The process of creating my magazine advert was relatively simple; after adding the image from my digipak it was then just a matter of adding the necessary information such as artist and album name, release date, record label logo and a parental advisory sticker and adding a border to make it appear more bold.
Before making my magazine advert for my digipak, I generally had a rough idea of what I wanted it to look like; a screenshot from the music video, simple font and textual content and the same colour scheme that I used for my digipak. What decision I had on my hands though was which still image to use - either the same one as I used on the cover of my digipak or a different one. After speaking to the rest of the class, they confirmed what I had already contemplated - use the same image to relate it back to the music video and to keep it simple. Although some thought it could be effective to add some variety into the promotion, generally they liked the continuity in my ideas and agreed that less is more when it comes to being eye-catching.
On the whole, I'm very pleased with the appearance of my digipak - I think that it ideally correlates with my music video and effectively promotes the artist. Having asked others for their opinion on it, they agree that it looks professional and takes into account a number of factors; continuity, promotion and context.
To make my digipak, first of all I selected a still shot from my music video. This was particularly important because this image would go on to represent the artist and generally set the tone for the songs that the cover is promoting. In the end, I settled on a mid-shot of the artist where the mise-en-scene is particularly effective. For example, the location, costume and body language are all appropriate in relation to the genre.
When choosing my song, I immediately knew that the image would be crucial in promoting the artist and that a black/white colour scheme would be essential in doing this. With this in mind, after selecting my image the first thing I did was adjust the colour and contrast.
Because of the age of the song which I selected, I decided that it was important to indicate the context behind the song and artist around the time it was originally released as many of the lyrics are concerning this. After thoroughly thinking it through, I concluded that the best way to do this was to include relevant newspaper clippings on the back cover.
Like the front cover image, I manipulated the colour to ensure continuity throughout the digipak.
For the inside of the digipak, I used another still from the music video and an image of the 1990s Poll Tax Riot to make it more contextually interesting. After this I warped both images to make them particularly colourful - in doing this I make the overall image appear less monotonous. In relation to the font, I kept it simple and continued the 2 Tone colour scheme to make it bolder and to promote the record label.
As far as album covers are concerned, there's arguably none more iconic than The Velvet Underground's self-titled debut. With Andy Warhol as their manager, producer and album artist - the sleeve produced was bound to be something special. Early copies of the album invited the owner to "Peel slowly and see"; peeling back the banana skin revealed a flesh-colored one underneath. At the time of it's release, the conventions of society (particularly in New York) were being challenged more than ever - after dark, transexuals such as Candy Darling and Holly Woodlawn would gather round Central Park to discuss the struggles of living in a man's world, advertisements and mundane objects were being proposed as pieces of art and more importantly - in a world where idyllic uniformed bands such as Buddy Holly, The Beatles and The Beach Boys were singing about peace, love and happiness, one band in particular were emerging from the counterculture, rapidly gaining notoriety in the underground scene for its experimentalist performance sensibilities as well as Lou Reed's song writing which often focused on controversial subject matters expressed in many of their songs including drug abuse, prostitution, sado-masochism and sexual deviancy. The Velvet's were a band whose ideals were solely based on deviating from the norm and speaking out for the outcasts of society, with that in mind, the fact that the album cover was created by radical pop-artist Andy Warhol seems particularly fitting. Warhol's actual participation in the album's production amounted to simply paying for the studio time - his fascination with human behaviour, simplicity and objects being stripped down to their most absolute form meant that the album was virtually made up of live recordings from the studio that day - warts and all. Because of his obsession with simplicity, a basic - and perhaps easily copied - print of a banana is an accurate virtual representation of The Velvet Underground - the house band for Warhol's factory. An often repeated statement in the music industry made about 'the banana album' - as it later became known - is that although a mere 30,000 copies of the album were sold at the time, every single person who bought one of those 30,000 copies started a band - a legacy which was created not only by the songs and compilation of the album, but also by it's iconic sleeve.
An album cover in particular whose infamous legacy almost exceeeds the recognition for the actual art is Never Mind The Bollocks Here's The Sex Pistols. The controversy surrounding it's release was pitiful. London police visited the record company's store branches and told them that if they continued to display images of the cover in their windows then they would face prosecution for indecency under the 1899 Indecent Advertisements Act. Meanwhile advertisements for Never Mind the Bollocks appearing in music papers attempted to politicize the issue, showing newspaper headlines about Sex Pistols controversies that were underlined with the message "THE ALBUM WILL LAST. THE SLEEVE MAY NOT." The obscenity case was heard at Nottingham Magistrates' Court on 24 November. When the overseeing magistrate inquired about his line of questioning, the barrister stated that a double-standard was apparently at play and that "bollocks" was only considered obscene when it appeared on the cover of a Sex Pistols album. The prosecutor conducted his cross-examination "as if the album itself, and not its lurid visage, was on trial for indecency". The chairman of the hearing was forced to conclude:
"Much as my colleagues and I wholeheartedly deplore the vulgar exploitation of the worst instincts of human nature for the purchases of commercial profits by both you and your company, we must reluctantly find you not guilty of each of the four charges."
Initially, Nirvana's Nevermind was planned to be named Sheep - an inside joke Cobain created directed towards the people he expected to buy the record. He wrote a fake advertisement for Sheep in his journal that read "Because you want to not; because everyone else is." As recording sessions for the album were completed, Cobain grew tired of the title and suggested that the new album be named Nevermind. Kurt liked the title because it was a metaphor for his attitude on life and because it was grammatically incorrect - which could also be seen as metaphorically representing their raw, unrefined sound. The Nevermindalbum cover shows a baby boy, alone underwater with a US dollar bill on a fishhook just out of his reach. The whole image promotes the idea that the entire human race is born with preconceived ideas that allow for the running of a capitalist society - even as innocent, virtuous babies we know to gravitate towards money. According to Cobain, he conceived the idea while watching a television program on water births with Dave Grohl. Cobain mentioned it to their art director Robert Fisher who then sent a photographer to a pool for babies to take pictures. Five shots resulted and the band settled on the image of a three-month-old infant named Spencer Elden. However, there was some concern because Elden's penis was visible in the image. Geffen prepared an alternate cover without the penis - as they were afraid that it would offend people - but retracted the changes when Cobain made it clear that the only compromise he would accept was a sticker covering the penis that would say, "If you're offended by this, you must be a closet paedophile."
The cover art for Is This features a photograph of a woman's nude bottom and hip, with a leather-gloved hand suggestively resting on it. The sleeve has often been seen as a reference to Smell the Glove - the name of a fictional album by the mock heavy-metal band Spinal Tap in the mockumentary film This Is Spinal Tap. The film was so ironicaly accurate about the lives of rockstars that people such as Jimmy Page, Robert Plant, Jerry Cantrell, Dee Snider and Ozzy Osbourne all reported that they could perfectly relate to the fictional band. Singer, Tom Waits claimed he cried upon viewing it and Eddie Van Halen claimed that "Everything in that movie had happened to me". In the mockumentary, the original cover of Smell The Glove, according to recording company representative Bobbi Fleckmann featured "a greased, naked woman on all fours with a dog collar around her neck and a leash, and a man's arm extended out...holding on to the leash and pushing a black glove in her face to sniff it." Fleckmann suggests that the cover is sexist, leading band member Nigel Tufnel to wonder, "what's wrong with being sexy?". The production company, Polymer Records, ultimately refused to release the cover because of pressure from retailers such as Sears and Kmart and gave the album a solid black cover instead. The cover for Is This It was included in the book The Greatest Album Covers of All Time, in which Grant Scott,concluded, "It’s either a stylish or graphically strong cover or a sexist Smell the Glove travesty." Ironically, The Strokes album cover also created a similar amount of controversy. Although British retail chains HMV and Woolworths objected to the photograph's controversial nature, they stocked the album without amendment. Alike Nirvana, The Strokes deliberately left out the grammatically correct question mark from the album title because aesthetically, "it did not look right". For the American market and the October 2001 release, the cover art of Is This It was changed to a psychedelic photograph of subatomic particle tracks in a bubble chamber. According to the band's manager, frontman Julian Casablancas phoned him before the Japan and Europe release and said, "I found something even cooler than the a** picture." Later though, the band admitted that they changed the US cover in fear of receiving a 'Smell The Glove' reaction from America's conservative retail industry.
- Album title - Artist name - Record company logo - Record company information - Track listing - Possibly an image of the artist - Bar code - Copyright information - Album art - Parental advisory - Trademarks - Dedications - Thanks - Acknowledgements
During lesson, each group previewed their music video to the rest of the class in order to receive feedback from others. After showing the class my own project I got a reception that mentioned the following;
Positive - Good mise-en-scene - Makes you feel good - Has a satisfying conclusion - Well casted - Clear statement - Suitable editing
Improvements
- Adjust colour where necessary
On the whole, my music video proved to be fairly liked by most of the class and I received mostly positive feedback by the majority.
Now that I have placed the clips in the places I want them, I've now turned my focus to adjusting the colour in order to give it a typically British gritty tone - one which you might find in a WARP film. To do this I am going to add a grain effect, slightly reduce the saturation and perhaps add yellow/red undertones to the image to create a dated appearance.
This Is England
Tyrannosaur
The Stone Roses: Made Of Stone
Other music videos which have adjusted colour/contrast to create the illusion that the footage is archaic include:
To start the editing process I had to begin looking through the hours of footage I had already captured to select the clips which would fit best into my music video.
After placing the clips into a sensible order and manipulating them to jump-cut to the beat of the music, I edited the colour and contrast to make the video fitting for the genre of music.
Lastly, I rendered the piece in order to watch it in full.
The first thing we see in this video is a close-up shot of the universal symbols for play, pause and stop on a retro CD player. These symbols instantly stand out to the audience and adds more focus to the band's musical and theatrical ethos. Considering that the song was released in the 80s, the mise-en-scene in this shot is particularly fitting. Madness is a band who belongs to their own unique genre; nutty-boy ska. The black/white colour scheme of this shot could be representing the integration of races which ska in particular promotes.
From here we have a close-up on a banner and a midshot of what is easily recognisable as a birthday party. The high-key natural lighting challenges the normal conventions of what you would expect from this environment and makes the audience question the plausability of the party.
These doubts are then confirmed when we become aware that the only attendee of the party is the birthday boy himself. His solidarity marks him out as a significant character in the video and promotes him as the artist. He is wearing a striking purple top, dark sunglasses, party hat and an especially large birthday badge. The choice of costume can be seen as drawing paralells with the genre and the band; the clothing is quirky and unique and so is nutty-boy ska and Madness - hence the name.
Next, we see a point-of-view shot of the main character in the shot through a pair of sunglasses. The lenses connote that not only is his eyesight being slightly misrepresesnted but his life is also being filtered - he is on an entirely different wavelength to others around him. As he opens his birthday present, the wrapping paper slowly reveals a 'Cat In The Hat' book; a children's book which is well known for its obscurity. The point-of-view shot creates the effect of putting the audience directly in the characters position.
As he opens his present, we see a mid-shot of him nonchalantly discarding it. This again reinforces the idea of rebellion and deviating from the norm.
Here we have a mid-shot of the protagonist in the video entering an urban environment. The dull, rainy weather works tremendously to contrast with the vibrancy of the artist's character and costume. The over-the-shoulder shot of the artist about to walk below a bridge and enter a town or city indicates that he's left his own unique realm of kookiness and is about to enter reality - perhaps for the first time.
The next scene we see is performance based. There is a jump-cut which focuses on a performer who is sat on the shoulders of another in a setting with a black backdrop. The lack of detail in the setting immediately creates enigma, along with the peculiarity of the situation of the performers and the framing of the shot.
Although there is focus on the brass players, the camera repeatedly returns to close-ups of the lead singer to promote him as the front man.
After this, the narrative of the video continues as we see the main character entering the street. From here, there is a sequence that shows him entering an off-license, purchasing some alcohol and bubblegum. While the alcohol signifies rebellion, the close-up shot of the bubblegum again adds emphasis to the idiosynchrasy ideal of the video, genre and artist.
As the main character is about to leave the off-license, we see close-up shots of the other two band members waiting outside the doors in costumes and standing in stances which particularly make hilight them amongst the crowd.
A midshot of the off-license shows the lead singer approaching the doors and eventually joining his band in dancing down the street in a nonconformist fashion with his purchases.
After this, the video ends with a brief performance scene where the 'birthday boy' is finally seen enjoying himself with his friends. Although there is a resolution to the video, the narrative is often left unclear. Some could argue that this is to promote the quirky side of the artist and genre but as a whole, it is my opinion that it's as a result of poor organisation and a lack of thorough planning.
Arctic Monkeys - Bigger Boys and Stolen Sweethearts
To introduce the artist, we first see a panning shot of their instruments and some on-screen text stating the name of the song and band. The shot is edited with a red tint and high contrast, this is used to segregate the performance based scenes from the narrative while the red signifies that the 'bigger boys' in the title are seen as a threat to the narrator.
Generally, the idea of the video is dictated by the narrative of the song which addresses the narrator's struggle with living life as a young lad who has had sweetheart stolen from him by a 'bigger boy'.
Because of a lack of content and variety it seems silly to analyse this video shot by shot but as a general comment - It's certainly well casted in that the actors vaguely resemble a young Phil Daniels and Damon Albarn but the editing is sloppy and you get the impression that the filming was restricted and rushed.
As far as album covers are concerned, there's arguably none more iconic than The Velvet Underground's self-titled debut. With Andy Warhol as their manager, producer and album artist - the sleeve produced was bound to be something special. Early copies of the album invited the owner to "Peel slowly and see"; peeling back the banana skin revealed a flesh-colored one underneath. At the time of it's release, the conventions of society (particularly in New York) were being challenged more than ever - after dark, transexuals such as Candy Darling and Holly Woodlawn would gather round Central Park to discuss the struggles of living in a man's world, advertisements and mundane objects were being proposed as pieces of art and more importantly - in a world where idyllic uniformed bands such as Buddy Holly, The Beatles and The Beach Boys were singing about peace, love and happiness, one band in particular were emerging from the counterculture, rapidly gaining notoriety in the underground scene for its experimentalist performance sensibilities as well as Lou Reed's song writing which often focused on controversial subject matters expressed in many of their songs including drug abuse, prostitution, sado-masochism and sexual deviancy. The Velvet's were a band whose ideals were solely based on deviating from the norm and speaking out for the outcasts of society, with that in mind, the fact that the album cover was created by radical pop-artist Andy Warhol seems particularly fitting. Warhol's actual participation in the album's production amounted to simply paying for the studio time - his fascination with human behaviour, simplicity and objects being stripped down to their most absolute form meant that the album was virtually made up of live recordings from the studio that day - warts and all. Because of his obsession with simplicity, a basic - and perhaps easily copied - print of a banana is an accurate virtual representation of The Velvet Underground - the house band for Warhol's factory. An often repeated statement in the music industry made about 'the banana album' - as it later became known - is that although a mere 30,000 copies of the album were sold at the time, every single person who bought one of those 30,000 copies started a band - a legacy which was created not only by the songs and compilation of the album, but also by it's iconic sleeve.
The obscenity case was heard at Nottingham Magistrates' Court on 24 November. When the overseeing magistrate inquired about his line of questioning, the barrister stated that a double-standard was apparently at play and that "bollocks" was only considered obscene when it appeared on the cover of a Sex Pistols album. The prosecutor conducted his cross-examination "as if the album itself, and not its lurid visage, was on trial for indecency". The chairman of the hearing was forced to conclude:
Things that you may typically find in a Digipak;
Positive
Although there is focus on the brass players, the camera repeatedly returns to close-ups of the lead singer to promote him as the front man.
After this, the narrative of the video continues as we see the main character entering the street. From here, there is a sequence that shows him entering an off-license, purchasing some alcohol and bubblegum. While the alcohol signifies rebellion, the close-up shot of the bubblegum again adds emphasis to the idiosynchrasy ideal of the video, genre and artist. 
