In order to indicate our artists genre/ability we needed to showcase their performance scene, which involved DJ'ing. We decided to make this clear by using a variation of shots of different things. Firstly we used a mid-shot of the DJ from the side, showing the audience the DJ looking down with his headphones, indicating he is looking at his decks. This is a common shot u sed in real media products such as in the Modestep music video where we see the DJ in a very similar position. In our music video however we have challenged this form of performance as typically the DJ is human in a club or a festival. However we have made it clear that the DJ is a fox and is DJ'ing underground in a secret 'club-cave'.
To strengthen this idea of performance we used a number of different shots, such as long shots in order to see the DJ equipment and the DJ's using it. We also used close ups of the decks to really wrap it up. Again we used similar shots to those in real media products, such as in the Modestep video we see a long shot of the DJ handling the decks with a light illuminating him making him stand out more. We used a very similar shot (below) with our two DJ's with light making them glow and stand out. In terms of action, to really give off the impression to the audience of the characters role we made them do 'typical DJ moves' such as raising hands, head bopping etc... really developing typical forms and conventions. Also these conventions also allowed us to reach our target audience and create a marketable star image for young people who go out to events to watch DJ's such as KOAN Sound play.
2. Narrative
As our music video was very short ( 2 minutes, 50 seconds ), we had to fit in a lot of narrative and keep it fast paced, which also helped give an effect to the fast paced track. For example during scenes of movement, we cut the clip into different sections in order to make it jumpy and fast paced.
We can also see this effect in real media products such as the video to Culprate - Tentacle. This effect also makes the video seem more un-natural and glitch adding to the overall concept of our music video being surreal and different, again this also is seen in the Tentacle video, as the cutting helps to add a surreal effect. This also strengthens the image of our artist, as the fast paced glitches really help to relate and suit the track.
On top of this in order to keep the narrative fast paced and thrilling, we used similar techniques to cut between the narrative and the performance. Enabling the audience to make a link between the two, and have a nice clean transition. This also allowed the maintain the image of our artists, making sure our audience was aware of their roles.
3. Use of camera, editing and lighting
Firstly we decided to set the video in the dark, giving it a more mysterious and surreal effect, it also helped with the club scene as clubs are normally dark. The darkness also gives less of a clear image on our character, meaning it becomes even more surreal. This is related back to our artists, as our artists are known for their weird, experimental tracks, with a target audience of young adults who love to hear and see new / weird conventions. Similar forms and conventions are seen in real media products such as in the music video for 'Somebody to love', where we see a walking robot walking around London.
In order to build on this form of the music video being surreal we played particular emphasis on certain things. For example we played close attention to the Fox mask to really get the point across that the family was not a normal human family. Paying close attention to the fox mask also helped to re-enforce the artists image, as they have produced a released based around foxes in 'The adventures of MR.fox EP', meaning our audience and fans of KOAN sound will be able to relate to the reference.
To make it feel even more surreal we challenged some forms and conventions in order to really strengthen the idea that the artists are completely different, surreal and modern. As the concept of a human fox running round town is clearly not normal, we decided to try and portray that it was normal, in order to create dramatic effect. We did this by using camera work and editing, to make sure no one in the public would look confused with reaction shots. However in real media products, where people seem to be breaking the norm, there are many indicators from the public, to let us know that it really isn't normal. Again this really strengthens our Artists image, and helps to entertain our target audience with more surreal factors.
4. The track
As the form of the track is clearly electronically produced 'club' music, we had to use conventions to indicate the tracks properties, audience and artist. As the track would typically found to be playing in clubs, we had to use conventions to really re-create a club scene. To do this we created a small spaced dark environment with coloured lights and a young crowd (Representing and targeting our audience). Club scenes similar to this are scene in many real media products such as 50 CARROTS track 'Bratpack'.
However we also challenged this convention by making the club under the earth and people getting in by digging down. We did this by using editing techniques between two shots to make the illusion that the camera shot was going underground. (Below) Which really tells the audience that even though our artists are club DJ/Producers, they are definitely experimental and alternative. To fully relate to the song, we used editing in order to match the pace of the track and give the whole video more energy!
5. Artist image
We also tried to give our artists more of a name for themselves by using imagery. In normal music videos the artists record label is less likely to be represented and affiliated with the artists. However in this particular Genre, labels have a lot more involvement in partnering with the artists to have a collaborated product. For example we are shown this in real media products in the music video for MTA records 16bit 'dinosaurs' as the MTA records logo is shown at the end, with small details on things such as release date. We also used this convention as we put the inspected logo at the end of a music video. Instead of using small writing with release catalogues, we decided to challenge this convention to put the inspected logo really big in order to really emphasise the power and brand image of the record label 'inspected'. This will also help us to target our audience, who within this market are mostly likely to know inspected, therefore purchasing our product.
We also used conventions to strengthen the image and name of our artists. We did this in a similar way to the dinosaur music video by putting their name right at the beginning of the video. However for our video we put the text across the face of the fox who was being represented as our artist, so the audience was aware of who the artist was. Again, seeing the artists name at the beginning of the track will appeal to our audience, as they will be familiar with the name 'KOAN Sound'.
6. Use of location
Firstly we used a city, as a city is where most of our target audience are based, so we were able to relate to them. Its also where the majority of clubs are, so it can also shows the forms and conventions of real media products. The club was a way of expressing the talents of our artists, as they are DJ's it is a typical form to have in a music video.
7. Digipack
All the forms and conventions we have used here are all very similar to those used in real media products.
8.Website
All the forms and conventions we have used here are all very similar to those used in real media products.
Firstly we used a city, as a city is where most of our target audience are based, so we were able to relate to them. Its also where the majority of clubs are, so it can also shows the forms and conventions of real media products. The club was a way of expressing the talents of our artists, as they are DJ's it is a typical form to have in a music video.
7. Digipack
8.Website
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