlin lip-synching on a billboard, this then fades into Devlin lip synching in the original location in front of the camcorder. A Kebab shop is then showed, and mid/close up shots are used before its cuts to the black masked figures, and then the famous Piccadilly Circus, ‘Sanyo’ billboard setting. Extensive Editing is then used, as Devlin’s image is then streamed out on to the Big Ben and the Houses of Parliament. There is then a montage shot of a woman, before Devlin’s image is streamed out on the city of London skyline. There is then further use of the white van, before Devlin re-emerges as all three black masked figures in the back of the white van, close up camera is used in this. The video ends with the white van, in a long shot turning the street corner.

"A Milli" - Textual Analysis

A Milli - Lil Wayne Music Video

The video starts with an OTS shot of Lil Wayne looking at a car, before a low angle shot looking up at him and his car that he is standing on. The camera, then tracks him getting off the car and shaking hands with someone before he walks of shot and then, there is a dissolve special effect which takes the audience into the next shot. The next shot is a mid shot, of a security guard standing outside a tour bus. The words ‘A Milli’ appear across the screen, and a person appears from behind the camera and walks into the shot, before being pushed back by the security guard. Further writing is added along the screen. The camera then zooms into a closeup/midshot of the door of the bus, before Lil Wayne appeards from inside of it and the door opens. The camera then tracks Lil Wayne walking from his tourbus possibly using a dolly, keeps a close up angle to him, until he reaches his chair this is followed by a sequence of edits, which has an effect of him robotically entering his chair. He briefly sits on his chair, whilst hair and makeup is applied, and again the camera uses a series of closeups on him, with a series of special effects being used. Lil Wayne then walks from his chair, and the camera once again tracks his movements. He is then followed using a tracker, back to his trailer and the camera angle changes to a P.O.V. shot of Lil Wayne going into his trailer, before the door shuts and the camera moves to a close up of his security guard. The same shot, is then repeated with his security guard stopping someone wanting to get to his trailer. He then re-emerges from the trailer and is tracked, on a possible hand held camera out of his trailer and walking along with an entourage behind him. There are a series of fast edits, to represent the pace and the feel of the song. The same camera method is used throughout. The camera then tracks Lil Wayne walking for a substantial, and lip synching the words to the song. The camera then ends up tracking Lil Wayne in the opposite direction to which he was walking which gives it a different angle. The use of edits are used to break up the sequence of Lil Wayne walking through. The video ends with a low shot of Lil Wayne standing on a table, in essence this video is a video which offers the viewer the backstage view of a music video from Lil Wayne’s eyes, using few edits, and not much variation in camera technique.

"Recovery" - Semiotic Analysis

Denotations

The background of the picture is set on a clear US motorway. The words ‘Recovery’ are posted in white along the front of the cover, in bold with an ‘O’, in the shape of an emergency service symbol. Eminem appears to be walking off into the distance with his back to the camera/shot. The cover art lacks Eminem’s name on it, and has a Parental Advisory sticker on the far right of it. The far end of the image is blurred, towards the far end of it, however it is sharp at the front of it.
Connotations

The clear background, long winding road sets the scene that suggests that Eminem, is on the way to finding himself, or walking away from something; this could potentially represent the problems in his life. The clear blue sky, may possibly represent tranquillity Eminem is feeling in his life at that stage. Eminem is dressed in a hoody, and a hat on his head, the picture however represents Eminem being at the start of the road to ‘Recovery’. The lack of his name, on the cover may be as a result of Eminem trying to find himself.

"Bud, Sweat, & Beers" - Semiotic Analysis

Denotations

The background, of the picture is set on a bricked wall. The words ‘Devlin’, are styled along the wall., in clear bold writing. Underneath it, there is the title “Bud, Sweat, and Beers”, in calligraphy writing on the wall. There is also a character who is standing with his back leaned on the wall, he is looking away from the camera. There are also cracks in the wall he is leaning on. In addition to this he is wearing all black.

Connotations

The Clear white writing, stands out on the wall, and gives the audience the impression that the text is sprayed onto the wall itself. The cracked wall can represent Devlin’s life, and the brick wall can represent labourers, and also council estate blocks. The fact Devlin is wearing black can symbolize evil.  He is also refraining from looking at the camera, this may mean he has something to hide, or he is at un ease about something.

"Let 'Em Ave It" - Textual Analysis



Denotations

The cover of the CD, is cartoonised and has a figure with his fists clenched, wearing a hoodie. There are blue rings, going around it. The background, is a fiery orange colour, and there is also what appears to be people in the holding up banners which say “Let Em Ave It”, beneath the centre figure which is Giggs. The words ‘Giggs’, and ‘Let Em Ave It’, are in bold but again they are stylised in typical comic book font. There is also a hand which seems to be clawing onto the titles. Also there is a police officer who appears to be shouting outside the blue rings, and a judge who has his hands over his head and appears to be screaming.

Connotations

The cartoonised way the cover is presented, can represent to us the audience that the album is a bubble that represents the world that Giggs lives in. The way that Giggs is standing is almost heroic like, as if he’s risen above everything. The fact he’s risen above the judge and the police officer, may be making reference to his troubles with the law in the past, and connotating that he has in fact risen above them. The judge screaming, with his hands on his head, makes it look as if he doesn’t want to listen to what he’s hearing, as he’s in the blue rings around Giggs. The policeman seems to be shouting outside the blue rings, trying to get in but he can’t. The policeman’s face is almost made to look as if he is a monster/vampire, this could be connotating that Giggs feels police officers are inhumane.



Letter To Giggs Record Label

Giggs - "Life"

Life - Giggs

The song I am chosing is "Life" by UK rapper Giggs, from his second album "Let Em Ave It". The song covers the way Giggs sees life, and I hope to portray this in my video.

Welcome to the blog - 27/03/11

Hi,

     My name is Zishan, and I am LDN Town Productions, as part of my A2 OCR Media Studies Coursework I have been asked to produce a music video, as well as a promotional package to accompany it. Over the next coming weeks, I will be regularly updating my blog, on how the music video is coming along.

Yours,

Z.Afsar - LDN Town Productions