Conventions of our Music Video

Conventions in any media text make it easier for the audience to understand what they are consuming. In the case of a music video it allows them to situate a song and artist within a musical genre. The purpose of a music video is to sell the song and the star along with it so if the conventions work correctly the promotion will be successful due to the artist and their work fitting into a specific genre easily.

There are technical and symbolic codes within a music video. Technical conventions relate to styles of camera, editing lighting and sound. Whereas symbolic conventions relate to mise-en-scene being the costumes, props, location/setting, colours, makeup, arrangement of band members and performance.

TECHNICAL CONVENTIONS

Camera

The most common conventions for a range of different genre music videos are:

• Close ups and ECUs (extreme close ups)
• MCUs and mid shots
• Tilts, pans and tracking shots
• Longs shots and wide shots
• Crane shots

In my group's music video we used a variation of shots, being all of the above except crane, tilt and tracking shots. This therefore gave the audience multiple views of our artist for different effects. The close ups helped to build recognition of the artist, establishing her star image, whilst also emphasising the link between music and lyrics, having a close up on the lip-syncing. We also used MCUs and mid shots to show body language and costume of the artist to emphasise her attitude and enjoyment of the song. The whip pan shots were filmed unintentionally on the shoot day, by still recording when not wanting to film, but made for an ideal effect in our final cut as it matched the pace of the music and created a high energy buzz for the song, maintaining the audience's visual interest. The long and wide shots were also used to show our artist in her full surroundings to give the audience a better idea of the location and star image.

Extreme Close Up Shot

Extreme Close Up Shot

Medium Close Up Shot

Wide Shot

Editing

• Usually synced with the song lyrics
• Matched to pace of the song
• Cut in sync with beat
• Discontinuity editing, jump cuts, division into repetitive chapters to mimic the verse-chorus-verse structure.

My group conformed to all of the above conventions for various reasons. We cut in sync with the beat of the song in order to emphasise the rhythm. We matched the visual clips to the pace of the song in order to create a comfortable viewing for the audience and also to emphasise the tempo and emotion of the music. We also synced the shots of Rosie May's performance elements to the song in order to mimic a live performance. We also employed discontinuity editing in order to create high energy in the song.

Lighting

• Artificial lighting used to give the artist a glow of perfection and also create a tone or atmosphere needed in the music video.

Our group subverted from this convention as we could not employ the use of artificial lighting as we were filming in the streets of Brighton. We simply shot in natural daylight. Therefore there was no mood, tone or atmosphere created through artificial means. However, this depicts our artist effectively as she is new on the music scene, starting out. She is young, fresh and vibrant and the use of natural daylight complements and emphasises this fact.

SYMBOLIC CONVENTIONS

Costume, Hair and Makeup

• Take influence from different trends in society and can also start new trends
• Can indicate membership to a subculture: cultural group within a larger culture, often having separate beliefs or interests to one another.

In our video our group dressed our artist in a black lace jumpsuit which delivers viewers with an effective image of her retro style. The black colour of her jumpsuit positively represents her timelessness as an artist. Additionally, we had decided for her makeup to be based on a natural look. The one exaggerated feature of her make up is her liquid eyeliner. Here we were inspired by Amy Winehouse's trademark makeup style. Also her hair is modestly styled with a few braids in her gently curled hair with a slight beehive hair do, derived from a 60s style which conforms to her star image.

 

 

Props

• Instruments are symbolic in order to fit into a category and genre.

As our group filmed on location in Brighton we did not bring any props with us. However, in Brighton we spontaneously used the props of clothes on rails outside vintage clothes shops which helped to confirm the artist's alternative and urban star image. The visiting of thrift shops in Brighton was a significant element to Rosie's journeying process in Brighton, being a narrative strand to the music video. Therefore, the incorporation of the clothes as props was essential.

Sets and Locations

• Help to establish the domain of the artist, where they belong, maybe being their hometown.
• May also feature locations familiar to their target audience to enable them to identify with the artist.

Before shooting the video, our group primarily wanted to film in East End London on a rooftop overlooking London and in a warehouse that Rosie had previously visited to do a couple of photo shoots. Since she lives in East End London this would have made sense as this location is special to her as an artist and is a part of her identity and therefore would help the viewers and potential target audience members to understand and prepare to relate to this urban aspect of her. However, in the end we had to use various locations in Brighton. To our surprise this turned out to be a complete success and allowed us to play on the fact that many of Rosie's musical idols were formed and recognised in Brighton, being the mods and rockers scene. Brighton is also where Rosie's father lives and where she grew up so ultimately was her hometown and still is to some extent. One of Brighton's attractions, being the seaside and pier therefore also became a part of our music video and made for a beautiful and essential visually aesthetic finish. This links to the 'About' page on her website and she wrote herself that she loves the seaside, therefore by using this location and incorporating this text in our website allows viewers to relate to our artist. We were also able to find the much needed urban locations in Brighton as well as many other locations which provided for a convincing and understandable journeying aspect. Our locations were: the market scene, the rooftop, the art graffiti wall, Brighton promenade and the balcony. These therefore all provided a successful portrayal of our artist's urban, rebellious as well as youthful and lively star image.

 

Colour

• Can represent the mood of an artist and their music - bright colours being feel good whilst dark colours are down beat.
• Neon colours relate to artificial environments being the city and urban life.
• Black and white can have connotations of 'classic artists'.

Our group decided to incorporate a heavy use of light leaks within the video, providing a vintage and alternative view and style. This links to Lana Del Rey's retro feel and use of filmic footage, light leaks, grainy and scratched filters in her music videos. Lana Del Rey is incidentally one of Rosie May's favourite artists and therefore this inspired her to incorporate similar music video technicalities. Also the use of various graffiti artworks and patterns displays the use of vivid colour which provides the music video with an urban and youthful sense.