This blog explores every aspect of this most postmodern of media formats, including other print-based promo tools used by the industry, its fast-changing nature, + how fans/audiences create/interact. Posts are primarily written with Media students/educators in mind. Please acknowledge the blog author if using any resources from this blog - Mr Dave Burrowes
- 1-shot vids
- Analysing videos
- BBFC age rating vids
- Blog setup
- Conventions: DB playlists, posts etc
- Coursework overview
- DB doc
- Depeche Mode case study
- Digipak vids
- Elberse: Blockbusters book
- Eval overview
- Eval Q1a CONVENTIONS
- Eval Q1b REPRESENTATIONS
- Eval Q2 BRANDING
- Eval Q3a AUDIENCE ENGAGEMENT
- Eval Q3b DISTRIBUTION
- Eval Q4 TECHNOLOGIES
- Female acts
- Final Cut Pro X
- INDUSTRY summary
- Interactive vids
- Mag ad
- Mag ad audiences
- Pixies case study
- Planning docs
- Shoots tips
- Simulacra: Weezer, Weird Al
- Student vids/blogs by year
- TechTips blog
- Twitter feed on blog
- Vodcast playlist (DB)
- WEBSITE in steps
- Websites I've analysed
IN THIS POST: A breakdown of how to research websites, what to look for, and an example of an overall 16-step process, plus a list of some...
Friday, 10 November 2017
Wednesday, 8 November 2017
See Lifewire, Wiki for simple explanations, and look into your own artist for Vevo links.
They're the major music industry force behind the Tory attempt to enforce age ratings on music videos, voluntarily engaging in the BBFC scheme. See this Guardian Music tag for more on this.
Thursday, 19 October 2017
|Not performing IN a bar but ON the bar top!|
Once you have green screen footage - especially if it incorporates full body movement (as opposed to the maximum MLS dictated by using a single sheet unless you're very careful) - you have incredible creative freedom over how you use it.
LAYERING - which isn't always through green screened footage - is one of the fundamentals of music video, a very common device but not one seen much in TV drama for example.
I'd welcome your suggestions (as blog comments) on useful examples to add to this post from your own knowledge/research.
Here's a simple example from a Thai dance-pop artist.
Monday, 16 October 2017
Thursday, 12 October 2017
This might turn out to be a highly irritating Grauniad exercise in uber-hipsterdom, proudly proclaiming awful bedroom acts adored by some London clique as artistic giants ... but it could also be an invaluable discourse on the still evolving disruptive force of new technology and how it impacts music marketing and artists' relationship with audiences and industry alike....
In the coming weeks, we’re going to run a series of articles examining what, if anything, it means to be an underground artist in 2017. We’ll be exploring whether it’s possible to find a meaningful audience for your music while avoiding the glare of publicity, the complex relationship between art and commerce, how technology assists and impedes artists who want to find new routes of promoting and disseminating their music, what the value of remaining underground is, and whether Britain is host to any thrilling and vibrant music scenes that exist entirely off-grid.
Where is the musical underground in 2017? https://www.theguardian.com/music/ng-interactive/2017/oct/09/where-is-the-musical-underground-in-2017?CMP=Share_AndroidApp_Blogger
Tuesday, 10 October 2017
BBC3 and BBC4 (often replaying BBC2 content) are worth keeping an eye on through iPlayer as they often feature some great music docs. This is a good example, a thorough grounding in the evolution of the Indie genre - a genre which has both some easily identified stereotypes and such a wide range of music that it becomes a very, very loose concept. Further complicated by the Americanism of alt-pop or alternative rock, which is essentially the same. In both cases, there are acts seen as Indie who are signed to major record labels, while many on independent labels are having their work distributed by majors so even the original linkage is debatable.
Thanks to Richard for the link - I'd mentioned this specific doc series many times and he spotted it on YT.
You need to approach this simple detail of your work with caution - and thoroughly back up your decision with multiple examples.
Here's a simple (its far from precise on CD length, quite inaccurate on that!) pointer from Dave Taylor - as the saying goes, if Dave says its true, it probably is...
Atomic Kitten example) have even gone the extra mile and created their own lyrics for these new tracks to include in a digipak lyrics booklet!
- Websites are routinely updated to centre on the latest album release
- Bjork, The Pixies and many more are trailblazing a growing trend of creating videos for ALL album songs, not just the singles, recognising this boosts revenue-gaining YouTube hits ... but the importance of additional videos (unwrapping, lyric, live, UGC etc) is growing faster still, and Suede's "album sampler" is a good example. It would have Vernallis jumping up and down screaming I TOLD YOU SO given its narrative-free (is that possible?!) nature
- Its another reminder of the convergence between film and music video - bear in mind that the 1964 Beatles movie A Hard Day's Night [Wiki] is widely considered as having created the music video template (archetype) with its video-like scenes ... and MJ's Thriller! While you will generally be creating youth-targeting productions with bands' existing (older) audience now the secondary target for you, Suede are possibly reinforcing their mature adult appeal with an entire feature-length arthouse movie released with their album. Its nature might also suggest an oddly upmarket (ABC1) audience for an Indie band. Read more here.
Saturday, 7 October 2017
Tuesday, 3 October 2017
Friday, 29 September 2017
Thursday, 28 September 2017
Monday, 14 August 2017
Short and snappy overview here from Wired of how 'social first', trying to seed interest and stimulate sharing and UGC before paid-for campaigns kick in, has become the industry norm.
Some contrasting examples of 'organic' underground successes and notable failures by the likes of Katy Bloody Perry - hit or flip the common key is some degree of replicability, whether dance or ... spraying water on your face (KBP).
Wednesday, 9 August 2017
LAMAR + NIK is a joint name you may have seen from your research into video examples, and nofilmschool here compare them to Michel Gondry, high praise indeed.
The specific stop-motion technique they use here isn't necessarily what you might take away as an inspiration - look at the seemingly mundane mise-en-scene they add these stickers (you should be thinking greenscreen to achieve a comparable effect) to: stacks of coins, 'checkers' chips, cheese slices, all quirky and interesting when shot in tight close-ups.
No need for a narrative in a video as entertaining and visually busy as this, though the likes of Sledgehammer manage to incorporate this.
Tuesday, 8 August 2017
The conglomerate giant doing fine, artists less so...
Ed Sheeran’s Divide puts Warner Music’s streaming income on track to cross £1bn https://www.theguardian.com/business/2017/aug/08/ed-sheerans-divide-lifts-warner-musics-streaming-income-to-1bn?CMP=Share_AndroidApp_Blogger
Sunday, 6 August 2017
Saturday, 5 August 2017
This would be a good idea for an additional video alongside your main effort (live, lyric, unwrapping vids are also useful additions).
The infamous Wayne's World Bohemian Rhapsody inspired James Corden's Carpool Karaoke which in turn has inspired this couple of performers (he's a comedian, she appeared on America's Got Talent) to create a series of car-set lip sync vids.
With 120m views already, they're making money from that, but they are also add for their services as hireable entertainers.
Saturday, 29 July 2017
(Theory link: Simon Reynolds' Retromania)
'The Beatles or Radiohead can forever flog key works to consumers prepared to pay £100 for unheard sessions on picture-disc vinyl. Icons like Morrissey can keep on reissuing even the unlamented likes of Maladjusted as part of their bigger story, safe in the knowledge fans want to buy into that idea too. But digital closes the door on nostalgia as much as it mucks with the album as a format. Will the 2026 reissue of Solange’s A Seat at the Table meet with the same ripe whiff of remembrance from a generation who recall where they were the first time they opened Spotify and it was algorithmically recommended to them? If not, Our Love to Admire may be one of the last albums in history to make it to its 45th anniversary super-deluxe box set.'
The reissue racket: how many more ‘classic’ albums will be repackaged? https://www.theguardian.com/music/2017/jul/28/reissue-racket-how-many-classic-albums-repackaged?CMP=Share_AndroidApp_Blogger
Friday, 21 July 2017
A good look here at how patronising patriarchy, an assumption that women are more pliable and will do as instructed, remains ingrained in the music biz, and an interesting side note on how being 'woke' (Katy bloody Perry's farcical attempt to show her socially conscious side leading to that garbling of language) is seen as important for branding and the opportunity to land marketing deals with brands.
A perhaps too uncritical, but useful, highlighting of Instagram especially as social media being the only space where female artists are permitted to freely express themselves - ignoring the product placement rife in these platforms and other forms of artifice.
Pop’s glass ceiling: why new female stars can’t break through https://www.theguardian.com/music/2017/jul/21/pops-glass-ceiling-why-new-female-stars-cant-break-through?CMP=Share_AndroidApp_Blogger
Thursday, 29 June 2017
Saturday, 24 June 2017
An example I've used before, a useful one to highlight the need to take care in defining genre. Each of these 40 (and there are still others - no grunge here for example) have some distinctive features that a videomaker should be aware of.
Sunday, 18 June 2017
A quick note on the Torres video: mostly very dull, but 2 elements that might inspire some useful ideas
the David Lynch-like unsettling intermittent red lighting, and playing with darkness (possible Twin Peaks influence there)
the stoney-faced singer continuing to lipsynch with shower water flowing over her (wind effects have been used in other vids, anything like this adds visual interest and impact to a key convention, arguably bringing a postmodern deconstructionist approach in revealing, and revelling in, the absurdity of lipsynching). In practical terms it would be better to try and rig a shower head to a hose - or even point it out of a bathroom window if the external wall framing works (as bathroom framing would be very limited)
This is desire: Torres, Marika Hackman and the artists redefining the female gaze https://www.theguardian.com/music/2017/jun/16/torres-women-pleasure-fleabag-female-gaze-videos?CMP=Share_AndroidApp_Blogger
Saturday, 10 June 2017
Some strong language in this article, but coming in the week when Taylor Swift announced an end to her 3 year boycott of Spotify (to 'celebrate 10m album sales' for her latest...and undermine Katy Perry's album release), here's a great quote summing up digital disruption:
Run-DMC have about 2 million monthly listeners on Spotify, that’s not bad is it? (1)
That’s not bad – that’s really good! We still get our royalty. You do a deal now, the labels get ownership of this and that – but these days you don’t need a record company, you don’t need a lawyer, you don’t even need a studio. You can do it all in your f***ing bedroom.
Run-DMC's Darryl McDaniels: 'We lived sex, drugs and rock‘n‘roll – but never put it in our music' https://www.theguardian.com/music/2017/jun/09/run-dmc-darryl-mcdaniels-we-lived-sex-drugs-and-rocknroll-but-not-in-our-music?CMP=Share_AndroidApp_Blogger
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