For our album cover, we needed to carry out a photoshoot to take the photos for the digi-pak. We needed to book a slot in the photography studio and also find a make-up artist to help us with the shoot.
We managed to use the photogrpahy studio for the evening and luckily one of our good friends who lives on campus, Laura Smith, is excellent at make-up. We showed Laura the make-up style we wanted and the make-up the artist had in the music video. This was because we were not able to get the same make-up artist and we wanted to keep the look of our artist cohesive throughout the campaign.
Make-up and hair for Nandi
We experimented with different lenses and lighting, while Nandi was being made up. After doing research on similar artist we wanted to achieve dramatic and powerful photographs to use for the digipak. Below are examples, of album covers that inspired us.
We decided to have a large softbox light on the artist, because this would diffuse the light evenly on her, and have a flattering effect on the artist. Additonally, we had the light to the side and at a slightly low angle; this would create shadows on our artist and therefore give her a three dimensional effect that made her pop out of the picture.
We told our artist to do powerful feminine poses, in order to emphasis her female empowernment image and connect with her target audience.
Furthermore we told her that we wanted her to look directly into the camera, so that she connected with the viewer. This would fulfill Dyer's Star Theory Paradox that 'an artist must be both present and absent'. By looking at the audience she forms a connection and the audience feel engaged with her 'present'; however she is not physically there and therefore is 'absent'.
We also had a fan that helped blow the artist's skirt. This made the skirt blow dramatically in the wind. Therefore it made her look powerful and glamorous by having her hair and skirt flow in the wind in an ostentatious fashion.
Overall it was a succsessful shoot and we did capture great photos for the digipak. We feel that we were able to capture and convey the diva star image of our artist.
We created a rough cut for our focus group to give us feedback on. We hope that our focus group will give us some advice on what they think we could improve for our final version.
On the day before our shoot day we went
into the studio and began setting up some of the sets for the next day. We
moved around lights, props and pieces of set, so that the studio was clear for
our set builds. We set up the wheel, which was the first element we were going
to shoot. Additonally, because of its size and weight we needed to film it
first, then destroy it and build the next set.
We tested out the lighting
behind the wheel. We wanted to use the 'Pixelline 1044', because it can change
to different colours and it can create complicated patterns and effects. The
‘Pixelline 1044’compromises of long
bars made of small LED lights, when put together they can form a pixel effect
and can change colour and design. This makes it possible to have a light show
made of LED lights. We selected the lighting effects we wanted, such as the
turquoise blue, pink and blue/pink colour blend.
'Pixelline 1044'
However, we did run into some
problems, the two main dancers who had spent several weeks perfecting the
choreography, were sent home because they were ill; the night before the shoot.
Due to the unforeseen cicumstances, we desperately looked for 2 dancers who
could learn the choreography. We notified Charlotte Mcghee and Alice
Marriott,who were in dance company.
Lottie (head of dance company) was incredibly helpful in taking time out of
dance company rehersals to teach the choreography to the dancers. Nonetheless, the new
dancers had only spent 20 minutes the night before the shoot learning the
dance, they still needed to practice on the morning on the shoot, so that they
could be in-sync.
I woke up the morning of our shoot feeling
extremely stressed and anxious. There were a lot of last minute changes and
problems that arose the night before and there were a lot of things to do
before the shoot started. When I got to school, I made sure that I spoke to the
rapper to inform him of what time we needed him. We also needed to find an
armchair for one of the set builds. Saskia and I went up to the main school
building and borrowed an armchair from the principals office.
Lastly, the
dancers and lead singer also had to get into hair and make-up; and the dancers
needed to rehearse the choreography for the shoot.
When we got into the studio the wheel was
set up, and the tall black curtains had been drawn over the wheel structure of
the wheel; to block out the light from the back. We set up the camera and
tested the lights behind the wheel another time. We found that the inside of
the wheel, reflected the light very well, and created a soft light box effect
on anything that was inside. We decided to also film the actors inside the
wheel. This is because it lit them perfectly and created interesting shadows,
which fit with mysterious concept of out music video.In addition the wheel and silhouettes it
created of the dancers, was exactly what we imagined in our concept.
Before the shoot day even began we decided
in our groups the roles we would do. Saskia would be in charge of art
direction/playback, Ella would be in charge of camera and I would take the role
of director. We were consistent and followed the roles we assigned ourselves on
the shoot day. Additonally, we helped each other out in the roles; sometimes
Ella would direct a moment; I would help Saskia with deciding on make-up
choices and Saskia would help out with the camera. As the director, my role was
to make sure everything was running smoothly. I also helped the dancers/actors,
and gave them advice on how we wanted them to act. I stood behind the camera,
giving dirctons to the actors and helping Ella. In total, we divided the roles
evenly and everyone was able to try different roles throughout the day.
Saskia working onplayback
Ella working on camera
I felt that I personally worked well with
the actors and gave good direction on how we wanted them to act and behave
infront of the camera. When the dancers were in the wheel I was behind the
camera, doing dance moves and different poses for the dancers to copy. I also
think that I had a good control on different aspects of the shoots, such as
assiting the make-up artist with what type of make-up we wanted; and helping
the artist and dancers with the acting. I also feel that I was helpful in
choosing the shot type and style for the different parts that we filmed. In
addition, after filming the shots we wanted I worked with Ella to experiment
with the camera angle and movement to film more different and dynamic shots.
Directing performers
Ella and I discussing during the shoot
After getting the armchair from the
headmasters office, we needed to alter the armchair to suit the video. The
style of the chair did not match with our colour scheme and genre; I needed to
find a way to cover it up. I managed to find some fur coats from students at
the school, and used them to cover up the chair. This solved our problem and
overall looked good on camera when we shot it.
Before After
One of the most successful part
of the shoot was the wheel in my opinion. From the start of the project we
encountered many problems with the design and construction of the wheel. We
were extremely worried on how it would look in the end. However, I believe that
the footage in the wheel was stunning. The long shot silhouettes and the close
up body shots looked beautiful. Furthermore, the wheel is such a captiviating
structure that added a much more interesting element to the video. The wheel,
was also a piece of set that allowed the dancers and artist to play around with
and try different moves and positions.
Dancer dancing in the wheel
There were a few things that I wish could
have gone better. For the neon ‘maze’ set we wanted to shoot it in two ways,
one way without a fan and the other with a fan, blowing on the artist. Because
of time constraints we didn’t have enough time to shoot the fan blowing on the
artist. I wish that we had gotten these shots because they would have added an
interesting twist to the shot. Another part thar I wish could have been better
would be structure of the wheel. Due to the weight of the wheel, it slightly
caved in at the top. This made the wheel look slightly deformed at the top,
because it is not a perfect circle. I wish that it could have been perfectly circular, so that it looked more professional on camera. Although this was not
ideal, we figured out that we could re-shape and fix the errors of the
structure, in post-production.
I cannot wait to see the footage of the
wheel and of the dancers dancing infront of the screens. These were some of my
favourite shots and I think that they will look amazing . I also can’t wait to
begin editing the footage altogether in my group.
Overall, I think that we worked extremely
well as a group. We had clearly outlined the scheduale of the shoot and were
always on the same page. The labour was divided evenly amongst us all and I
feel that we all contributed equally to the shoot. Furthermore, we all put our
different strengths together and helped each other out, which I think led us to
film some great footage. One of our strengths throughout the whole production was
that we were extremely organized. Even though there were last minute changes
and problems, we worked efficiently through them.
Perhaps, the biggest lesson I was reminded of was continuity. In the shots in
the wheel the dancer and artist kept wearing their hair ands and jewellery
around their wrist. We forgot to tell them to take jewellery and bands off and didn’t
notice them until we had taken the footage. This is one issue that I will definetly
consider in the future; to be more attentive to the small details and to remember
continuity.
When we come to design our album artwork and
website, I don’t think we need to make any major changes. For our album
artwork, we might incorporate the element of the fan blowing her skirt, that we
didn’t manage to film for the video. We also might include the snake motif
around the website and album. This links in with the snake jewellery used in
the music video. We want there to be a link between the album, website and
music video, to create a cohesive campaign. On the other hand, we don’t want
all three products to be the same, because we want to show a different side to
the artist.
Furthermore, the website and digi-pack represent the entire album
of the artist, not just the music video that we shot.
In conclusion, I feel that it was a successful
shoot day and that it was a learning and growing experience for our knowledge
in media. It also gave us an opportunity to work in a group and work with a
crew of people, which is a good skill to learn and have.
I have created a behind the scenes slideshow and attached other photos of the behind the scenes of the music video shoot. The photos below were collected by Saskia Tarn:
Today we got into our groups and discussed the choice for our final album artwork. We discovered that we used very similar camera angles (technical conventions) and symbolic convention, such as the snake. We decided in our group to continue with my album artwork for the digi-pack. We agreed on all the sides for the digi pack and will go forth with these designs. We will organise a shoot day soon, with Nandi Clark our artist. We will also use the same white mesh dress we used in the music video for the cover. This is so we link the music video to the album cover so that it is a cohesive music campaign. This is the front cover:
I designed a digi-pack for our artist as part of her music campaign. The most important element of the album cover is the artist.The style I was going for was a mysterious, seductive and enchanting digi-pack that celebrates the artist. For the colour scheme, we wanted to continue a similar colour scheme to what we had in our music video. These were neon blues and pinks.
I used Adobe Colour Wheel to select the colours I would like to incorporate into the album artwork. I liked the different shades of blue and pink to incorporate into the album artwork. However, just like the video, I want to have low-key lighting to give a mysterious and chiaroscuro effect to the photo.
On our shoot day we didn't have enough time to film the final shot of her dress being blown by a fan. Therefore, I decided to incorporate the element of the fan into the digi-pack. I want photos of the artist wearing a dress that is being blown by a fan. I want the front cover to show the artist's dress flowing in the wind, this will also cement her iconic 'godess' image. Then I want to incorporate the snake element from the intial music video concept. Additionally, she wore some snake inspired jewellery in the music video, so I would like to further exhibit this element.
After researching similar album artworks, It has given me an idea of how I should present the artist on the album. I want a digi-pack design that showcases the artist as being seductive but also as mysterious. For example: The pose and blowing fabric on Mariah Carey's album cover.
Our artist is of the R&B genre and is female. Therefore she is most likely a synthetic artist-according to Negus's theory. In that case, the artist should be marketed based off her looks and personality. I was inspired by famous synthetic artists who are marketed on their looks and personality.
That is why I designed the front cover to showcase the artist. The long shot angle, glorifies her image and presents her as being a big artist.
I also wanted to showcase her confident and diva personality. So I decided to have her skirt blow dramatically, this showcases her glamorous style. This will appeal to our target audience of females 18-21 years old; because it reflects their ideologies of looking good and being feminine. Additionally, her posing on the cover connotes that she is powerful and independent which will attract young adult females who believe in the same female empowering message. The audeince will also be interested by the front cover because the front cover is a long-shot this suggests to the audience that she is open to them; because her whole body is in the frame.
For the sidebar, I wanted it to be simplistic but still convey the artists persona. I used a snake motif on the side bar and also used snakes to spell out her name. The name 'Zoe' is not definite and was only as a suggestion.
Across the digi-pack their are mid-shots of her body which allows the artist to be connected to the audience and share a close, intimate experience.
I also incorporated the snake element on the CD side of the digi-pack. The snake symbolizes the artists seductive, alluring and dangerous nature. This is appealing to audiences because it presents the artist as defying the norms and being different/rebellious.
On the back of the digi-pack she is in a silhouette's and is darkly lit. This follows Dyer's star theory that 'the artist must be both present and absent'. Therefore connecting with the audience by being mysterious and elusive which make her more desirable.
