researching other music video's and seeing how other director's did their music video's helps give an understanding on what level your music video should match their level of professionalism, it also helps find out what kind of concept their documentary has this could help you to figure out what you want to get across through your music video.
Treatment
Finding out what kind of treatment other people have come up with and finding out their concept could really help you to decide what kind of message you want to get across to your target audience. also researching a treatment method could also improve yours in many ways.
Mood board
Making a mood board helps prepare for you music video because it shows you visually what is going on in your music video it also helps you to figure out what is missing in your music video. finding other people's mood board also gives you a kick start in starting yours.
Risk assessment for each location
Finding out what risk's that might take place helps make sure you know the types of accidents that might happen and how your going to solve these problems. also finding out what types of hazards and accidents that might occur could help others to prevent them from happening.
Ask artist for permission via Email, Twitter, My Space Etc (Music Videos only)
Asking for permission from the artist will help with starting your music video because having permission from the artist will give you some motivation in starting and finishing off your music video.
Timeline analysis of chosen song (Music Videos only)
Time analysis will help make sure you know whats going to happen in each step of the music video you want to create, this also allows you to numerically see whats going on in your music video. also having a time analysis of your music video will also helps make sure you don't miss out anything from your music video.
Storyboard
Having a storyboard set up will help visualize what your music video might turn out like and how you want it to turn out, this will give you a clear look into what your music video might include, also having a storyboard will
Animatic
Crew list
Shot list
Locations list
Budget
Film test footage/pictures of location reccy
Planning rest of Mise En Scene (clothing, props, make-up, effects etc)
Pitch to gain feedback (presentation to the class about the ideas)
1. How well did you work in a group? Give specific examples.
In a group we worked well together as a group because we all had the same idea of how we wanted our music video to turn out,which i think made us motivated to finish off our music video as well when it came to the editing.
2. What difficulties did you overcome in the production of the video and how did you overcome them?
There were many difficulties when it came to thinking about the concept of our music video, we couldn't decide if we wanted it to have a story line or if we wanted it to be a Performance, Narrative, concept or just mixed, we couldn't decide so we came together and decided it would be a concept music video.
3. What have you learned from your audience feedback?
i learn t that we could have made improvements in some ways but over all the general feedback we got back from the audience on YouTube and on the internet.
How has this video been edited? The video begins with a monologue about love and heartbreak by an unseen narrator. this video has a lot of short clips that have all been edited to suite the song. this music video has no start or end, it starts with the same scene. Multiple scenes of Rhianna and her lover are inter-cut throughout the narration, depicting them in different love and hate situations with each other. The two are shown as completely enamored with each other while engaging in fun activities together, including going on rides in a fairground and eating in fast food restaurants. During the chorus, images of drugs, various pills and dilated pupils are shown, while brief scenes of Rhianna and her boyfriend preparing to engage in sexual intercourse and their various stages of undress are shown. The chorus continues and the video abruptly cuts to Rhianna and other people at an outdoor rave, dancing to music. Calvin Harris features as the DJ during this scene.
Sences from the music video
This scene shows another shot of Rhianna being projected against by a blank wall in a room, this looks professional and very effective when the audience is watching.
The close up on the eyes in this shot show the eyes diluting. This happens when people have too much of a certain drug so this could be the diluting of the eyes after having a certain drug.
This scene is a jackpot machine with losers bouncing around the screen. This could mean that Rhianna and her partner are only going to lose what they have and this love means nothing.
The colours of this cigarette are changing into rainbow colours. This close up could be the bright and colourful colours you see while you are 'high'
This is scene shows them together, this shot is a 360 arc; this emphasizes that they are drunk because when people are drunk the room starts spinning around
This shot shows Rhianna being projected against a blank wall in a corner which makes this shot very effective and professional
Welcome to the world of Blue Screen / Green Screen composting! Once the exclusive domain of Hollywood special effects artists, blue screen composting expanded to include video and computer imaging. There are many mysteries to the successful execution of a blue screen composite and considerable confusion as to what a blue screen composite is.
What is Blue Screen Imaging?
(First a note about terminology: when I first wrote this page in 1995, the common term in use was "blue screen" composting. Since then the vogue has shifted to calling it "green screen". The broader term from the days of film optical effects is "traveling matte composite", but that has fallen out of favor. For now, this page will mainly refer to the process as blue screen, but almost everything here applies to green screen effects too, except where noted.)
Creating a blue screen composite image starts by photographing a subject in front of an evenly lit, bright, pure blue (or green) background. The composting process, whether photo-chemical or digital, replaces all the blue in the picture with another image, known as the background plate.
Blue screen composites can be made optically for still photos or movies, with dedicated real time hardware for live video, and digitally using software to composite still and motion images. Until the the 1990s most blue screen composting for films was done optically, and all television composites were done using analog real time hardware.
In addition to blue, other colors can be used. While green has become the most common; sometimes red has been used for special purposes.
Another term for Blue Screen is Chroma-Key. Chroma-Key is a television process only. A more sophisticated television process is Ultimate; also the name of the company that manufactures Ultimate equipment. Ultimate has been the ultimate in video composting for 20 years. With an Ultimate unit it is possible to create composites that include smoke, transparent objects, different shades of blue, and shadows. Ultimate now makes software that works with other programs to create digital mattes, either as a standalone program, or as a filter for programs such as Photoshop and After Effects from Adobe.
How does Chroma Key work?
The Chroma Key process is based on the luminance key. In a luminance key, everything in the image over (or under) a set brightness level is "keyed" out and replaced by either another image, or a color from a color generator. (Think of a keyhole or a cookie-cutter.) For example, a title card with white on black titles is prepared and placed in front of a camera. The camera signal is fed into the keyer's foreground input. The background video is fed into the keyer. The level control knob on the keyer is adjusted to cause all the black on the title card to be replaced by the background video. The white letters now appear over the background image.
Luminance keying works great with titles, but not so great for making live action composites. When we want to key people over a background image, problems arise because people and their clothing have a wide range of luminance tones. Hair, shoes and shadow areas may be very dark, while eyes, skin highlights and shirt collars can approach 100% white. Those areas might key through along with the backdrop.
Chroma Key creates keys on just one color channel. Broadcast and high end consumer cameras cameras use three independent sensors, one for each primary color-- Red, Green and Blue. Many cameras can output these RGB signals separately from the composite video signal. So the original chroma key was probably created by feeding the blue channel of a camera into a luminance keyer. This works, sort of, but soon manufacturers created dedicated chromakeyer's that could accept all 3 colors, plus the background composite signal, and the foreground composite signal. This made it possible to select any color for the key and fine tune the selection of the color tint, chroma level and luminance level.
As keyer's became more sophisticated, with finer control of the transition between background and foreground, the effect became less obvious and jarring. Today's high-end keyer's can make a soft key that is essentially undetectable. Some of the best modern Special Effects Generator Switchers from Grass Valley Group, Sony, and others can create composites rivaling the performance of a dedicated Ultimate unit. (Though they are not as good at removing blue spill, working through water or fabric, etc.)
Why Blue? Can't other colors be used?
Red, green and blue channels have all been used, but blue has been favored for several reasons. Blue is the complementary color to flesh tone--since the most common color in most scenes is flesh tone, the opposite color is the logical choice to avoid conflicts. Historically, cameras and film have been most sensitive to blue light, although this is less true today.
Green has its own advantages, beyond the obvious one of greater flexibility in matting with blue foreground objects. Green paint has greater reflectance than blue paint, which can make matting easier. Also, video cameras are usually most sensitive in the green channel, and often have the least noise in that channel. A disadvantage is that green spill is almost always objectionable and obvious even in small amounts, while blue can sometimes slip by unnoticed.
Sometimes (usually) the background color reflects onto the foreground talent creating a slight blue tinge around the edges. This is known as blue spill. It doesn't look nearly as bad as green spill, which one would get from green.
Traditionally, a single camera was used as the Chroma Key camera. This creates a problem on three camera sets; the other cameras can see the blue screen. The screen must be integrated into the set design, and it is easier to design around a bright sky blue than an intense green or red. However, modern Special Effects Generators (Usually just called "Switchers" in the US, more accurately called "Vision Mixers" in the UK and elsewhere) can accommodate multiple camera sources, whether as RGB analog, or SDI video, inputs.
Useful Tips
If you are going to step into the world of Chroma Keying, you need a few things first.
You need foreground footage, for starters. Foreground footage is your subject, and your color screen. You also need background footage, which is the scenery that is going to be replacing the color screen.
The color screen needs to be evenly lit so that it is the exact color all the way across. Shadows caused by poor lighting can wreak havoc on the Chroma Key process. Also, be aware of your foreground subject lighting. It is important to have two separate sets of lights, and to have the subject far enough away from the screen that the foreground lighting will not interfere with the screen lighting in the back.
Once the subject has been properly lit and the background color successfully keyed, it is time to add the new background scene.
When these two are placed together, your actor is suddenly transported from a large blue screen to anywhere you want the only limits are your imagination, and of course, what kind of film you can get your hands on.
This is a video all about chroma key!
Get Loose music video- Green Screen BEFORE and AFTER
Week1-Monday(7th of November) 1)Find Out When The Theater Is free and when can we use it. 2) Make Sure that we can use the drama room 3)get our props for the video ( that the job of the props director 4) take some flash back scenes for the music video( making it relate back to the song) 5)Take some close up shots of the protagonist/ and take some mid shots as well. 6)Record Warda Singing the song on the Macs/ Making sure that she knows the song .
Week 2- 1)Make sure that the flashbacks are edited 2)Take a camera out of school, and take some footage of different scenes around our areas 3)Make sure the protagonist is all dressed up and ready to take some footage 4)Make sure that the props are all set, for shooting 5) Make sure that we have enough footage , check through our time-line and storyboard match and check if anything is missing.
Week 3- 1)Check through that all our footage is ready for editing and if anything is missing, we film it and check over our storyboard and time-line again 2) Start Editing on Macs 3) Making sure that our footage is updated if we deiced to do shot some extra if we have more time 4) Making sure that we are editing properly, staying after school and doing some extra editing.
Week 4- 1)Make Sure that our Editing is Nearly Done. 2)Making sure that our storyboard and time-line match with the footage that we have taken 3)Make Sure Are Editing Is Done.
Group 1- questions for them : 1) can you show us the music video? What have i learned is that there is a really busy man and that they want to make a music video that - (I'm no superman- Lazo Bane)
Group 3 - i like how they all know where they are going to be and they have thought about each location. (there song is nick Jonas give love a try)
Group 4 ( Anthony) - N-dubz you should have put something on) The more
I don't want to make a scene I don't want to let you down Try to do my own thing And I'm starting to figure it out Cause it's alright Keep it together wherever we go And it's alright, oh well, whatever Everybody needs to know
You might be crazy Have I told you lately that I love you? You're the only reason that I'm not afraid to fly And it's crazy that someone could change me Now no matter what it is I have to do, I'm not afraid to try And you need to know that you're the reason...why I don't even care when they say You're a little bit off Look em' in the eye, I say I could never get enough 'Cause it's alright
Keep it together wherever we go And it's alright, oh well, whatever Everybody needs to know You might be crazy Have I told you lately that I love you? You're the only reason that I'm not afraid to fly And it's crazy that someone could change me Now no matter what it is I have to do, I'm not afraid to try And you need to know that you're the reason...why If it was raining, you would yell at the sun Pick up the pieces when the damage is done You say it's just another day in the shade But look at what a mess we made You might be crazy Have I told you lately that I love you? You're the only reason that I'm not afraid to fly And it's crazy that someone could change me Now no matter what it is I have to do, I'm not afraid to try
You might be crazy have i told you lately that i love you? You're the only reason that im not afraid to fly And it's crazy that someone could change me Now no matter what it is i have to im not afraid to try And you need to know that you're the reason why
