CO - Evaluation Question 4 [DRAFT]

How did you use new media technologies in the construction and research, planning and evaluation stages?

• I will include a large comprehensive list of all the difference types of technology that we used throughout the construction of the texts, including software too, and discuss their effectiveness.
• Similarly, we will talk about the use of sharing websites that utilise media platforms to share our music video with the online community, and gainn feedback through comments regarding our video.
• I will also discuss the implementation of websites to help research the common codes and conventions of the music videos we were studying so we could use them in our video; in addition, we used websites like Wikipedia to research various theories, record labels of the genre, so we could help streamline our research and our ability to apply it to our video.
• In addition, the use of social networking sites and their clients; Twitter, Tumblr, Facebook, YouTube, Soundcloud, MySpace, Bebo and more, and also the impact they had when being used for our video. 
• Tools used for editing will also be included, such as Final Cut Express, iMovie, Photoshop and how we used them.

CO - Evaluation Question 3 [DRAFT]

What have you learned from your audience feedback?

• For the feedback evaluation question, I will start by talking about the main target/primary audience and what they would expect, but also discuss secondary target audiences as well.
• Discuss in depth the means of communication we employed to help gain software from a number of different people; talk about new media technologies, integration of social networking such as Twitter, Facebook, SoundCloud, MySpace and more (comment on effectiveness of these platforms) 
• Discuss the usefulness of the feedback; not all of it was constructive or good in any way, talk about how we didn't use some of it judging on what was commented on.
• Similarly, I will also talk about how we felt about the feedback we were given by people, and whether we took it on board or rejected it. 
• To summarise, we will discuss the usefulness of the feedback on a whole.

The main feedback for our music video focused on these points

• We took out all the shots where the houses were noticeable by either erasing the shot entirely or editing the scaling of it and cropping it until the houses were out of shot, creating a mis-en-scene.
• Edited out some of the effects and layering styles we included when creating the video, due to the fact that they didn't fit in or looked bad/not in keeping with the text
•  Similarly, feedback caused us to add a lot of varied yet subtle effects to help give our video a bit more of an edge, and incorporating new media technology
• We tried to integrate a four-shot into the performance but our feedback told us that it didn't really work with the other, faster and quicker shots of the section
• Another big point of feedback revolved around the diegetic introduction being too long and not needed, we reduced this a significant amount
• We included more shots of Sam in the performance after getting feedback stating that he wasn't in enough; we changed this by increasing the scale and cropping.

We also got quite a bit of feedback regarding our digipak;

• Our first design for the front panel featured a vector Flash trace of a stage on a celestial background; while all of us within Sublime Transcendence liked the design, some others thought the vector gave the digipak cover an unwanted cartoon-y feel, so we revamped the design totally.
• The designs were favourable afterwards, yet we had incorporated some found images in the creation of the digipak and we were trying to avoid doing this; to remedy the possible plagiarism, we went out and took the shots we wanted ourselves, in a similar style to the found ones.
• Another point brought up during feedback was that the first drafts of the digipak didn't integrate many elements from the other texts, though this applied to our first design only.

...and regarding our magazine ad;

• The main point of the magazine ad's feedback was that the background apparently had no relevance to the video, even though we all thought it did, so we compromised with this feedback.
• Similarly  the digipak,. the first magazine ad designs didn't involve much integration with the other two texts.
• The first designs, according to our teacher, didn't fit in with the common codes and conventions of the target audience, such as magazine adverts that would be found in Metal Hammer/Rock Sound etc.

CO - Evaluation Question 2 [DRAFT]

How effective is the combination of your main products and ancillary texts?

For this evaluation question, I will mention a few important topics; the themes, codes and conventions that are coherent throughout the digipak, the magazine ad and the video in relation to other texts, the task's relation to the real world (as all three texts would've been created by separate companies) and also brainstorm examples of digipaks, magazine ads and music video's that don't have any form of integration, going against that convention.

Below are some of the combinations of key themes that Sublime Transcendence have incorporated throughout the texts we made;

• Inclusion of isolated, rural, eerie setting; occurring throughout the digipak's panels, the mag ad's background and the performance and narrative of the music video. 
• Similar shooting style and mis-en-scene are combined in both the music video and the mag ad; they both feature bloodied-up band members and instruments in a rural setting, though the framing is different.
• A degree of image and layer manipulation through all three texts, eg; black-and-white filter in magazine ad,  the layering and opacity manipulation in the music video, and the colour correction and filters within the digipak. 
• We did actually have a few binary oppositions too, a few aspects that go against the convention of integrating all the themes into every single text; these included the fake blood being present in all texts apart from the digipak, some of the photographs that were intended to be shot having their location taken out of the final product due to their inability to access, amongst other reasons.
• The unseen, enigmatic antagonist of the video is only seen in half of the video; we will explain this in a lot more depth later in the evaluation but we wanted the creature to be as unseen as possible, whilst retaining a presence, so we decided to depict what it had left behind in the magazine ad, and its location in the digipak, though no shots of the creature itself.
• The time of day also differentiates throughout all three texts, for the panels of the digipak, dusk, dawn and midday are all featured (we wanted to avoid the night cliché), there is dark and light within the music video, and total darkness in the magazine ad. 

RM - Research in Music Video Directors P. R. Brown

P. R. Brown is a graphic designer, photographer, and music video director. As well as being well known for directing music videos he is also known well for designing album covers. Some of the album covers he has designed are for Mötley Crüe, Korn, Godsmack and Marilyn Manson. However he has directed music videos in a range of ranges. Bands he has directed music videos for include Bullet For My Valentine, My Chemical Romance, The Smashing Pumpkins, Slipknot and many more.

Click here to see his full filmography

Sourced: Wikipedia




Each time P. R. Brown produces a music video he either tries to follow it on from the previous music video produced, an example of this would be My Chemical Roman's "Sing" with their music video following on from their pprevious single "Na Na Na (Na Na Na Na Na Na Na Na Na)", or tries to create something a little different compared to the band's previous videos. He has also known to take inspiration from films including The Road. The following extract is taken from an interview with VEVO talking about Lamb of God's music video for “Ghost Walking” which he produced.

P.R. Brown: I got a basic brief from the label as to where the band was going with its visuals and message for the whole album. And we made a teaser for the album a few weeks ago. It had snippets of one track, and a lot of the imagery was around Armageddon. It’s from the band’s perspective of there being no one left to save. It takes on this found-footage feeling of an underground movement that’s just about the end times, basically.

VEVO: Something that would parallel the film The Road?

P.R. Brown: Perfect call, yes. That’s the vibe of the album. So with that in mind, it was “how to do we make a lyric video with that kind of sensibility?” It was kind going into the notion of found archives and redacted text that the lyrics could come out from. The band has redacted text in their album art work as well. So that was the backbone for creating the lyric video: what would it be like if I found all these hundreds of documents with cryptic messages in them.

The full interview can be read here.

This is a similar approach to the music video we are producing as the main inspiration for our music video is the film "An American Werewolf In London".

CO - Digipak's relationship to video and original images

I created the digipak's designs with the same idea that I'd had with the magazine ad, and that was to create a recurring theme through all three media texts. The main idea I wanted is that of the location and surrounding area that we shot; this involves Ilkley moor, stills from the wood where we shot our video and other varying areas of greenery. Our original plan was to shoot at the 12 Apostles on Ilkley Moor, but this soon became problematic as we could not get the equipment up there, especially in the snowy conditions we had.

The 12 apostles credits section background.

Still, we used an image of the 12 apostles anyway because of the foreboding and isolated appearance of it, and also due to the aspect of intertextuality it had with Stonehenge, i.e the Spinal Tap-esque feel, but not as tongue-in-cheek.We used quite a lot of pictures from this area, and used Adobe Photoshop to edit them subtly, I decided to go with black and white undertone.

Another shot we used, for the back panel.

This is the front cover; featuring a forest
canopy, edited with instagram. 

Magazine Ad - relationship to video & original images

Another shot I played around with.

When I was creating the magazine advert for our group, I thought it should have a strong theme that echoes through both the advert's layout and also links in with our music video, forming a sort of contextuality through both media texts. I had done a series of drafts before the final one was completed, and those also related to the video, and included pictures, stills and more, but the backgrounds needed work and were not prominent and detailed enough.

Here are the original images that I took for the advert's background. I created these by lying my guitar down in the grass and covering my arm in food-colouring (the colouring was blue, so I had to make the image black and white instead) to give the impression of a bloodied band member, a theme obviously recurring throughout the whole music video.

The final image used for the advert.

One of the runner-up ideas, I liked the torch
aspect on this one.

SB - Relationship of Artists to Genre

Miss May I

Metalcore is a very formulaic genre with many bands falling under the same sound. This is very typical of bands who fall under the Rise Records label, they're often ridiculed and parodied because of the similar musical style and influences and the majority of them sound very 'cut and paste' examples of bands like this are Attack Attack!, Miss May I and Make me Famous. These bands stick to the formulaic conventions of the genre heavily and don't really try to differ from the conventions, and follow all the rules, such as incorporating multiple breakdowns, dischords, clean vocal passages and dowtuned riffs.

The Devil Wears Prada

However there are bands who challenge the rules and can still be classed as a metalcore band. Examples of this are The Devil Wears Prada, letlive (to a certain extent) and Underoath. These bands are seen as changing the genre and often disregarding some of the common conventions. The Devil Wears Prada are famous for starting off like a typical Rise Records band. (regarded as the first band to start that trend off) They quickly left Rise Records and joined Ferret who are a more hardcore orientated label and started to incorporate more of the hardcore elements in their music. Gradually over time the band has got heavier and heavier while other bands (normally on Rise Records) have got less heavy and started to become what TDWP started out being. letlive. are a band that have incorporated many genres into their music they can be labelled as hardcore or metalcore but really they oppose genre and don't want to be caught under the same net as typical metalcore bands.

CO - Using Final Cut Express

As a way of incorporating the use of new media technologies, classes this year and the year beforehand have heavily advocated the use of Final Cut Express, a variant of Apple's hugely successful Final Cut Pro. This rather fantastic utility allows users to import footage in a variety of formats including .xml, .mov, .mp4 and many more and use a whole host of different tools, appliances and devices to edit whatever you want. We all thought that the use of Final Cut Express helped us extensively throughout the video's creation, and still is. It was of course a huge step up to being restricted to iMovie '08, which was the program that a majority of us used last year for our film openings, as we got to use so many more features; notable examples on our video include (or will include when we're done with it) various "hot colour" tints such as deep red and sepia, glows, fades, possible dazzles, the earthquake effect (which obviously shakes a chosen focal point to simulate a tremor) and a lot of fade in/fade out/cross dissolve transitions. However, the main effect that we used in FCE was the use of the bezier brightness and contrast slider, where we darkened and lightened shots we needed, which we couldn't do before. To summarise, the use of Final Cut Express has greatly helped Sublime Transcendence achieve all we wanted by using effects and precision within the post-production stages of our video.

CO - Role of Audience Feedback

As we near the end of our production stage of our music video, we can safely say as a collective that audience feedback has been an extremely important and significant part of the creation of the video. Without it, we would not know what to expect from a wide demographic or a second target audience, let alone a first one, and each session of feedback has helped us strengthen both our performance and our narrative as we worked on it. The audience feedback ranged from smaller points such as "This person could be wearing this instead of this to create a better mis-en-scene" etc. to much larger points such as "I recommend you film in an entirely different location", both of which we took into account and used to help better our production. Similarly to that we also took into account more technical aspects, such as improvements that could be made using Final Cut Express, and also utilizing parts from its large palette of effects to incorporate the use of new media technologies into our music video.

CO - Representation of Gender in our video

To begin with, it would be important to note that our video roughly features the gender-based conventions of most metalcore/metal, as the most predominant feature is the fully male lineup of Sunburnt In December. Most bands of the genre have this gendered approach, such as August Burns Red, The Devil Wears Prada, The Acacia Strain, Periphery and more, just off the top of my head. Going against this convention however, are bands such as Kittie, Arch Enemy, Aliases, Eyes Set to Kill, iwrestledabearonce! and more all feature female  

Leah from ALIASES, a prog-
ressive metalcore band, a subgenre near
our own one, defying the convention
of all metalcore bands having all-male members.

vocalists or members. We realised that we had the all-male set that the target audience for our genre would recognise, yet within our actual video's narrative, we tried to break away from convention a little bit, because of the reason that it is often a final girl/scream queen that is obviously chased by an unseen being, inhuman or other, and all of us in Sublime Transcendence agreed it was a good idea to have an all-male cast, not just for practicalities, but so we could link it well to the performance whilst forming a binary opposite to the more conventional female leads.

All - Budget

Whilst creating our music video we have had to work with a very limited budget, like all groups which across the year. The only time we needed to buy items was creating the fake intestines and fake blood.


The items we bought to create the fake intestines, and there prices follows:
Tights - £3.50
A lot of kitchen roll - £1.25
4x Strawberry Jelly (125grams) - £0.37 each

The items we bought to create the fake blood or as follows:
1x Golden Syrup (454grams) - £0.99
1x Red Food Colouring (38Ml) - £1.05

We also bought and used some fake blood however we feel that the fake blood we created is of higher quality.

Here is our vodcast on how Sam created the fake intestines:

All - Final Digipak Designs

Here are the main panels that we are using for our digipak, all have gone numerous feedback-induced changes along the way. We plan to use some images of the landscape for possible additional panels too.

Front panel.

Lyrics.

Credits.

Back panel.

CO - Latest Magazine ad edition

I have just completed the latest edition of the magazine ad, this time including all the feedback we got from the last effort I made. It includes aspects of layering and a whole new design, focusing on a still from the music video, a bloodied band member with a discarded instrument. To see the image in its maximum resolution (the filesize is massive), click this link.

All - Feedback on Latest Rough Cut

For our latest rough cut we got the following feedback:

• Remove all the shots that contain houses. We have managed to cut these shots out by rotating and panning into the shots.
• Remove all explicits although the "Bleeps" need to be added to add to the humour of the music video,
• A possibility to link the first shot into the second of the introduction is to fade the moon into Conor's face. Also extend the transition and zoom into the moon,
• The diegetic introduction is too long and needs to be reduced. At the time of receiving these notes it was around 36 seconds however now we have managed to reduce this element to by reducing clips that go on for too long.
• The need to use more transitions that fade ins/outs. An example of this is trying a four shot split screen of each band member picking up his own instrument. When we tried this we felt it didn't suit the genre of our music video.
• There is a need for more close-ups of Sam, especially in the intro of the song. There is also a need to reduce the amount of group shots incorporated.
• Earthquake transitions on close-ups of guitars.
• Bring the narration soon earlier,
• During the chorus focus more on Mitch instead of the rest of the band,
• Include artificial zooms
• Include more multilayering at specific times (particularly in darker areas and skyline in lighter areas),
• The claw shots are too quick. There is a need to give the audience the chance to establish what is happening. Also need to cross-cut between the chase and performance aspects.
• A need to think about the song and certain aspects and reflect it in our editing.
• Slow down footage to produce a slow mo effect if there is not enough gore,
• Remove any awkward shots i.e. A shot of Sam where he stops moving to remove some of the fake intestines,
• The narrative aspect needs more sense of a creature lurking on the more. Also the possibility of creating a false scare,
• Shots of the moon incorporated into other shots in the narrative gives more sense of a creature.
• Re-dub Conor's lines "Guys Im going for a piss" to something similar to "I'm going to be one at nature" adds to the humour also have a diegect zip,
• Slashing noise followed by a shot of blood rushing down.
• There needs to be more shots of the creature to anchor what it is,
• Also a need for more close-ups and extreme close-ups of Sam,
• A possibility of red liquid being spat out. However in our first shoot we did try to create this with red blood capsules it didn't work but we could try and use a different substance in the form of a liquid.
• The narrative aspect needs to be more dynamic also needs to come in earlier.
• To add further humour to the music video we could include a portable barbecue which intestines are thrown onto. Later on in the music video a band member could eat these. The video also needs more gore.
• Another possibility to colour saturate the snow in where Mitch and James fall over to red, signifying the two slipping on blood rather than snow.

All - Full Rough Cut 1

Here is our first full rough cut of Sunburnt In December's "Like A Match To An Arsonist". This full rough cut contains both narrative and performance aspects. We already have some feedback on how to develop this edit and are planning to receive more in the very near future.

All - Vodcast 3: Making Fake Intestines

In this vodcast Sam shows you how to create fake intestines, which were used in the video "Like A Match To An Arsonist" by Sunburnt In December.

All - Storyboard

Here is our storyboard for Sunburnt In December's "Like A Match To An Arsonist".



Sunburnt In December "Like A Match To An Arsonist" Storyboard

ALL - More feedback

We have edited another sample scene and got feedback on it from the class,

• Remove all swearing
• Get rid of shots done on the second camera because they contrast way too much with the quality of the main, first one
• Consider reshooting, again, due to the location not being remote enough 
• For the narrative, get rid of most of the dialogue in the introduction and focus on the mid shot of the cigarette being lit
• Keep the shots of torches on the ground 
• Delay the beginning of the song and the band playing and continue with the diegetic intro and the narrative
• 
  

SB - Editing All Of Our Footage

At the moment we are editing the footage that we filmed on sunday and monday. We have found some problems with lighting in the narrative shoot but we have found a way in which we can make the shots lighter, by playing around with the brightness and contrast of the shots.

We have cut up all of our performance and found a large contrast in quality between both cameras we used which could be a problem however we will try to include fleeting shots taken by the camera with the worst quality.

We have included a lot more shot variation from our first shoot such as close ups and a lot more framing

ALL - Performance footage update

Yesterday, Sublime Transcendence and the other members of Sunburnt In December met to film the performance of our Like A Match To An Arsonist video. Unfortunately Jem wasn't there as he had 'work' so we drafted in our friend James Newton to play bass. Before they arrived, we all started making the props; these includes making the fake blood (cunningly fashioned by mixing hot golden syrup, water and red food colouring) and intestines created from jelly, tissue paper, and the freshly-made fake blood.

The rest of SBID then arrived and we set up the drums and guitars in the same location as our last shoot; the snow covered much of the surrounding area (as it tends to do) which masked the road behind us and also some of the houses, giving our location a much nicer look and a more remote one. We recorded a whole lot of coverage, over an hour of performance, much more than we shot last time, which was about half of that, maybe even less, and we made sure we used a lot of more camera angles and techniques due to the use of two cameras rather than one. We had decided to film, effectivly, every shot with the two cameras therefore leaving us two different angles per one play through.

The band also played with playback this time. Therefore there is less chance of the band being out of time unlike before.

We are importing the footage today however it will take longer as we have more footage than previously as well as having to import the footage from two cameras. However we aim to start editing the footage as soon as possible.

One problem we have noticed while looking through the footage is the possible continuity error of the snow, we filmed in the snow and now the snow is melting away.  This could cause a problem when we film our narrative as there is less snow. We could mention this in the video with some dialogue, but it's going to be very hard to slip into the conversation.

ALL - Feedback from first performance cut

During editing for a full sample video we have discovered a numerous amount of errors.






Last time filming the decision was taken that, when close-ups are were being shot the only person in his position is the person being filmed. This means that shots which are good and are suitable for the videos can't be used because the shot reveals that he his playing by himself since there aren't any band members around him. Too add this this cars and houses are also in the background of some shots.






Another issue was that we didn't gain enough covered of the band as a whole. This has lead to use using two shots, one from behind some bushes and the other being in front of the band, for the majority of the time when the band is being shown as a whole. As well as this the band didn't play with playback therefore in stages they are out of time either by playing the song too quick or too slow.






To solve these issues when we next film, which is planned to be this Sunday, all band members will have playback. We will also try to use two cameras in two different positions to obtain more footage in the same time frame. We are also planning to film the diegetic intro and some narrative aspects depending on timing. The latter two will be filmed at night

SB - Miss May I - Masses of a Dying Breed Deconstruction

Band: Miss May I
Song Title: Masses of a Dying Breed
Year: 2011
Genre: Metalcore

Directors: Bradley R. Golowin & Kevin Prose Cross

Target Audience: 15-24


Using Goodman's theory this video would fit into all categories as there is a narrative however it is un related to the lyrics, as well as some performance footage. The video has very fast takes this links in with the genre of the song, (metalcore). When we film our video we need to take this into account and film a large ammount of shots so we can edit between them easily.

The shot variation and the framing in the video is very good. In the video there are a large amount of clsoe ups on individual band members and their instruments, in these shots the camera is usually moving wether it being in a handheld fashion or tracking. The handheld movement makes the band member playing their instrument look more dynamic when they move and signifies that this genre of music is usually associated with action and movement. There is also good use of long shots and extreme long shots of the performance and the narrative. Most of these also include some form of movement such as tracking. In one shot the camera is low to the groiund tracking the band members across the forest, this shot would be very useful to replicate because it's also featured in other videos of the same genre and looked very effective at showing all the band members without it being a boring stationary shot, it also looks as if something is prowling along the floor this could link in with our idea of a monster chasing the band members.

The narrative in the video is set in the american civil war, and the video depicts a bloody battle between two groups of armed men. The video is very bloody and gritty, this is reflected in the shooting and editing of the video. The handheld movement in the performance footage simulates a documentary like approach to filming his makes the situation seem realistic. The handheld movement also adds to the action of the scene making the video very movement orientated which fits into the genre.

ALL - Class feedback on first performance rough cut

Today we handed our first performance cut in for feedback. While the general idea for the performance was favoured, some of the class brought up some valid points. Here is a quick list of feedback we received.

• Some of the surrounding scenery of our location was commented upon; for example people noticed the houses in the background and things, and we will make our next shoot location more out of the way and further from things like this.
• The red tint technique used in the first cut was favoured and we will use the same technique for the final thing; however we will spend more time on it because at the moment it has quite a rushed appearance as we were hurried to hand the cut in.
• The video needs more shot variation and more camera angles and techniques used; similarly, our final cut needs a lot more focus on Sam, our vocalist, as he is the center of attention for much of the video as he's the one singing rather than playing an instrument.
• We also need to obtain more close-up footage of each band member in particular Sam, the lead vocalist. To add to this each band member needs to be move around more, in other words the band members need to be more mobile
• Whilst editing the footage obtained this Sunday we need to produce much shorter and quicker takes. This allows for more shot variation. These quick shorter takes will also fit into the genre of our song.
• Finally it has been suggested we contain some black comedy in the performance aspect with for example a band member's arm falling off. We had already planned to have some black comedy in the video in the narrative but it is suggested it is included in both aspects.

SB - Target Audience Research (DRAFT)

Metalcore fans tend to be teenagers (15-24) of both genders, however the genre is very male orientated but it seems that females are more vocal about their opinions on metalcore bands as well as other topics associated with metalcore. The target audience tends to be 15- 24 this is evident through websites associated with the genre like Facebook groups, twitter, forums such as Kerrang!

Metalcore is more of a masculine genre than others possibly due to the heavy nature of the music. Live performances usually cater to a male audience because of things such as 'mosh pits' 'headbanging' and 'hardcore dancing' these are very active quite violent actions which appeal to more active male fans.

RM - What We Have Learned From The Last Film Shoot

During editing for a full sample video we have discovered a numerous amount of errors.


Last time filming the decision was taken that, when close-ups are were being shot the only person in his position is the person being filmed. This means that shots which are good and are suitable for the videos can't be used because the shot reveals that he his playing by himself since there aren't any band members around him. Too add this this cars and houses are also in the background of some shots.


Another issue was that we didn't gain enough covered of the band as a whole. This has lead to use using two shots, one from behind some bushes and the other being in front of the band, for the majority of the time when the band is being shown as a whole. As well as this the band didn't play with playback therefore in stages they are out of time either by playing the song too quick or too slow.


To solve these issues when we next film, which is planned to be this Sunday, all band members will have playback. We will also try to use two cameras in two different positions to obtain more footage in the same time frame. We are also planning to film the diegetic intro and some narrative aspects depending on timing. The latter two will be filmed at night.

CO - Magazine Ad - Edition three

This is my latest attempt at creating the magazine advert, after getting the general idea of what it should look like eventually, and I took all the feedback from my previous efforts into account when designing this one; there is a more dominant and striking background this time, and I also included less (or noticeably less) text but the vital information is still present, and I included stills from the video as well. Click this link to see the maximised image.

ALL - Podcast - Digipaks

SB - Movement In Metalcore Music Videos

Movement is a key aspect of metalcore videos, it visually show the velocity of the music on screen. It also shows the impact of the music on screen and the heavy, deafening sounds shaking the camera. I've been looking at examples of music videos which use movement well and looking at how we can replicate this.

Napalm Death - When all is Said and Done from Wake Up Now Festival on Vimeo.



Napalm Death - When all is Said and Done from Wake Up Now Festival on Vimeo.

Napalm Death use handheld movements typically the camera swaying from side to side or up and down this could also connote headbanging, moshing and hardcore dancing. a lot of the shots however do not show movement. This is a nice way to cut away from all of the excitement of the close ups. During close ups or individual shots of the band movement is shown, however when we see the whole band there's only a tiny bit of movement or none at all.

CO - More magazine ad feedback...

Today Sublime Transcendence got feedback from our teacher and our classmates on our advert for the magazine. On the whole the idea was well received, but the main point is that there is apparently now too much text on the page, which was a result of trying to get all the necessary information on. Obviously this meant that the background needs to be more dominant as well, and perhaps less simplistic than just the tree design we had been going with previously. I will redesign the poster shortly with all these points taken into account, and using probably a different background picture, hopefully featuring the band.

RM - The Narrative Aspect In Our Music Video

The start of the music video will feature a diegetic introduction with the band packing up, just after a gig. During this there will be band members discussing the next location and the possibility of a recurring occurrence for the band's future music videos. The music video will also feature Mitch who couldn't be at the latest film shoot, on 21st January 2012, however he would either be the driver whom drives them to their next location or still in the band depending on whether we need to record the performance footage again. This sequence would be around 30 to 60 seconds, with the latter being the maximum possible length.


After this sequence the next aspect would feature the vehicle broken down on the moors. Each band member would be performing a certain task, adventuring into the wilderness or messing around on certain instruments. Conor would be in the back of the car playing on his drums or tapping on his legs to a rhythm whilst listening to a song on his ipod. This song would be a happier song, a binary opposite to what is happening outside. Jem would be trying to fix the motor, whilst Sam, Elliot and Mitch would explore the surrounding area all splitting up in the process. Whilst each band member is spread out each one gets picked off one by one. The creature that picks off each band member will remain a narrative enigma throughout the video, although parts of the being will be shown onscreen e.g. the monsters claw, pictured to the right. This would be interlinked with the performance footage. This aspect of the music video would feature throughout the video and also form the ending with Conor being pulled out of the car.