Shooting Schedule

Location	Equipment	Props/costume	Cast/crew	Transport	Length	Date
House	-Camera -Tripod	-Guitar -Mobile phone	Anya and Sarah	-Car (Sarah)	3 hours	11:00 23/10/17
House	-Camera -Tripod	-Mobile phone	Anya and Sarah	-Walking (Sarah)	2 hours	11:30 26/10/17
UEA Lake	-Camera -Tripod	-Mobile phone	Anya and Sarah	-Car (Anya) -Bus (Sarah)	2 hours	13:00 18/11/17
Drama classroom (for performance)	-Camera -Tripod	-Guitar	Anya and Sarah	-Walking (Anya and Sarah)	30 minutes	13:25 13/12/17
Drama classroom (for performance)	-Camera -Tripod	-Guitar	Anya and Sarah	-Walking (Anya and Sarah)	30 minutes	13:25 14/12/17
Drama classroom (for performance)	-Camera -Tripod	-Guitar	Anya and Sarah	-Walking (Anya and Sarah)	30 minutes	13:25 15/12/17
UEA Lake	-Camera -Tripod	-Mobile phone	Anya and Sarah	-Car (Anya and Sarah)	2 hour	13:00 16/12/17

To increase the efficiency of our production, we made a shooting schedule. This was very helpful for our planning because it ensured that we knew exactly where and when we would be filming, plus what equipment we would need. We decided to film most of our music video's narrative in chronological order, beginning with the shots in the character's bedroom, before filming outside; this was to make it easier to consider continuity. Next we will film the performance part of our video which will be included in our video with crosscutting.

Audience Profile

We believe that the target audience of our music video are predominately female teenagers, who will find the song's lyrics and the band's frontwoman relatable. To promote this aspect we will begin our video in the character's bedroom, which is quite a personal and intimate setting, and will incorporate over-the-shoulder shots to encourage the audience to position themselves with her. We think that they will listen to similar bands of the indie rock and indie pop genres, plus will like cult teen films and television programmes. Their fashion style may be clothing from quite popular high-street brands, but include their items which imitate more 'edgy' trends; we will again try to increase the relatability of our music video and its protagonists through the use of similar clothing in our costumes.

Models of audience segmentation

There has been a proliferation of audience segmentation, allowing different audiences to be targeted more specifically. There are several prominent models which can be used to segment audiences.


Demographic measurements

Socioeconomic scale

Audiences can be categorised by demographic measurements such as their age, gender and socioeconomic status. A strength of this model is that it is driven by hard data which is measurable. A merit of using the socioeconomic scale in particular is that disposable income often directly links to audiences' consumption habits. However, these measurements are too simplistic to judge an individual's tastes and interests - they assume homogeneity.

Tribe/ subculture model

UK Tribes' main categories

UK Tribes (a research project by Channel 4) provides information about a variety of youth subcultures. A strength of this model is that it considers aspects of lifestyle, which creates a more personalised impression of individual consumers. This is especially useful in relation to modern audiences because of the proliferation of lifestyle cultures.

Psychographic model
Young and Rubicam are an advertising agency who created the '4 Cs' model (Cross-Cultural Consumer Characterisation model) which divides audiences into 7 different types: the aspirer, the reformer, the explorer, the succeeder, the resigned, the struggler and the mainstream. A weakness of this model is that these categories are slightly ambiguous; it could be difficult to assign these descriptions to specific audiences, and more than one of these labels would apply to certain audience members.


Habits and lifestyle

YouGov Profiles Lite example profile

YouGov Profiles describes itself as a 'media planning and audience segmentation tool'. It provides demographic information about the average consumers of particular brands and products, including their typical gender, age, social grade, region, political leaning, profession and monthly spare income. The website also shows the audience's favoured entertainment, including their favourite movies, TV shows, music artists and celebrities. A strength of this model is that it combines information about audiences demographics and lifestyles to create a well-rounded profile. However, some of the profiles are based on limited data which means that the information is not very reliable.

(Edited 08/12/17) Narrative Case Study

   The music video for 'Desencuentro' by Residente and Soko is a closed text which employs a linear narrative structure; this can be examined using Todorov's narrative concept of the three act structure. The first act of the video begins at equilibrium with the man sat writing, until the woman enters the restaurant - this is the inciting incident which introduces the disequilibrium of the second act, as the man clumsily tries to get her attention. This disequilibrium is demonstrated by the man's ensuing comical errors (such as drinking from the flower vase and knocking the basket of croissants to the floor). However, as the consequences of these accidents culminate in chaos, the third act reaches a climax with the man and woman's gaze meeting and them eventually kissing. In this new equilibrium, the couple are united despite the mess surrounding them. This romanticised 'happy ending' provides the audience with an uplifting ideological closure. The sense of finality is reinforced by the closing aerial shot which presents an idyllic view of Paris, emphasising the romance of the story due to the capital's connotations as the 'city of love'.

Figure 1

Figure 2

Figure 3

   Using Roland Barthes' theory of narrative codes, the music video can be seen to contain mostly proairetic codes; these progress the narrative and includes events such as the woman entering the cafe (see figure 1), the man noticing the woman (figure 2), and the two finally seeing each other (figure 3). The dominant use of proairetic codes, rather than more ambiguous enigma and symbolic codes, fits with the closed nature of this text and its simplistic ideology of 'love at first sight'.

   As well as by the use of proairetic codes, the narrative progresses through the use of the narrative driver of camerawork. For example, at the beginning of the video the camera pans across the cafe to introduce the video's protagonist. Camera movement is similarly used at the end of the video, leading the audience out of the restaurant, hence acting as a framing device. The framing device, an example of a narrative device, enhances the sense of closure in this video's resolution by neatly encapsulating the narrative. Another narrative device used in this video is a clock/signifier of time (figure 4). However, in this video the clock is broken - its hands turn uncontrollably at great speed - possibly conveying the timelessness of this moment.

Figure 4

Mise-en-Scene

How do music videos speak to/interpolate their audience?

Cherry Glazerr - White's Not My Color This Evening

Figure 1

Figure 2

Figure 3

Figure 4

   We are introduced to the protagonist of this music video within the personal and private location of her bathroom, establishing an intimate connection between her and the audience. Over-the-shoulder shots of her looking into her bathroom mirror and applying lipstick (see figure 1) further position the audience with her, showing us the reflection which she sees - this also enforces an element of Andrew Goodwin's music video theory as the prop of a mirror references the notion of looking. The lipstick and tampons could be iconographic props, speaking to the band's target audience of predominately teenage girls due to their typical connotations of femininity. A sense of aspiration is also created for the audience by the close-up shots of her slightly eccentric but fashionable costume as she walks to her car (figure 2), emphasised by the use of slow-motion; these are complemented by an extreme long-shot (figure 3) which displays her entire ensemble, plus the character's car which has a retro aesthetic which would appeal to the 'hipsters' in the Californian band's target audience. The audience are also positioned with the protagonist by a focus pull when the character's 'love interest' enters the bakery which she has traveled to, directing us to follow her gaze and shift our attention to him as he comes into focus. Close-up shots, such as figure 5, further encourage the audience to relate to the protagonist and empathise with the emotions she conveys.

Figure 5

Declan McKenna - Isombard

Figure 5

Figure 6

   The audience is interpolated through the narrative of this video because it begins with the camera following the artist into a music venue (see figure 5). The use of handheld camera makes this more immersive. The music video's audience are also positioned with the audience within the video who are presented watching the artist perform, especially by shots like figure 6 which is a long shot of the artist on stage so seems to be from the point of view of an audience member. The use of direct address when the artist lip syncs (see figure 7) further interpolates the audience by suggesting a personal connection with the artist. Direct address is also used in clips within the music video which seem to be filmed on a phone, reinforcing the sense of a personal and friendly connection with the artist.

Figure 7

Our music video

   Like 'White's Not My Color This Evening', we will establish a personal connection between the audience and the protagonist of our music video by beginning in the intimate environment of her bedroom. We will also similarly use over-the-shoulder shots to position the audience with her. Additionally, we will use handheld camerawork for some shots, like in 'Isombard', to immerse the audience. Furthermore, the performance elements of our video will include direct address to establish a connection between the artist and the audience.