Preliminary Planning

Costume:
In the re-make of the video, there will be 2 different costumes for our acting artist paige to wear. When the artist is standing on the drama blocks, she will be wearing a grey dress, to try and represent the silver moon. Then when the artist is standing in front of the white screen she will wear all white, to relate back to the initial video.

Location:
We will shoot all of our shots in the drama studio, as its a big black room with no natural environments or props, thus relating to the studio look of the original video. The drama studio  also has a large white curtain that we can use for the shot of the artists in front of the white background. The drama studio also has all the lighting we require for the shots, and we can control various spotlights to try to re-create the original lighting as best we can.

Camera angles and shots:
We have a variety of shots to re-create, all are different angles and positions, and different distances from the artist. We are aware the camera will have to move around a lot, so we will plan appropriately.

Props:
We will need white helium balloons for our twenty seventh shot, and also a bubbles mixture so that we can blow bubbles in this shot also. An important prop we will need is two large black boxes we can put next to each other as a platform for our artists to stand on instead of the moon in the original video. In a couple of the shots the artist will have to sit down on the boxes as well, so we need to take this into account. We will need to buy strings of silvery glitter to lay on the black boxes to try and re-creare the sparkling, white moon. We will also use them for the scene when the artist stands behind the white background.

Lighting:
Although we are going to use the lighting box in the drama studio for our spotlights and adjusting light deterioration or gain in different shots, we may also need extra plug in spotlights due to the size of the room. This is something we are going to research and figure out.

Preliminary Planning

In the twenty seventh shot of our video, we have to release helium balloons. Caroline's mum bought us a dozen white helium balloons for our final shot. However we realised that it may take a couple of goes to get it right, and once the balloons are let off we cannot get them back. Because of this Caroline bought a coupe of spare balloons for us to have a few practice shots with. This enabled us to practice the angle of the shot, the distance away from the camera the balloons had to be etc. Through this process we managed to get a clear idea of how we were going to capture that particular shot, so that it was most authentic.

Caroline came up with the idea of having bubbles at the same time as the balloons were let off. We believed this would add creativity into the shot, and relate and fit in nicely with the balloons. Due to the fact we could not make our video identical, we thought this would be a nice twist on the original, and perhaps substitute the smoke on the ground in the real video.

Preliminary Shot List

My group and I decided to re-create the first part of Florence and the machine's, "You've got the love" video. 

After analysing the video, we realised it had a good variety of shots and lighting effects and would be an interesting video to re-create. 

Shot list

Shot 1: The first shot in the video starts with a close up of the side of her face, the camera then slowly zooms out and the artist turns her face towards the camera. Throughout these shots the lighting is dark on her face and it doesn't reveal any detail or facial features. Then the light shines directly onto her face and reveal's and shows her more prominently. This whole shot lasts for 17 seconds.

Shot 2: The second shot is of the artist standing up, the camera captures her whole body. In the room there are a few spotlights that shines the light from behind the artist, this enables the viewer to see the artist clearly, but not great detail on her face. This shot lasts for 2 seconds.

Shot 3: The third shots is then another close up of her, from her head down to her shoulders. The light is now much stronger in this shot and the audience is able to see the artists face clearly. This shot takes about 2 seconds also. 

Shot 4: The fourth shot is a mid-shot of the artists body, from her head down to the tops of her thighs. The camera captures the mid-shot from an angle, coming in from the left. In this shot there is just one strong spotlight that shines directly from behind her, it's so strong that is blurs detail, however it creates a mysterious effect, as you can see the artists body outline only. This shot lasts for 3 seconds. 

Shot 5: The fifth shot is then the artist standing up again. It captures her full body. There is one very strong spotlight directly behind her head, which blurs her face, and then a few other spotlights dotted around to shine light onto her body, revealing her shape and figure. This shot only lasts for about 1 second.

Shot 6: The sixth shot shows her face down to her waist, it appears to be slightly zoomed in on her, emphasising detail. The spotlights are not visible to the audience, however you know they are on in the background as the light is strong and you can see the artists clearly. This shot also lasts just 1 second. 

Shot 7: The seventh shot moves around the artist, showing different angles of her posture. The camera is slightly zoomed in, as you can see the artists face clearly and part of her upper body. This shot lasts 2 seconds.

Shot 8: The eighth shot is a shot from the side of the artist, capturing the artist flicking her hair back. The shot is zoomed in, thus emphasising her hair flicking backwards. There is one strong spotlight on, which is shining directly from behind into her hair and face, this creates a blurred effect, preventing the viewer from seeing fine detail, however is shines on the colour of her hair and emphasises the movements. This shot lasts for 1 second. 

Shot 9: The ninth shot is a shot capturing the left side of the artist, with one leg up. The shot captured the majority of her body, apart from her left foot, and lower right leg. There is again one strong spotlight shining from behind onto the side of her hair and face. Her body is very clear to see, and the strong light reflects the strong colour in her hair. This shot lasts for 1 second. 

Shot 10: The tenth shot is more zoomed in, and captures directly the front of her, showing her face and top half of her body. The spotlight cannot been seen, however the light is visible, and it is shining down from the ceiling behind her, and then shines directly down onto her face, blurring the audience's visibility of her face. This shot also lasts 1 second. 

Shot 11: The eleventh shot moves around the artists body, from right to left. It is a shot of her head down to her knees. The main spotlight is visible behind and above her head, this makes her body clear to see. This shot lasts 4 seconds. 

Shot 12: The twelfth shot shows the top half of her body, the camera is positioned slightly to the left of her body, but still manages to capture the front of her too. The spotlight shines directly onto her hair, showing her flicking her hair back again. This shot lasts 1 second.  

Shot 13: The thirteenth shot is very similar to the last one, but from more of a side angle. This also lasts a second. 

Shot 14: The fourteenth shot is a close up of the artists face, the camera is angled slightly to the left. The spotlight is visible in the shot and is positioned behind her left arm, however it is not too strong and doesn't over power, enabling the audience to view the detail on the artists face. This shot lasts or a second. 

Shot 15: The fifteenth shot shows the top half of the artists body, the camera moves around the artists top half slowly, starting on the left, moving round to capture the right side. Two spotlights are visible in this shot, one on the left one on the right, both of which are fairly strong. This shot lasts for 2 seconds. 

Shot 16: The sixteenth shot shows the artists full body, standing up. There are several spotlights dotted around in the background, however they are not over powering, and there purpose is just to give minimal light on her body. The camera moves slightly to the left, but not a considerable amount, and the shot only lasts 1 second. 

Shot 17: The seventeenth shot is more zoomed in to her face, however some of her upper body is visible, this shot is from the opposite angle to the previous. It only lasts 1 second. 

Shot 18: The eighteenth shot is of the front of her, however the camera is slightly angled from the left. The shot captures the artists face down to her thighs. This shot is of the artists dancing. There are two spotlights visible, however they are to either side of her and do not blur her face or body. This shot only lasts 1 second. 

Shot 19: The nineteenth shot captures the artist from the right side, looking to the side/back of her as she flicks her hair back. There is one spotlight visible, which is at the top right side of the shot, it gives light to the whole shot, but does not over power the artists image. This shot lasts 1 second. 

Shot 20: The twentieth shot captures the side of the artist, and shows her top half and face. This shot lasts for 2 seconds. 

Shot 21: The twenty first shot is a close up of the artists face, the camera is angled slightly from the right side. There is a spotlight shining from behind and is very bright. This shot lasts for 1 second. 

Shot 22: The twenty second shot is the camera zooming out, capturing her full body dancing. The spotlights are still the same as the previous shot. This shot lasts for 3 seconds. 

Shot 23: The twenty third shot is even more zoomed in, but at an angle. It shows her head down to her thighs, this shot is of the artist dancing still. The spotlights are still the same. This shots lasts for 3 seconds. 

Shot 24: The twenty fourth shot is then zoomed out, it shows the artists full body. The camera moves around slightly from left to right, and right to left. The spotlights are the same. This shot lasts for 1 second. 

Shot 25: The twenty fifth shot is more zoomed in, so that the artists face and upper body is only visible. The artist is captured dancing. The spotlights are still the same. This shot lasts 2 seconds. 

Shot 26: The twenty sixth shot is of the artist standing in front of a white background, the camera only captures her head down to her shoulders. The camera is slightly blurred due to the bright white and silver colours, however the artist is still visible. In the shot glitter appears everywhere, including her clothing. The camera moves slightly from side to side, capturing the artists waving her arms about to the music. This shot lasts for 8 seconds. 

Shot 27: The twenty seventh shot shows the artists sitting down with her arms by her sides and her left leg crossed over her right. The camera is slightly lower down than her, and it looks up at her full body. Helium balloons are released in front of the artist and camera. In the shot, the artists watches the balloons fly up. The camera gently zooms out to capture the whole scene. This shot lasts 4 seconds. 

Shot 28: The twenty eighth shot shows the artists back in front of the white screen, the camera is slightly blurred, but the artist is still visible. The camera is zoomed in on the artists face, and is slightly angled from the left. The artist moves her arm, and then looks directly into the camera. This shot lasts for 3 seconds. 

This is where our re-creation of the video will end.

Font Research

 

 

Here are some fonts I have researched that I think would be appropriate for my Country and Western album cover. I have chosen these because after research these fonts were mentioned often and used for Country and Western albums. The fonts are very 'cowboy' like, but very creative and bold, expressing and portraying the attitude's of Country and Western singers in the 20's and 30's. All of the fonts are appropriate and are clear, however I am going to continue my font research to perhaps modernise these fonts to suit a modern and current Country and Western Album Cover.

Album Cover (Rough Plans)

• Today I drew up two rough plans of possible Country and Western album covers:

•  Although this album cover is very simple and needs more development, I have tried to include strong Country and Western conventions and stereotypes to create the overall required image. The artist captured in the middle of the album cover is dressed in a cowboy type outfit, with a cowboy hat and straw in his mouth. I have captured the shot outside in the country, this relates to the free-willed, raw nature of the music and its history. I centered the artist to express his importance and overt the audiences attention to him. The name of the album is in bold, making it stand out and to inform people as to what the new album is called. I think for my final, finished album cover I will make the artists name larger, as this is vital information, and from my research of existing Country and Western album covers, it is always very clear and bold.

• This rough drawing of a Country and Western album cover is slightly more creative. I have captured the artist to the left of the cover to challenge angles and make the cover more intricate and interesting. The artist is leaning against a tree to represent the casual, outdoor spirit of Country and Western singers and musicians. I have included the guitar, cowboy hat and cowboy boots on the right of the shot, to further express and emphasise the Country and Western stereotypes, and to also create a degree of humour due to the creation and creativity of the shot- with the hat on top of the guitar and the boots sitting next to the guitar. The sun in the background is there to make the album cover seem joyous and reflect the happy, up-beat rhythms of Country and Western songs. I decided to write the Artists name, the album name and the genre of music inside the sun, as I believe it fits well, and is clear and attracts the audiences attention. 

• Although both these drawings are very rough and cartoon like, I constructed them to just get an idea of shot angles and positioning, as well as prop creativity. I am going to carry on researching and constructing my album cover. I am also going to consider appropriate fonts and colouring's for my album cover.

Country and Western History

•  Country and Western music is a well-known and popular genre of American music that originated from the Southern States of America in the early 1920’s. The roots of the genre are a descendent of Western cowboy music and southeastern American folk music that fused sounds that were used some 300 years prior to the establishment of the genre.

• In it’s 80 or so years of it’s history, certain aspects of Country music have changed drastically in it’s sounds and styles, which is in stark contrast to the ‘honky tonk’ style sounds that were heard by early pioneers such as Ernest Tubb and Hank Williams. Being a new phenomenon in music, it quickly caught the attention of the everyday American hillbilly and curious citizens eager to listen in on this new-fangled ‘Country Music.’ It became quite a social event, much like modern gigs and pub events, that people would congregate in roadside pubs and meeting houses throughout the Southern states from Oklahoma to Texas on Friday and Saturday evenings and with the removal of alcohol prohibition in 1933, American citizens could relax and feel free to enjoy the new music they were hearing.

• After a while, and country music began it’s journey of growing popularity, Western states of America began to add their twist on the genre. Mainly that of a personal portrayal of the tough struggles of everyday life on the Western frontier, with the genre’s roots originating from Louisiana and Tennessee. The lonely and heroic adventures of the cowboy were also directly added to the genre in an over-romantic way, which you could typically expect a solo section from a flute or other mellowing woodwind instrument to occur to truly express the pain and sorrow felt by some Western citizens.

• It was in the 50’s that the genre morphed again into a much more fast-paced, energetic and rhythmic style that spread quickly up and down America that correlated to the younger Americans that were living a faster paced life than that of their previous generation. This style of country was made popular by well-known artists such as Jerry Lee Lewis but most famous by far was Elvis Presley, also known as ‘The King’ due to his ability to correlate his teenage life to the styles and rhythms of the genre. The difference between this style of country and that of the style heard 20 years prior to the 1950’s, is the Great Depression that swept the American nation in the 1930’s and was one of the lowest points in American history in terms of poverty and unemployment, but this new style of country music is a reflection of celebration and a prosperous outlook on the American society of the time.

• Another ten years on, and Country music had found itself a permanent home, in a town in the state of Tennessee called Nashville. It was here that the genre became more similar to what we know to be like in today’s world, with a full orchestra of different instruments; including newly-developed synthesisers which previously had never existed and cleverly discovered studio effects that brought about this is glamorous, shiny new style. It was this sound that would be the beginning of a new era that would bring about contemporary Country music.

• From this new sound came other popular names in the modern day Country music scene such as Dolly Parton and Kenny Rogers who eventually crossed over into Pop music and taking elements of their succession in the new style with them along the way.

• Modern day artists of country music give their thanks and respects to those who paved a way for country music to become what it is in the modern world. From the hard, slow and dark times of the Great Depression of the 1930’s, to the flourish of American society in the 1950’s and 60’s, and into a complete, polished musical package that we hear today that is broadcast worldwide online, on CD’s, DVD’s, on the radio and on television.

Country and Western Sub-Genres

• Although the majority of the public believe Country and Western to be a very stereotypical Cowboy image, there are deeper more meaningful connotations to the genre.
• Country and Western also breaks down into many influential Sub-Genres, which need to be considered whilst creating an album cover, as they all had great influence on the main Country and Western genre. 

Hillbilly boogie 

• Hillbilly boogie began in 1939, consisting of more 'pop' country music, and including the frequent use of banjo's. The sub-genre started to become incredibly popular, achieving top ten US country chart success. Hillbilly boogie then went on to be named Country boogie, which became a flood in 1945. One notable release from this period was the Delmore Brothers, "Freight Train Boogie," considered to be part of the combined evolution of country music and blues towards rockabilly. The Sub-genre of music lasted in the 1950's and remains one of many sub-genres of Country and Western in the 21st Century.

Bluegrass, Folk and Gospel

• By the end of World War II, "mountaineer" string band music known as bluegrass had emerged when Bill Monroe joined with Lester Flatt and Earl Scruggs, introduced by Roy Acuff at the Grand Ole Opry. Gospel music, too, remained a popular component of country music. Red Foley, the biggest country star following World War II, had one of the first million-selling gospel hits ("Peace In The Valley") and also sang boogie, blues and rockabilly.

• In the post-war period, country music was called "folk" in the trades, and "hillbilly" within the industry. In 1944, The Billboard replaced the term "hillbilly" with "folk songs and blues," and switched to "country" or "country and Western" in 1949. This shows me that I need to be aware that Album Covers previous to 1949, will be considered as "country" rather than the current genre of "country and western."

Honky Tonk

• Another type of stripped down and raw music with a variety of moods and a basic ensemble of guitar, bass, dobro or steel guitar (and later) drums became popular, especially among poor whites in Texas and Oklahoma. It became known as honky tonk and had its roots in Western swing and the ranchera music of Mexico and the border states, particularly Texas, together with the blues of the American South. Bob Wills and His Texas Playboys personified this music. Honky Tonk music was more up-beat and known to be the start of real liberation and freedom regarding the country and western music genre. 

Country and Western Album Cover Analysis

• This is an album cover from a well known Country and Western Artist, named Chris LeDoux. On the front of the album, the artist is shot for familiarity for his audience.  
• He is wearing a 'cowboy' hat, which conforms to the typical Country and Western stereotypes. He is also wearing a shirt and jeans, with a gold decorative belt- this represents a typical cowboy image, and is indicative of the male fashion of Southern America at the time. 
• Although many people assume that country and western music conforms to the 'Cowboy' stereotype, there is a lot more to it. Elements in this album cover represent this, for example, the artist Chris LeDoux is smiling into the camera and is standing casually, this could represent freedom and could reveal the liberation that Country and Western music connotates to.
•  On the album cover the artist portrays a joyous, free-willed representation of Country and Western music- thus inviting further audience. He is shot outside, and appears to be leaning on a stone wall, in front of a forest. This shows the links Country and Western music has with the outdoors and nature, and represents Country and Western roots and history regarding the public's sense of freedom and revealing their attitude to embracing the outdoors and feeding off the raw acoustic rhythm in Country and Western music and instruments. All this took place when Country and Western music was at its peak, and has developed from there.