In what ways does your media product, use develop or challenge forms and conventions of real media products?
The video, I thought, mimicked the likes of Rihanna and Loick Essien's music video styles - green screening, plain backgrounds and single artist narrative and visuals, I thought we used our own single artist narrative worked well considering the amount of time and money we had for this video.
I feel the lack of Gaga-esk dance number would create an emotive atmosphere, as well as the sparseness of some the backgrounds; though we tried to conform a little to a sense of Gaga style through our Sci -fi glasses prop choice (£15 inc. p&p amazon) through stripping back we've developed the idea in such a way that challenges the commercial cinematic music video; intending to make the final product purely about how the artist feels and the isolation, sorrow and regret that that entails.
We chose to make our video quite basic because we believed in the case of this song simplicity is key to create and effective and coherent narrative and also that because this specific track was written before Gaga's 2008 debut album 'The Fame'; we decided that our rendition of 'Second Time Around' should reflect this sense of stripping back. We hoped to symbolize this sense of nature and class through using conventionally British green screen backgrounds of places in and around Cambridge; to the mass media this would create a feel of other worldly-ness and the unknown, something that I felt suited the Gaga sensibilities also, and that I felt we achieved.
It is also with these decisions to that we challenge the conventions of all other Gaga videos. Even our ancillary dvd cover we dubbed 'Stefani' links back to the artists real name; Stefani Joanne Angelina Germanotta.
I feel the lack of Gaga-esk dance number would create an emotive atmosphere, as well as the sparseness of some the backgrounds; though we tried to conform a little to a sense of Gaga style through our Sci -fi glasses prop choice (£15 inc. p&p amazon) through stripping back we've developed the idea in such a way that challenges the commercial cinematic music video; intending to make the final product purely about how the artist feels and the isolation, sorrow and regret that that entails.
We chose to make our video quite basic because we believed in the case of this song simplicity is key to create and effective and coherent narrative and also that because this specific track was written before Gaga's 2008 debut album 'The Fame'; we decided that our rendition of 'Second Time Around' should reflect this sense of stripping back. We hoped to symbolize this sense of nature and class through using conventionally British green screen backgrounds of places in and around Cambridge; to the mass media this would create a feel of other worldly-ness and the unknown, something that I felt suited the Gaga sensibilities also, and that I felt we achieved.
It is also with these decisions to that we challenge the conventions of all other Gaga videos. Even our ancillary dvd cover we dubbed 'Stefani' links back to the artists real name; Stefani Joanne Angelina Germanotta.
Unlike regular R&B videos; our lacks the conventional jump-cuts, instead we used complicated greenscreen overlapping fades because of the nature of the song. These effects were time consuming, and there was alot of problems caused by some of them, althought the finished effect was worth it. Also our lack of voyeurism, because we have a female artists, were caused by our tight-framed shots and 'in vogue' clothing.
How Effective is the combination of your main product and ancillary text?
The combination of main product and ancillary texts is fairly strong; it fits well with the conventions of advertising the artist in manner that creates depth and reflects our goals of stripping back the glamour.
How Effective is the combination of your main product and ancillary text?
The combination of main product and ancillary texts is fairly strong; it fits well with the conventions of advertising the artist in manner that creates depth and reflects our goals of stripping back the glamour.
Because the ancillary texts focus strongly on the artist; the tight framed, minimalism of the visuals can be directly affiliated with our video, even though we purposefully avoided taking images from the video for the digipak and magazine ad, we did however keep to a sense of strict tight framed visual structures.
With the digipak and magazine ad I essentially flattened the images we had of our actress, the wonderful Lynsey Smith, by using the notepad and pop art features on Adobe photoshop filters to great effect. The contrast in colours, and the bold simplistic approach to how we presented our artist, demands attention in such a way that reflects Gaga herself.
What have you learnt from your audience feedback?
We were told our choices of camera angle and visuals went well with the themes of the song, the photo stills were effective, that we could have made a better connection with the artist had we seen more of her eyes and that our lip syncing could have gone better.
Had we the chance to go back we could include a transition of some sort to include the eyes, maybe the actress putting on the glasses or taking them off; putting up a shield or revealing her vulnerability.
Unfortunately some of our lip syncing did go awry during conversion to Quicktime.
How did you use new technologies in the construction and research, planning and evaluation stages?
We used blogger, we used this to document what we had done and the processes we used it throughout the process of producing a video and advertising it.
Photoshop was used to make the digipack and magazine advert. This was good to use as it enabled us to create the ancillary texts exactly how we wanted to, focussing on the artist and edited to be something that would stand out but fit with the conventions.
With the digipak and magazine ad I essentially flattened the images we had of our actress, the wonderful Lynsey Smith, by using the notepad and pop art features on Adobe photoshop filters to great effect. The contrast in colours, and the bold simplistic approach to how we presented our artist, demands attention in such a way that reflects Gaga herself.
What have you learnt from your audience feedback?
We were told our choices of camera angle and visuals went well with the themes of the song, the photo stills were effective, that we could have made a better connection with the artist had we seen more of her eyes and that our lip syncing could have gone better.
Had we the chance to go back we could include a transition of some sort to include the eyes, maybe the actress putting on the glasses or taking them off; putting up a shield or revealing her vulnerability.
Unfortunately some of our lip syncing did go awry during conversion to Quicktime.
How did you use new technologies in the construction and research, planning and evaluation stages?
We used blogger, we used this to document what we had done and the processes we used it throughout the process of producing a video and advertising it.
Photoshop was used to make the digipack and magazine advert. This was good to use as it enabled us to create the ancillary texts exactly how we wanted to, focussing on the artist and edited to be something that would stand out but fit with the conventions.
We used final cut for all our editing, it was quick and easy to use to help us get all our editing done in time. We did get our lip-syncing done and to good standard but when we transferred it to quick time the lip-syncing went out half way through. A problem we have since fixed on our latest version which has been uploaded onto the blog.
The HD cameras were used for filming, they were good to use because they made the video look more professional, as well as giving a crisp high definition picture, which helped when we came to use green screening.
The HD cameras were used for filming, they were good to use because they made the video look more professional, as well as giving a crisp high definition picture, which helped when we came to use green screening.
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