After changing some of our timeline, our group put together a storyboard in order to make the process of planning easier. Storyboarding highlighted the weaknesses in our idea, therefore we were able to alter some sections in order to improve the flow of the video. Thus, storyboarding allowed us to bring together all our previous planning and construct it into a workable document.
During our Media lesson, Emily Tedrake, from Polydor Records came and spoke to us about the music industry, with a focus on commissioning music videos. This was extremely beneficial, as it allowed us to gain a deeper insight into how the production of a music video works, from a person working within that industry.
Emily works for Polydor Records, which was originally founded in Germany in 1946, with the UK division being set up only 10 years later. The label now signs a large variety of artists, and comfortably keeps up with the ever changing genre's of music. Emily is a music video commissioner for the label, which means she acts as a sort of creative director for the label. An artist sends her their music, and then she has to find the right director to construct the video, then she become the label producer for that video.
The pace of producing a music video is extremely quick. It takes approximately a month to fully create, depending on how much of the video is created in post production. Once Emily is given the single, she has to quickly decide what type of video she wants to create, then construct the brief. This is then sent to various directors, who will then show their interest in wanting to create it. Emily is working on a constant deadline, as the videos need to coincide with other deadlines as otherwise the release of the video will not have maximum marketing impact.
Emily made some key points about making music videos during our talk, and they will be incredibly useful when we come to make our music video.
Emily spoke about how an artist should contribute to the idea for the music video, as it makes it "more magical" and unique. When an artist is part of the planning process they engage more with the video, and this comes across on camera as they enjoy the process far more. Moreover, the idea will then directly link to the artist and coincide with their star image and this will help in the promotion of the song.
Additionally, Emily emphasised the importance of having a simple idea, as they are easier to work with and actually look better on screen. Having a strong, yet simple idea will often convey more meaning and fit better with the song. Moreover, the idea has to coincide with the budget therefore a simple idea if often much cheaper but still retains the same power and value. Emily spoke about trying to raise the money for the video, and that sponsors are often used. However, she stressed how this brought its own complications, as the sponsors have to promote the right image that contemplates the artists, as otherwise the artist might be shown in a negative light. This is not something we have to worry about, but it gave me insight into how the music industry actually works, and that producing a music video is not just one thing but another part of the artists image.
Furthermore, Emily spoke about treatments and how to create the best, most effective one. This was extremely useful as our treatment needs to convey the right tone and meaning for our music video. A treatment, says Emily, she contain a lot of images so that the director can get an idea of the style/colour/tone of the piece. Finding simpler examples also ensures that you are not copying someone else's idea completely, and it also can provide new inspiration. As well as this, the beginning of the treatment should explain the concept briefly but efficiently, so that the director can get an immediate feel for the video. This is important in a fast paced industry, as time is sparse and thus key ideas need to be conveyed quickly. Emily also mentioned that all the details of the video should be put in the treatment, and that any style/fashion choices should be carefully explained and portrayed.
Moreover, Emily spoke about where to gather inspiration for music videos. Although looking into the artists brand image and the lyrics of that particular song is important, she stressed how viewing art galleries, fashion shows, adverts and clips on youtube all provide good inspiration. In addition, they provide more unique/strange ideas that can be transformed to fit a specific concept.
Emily then showed 3 of the recent music videos she has worked on, and the treatments for them. Looking at a real treatment showed me what I exactly need to do, and put a theory into real practice.
My favourite treatment and video she showed us, was Bipolar Sunshine's - Deckchairs on the Moon. The treatment provided numerous images, and the video reflects these same ideas. The concept was clearly shown but in a few short sentences conveyed the very essence of the video.
Emily also emphasised the importance of Vimeo and youtube, as both immediately promote the video. The video needs to have a large number of ratings, otherwise the artist may struggle to further promote their song. For example, Emily explained how Radio One look at the demographics of a song on youtube, and will pick one with the highest amount of views and then use the information to decide which artist to interview. Therefore, each video needs to be exciting, unique and engaging, as it is a key part of the artists promotional package.
In order to try and bring together our concept into a formulated plan, we constructed a timeline for our music video. We split the song into groups of seconds, and then stated what shot we were going to use and what action was occurring. This will benefit us greatly when it comes to story boarding our idea.
The song for my initial idea is called 'Garlands' by the band Dirty Heads. Their songs have a calming tone but an interesting vibe, and target mainly indie music listeners.
The demographic profiling audience, would be C1 (lower middle class), as the band mainly target teenagers and young adults from around 16-25. This is due to the numerous drug references that the songs make, therefore appeal to a slightly older, more experimental audience. However, the audience also need to have a higher level of wealth, in order to want to rebel from the society that they live in.
The psychological profiling audience, on the VALS classification system, would be action orientated, as this involves 'experiencers' and 'makers'. These people, often have a 'live life in the moment' outlook on life, therefore are taken in by the bands lyrics and image.
INITIAL IDEA TWO:
My second song is called 'Fireflies' by Ron Pope. Ron Pope is a reasonably well known artist, who focuses mainly on the lyrics of his songs rather than dramatic performances.
The demographic profiling audience, would be C1-E, as his music speaks to most people who can relate to being in and out of love. He often deals with social issues in his songs as well, and this would more appeal to a working class audience.
The psychological profiling audience would be, principle orientated people, as they are 'fullfilleds' and 'believers'. His music, as it focuses on lyrics, is uplifting and inspirational therefore will attract an audience who have faith in certain things, and try to do the best as possible.
INITIAL IDEA THREE:
My third idea, involves the song 'Take The Time' by Tiny Tiny but it is the Nick Coleman remix. His song (only one released) is lyrical but also attracts audiences who enjoy remixes and a heavier beat.
The demographic audience would be B-C2, as the song is directed at teenagers who have enough disposable income to go out and party, whilst also attracting teenagers who like to make remixes of songs.
The psychological profiling audience, would be action orientated as they are 'experiencers' and 'makers'. This is due to the wildness of the artist, and the fact that he has only released one song, entirely on his own account. This inspires his audience to do the same, and this message of going out to get what you want is reflected in this song.
Any artist in the music industry, needs to concern themselves with who their target audience are. Once they have established this, they can promote themselves in a specific way that will attract the desired audience. Normally, an artist will segment their audience in order to make finding the right audience easier. This can be done demographically and psychographically.
DEMOGRAPHIC:
This is when an audience is segmented in relation to social criteria, such as gender, class, race and sexuality. The best demographic approach to audience involves the JICNARS scale.
PSYCHOGRAPHICALLY:
This is when the audience is divided based on their lifestyle and their psychological profile. The numerous attitudes, values, lifestyle choices and beliefs can be categorised so that an artist can predict consumption. The Values Attitudes and Lifestyles (VALS) classification system, is the best psychographic profiling system.
The British Phonographic Industry (bpi) represents the UK's music industry. It acts as a trade body between over 300 record labels, including Britain's leading companies; Universal Music, Sony Music and Warner Music. All these members of the BPI account for 85% of all them music sold within the UK. BPI works with large and small companies alike, and as the industry has changed so has BPI. It is one of the leading driving forces for the Digital Economy Act, which is preventing widespread illegal downloads. This shows how the music industry has changed as technology has advanced and how British companies have had to react to this problem. Currently, BPI are part of the leading court action against The Pirate Bay which will help to limit illegal downloads.
In order to understand the music industry, BPI has undergone extensive research into the trends of certain music genres. This allows them to understand the British public as audience members, and thus means that they can see how the British public may react to a new artist or genre. This means that their members can segment their audiences into specific categories which will benefit audience profiling therefore ultimately helping the promotional package of an artist or band.
Here is some information on the most popular genre's of 2013.
Using this chart, record labels can adjust their artists, and sign new ones, in order to increase their chance of success. The music industry is a business, thus market research is key to making profit.
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