JENNY FORREST

EXAMPLE: Justin Bieber, All That Matters

- Transition between long shot and close-up shot. A cut between a long shot of Justin dancing to a close-up of him singing to camera establishes posture and costume, as well as emotion and the personal connection of the close-up.

- The lighting of light bulbs hanging from the ceiling behind and around Justin give a bright, orange lighting to a darkened setting, reflecting from the floor also. The imagery of Justin sat comfortably on the chair in this setting almost presents him as 'playing God', authoritative and in control.

​

EXAMPLE: Justin Bieber, Confident 

- The movement of the camera panning down presents a change in setting and location. Where we see a blue-lit scene of Justin walking confused towards someone, the camera moves down, from the ceiling for body height in the next location; of Justin and half a dozen dancers in typically rap style clothing beginning to dance. 

- mask black around edges of frame

​

EXAMPLE: Katy Perry, Unconditionally

- A fade-to-black is shown between cuts, to show the difference between scenes. We see this at the beginning of the music video, between a scene we see again later on. This kind of acts as an introduction to the music video, a short snippet of what we later see, instead of beginning with Katy singing straight away.

- Where Katy is alone singing, the camera circles the artist slightly. These short shots are not a 360 surrounding her, but instead of being head on, it gives more of a side profile. 

- In this scene, Katy's costume and the setting really compliment one another. To keep to focus solely on Katy, a shallow focus blurs the background, and so our min attention is towards her; the vocals her posture and costume.

- The element of time is played with during some of the music video, as transitions between real-time and slow mo are shown. This affects the speed of the editing and where the focus of the audience is. The speed of editing slows, and the focus is more on those involved with the action. We see this with the owl flying, as not the entire screentime of this is in slow mo, but some of it is, to show the power of the wings for example.

​

EXAMPLE: The Vamps (ft. Demi Lovato), Somebody To You

- The beginning of the music video shows the text of the artist name and song title in large, white and bold text, with the background showing waves crashing on the shore. This establishes the location of the music video as the beach, and who and what the song is. The white text also compliments this setting, as it is bright and can be easily read. (Another music video that does this is Tori Kelly's Dear No One, where we first see the name of the artist, to then be replaced with the name of the song.  They are both in the same font and in the same font, to give consistency, and are positioned on the right hand side of the screen, and the camera composition centralises the artist in the background, with the focus on the artist mannequin in the foreground.)

- types of shot

​

EXAMPLE: Bruno Mars, When I Was Your Man

- A light fade between two shots shows a transition in the angle of the camera, presenting zooms to show Bruno from different perspectives. (A similar thing is done in Adele's Send My Love To Your New Lover, where we see Adele in one darkened setting, one costume and style, stood signing to camera. These fades slow her movement, so we may see three Adele's at once, singing the same part.)

​

EXAMPLE: Adele, Hello

- At the beginning of the music video there is a focus pull, from a dirty window to the flies that lie on the window-seal. A second focus pull then follows this from the same position, looking out of the window to a car driving. This establishes that the house of which this window shows is the setting of the music video, and so is followed by establishing shots - beginning the narrative. The beginning of this music video is notably long, taking a while to establish the setting. However, the music video is six minutes long, and so a lot of time is dedicated to 

- Another editing style is the opening of her eyes in a close-up shot. Although this is not the first we see Adele in this music video, it is the first time she is associated to the music rather than just the narrative. 

​

EXAMPLE: Adele Someone Like You

- We see some pan shots here to show a transition between locations. We assume that it is all filmed in the one city, but pans over walls show off different parts of the city, and Adele in them. 

- In addition, the entire music video is presented with a black and white filter, presenting the slight sombre feel of the song.

​

EXAMPLE: Rhianna, Diamonds

- The colours of this music video transition from black and white to coloured through the duration. The beat and pace of the song begins slowly but quickens throughout the song, explaining for the addition of the colour, to brighten the mood of the song.

- As the pace and passion of the song quickens and scenes are less emotional close-ups and more chase-style, the movement of the camera becomes more frantic. 

- In some scenes also, the time element is played with in the music video. Some shots are reversed, so we see a vase of flowers falling onto a shelf for example. The background playing of these shots offer a new, different perspective.

​

EXAMPLE: Lorde, Royals

- The establishing shot of this music video is a tracking shot going down in American street. We see the front and side-view of several houses. The houses look middle-class, each with space for its own drive and front garden, giving an impression that fits with the theme of the lyrics, that the characters are not any extravagant or special, simply ordinary but hopeful. 

​

EXAMPLE: Pink, Just Give Me A Reason

- The establishing shot begins at the feet of the main artist and pans up to the face. This establishes the artist to the song , in a way that does not just show a close-up of the artist looking straight at the camera, as seen in many female-led pop music videos. We establish mise-en-scene of the music video through this, seeing the posture and clothing of the artist, which, along with the speed of the pan, sets the mood for the entire video.

- lighting is behind them, makes figures look only like shoulette, can't see details just figures, simplicity

- transition from being on tv to performance

​

EXAMPLE: Taylor Swift, Shake It Off 

- In some of the dancing scenes, each group of the different variety of dancers in set costumes and setting. This mise-en-scene gives each group its own theme of costume and mood; with those more brightly colored being more fun and energetic, but with those of darker color, the focus is on their movement entirely. 

​

EXAMPE: Magic!, Rude

- As seen in some of the music videos that have already been mentioned, including Someone Like You by Adele, a retro filter has been added to some shots in this music video, to give a dated and more authentic feel. This feels less modern, and the content of the shots more significant and sentimental almost.

- performance, camera jumps as the band jumps, tempo increase

​

EXAMPLE: Rhianna, What Now

- distortion of effect as a transition

- linear wipe to show multiple rhianna's

- opacity to show long-shot and close-up

- frantic movement is enhanced by quick cuts

- filter at the end is chilling, same distortion seen at the start, gives consistency.