Evaluation: Question 2

 

Evaluation: Question 3

Question 3: What have you learnt from your audience feedback?

I wanted to ask a variety of audiences their opinions on my music video (mainly from outside the genre, to have a variety of answers. I had several questions whether or not my music video was ambigious and vague in terms of genre lines, and whether or not it would appeal to different audiences. I have been surrounded by the genre for years, and I know what I would expect to see, however, a music video has to be accessible and interesting to all audience in any manner of ways.

Whilst asking the band to share the video returned little feedback, the comment I did receive was a contrast to the feedback I had initially been given. 6 of the questionnaires I handed out returned , that the 4 way split screen was the most popular aspect, giving a contrasting and original shot to the video. It was in sync to a bridge, where I felt I wanted to show all members playing at once. However, upon hearing feedback, I feel that it was a random shot style to include - if it was a recurrent shot, maybe it would hold more of a place in the video, however with the music video itself the way it is (one shot on screen) it would not make sense to have the 4 way split, and instead looks more like filler. However, the 6 questionnaires were given to people who don't particularly list this genre as a genre of choice, showing that that followers of the genre, who exhibit media like this regularly felt it had no belonging in the video.

This was the questionnaire I sent out. It was deliberately vague and ambiguous to allow for a more open opinion. My audience questionnaire allowed me to find out some interesting things;  the main question surrounding mine was the narrative (or lack of) - whether people enjoyed a performance based music video or felt that a story line was vital.

One questionnaire returned, saying that whilst the viewer felt that the music wasn't their usual genre choice and they usually prefer narrative based videos, they felt that the video reflected the genre. Therefore, aligning the video to genre conventions shows allows the music video to appeal to outside-Zener audiences, making it accessibly and non-exclusive.

Another questionnaire (also outside the genre) claimed that whilst they would not actively exhibit the genre, the simplicity of the video and the differentiation of shot mixed with the portrayal of the band allowed her to stay intrigued in the video, further proving that showing the band playing can be more captivating or involving that a story based video. The same person also felt that the band had been glorified in a manner that showed off their image rather than musicianship, raising questions of 'Gaze' - one of Goodwins theories of genre expectation and conventions. I explained in a previous blog post about Pop Punk how to draw audiences in wasn't to outright advertise appearance, but to focus on them in a non-voyeuristic or non-sexualised manner, allowing the music to retain good taste and accessibility from both genders; one may consider them attractive, whilst the other may admire them etc.

A fairly unanimous opinion for improvement was the idea of black and white, thus enhancing the aesthetic visual elements of the video- a strong contrast between B&W and performance videos is noticeable; the lack of substance in the video is made up for with a particularly modified after-effect. The audience felt black and white would benefit my video, enhancing shadows, lighting and giving it a nicer finish.
From my feedback, I have learnt that my genre isn't for everyone. However, with different genre conventions (some omitted, some enhanced) the video can be accessible by nearly anyone, make genre barriers irrelevant.

Evaluation: Question 1

In what ways does your media product use, develop or challenge forms and conventions of real media projects?

With both my music video and my print productions, I have both aligned with many genre conventions, acknowledged some of Goodwin's theories of genre and protested some ideas of mainstream pop punk.

I chose the band Dying Breeds, because they are a great example of local city-based pop punk. 4 friends who love old school punk and like to play the music they feel. They show the upbeat carelessness of the emotional side of the genre, and the youthful energetic physical side.

The location was unimportant, but it needed to remain appropriate. Therefore, a studio was the most appropriate. Mise en scene was ideal: instruments, guitar amps. I wanted to film them performing in a natural musical environment, so there was little visual emphasis on trying to look good. (The only exceptions being the occasions were they jump)

However, lots of the mise en scene comforms with genre conventions. Pop Punk and beer often goes hand in hand. You can clearly see a beer can atop the amp, and various other possessions. This makes the music video simple, but relatable, and removes any elitist/superior celebrity status from them. For example, you watch the video and see four guys. You don't watch the video and see four musicians glorifying themselves; modesty is a huge motif of my music video.

The inspiration came slightly out of genre for my music video; I saw a metalcore band called Parkway Drive had uploaded a studio video and I loved the simplicity. It was just them - nothing more. It showed me that music videos didn't need to look amazing, because essentially you are listening and watching the song. The omitting of a narrative allowed the focus that I desired. Everything I said I was going to set out to do, in terms of simplicity, I achieved.

The original inspiration was this video.



The only emphasis in the video is in after effects, with high contrast and black and white. I also achieved this in my music video by using heavy flood lighting in a small room. This was picked up by any metallic in the room - namely drum equipment and polished guitar surfaces and created a pristine and polished look on their performance. Then I played with levels to create a soft, warm feeling in the room.

However, the aesthetic look of the music video protested how pop punk should look. Pop Punk usually has stupid story lines in which the band promote them selves as the fun guys that their audience is familiar and comfortable with. Denying that, then prevailing as an attractive or fresh young band in which they look great, and look like they connect internally. The relationship with the band members is something which is then transposable to the crowd. The closer the band feel together, the more they can connect with their audience. This is greatly important, but I wanted to achieve this convention a different way. I challenged this convention by showing them as the band that practice for hours on end with instruments they've owned for years, and friends they've known all their lives. The music video for Decade - Brainfreeze does so, but I felt the emphasis on visuals conformed in a way I wanted to challenge.

Whilst they are indeed having fun together, they do not appear to be interacting with each other in a way I wanted to convey. Pop Punk genres dictate that music is shared, and I really wanted to exaggerate that idea.

This is visible here. Interaction is something I felt needed to be displayed strongly. This creates the link with the target audience I had intended earlier. There is no celebrity status; the fans are between 15-28 (approximate) of the same situations, who dress the same, listen to the same music and live in similar places.

The costume isn't particularly important, but is something to note. A lot of pop punk is how you dress, and what band or brand you're promoting. For example, Tom and Andrew have PAF t-shirts on. PAF are a typical Pop Punk label, and to wear their merchandise in their own music video. Fashion and advertisement is often a huge part of Pop Punk, showing how much it has progressed from the raw anger of Punk, anti-political motives and hatred of the 90s Punk/hardcore bands. To continue with this promotion (endorsement) I featured them in the digipack and print productions. The bassist Johnny is wearing a festival t-shirt, from Reading festival 2011. Memento clothing to events is worn with great sentiment in the genre.

 Following the idea of tattoos, I wanted to add an element of tattoo culture into my print production. From my previous ideas, I produced a 'Sailor Jerry' traditional style artwork, with a sword going through a crown, and traditional tattoo writing. However, I found that this really didn't fit with my other ideas. It was genre-breaking in conventional appearance, but it was genre conforming in taste. However, I felt it made a great addition to the pack, by becoming a poster.

However, for my main pack, I felt it was more appropriate to have a variation of the original album art. I reversed the initial cartoon art, and replaced it with my own photoshopped equivalent; them in real life with the real life animals photoshopped onto them. This was 'over the top' silly, and denied all seriousness to the piece, which is important to the idea of the genre. The genre is not to be taken seriously, and the band incidentally stress that. Therefore, the face and back of the singer comply with genre conventions.

Back to Front

The animals somehow give it more character than the actual band photo managed to. It was important for me to keep the backgrounds very simple. This created the stark contrast between the ridiculousness of the animals, and the bold, unimaginative backgrounds.

The inside however, is a different story. It denies genre conventions in the sense that it is not a reflection of the band and genre, however it complies in the reality that the band's record label would get recognition and ultimately have a choice in the way they are portrayed. However, I feel the black and white works well, as it creates a simplistic interface that isn't paramount to the appearance of the digipack (as it is the inside feature) but creates an appearance that gives away a lot more information; it reduces the band simply, it shows off both their endorsement/website and also shows off quite simply their record label.




All in all, I have followed genre conventions where it is appropriate. The idea of gaze is not particularly important in regards to my pack, that was only applicable to my music video. The idea of expectation is important though. I feel my pack creates the steady balance between the two; the serious and silly. The inside (the core) is essentially the band, and the outside (the shell) is how the band wish to be viewed.

Evaluation: Question 4

Final Music Video

Digipack Final designs

        
                Back                                                                                     Front

             Inside Left                                                                              Inside Right

                  Poster                                                                              Disk

Magazine advertisement 

Fonts

These are all the different fonts I've used over the process of my print production. The first two styles are very common, traditional tattoo fonts. They were appropriate for any tattoo related designs I had, which isn't many. Whilst tattoos and pop punk go hand in hand, the tattoo idea didn't fit in with anything else I had created, or the theme that I had. It then became a small addition to my final piece as an external extra.

The first two tattoo styles were found online and edited and modified on photoshop.

The style I was looking for was from Da Font, but recreated on photoshop.

The aim was the traditional sailor jerry style.



For the next font, I wanted something which was reminscent of the bands original logo. The font I used was Bebas, which I then fragmented and disordered like the original logo. From then, I decided to remove sections of the letter, to create the cartoon disorder I felt was applicable to the genre of music.

The second regular font used was Orator STD. It was a simplified title font, and I have used it for everything else. It is clear on my magazine advertisement.



Orator STD looks like a standard titling font; its simple and accessible. In the advertisement, it's been outlined for emphasis, but simply states the titles to reduce the emphasis away from the visual elements like the background and the band logo, which are far more important.

Representation of men in alternative music

Below are a few pictures of prominent male figures in alternative music. You can clearly see one similarity between them all; body modification. Each one of them is covered in various tattoos of sorts, and lots of them boast piercings too. Appearance is vital in the genre, and 'what's in' tends to be the same three things - tattoos, piercings, and beards. These three are the golden ingredients to make the ultimate band member. There is a very strong female gaze in alternative music; girls (or boys for that matter) idolize the band members and often worship them, creating a sort of god-like persona to them, which is heavily focused on their appearance and the sound of their voice. It's widely acknowledged that first appearances give the best impression, and it seems in this form of music that appearance makes the man. (or woman, usually a male dominated genre)
The male gaze can be extended to a form of brotherhood, and respect or admiration for that particular frontman, with many aspiring to look like, or be like them in order to gain the affections of others or admiration of others.

Huge chest-piece tattoos aren't uncommon, and often displayed as often as possible. Jason Butler is an example of a front man who is often eager to show off his ink.

 Knuckle tattoos are just as popular, and more associated towards the heavily-tattooed, or musically dedicated. Frankie Palmeri has heavily tattooed hands, and is frequently photographed gripping the microphone to show them off.

Then, there is the beard. Jeremy McKinnon is always bearded; beards have always been a part of heavier music, and now they have become mainstream fashion. Another point is the piercing culture: stretched ears are common in alternative living. Jeremy has stretched ears in this picture. It is not uncommon to see ears stretched beyond 10mm - 30mm.

The next type is the raw, all in black, unkempt image that front mean like Laurence Taylor might keep. His tattoos are random, mismatched and not usually thematic -block, black colours usually. Long, unbrushed hair isn't an unknown feature, but it tends to be the case that hair is very well refined, and kept neat and particular.

There are also the icons. The front men that younger generations have been looking up to all throughout their childhood years. The ones that are covered head to toe in tattoos that people want, or dress just how they want to dress, or sing and say just what they want to say. (excluding the attire of the picture). Oli Sykes has been at the forefront of 'emo' and now is at the forefront of the 'mainstream' alternative image.

Then, there is the simple 'pretty boy' image. The front men that don't stand out for anything more than their looks, and don't receive much recognition to the quality of their music or the quality of their vocals, but instead are usually judged for their appearance at their latest festival, or how they look in their poster/interview in this weeks Kerrang! magazine. Daniel Winter-Bates is often judged in such a manner, and his actual musical career has suffered as a result. He is the victim of the female gaze, and the visual idolisation in music. 

Issues I have faced over my coursework & brief evaluation

Issues during planning production:

I faced many issues during planning my music video. Every time I organised to meet the band and discuss, I could not get to them, due to their inflexible work schedules and unpredictable nature of their shifts or plans. Therefore, I was unable to plan my music video with the band. This eradicated the potential for a story line or a more creative narrative, but in my research into the genre, I discovered that a narrative structure is less important, and the focus could be put into a grand narrative, such as the perception of the band (musicians as a profession) or gender representation. This research led me to realise that my music video could be far more effective in a mere documentary structure. Simply filming the band in practice would allow me to show the band off so to speak. It would introduce the band both as a band, and just as four guys who play music together. In pop punk there is huge potential to be 'silly' or boast a strong sense of humour which tends to dehumanise the band in a way; to display them in their musical talent returns them to their true nature: Four friends with shared musical interest. This is one issue I found that I could easily overcome, and I feel the lack of story line or any form of plot (outside to playing their single) made sure my music video was just easily accessible, not visually engaging - but not musically uninteresting.

Issues during production:

As stated previously, the band proved themselves difficult to meet up with. I had intentions to film on two locations: A studio of their choice, and to create a city/country mix (Pop Punk is a very inner-city themed genre) I intended to film in an empty farm building, a huge corrugated iron warehouse with nothing but hay bales for the band to use as props when playing. This was to create a reflection between practising playing a song, as bands have to do religiously (and often forgotten: Music is both an art and talent that has to be perfected) and to show them performing, in their element. Unfortunately, due to circumstances such as band location, band scheduling and generally being busy the warehouse option became impossible to accomplish.

Initially, I had intended to film the studio shots in Plug Studios, in Norwich. A studio I was very familiar with from playing there myself on occasion. I had allotted 4 hours studio time with them and had confirmed with the band that this was the plan. Plug Studios wasn't too far a walk from the city centre, and as I was carrying a camera, tripod and lighting equipment, it was plausible. Unfortunately, the band told me that they were unable to attend to play the 4 hours, as many had to work later, and I was to be given 2 hours and 30 minutes. I was then told that they would no longer play at Plug Studios, and it would now be at Earth Studios, which is way out of the city centre. This meant I had to try and find transport, and ended up having to ask around very politely for a lift there. I then discovered I was only to be given an hour and a half film time, which I felt was not enough.
Furthermore, I was informed they were practising in general, and would not have the opportunity to film the song for my music video in the extent that I wanted to. This meant that about 85% of my footage is 'stock footage' of them playing other songs. This meant that I was to struggle in the editing process later.

When actually filming, it became apparent to me that my tripod was useless, as I had forgotten to bring the part to actually mount the camera. This meant my entire project was to be handheld.
I had initially intend to use my uncles camera. It was an HD camera that films beautifully and would have been ideal to film the band. It also captures sound perfectly, so I would have potentially been able to use a live track of them in studio. Unfortunately, during testing, it became apparent that the file type that it uses wasn't recognised by the software and rendered useless. Fortunately, my media teacher and I discovered this before filming. Unfortunately, it was on the day. Fortunately, he allowed me to use one of the cameras that the media department had. Unfortunately, when filming, I actually discovered the battery power was less than enough for the time that they had whittled me down to, and after an hour, the battery died, leaving me with 30 minutes to do very little. A few videos on my phone proved poor, so I had to settle for the hour of footage I had. This would have been okay, but the last half hour, they offered to play through 'Sword of Damocles' in more detail so I could get all the minute details or the intricate shots I wanted. Unfortunately I had to settle for the shorter clips, but, I had 2 full song recordings of it, in which I had filmed all instruments, all from very different angles. They played the song very well, Andrew offering input on what he'd like to do or how he'd like to be filmed, and Tom offering to sing in a certain way helped incredibly. However, he had forgotten the first verse to the song, and I had to prompt him.

Issues during editing:

I quickly discovered that I could only rely on the two full length recordings for the vocals. If I wanted a shot of  Tom singing, I would have to find a section of that song I hadn't used yet. Often I was able to replace him with a shot of Johnny playing Bass or Joel on drums, or Andrew doing backing vocals (even if they weren't in the line). This meant it looked scrambled, or fragmented, and made no chronological sense and took unpredictable turns. with regard to genre conventions, Goodwin outlines that the audience know what they want to see, and what they expect. As the singer begins the first line of a verse, you expect to see him sing it. As the drummer makes a fill, or the guitarist plays a solo or the bassist plays a bass hook that stands out, you expect to see them play. This takes the focus away from the parts you're trying to focus on. The aim of my music video was to focus on the musicians and their talent, and showing all the intricacies of how and what they're playing is vital, so not being able to show off the lead singer proved a bit problematic.

I also discovered, that I could only use shots of other songs if it was purely instrumental, and brief, as often
it was visually obvious that they weren't playing what you can hear. So plenty of filler shots made up the bulk of my music video. Another problem, is that in studio, the band play at a different tempo, or sing in a different way to the track, creating a divide between the original, and them playing the original. This compromised the synchronicity of my music video.

Another issue I faced, was simply spending hours on my project, and forgetting to save. Usually, not an extreme issue until your computer freezes. Simply overcome, by learning my lesson of not to be foolish and save regularly.

Issues post editing/pre-print production

I faced few issues at this stage. Photoshop is a programme I am familiar with, and have (limited) knowledge on how to use it, so learning the processes was not an issue. I got good feedback from my classmates about my music video, and the planning process for my print production was easy enough due to the fact I had already planned it when I got the single.

One issue though, which is rather major, is that the band broke up. The lead singer moved away to London, so I was unable to get any photos of them as a collective, which was tailored to my needs for my print production. Nevertheless though, I already knew my project was going to be photoshop based so I continued as I was.

Issues during print production:

The only issues I have found in this section of my coursework was keeping my work appropriate to the theme. For example, the original album art was cartoon animals, so I recreated the animal idea on the band as humans with photoshopped animal faces. Another idea I had was to have a 'Sailor Jerry' tattoo style album art, with tattoo themed writing of 'Dying Breeds' and 'Sword of Damocles' which would be relevant due to Pop Punk's strong relation with tattoos and piercings. However, I have had to whittle this idea down to a poster in my print design. A small problem, that has now given my final product an original idea and an extra element that would be aesthetically pleasing to the audience, which is vital.

Print designs

Front cover:



















Back cover:

Magazine cover:

Inside sleeve:
Inside poster:

 

Behind disk:
Disk design:

Print designs

 

 

 

Single cover ideas (FONT)

Playing around with some designs for my cover for the single.

 

 

Album Covers

Print Development.

 

Similar album covers

So, to create an album cover in a genre, you have to assess the genre and various principles involved in preparing an album art for the track.

Firstly, great graphic pieces are often successful. The sort of image that would make a great poster, or phone background. Usually these cross the border between trad-tattoo style drawing or obscene, macabre or obscure cartoon drawing. Something weird that stands out as visually impressive, essentially.
         

Secondly, artwork that involves a symbol is always effective, as people often memorise or idolise it. Again, it may become a background, or something that someone will draw over and over again, or enjoy wearing on a t-shirt, or a tattoo.

Some bands merely use their name, against a backdrop. Simplistic but artistic, without all the graphic work involved. This is most effective if the album is self-titled, as it needn't use a second heading (album name, etc) So, featuring just the album art is more detailed and perhaps says more.

The band may also have an established fan base already, so they merely have to throw out their logo or a recognisable feature for people to buy it. This links back to the symbolic element.

However, some albums go for the all-out random or irrelevant in terms of their album art. Something that has no literal meaning, but may be pragmatic, relying on the audience to dwell upon it. It may have no implied meaning through their songs or album, or even name, but  is either provocative or controversial in someway.

Of course, sometimes its simpler to just show the band, be it them, or them glorified in someway. Often strong or contrasting lights or colours make for a great cover.

However, sometimes the most simplistic but irrelevant are the most effective. Less is more is often a rule that can apply to album art.

Often, the most bizarre ones can end up confusing the consumer, and creating an over-crowded cover photo can ruin the credibility or appeal of the entire album. Going out of the ordinary with something visual can draw the attention away from the audible.

Going back to the 'random' or 'irrelevant' or 'provocative' element, often an album art can become the most famous or memorable element of the production. Nirvana's Nevermind album art is instantly recognisable for example.

 

Reflection

We screened our videos to our group who in turn reviewed us, giving feedback on what elements of the video they particularly enjoyed.

As a general opinion, the section with the four band members all playing their section at one time was successful; the 4 clips tiled showed a rounded perspective of the performance which everyone enjoyed. It also managed to avoid showing their faces, which was the initial intention.
I would like to keep my music video performance based, and everything else promotional. This would consist of graphic pieces or album artwork completely separate to the instrument element, but still involving the band as a unit.

Another element is that people enjoyed seeing the musicians tattoos or appearance. The feedback surrounding the band members was that the visual element surrounding them helped promote the entire image of the band, so when considering my digital work, this is something I have to highlight.

This would please the consumer or the audience on the level that they enjoy to see their band, but they wouldn't want to see them doing something serious. The guitarist owns a clothing label, which focuses on photoshopping cats onto various things, and their album art shows an illustration of the band with animal heads. This is something I want to adapt and work on; the illustration would be a good to re-create with them, but with real-life animal heads photoshopped onto them.

Performance analysis

I came across this studio video, by Parkway Drive. They do not follow the same genre structure as Pop Punk, but as far as studio performances are concerned, genre guidelines are irrelevant.

It shows exactly what a studio video requires. The editing of the video is appropriate, and the shot variety is fantastic. It shows all sorts of miscellaneous shots to introduce the video; tuning pegs, guitar amps and shots of them talking. It's perfectly cut to the beat, switching from mid to long shot on the bell cymbal at the intro.

The video is filmed in perfect grey-scale to give it a smooth, but metallic and shiny finish; the lighting is strong and everything is deliberately contrasting to match the black and white editing.

It doesn't show them as anything out of the ordinary when it comes to playing. They're not throwing themselves around like they would on stage, because the extra energy isn't required, and instead channelled through playing. This is why studio videos work so well; they show the determination that goes in to creating their music. This is an element I have tried to achieve through my video.

As for the colour finish, I'm not sure whether high contrast or grey scale is what my video would require, but I certainly aspire to have a music video as well-polished and as smooth as Parkway Drive have.

Evolution of Punk.

Punk evolved in two ways since its downfall: The birth of Pop Punk and the birth of Hardcore

Punk is a major genre that has split in many ways, but these are the two polar opposites. Punk can be divided into two categories: The ideology, and the image. The ideology of Punk was anarchical, and anti-establishment. This was presented through the political protest or the screw-society enigma it presented; often through the unedited or undoctored sound of the music, or the torn up, outrageous or provocative fashion sense. A clear example of imagine over ideology is Sex Pistols, who were the figureheads of commercial punk. They are reprented as dirty, provocative social outcasts who society have disregarded, or political hierarchical structures do not compensate for.

 

 

 

In the video for God Save The Queen, it's very clear what the image stands for. The opening shots show them standing around on stage to a backdrop of anarchic posters; the Queen's face against a Union Jack flag, with their title over her eyes, as a direct protest.

Their stance however, is very nonchalont, with very little interaction, which is a contrast to the angst in their ideology, and what we would expect to see of them. Their presence is minimal to focus on their image, which is how they are presenting their ideas of protest and anti establishment.

 

Punk then weakened, as the image grew out. Their representation was no longer presented through how they looked, as the generation grows up, or being become accustomed to seeing such striking or unordinary visual elements of a sub-culture; it was no longer protesting the way it wanted to. The focus therefore, came from the ideology and the meaning of the music.

Therefore, Punk re-shaped itself musically. Along came a generation of people who didn't care how they dressed, but had such fury or anger towards themselves or others. Pantera were at the forefront of this idea. Their song 'Walk' clearly demonstrates the emotions that was once felt in punk, and is intensified in more violent concepts in the new hardocre/punk crossover.

 

 

The stage looks fairly simple and their presence is more daunting or aggressive when playing. The lead singer presents his image in a more raw human form, a more masculine or militant presentation of image. The shaved head and tattoos are now the striking or aggressive connotations of the time.

The lyrics are simple and are about violent themes. Their body language consists of solid movement - far less fluent and almost effeminate than punk; clenched fists and stamping is a visual display of anger and their presentation of musical motive. Essentially, the representation of the bands in this genre is to emphasise the raw aggression and anger they feel. It's apparent the attention to image has gone, but the feelings and attitudes of punk have intensified.

 

 

Now in the modern day, this branch of punk is purely ideology. Known as Hardcore, the genre name is mainly reflective of the music. It's a very solid, very aggressive and unwelcoming sound, reinforced by the angry stage presence or actions of the band. The video below is for Emmure and their song 'Solar Flare Homicide' displays exactly how they are (or wish to be perceived).

 

The base anger and fast paced editing of their music video isn't overly depictive or defined in sense of their image, but the body language and human interaction between them all defines this as the next evolution (or arguable devolution or proliferation of Punk).

 

 

Alternatively, Punk took a completely different route. The elements of punk that were focused on the image, and evidently the camaraderie of the sub-culture has been carried through, but in a different sense. The focus has become less on being different or outrageous and focuses instead on the fun and the energy that the genre or sub-culture had to offer. This genre was Pop Punk

 

And far as the genre goes, New Found Glory are at the top, and have been for decades.
This video is a monument, and it shows exactly what kind of people they are; they are quite the opposite of must bands. They do not take their 'job' or 'profession' seriously, because to them, that is not what it is. They're guys that have grown up physically, but still have the teenage party mentality, and they're free. Therefore, they are fun.

This is exactly how they wanted to be represented. They don't want to present themselves as vulgar and offensive as Punk previously did; they portray themselves as funny, as friendly and as entertaining. They even show their fan base as funny.

They do not care for image or appeareance, hence the bassist showing off how fat he is in their video for 'My Friends Over You'.

 

However. This video is a whole decade ago, 10 years before Decade (an analysis piece on my blog) which is an example of modern Pop Punk. It has evolved, or more so grown up. Seemingly, it has returned back to the image concepts of Punk, as now there is far more focus on how the band is dressed, or how they look on stage or wherever else, than what they stand for. Motives aren't now anti-establishment, and stopped being when Pop Punk was born. It's now more about having fun, or being fun - quite the contrast to what Punk stood for. The focus is now whether a band member is attractive, or appealing to female audiences, or whether or not fellow musicians might admire a certain band member. Essentially, it has gained an element of theatrics or vanity; the outrageous visual appearances of Punk are now represented by the children of that genre, the casually dressed, but with maintained appearances, not the rugged dirty or carelessness of Punk.

This is visible in Young Guns' video for 'Bones'. The focus (minus the dancing girl narrative) is on the band, and mainly the frontman, as this is now the formula for the ideal Pop Punk band.

Essentially, Punk has made some form of decrescendo, in the sense that the two key ideals of Punk have dissolved or devolved into two different themes: The Look, and The Sound.
The look being the appearance and their presentation and the sound being the anger, the presence and the connotations of their band.

Performance conventions analysis (Tesseract - Concealing Fate pt 2)

Concealing Fate by Tesseract is a huge musical project that was filmed during recording.

As a performance based video it lays down some important rules;

1) cut to the beat.
-you can not have a performance video that is not cut to the beat. Complete synchronisation is required for the video to make visual sense.

2) Follow the pace.
-When editing it is very important to follow the pace of the song and match it to the edit. So, a faster section of song would require a faster pace of transition.

3) Follow the solo
-When a musician takes the solo, it is the focal point of the song. Therefore, it should be the focal point for the video.

4) Follow the intricacies
-Songs are full of little fills and parts that will only be fully acknowledged if you bring attention to them. Ensuring you have them shot and in time will enhance the song.

5) Film the whole band.
-The lead singer is not the focus of the band. He is merely the vocalist, and one of 4 or 5 usually. Capturing the band equally creates an all rounded music video and is vital to promote the song and the band as a unit.

6) It's a performance video
-There is not much need for acting or filler in a performance music video; it weakens the visual element of their performance and musicianship.

These 6 rules are ones I have followed with strong devotion when filming my music video.

The narrative structure for this music video is generally unconventional - the narrative does not follow a plot line or a story line, but it is in complete synchronisation with the music and follows the themes of the song. It also follows the musical structure of chapters (verses/chorus etc) For example, when the pace of the song picks up or slows down, the editing follows. Up until 0:40 seconds, the editing is slow, but when the drums enter the song and introduce the first section of song, it carries the speed of the editing with it. It can be referred to in similar musical terms - crescendo and decrescendo of pace.
The narrative is linear, completely reliant and proportionate to the development of the song - the narrative is the representation of the song; there are no inferences or hidden meanings behind shots, but the shots are effective in portraying the instruments playing that section in the best possible way.

This is genre atypical again; it's not pop-punk, but its also a performance (and obscure) genre. 'polyrhythmic' progressive metal and follows all the same performance conventions. The video relies on more intricate camera work and has a less demanding focus on other narrative features. The genre itself is far from 'glossy' or decorative. Image is not an issue either; all members are wearing plainly coloured clothes.
This is a contrast to Pop Punk. The analysis of Decade - Brainfreeze follows the genre conventions, but also the narrative expectations of the genre. The lighting is particular and exciting; a vintage feel is given by the plain hanging light bulbs. Mise en scene is addressed well; a very old-school look to the studio and they are dressed up fashionably (casually) and the editing progresses with the song.

My video is a cross of the two; my lighting is honest but effective; dual flood lamps gave the strong lighting element that Tesseract use, but without the determined solemnity that they have - Pop-Punk, and indeed the song I'm using is far too upbeat for the tone they hold. The song is upbeat and if they were to be solid in their performance, then there would be no enjoyment or any relevance for a visual element. However, due to the strength of their performance, the focus on the intricacies of the song (Rules 3, 4 and 5) and the narrative of the song is then therefore carried through their performance. My narrative is linear, with strong crescendo and decrescendo of pace. It follows all the audible elements of the song and captures them visually to all round enhance the experience of watching the video. It's very important for my video to have captured the minor sections of song in unconventional or unusual ways. Also, due to the genre itself, I found that my intention to use a barn was inappropriate to the video and didn't suit the narrative. The narrative being, pop punk being a very city-based genre - unrelaxed, upbeat. The fast pace of the song was more appropriately captured in a small confined space; the studio.

Genre analysis (of the band I'm using)

This video, is another video by the band, which reinforces all my previous statements about the genre. This is a self-sanctioned and financed music video by themselves; so they have exotic and bizarre lighting and their use of mise en scene is far more focused on the song: Monster Mashed is all about energy drinks, so hyperactivity and cans everywhere is a must - it creates a narrative in a way.
But the shot variety shows that these music videos are shot in the same way - the same shot types and shot angles appear throughout the genre.

Shooting Schedule

Shooting Schedule

 

Date and time	Location	Travel	Cast	Crew	Equipment	Props & Costume	Scene & shots
8:00pm – 10:30pm 14/10/13	Earth Studios	Lift down.	Dying Breeds – the band.	Me: camera.	Camera, Twin flood lighting	Instruments. Black and white costume scheme.	Entire shot sequence for studio
	~~~~~	Appeared somehow.	Jonny Percival	~~~~~	Bass, amp.	Bass, amp. Black tee	All shots for bassist completed
	~~~~~	Drove down.	Joel Mullin	~~~~~	Drums, sticks, cymbals etc.	Drums, sticks, cymbals etc. Black tee.	All shots for drummer completed.
	~~~~~	Drove down.	Tom Ralphs	~~~~~	Guitar, mic and amp.	Guitar, mic and amp. White tee	All shots for singer completed
	~~~~~	Drove down.	Andrew Jeckell	~~~~~	Guitar, mic and amp.	Guitar, mic and amp. Guitar pick with his own face. Black tee.	All shots for guitarists featured.