Our (redrawn) storyboards

These are the storyboards for our music video. Admittedly, these are not the original storyboards as the originals were lost, left at the set of the shoot. The new storyboards were redrawn as close to the original plans as we could remember, with the assistance of footage from iMovie. 

Digipak ideas

Initital ideas; 
Front cover: rasterise a text layer of text consisting of the letter l spanning across the width of the page and stretch it down, creating a striped background, reducing the opacity if it's too bright. Use an informal font (Terminal?) and put it on a slant for the band name. Use newpaper clipping generators on the internet to create either the title of the song or maybe scatter them along the bottom of the frame. The clippings would be words or phrases associated from the song, such as "homicide" or "Two found dead". If we chose not to use the clippings for the title, we would do something similar to what we did with the band name, although it would be in the middle and not on a slant.

Back cover: continue the clippings and stripes from the front cover. Have either a silhouette of the band members or the two bodies. Maybe have a track listing with another Odd Shaped Head song as the B-side?

Hitchcock's Vertigo poster, something similar to that but with a block black silhouette.

Ideas for the other panels: Have a four panel split with the band taking up three and something else in the last one (the bodies or something?) done in a similarly tongue-in-cheek fashion.

A page from the inside of the Oasis - Dig Out Your Soul digipak

The front cover of Blur - The Best Of. We didn't have Britpop in mind when we thought of the idea but maybe that's a look we could go for using filters.

Stiff Little Fingers tour advertisement analysis

 



 

 

Stiff Little Fingers are a traditional punk band who were most popular during the early 80's. This poster for a recent gig is a refreshingly blunt reminder of the mantra of the band.

 

The strong contrast of the red on yellow give the impression of urgency and power. The main image, the back of two fingers gesture, was one synonymous with the punk movement and so would be recognisable to those who have not heard of the band. The combination of brasen colours, image and large, sans serif font present the band as loud and passionate, albeit not to everyone's tastes.

 

The borders of the text boxes are coloured as if the text itself was spray painted using stencils. This adds to the underground and yobbish theme of the poster, which in turn connotates to the band and their music.

 

 

 

  

 

The iconic Che Guevara motif, which uses similar colours and rough, graffiti-like textures to appear imposing and authoritive. A revolutionary, much like the punk movement itself. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

De Staat - Wait For Evolution promo analysis



This promotional poster for De Staat's first album, Wait For Evolution, combines some elements from film posters and music posters. The band member's names are listed in a manner often seen in movie posters, with lead singer Torre Florim being both the "headline" name and at the forefront of the image. The font is bold and sans serif, making it easy to read and serious thematically. Other information, such as who did what on the album, are in a smaller typeface below.

The clothing worn by the band members is neutral to not clash with the sepia, weathered filter. The advantage of the filter is that the overlaid album logo and text pop really well against the background. The wolf and the font used in De Staat are the same as those found on the Wait For Evolution album, giving a sense of brand recognition and identity. Speaking of which, the aforementioned font is itself weathered, making it stand out from the album title underneath.

Editing notes: The timings of Corpse in The Kitchen

Track length - 3:55

(Track times decending)

Intro - 3:55 to 3:41 (six seconds)
First verse - 3:41 to 3:30 (eleven seconds)
Instrumental - 3:30 to 3:18 (twelve seconds)

Second verse - 3:18 to 2:54 (thirty six seconds)
(in second verse)
Start of second verse to first "corpse in the kitchen" - 3:18 to 3:14 (four seconds)
First "corpse in the kitchen" to second "corpse in the kitchen" - 3:14 to 3:08 (six seconds)
Second "corpse in the kitchen" to third "corpse in the kitchen" - 3:08 to 3:02 (six seconds)
Third "corpse in the kitchen" to fourth "corpse in the kitchen" - 3:02 to 2:54 (eight seconds)

Chorus - 2:54 to 2:28 (thirty four seconds)
Instrumental - 2:28 to 2:16 (twelve seconds)
Repeat of first verse - 2:16 to 2:04 (twelve seconds)
Instrumental - 2:04 to 1:52 (twelve seconds)

Third verse - 1:52 to 1:28 (twenty four seconds)
(in third verse)
"I did warn you not to hear" - 1:40 to 1:34 (six seconds)
"There are two dead bodies here" - 1:34 to 1:28 (six seconds)

Chorus - 1:28 to 1:02 (twenty six seconds)
Instrumental - 1:02 to 0:50 (twelve seconds)
Repeat of first verse - 0:50 to 0:38 (twelve seconds)

Breakdown (first phase) - 0:38 to 0:26 (twelve seconds)
Breakdown (second phase) - 0:26 to 0:14 (twelve seconds)
Breakdown (third phase) 0:14 to 0:02 (twelve seconds)
Outro - 0:02 to 0:00 (two seconds)

The shoot - complications/solutions

We planned that we would start filming around 5pm until about 8pm, have a break and then continue from 10pm until we finished when everyone else who would be in the video got there. We had marked off on our storyboards the shots we could do in the first time slot (the band shots and a couple of others) and done those first.

In reality, less people came to the party/filming than we expected, and so we had to adapt our storyboards to accompany less people. An example of this was the opening, which was originally going to be a POV of someone walking in to the party to evoke the party feeling in the viewer and make them feel part of the video. As there were not enough people to create the energetic atmosphere we wanted, we shortened the sequence to keep the pacing acceptable. Another was the final chase scene, partly due to the lighting conditions and having three people (in the band) running away from two people. To rectify this, we had one of the runners holding the camera, making the action feel more threatening and immediate.



We made notes on the day of where props and people were positioned in the frame in order to maintain continuity throughout. This was especially important between the two filming periods, as it was easy to move something (bottles, chairs, cushions etc) without thinking about it.

An example of which would be the arrangement of bottles in the background.

Some problems arose with a couple of shots we wanted to do, such as low angles filmed from the floor looking up. Since we couldn't use the tripod from there, we had to film several takes of the same scene to find one with the least amount of camera shake.

Response to our pitch

Our pitch, while unrefined, gave us an insight into our audience's expectations towards a music video in our genre. The song went down fairly well as its pace and lyrics give us a starting point on which to base a video. The ideas themselves were less well recieved, with concerns over the vagueness of some of our highlighted shots and plotlines.