Noir PR

(via https://www.youtube.com/watch?v=0_L-SUpfhCc)

This vid links back to the references I posted earlier from the film U.N.C.L.E. with the split screen editing. It’s also a good reference for lighting and a nostalgic video reference.

Brooke Candy - Happy Days

Key things taken from this video:

- The fact that it was shot in a studio environment yet still has lots of interesting shots to work with, alongside the changes in character/styling, sets and props

- The camera angles used make good references for research

- I really like the way the intro part was edited - will be a way of editing the film for the ‘Sleepwalker’ vid - shows how the extra footage can be edited in and tells the concept’s story

- And anything else you can take from it!

The viloinist

(Kursa.)

you can eat whatever you want for breakfast

the first minute

***what style? brand/designer? how many models? female and male models?

ideas:

a dance studio space (looked at hiring in Epsom, dirt cheap), my friend Jason who dances could perform. 

studio dark with spotlight

2 camera’s videoing different angles (below, eye level/above)

have the dancer dance for 1 minute to the song - what would he be wearing?

build a catwalk out of the slates on my roof, paint them and put black slates on top to build/create catwalk. - find space for this, studio or dance studio use?

have models lined up on catwalk in different wear - this follows for ***

maybe have some coloured wigs that cover the eyes or something

idea from madonna - vogue:

the models are still like statues, change pose every 4 beat (the loud DUN sound in the song) 

idea’s on lighting? dark with light flashing when changing pose? or bright lights with a pitch black flash to the changing of poses? 

what poses would suit the style/music?

colour or black white or both for videoing? 

1 minute long, pilot/taster

how many style changes for the models? 

credited at the end 

(Tru Thoughts)

This is the main track that Lee kept referring to

(شمس أسمى Shams Asma)

This is the second track that Lee referred to.

Here are some rough notes on what I envision so far in terms of visual elements

Camera angles from below looking up at birds in tree branches rotating motion, increasing in speed as vid progresses

Transitional frames: birds flying past in slow motion, zoomed in on wings & feathers >>  close-up of people stomping past in big black boots>> people wrapped up as installation-type piece in a blacked out/dark brown studio> smoke machine

Glitch editing of vid in time with music. Speed of playback varies according to this too.

(via https://www.youtube.com/watch?v=0ap5E5xjWL0)

In light of the new information from the HeyMusic rep., however vague it may still be, my take on it is to look closer to underground scenes and how their style of dress is informed by the culture surrounding the music they listen to. 

In this video they take you on a journey underground to different groups belonging to particular circles of music lovers. They all have a very clear visual style and identity which are also communicated in the way that each group moves in their body language and the way that they dress. 

Throughout each tribe, the genre of music style playing shifts to link to the visual styles, whilst keeping a common thread which unifies the different styles in some way.

The Acid: Basic Instinct - The shadowy trio enlists filmmaker Dugan O’ Neal and Art Troupe WIFE for a spellbinding music video

The light, voluminous materials of the costumes helps to create the illusion of the models floating amidst the air and the wigs extend that frozen movement. 

The choreography and formations really play with the composition of the frame to maximise the feeling of space and movement whilst the object in focus moves across the frame.

Also; I dig the art direction. The deep colours and tones and mood of lighting are kept consistent with the imagery of the moving deep water. Whilst the colour choices of the styling compliments the faded type on the side of the crate and contrasts against the other scenes, yet the fluidity of the fabric ties it back to nature.

​Still Life - An unconventional look at wildlife asks: how real is nature?

This video ties in what Dal advised us to do with getting recordings of nature and its inhabitants. I like that the music runs (along with some subtle distant drums which develops with some more mixing later) throughout the stretch of the film. We get to see an intense narrative of nature captured in a motion so slow the life captured on film looks as though it could’ve been shot as a still life photo.

(via https://www.youtube.com/watch?v=4RTp10Its9Q)

I like how the relaxed, lazy pace of the music meets the timing of the slow motion tree explosion. But it also has a hint of optimism that introduces the concept of juxtaposition between the reckless destruction of a tree and the fluttering by of live butterflies. I guess the slow paces are the director and musicians’ way of trying to allow the audience to see the beauty in destruction and life, and how those lines can blur to while recreating a new moment in time.

This is an element we can incorporate into our film to to help induce a particular emotion to our audience.

The “summery” vibe of this video has been helped along by increasing brightness & contrast in post production of the lush greens and vibrancy of the flowers.

I like how they’ve used after effects to add a very digital aspect to nature by mapping hidden geometric lines amongst them. They’ve also used subtle templates graphics to make the process of post-production into the art.

I like the contrast between nature and the digital. The choice of white graphics gives a fresh, future touch to the video.

My fav ad, makes me wanna cry!!!

Just love the simplicity within the ad, everything just fits perfectly together. The angels, close and long ranges work well. I also like the black bar at the top and bottom of the ad, I like that it narrows the actual size of the video which I think helps to focus on the emotion and the events that are occurring during the ad. 

I also find that filming through objects can make whatever’s in-front seem a bit misty, like what they've done in the ad. I think this adds depth. I like that the music doesn't block out the actual sounds thats’s made by within the ad, it plays over it. It’s something we can consider, making certain sounds louder than others.

I thought that this advert was playful, very cool and relaxed. That’s what i’d imagine our music film to be. I also like the tempo of things, from slow mo to really fast, definitely gives more to the the actual objects. I do think it’s clean, nice use of colours, good balance. interesting textures as well. visually pleasing. music tempo also intwined great with the movements.

This is like one of my fav films, flipping hilarious loooooool!

(sorry I couldn't find the actual movie to take screen shoots)

Anyways, I love the actual set of the scenes, especially the house, the street shots as well, the actual location I thinks is great. I do like the camera angles in this also, when the dialogue becomes exciting, the camera angles definitely help push the emotion through. (this is also another technique we could use to push and really show the connection between music and fashion)

In addition to this, I really like the styling in this, I know its very out there and over the top but the actual colours and materials I think could be nice to work with as were sort of going for a futuristic take. Looking back at the 80′s styling of how different materials were mixed, we could take that and make it contemporary, could maybe be playful and visually pleasing.

The film’s called Trading Places, starring Eddie Murphy. Within the film they use a cool technique called ‘breaking the forth wall’ this is quite common amongst films and theatre productions. This is where the actor actually acknowledges the audience and communicate with them. (I thought this would be a cool way to show off k-swiss as well having a great punch line within the music film, it could also bring some humour to it, depending on our theme etc.)

I really enjoyed the actual filming of the garments, how they started off looking at the actual details and then later revealing the over all piece. I thought that was quite clever and interesting. Using close and and long range angles. (this could be how we incorporate k swiss, revealing the stitching maybe, then the colour and then finally revealing the actual trainer @the end) but vaguely so the main attention is still not the trainers but more of the connection between music and fashion.