IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS OF REAL MEDIA PRODUCTS?SARAH DICK

THE FIRST SHOT IN THE CHORUS SHOWS A TYPICAL VIEW OF NEW YORK OF THE SKYSCRAPERS, WHICH SHOWS THE CONTRAST FROM NEWCASTLE TO NEW YORK. WE USED STEREOTYPICAL SHOTS IN NEW YORK TO SHOW THE DIFFERENCE IN CITIES. ALSO HAVING MAJORITY OF THE SHOTS OF NEW YORK IN THE CHORUS WHEN THEY LYRICS ARE ABOUT ‘AMERICA’. INSPIRED BY THE USE OF THE NEW YORK SHOTS IN ONE DIRECTION’S ‘PERFECT’ VIDEO, IN WHICH THEY USE MANY PANNING SHOTS OF THE SKYLINE TO SHOW WHERE THEY ARE AS THEY ARE CLICHE SHOTS OF NEW YORK.

INSPIRED BY THE SHOT IN THE JAKE BUGG ‘A SONG ABOUT LOVE’ AND BEN HOWARD ‘ONLY LOVE’ IN WHICH THE SUN IS SHINING BEHIND THE FIGURE WHILST HE SINGS ALONG TO THE LYRICS AND THE MOVEMENT ALLOWS THE SUNLIGHT TO FLICKER INTO THE CAMERA LENS.

THE NEW YORK SHOTS WERE A COMBINATION OF LOCATION SHOTS EITHER PANNING OR TILTING TO SHOW WHERE IT WAS. AIDAN WASN’T INCLUDED IN ANY OF THE SHOTS AS THE SHOTS WERE VISUALS OF WHAT HE MISSED FROM HOME AND PLACES HE WOULD HAVE VISITED. THE SHOTS IN THE ‘PERFECT’ MUSIC VIDEO WERE VERY MUCH PANNING SHOTS OR TIME LAPSES SHOWING THE CHANGE FROM NIGHT TO DAY, WHICH WE DONE AT THE START OF OUR MUSIC VIDEO SHOWING THE SUN RISE OVER NEWCASTLE AND A SECTION OF TIME LAPSES SHOWING THE WORLD GO BY.

TO SHOW THAT AIDAN WAS A STUDENT IN NEWCASTLE WE SHOT HIM READING BOOKS AND WALKING THROUGH THE UNIVERSITY INCLUDING CLOSE UP SHOTS OF UNIVERSITY SIGNS TO VISUALLY SHOW WHERE HE WAS.

THE FOLLOW ME SHOTS, USUALLY MEDIUM SHOTS SHOW AIDAN WALKING AROUND NEWCASTLE, WITH THE SHOT TRACKING HIM FROM BEHIND. THE INSPIRATION FOR THE SHOTS WERE FROM THE JAKE BUGG MUSIC VIDEO AND ALSO LEGO HOUSE

THE BACK LANE SHOTS FROM THE 1975’S MUSIC VIDEO INSPIRED MANY OF THE SHOTS OF AIDAN WALKING, AS IT VISUALLY SHOWS THE ARTIST IN A WORKING CLASS ENVIRONMENT.

IN ED SHEERAN’S VIDEO, THERE WAS A RANGE OF MEDIUM SHOTS TRACKING THE ARTIST FROM IN FRONT OF HIM. WE USED A SIMILAR SHOT OF AIDAN WALKING CLOSER TO THE CAMERA.

THE SCENES OF AIDAN WALKING THROUGH THE TUNNEL WERE INSPIRED BY THAT OF JAKE BUGG, AS IT IMPLIES THAT HE IS GOING SOMEWHERE AT THE END OF THE VIDEO TO NEW YORK OR TO CONTINUE HIS STUDIES.

IN THE ‘TONIGHT YOU’RE PERFECT’ MUSIC VIDEO, THERE IS A TRANSITION FROM DAY TO NIGHT THROUGHOUT THE VIDEO WHICH SHOWS THE MOVEMENT THROUGHOUT THE DAY. WE ALSO USED THIS AS WE STARTED WITH THE TIME LAPSE OF THE SUNRISE IN NEWCASTLE AND FINISHED WITH A PLANE TAKING OFF AT NIGHT IN NEW YORK. WE ALSO USED A GRADUAL CHANGE OF SHOTS THAT STARTED OFF LIGHTER AND THEN DIMMER THROUGHOUT.

INSPIRED BY THE FLAGS USED IN THE ‘TONIGHT YOU’RE PERFECT’ MUSIC VIDEO, WE USED BOTH AN AMERICAN AND BRITISH FLAG THROUGHOUT THE SHOW THE CONTRAST BETWEEN THE ENVIRONMENTS.

TO INCORPORATE OTHER ASPECTS OF NEW YORK, WE USED THE NEW YORK TIMES FOR AIDAN TO READ TO LOOK AS THOUGH HE WAS WANTING TO KNOW WHAT WAS HAPPENING AT HOME.

FOR THIS SHOT, WE FOCUSED ON AIDAN THINKING ABOUT NEW YORK IN NEWCASTLE BY USING AN OVER THE SHOULDER SHOT, WE SHOWED A SECTION OF PHOTOGRAPHS ON NEW YORK TO SUGGEST HE IS HOMESICK.

WE USED THE TRANSITION CROSS BLUR BETWEEN A BUILDING IN NEWCASTLE AND A SKYSCRAPER IN NEW YORK AS THE CAMERA TILTED UPWARDS.

IN THE BRIDGE, THE MUSIC STARTS TO PICK UP BEFORE GOING INTO THE FINAL CHORUS. THE BEAT CHANGES SO I EDITED TWO DIFFERENT CLIPS THAT CUT INTO EACH OTHER ON THE BEAT BEFORE CUTTING TO A BLACK SCREEN FOR THE CHORUS. I FOUND THIS BUILT UP THE EXCITEMENT FOR THE FINAL CHORUS. INFLUENCED BY THE CUTS IN ‘TONIGHT YOU’RE PERFECT’ MUSIC VIDEO WHICH ALSO USES IT TO INCREASE THE SPEED BEFORE THE CHORUS.

THE LAST SHOT IN THE ‘ONLY LOVE’ VIDEO SHOWS THE ARTIST MOVING AWAY INTO THE DISTANCE BEFORE THE SCREEN FADED, WE DECIDED TO INCORPORATE THAT IDEA BY HAVING HIS WALK AWAY FROM THE CAMERA BEFORE THE PLANE SHOT APPEARS.

THE FINAL SHOT HAD TO END THE MUSIC VIDEO ON A HIGH NOTE, SO I DECIDED TO HAVE AIDAN WALKING AWAY AND THEN THE PLANE TAKING OFF THROUGH THE NIGHT THEN FADED OUT.