Wednesday, 11 May 2011
Final Music Video
Monday, 9 May 2011
Evaluation
Official Magazine Poster/Insert



Sunday, 3 April 2011
Official digipak pictures
Thursday, 31 March 2011
Diary Entry 31/03/11 - Problems with editing
Sunday, 27 March 2011
All about music posters
The Music Poster's Origins
One of Cheret's Music Posters
The first music posters as such were hand-drawn or hand-written handbills posted to advertise a local performance. The invention of the printing press changed advertising as much as it did literature. As commercial printing presses grew more sophisticated, so did the popularity of the printed advertisement. However, these printed advertisements were limited to text and crude art.
The advent of lithography in the late 18th century brought art and graphic arts to a much wider audience. Artists and commercial printers alike were able to reproduce works of art and advertisements in color. Lithography changed the art world and the advertising world by allowing images to travel in ways they never had before---in books, prints and posters.
By the Victorian era, lithography was an advertising staple and was often used to create posters that promoted popular entertainment. The popularity of musical entertainments during this period meant that music posters were among the most common of advertising posters.
The First Golden Age of the Music Poster---the Belle Epoque
A Belle Epoque-Era Music Poster
During the late Victorian era, the emergence of the Belle Epoque brought an emphasis on art and beauty to even the mundane. Thus, the era of the artistic poster was born, and the first great era of the music poster was born, as well.
French artist Jules Cheret is credited with popularizing the use of serious art and serious artists in poster advertising. Cheret not only perfected lithography techniques, but during the 1880s, he began to take commissions to create art especially for advertising posters. Soon, other serious artists---including Toulouse-Lautrec and Bonnard---began to take advertising commissions, as well.
As the Belle Epoque era waned to the Art Nouveau era, artists such as Alphonse Mucha began to take up Cheret's cause and create beautiful, artistic entertainment posters.
The Music Poster in the First Half of the 20th Century
A Stanley Mouse Music Poster
The Art Nouveau era was pushed aside by the Art Deco era, but music posters were pushed aside by two even more lasting contributions to the 20th century---the movies and radio.
As the popularity of film and radio, and later television, increased, the use of posters to advertise music and other entertainments aside from film declined. Music performances declined in popularity with the advent of radio; when a live performer did come to town, shows were often promoted on the radio.
Movies also played a part in the decline of music posters during this time. After the invention of the sound film, some of the most popular short film subjects were musical acts.
While posters were still created during this time, they were often handbills, or even marquees, which could not be preserved.
The Second Golden Age of the Music Poster---the Sixties
With the counter-culture movement of the 1960s came a new emphasis on the poster as advertisement. At no other time in history has the poster been used so effectively to advertise music.
While pop music had been around for at least a decade and had made major inroads into television and radio, bands just getting their start often had to rely on word of mouth and print advertisement for exposure. Artists such as Peter Max, Stanley Mouse, Alton Kelley and others created music posters that would come to define the art of the decade.
Taking cues from both the Andy Warhol-influenced pop art of the day and the Belle Epoque and Art Nouveau poster styles, the music posters of the 1960s blended both art and text in psychedelic posters that reflected the changing times.
The Seventies and Everything After
As the counter-culture of the 1960s became the popular culture of the 1970s, radio and television embraced the bands and the types of music that had once been considered underground. As a result, music posters once again faded as a primary form of advertisement.
The punk and hardcore scenes that emerged in the late 1970s abandoned the art of the 1960s, embracing a DIY attitude. Music posters re-emerged, but in the punk era, they took the form of photocopied handbills.
The music poster's decline continued in the 1980s, as MTV and other television stations became the primary way for bands to promote themselves. In the late 1990s and 2000s, the Internet dealt the music poster its final blow.
While music posters can still be found adorning college dorm walls, they are no longer the artistic form that they once were. Music artists no longer need posters to promote themselves, and, as a result, the modern music poster is more likely to be a blown-up photograph of the artist rather than an artist's rendering.Here is a video with a couple of music posters:
Friday, 25 March 2011
Sunday, 20 March 2011
CATASTROPHE
Wednesday, 16 March 2011
Saturday, 12 March 2011
Photoshop

editing in photoshop from Sarah on Vimeo.
Wednesday, 9 March 2011
Diary Entry 09/03/11 - Pre-filming talk
Tuesday, 8 March 2011
Green screen
Friday, 4 March 2011
Friday, 25 February 2011
Research into digipaks
Digipaks typically consist of a gatefold (book-style) paperboard or card stock outer binding, with one or more plastic trays capable of holding a CD or DVD attached to the inside. Since Digipaks were among the first alternatives to jewel cases to be used by major record companies, and because there is no other common name for Digipak-style packaging made by other companies, the term digipak or Digi-Pak is often used generically, even when the media holder is a hub or "Soft Spot" rather than a full plastic tray.
Digipak-style packaging is often used for CD singles or special editions of CD albums and the tall DVD Digipak (DVDigipak) is used as a premium package for DVDs and DVD sets. Because such packaging is less resistant to abrasion than jewel cases, it tends to show signs of wear relatively quickly. Licensed digipak manufacturers such as domestic U.S. printer and disc replicator Oasis Disc Manufacturing recommend coating the raw printed paper with a protective UV coating, thus ensuring greater longevity. (wikipedia)
Friday, 18 February 2011
Thursday, 10 February 2011
Wednesday, 2 February 2011
MUSIC VIDEO PHOTOSHOOT
Wednesday, 26 January 2011
Thursday, 20 January 2011
Diary Entry 19/01/11 - Getting ready for filming
Friday, 14 January 2011
All Pre-Production work
The video starts with an establishing shot of Trafalgar square in central London. It is nighttime and the square is lit up by the various lights.
FAST CUTS of other landmarks in central London such as Big Ben, London eye, London bridge, River Thames etc until Pink starts singing.
CUT to the band standing in a row with their backs turned. They seem to be on some sort of empty road in the daytime. They start moving around appearing as if they are looking for something behind cars and dustbins.
Cut to front view of band, all wearing casual clothes ie – jeans and tops. They begin lip singing to the lyrics of the song while dancing up the street. (during this scene, various shots of different cuts from different views. Ie . long shots, close ups, birdseye view shot etc. )
When chorus comes CUT to a stage where the band are performing in front of a crowd. Everyone is lip synching The band are a little more dressed up now – wearing things like tailored shorts, blazers, vest tops. Also goth looking makeup such as black eyeliner and black lipstick. Rae on the drums, Lucinda on the mic, Dutchie on the keyboard and Setareh on the guitar. The girls are clearly giving a performance which the audience are loving. Lots of movement like jumping, good stage presence. (once again various shots will be used with fast cuts to make it a very fast paced video.)
Before the end of the chorus the girls fall back on stage CUT to them falling back on grass at a park. The girls are back in casual clothes (makes it seem they are back in their normal lives where they are not performing.) They are playing around in the grass and on swings and slides at the park, lip synching and being aware that the camera is there. (almost like they are recording themselves.) Once again different shots of the scene are used with fast cuts to keep up the pace of the video.
Chorus scene is repeated again (Stage performance) with minor changes such as interacting with audience by holding their hands or throwing things to them.
CUT to a bedroom scene where all the girls are in pyjamas…The shirt and bottom types that mainly men wear. Focus on Teri lip synching slow part while the other comfort her. Various slow cuts of shots of this
While the chorus approaches the girls decide to have a pillow fight to increase the pace of the song again. Back to a very fast paced song with fast cuts.
Finish off song alternating between shots of stage performance and pillow fight scene.
Animatics
At it simplest, an animatic is a series of still images edited together and shown in a sequence. Rough dialogue and a rough soundtrack are then added to these images to test if they are working effectively together. With this the directors and animators can then work out camera positions, shot lists and any timing issues. The process is repeated until it is perfected An advantage of using storyboards is that it allows the user to experiment with changes in the storyline to evoke a stronger reaction of interest from its target audience.
This is my simple animatic for a possible version of the 'So What' video
Recces
Thursday, 13 January 2011
similar text
An interesting note about the group is the unique way in which they chose to promote themselves. Since they are fans of Japanese animation and manga, they wanted to be represented in animated form, turning each member into an animated character. The animated Scandal is featured on a series of promotional videos on the band's website. (wikipedia )