Male: There are many different types of music videos, or as they're called in Europe, music clips. There are recorded performances. There are very straight ahead stories which unfold just like a fiction film would and there are abstract films which are visual poems. All of them, however, have one thing in common, they take the viewer on a journey from the beginning of the song to the end of the song. In this course we've been calling that a script. It's just that in this case, the script is the lyrics to the song.
We've talked in previous movies about the value of music. How it is the strongest manipulator of our reactions in film. Music videos, of course, will follow that pattern. Remember that we said where music starts,stops or changes are the areas where music will have the most power on the audience. We'll see how music starts and stops in the music video ,Take My Love by Dominic Balli but once the music gets started, like most music videos it doesn't stop.
So it will be the places where music changes that will be the areas where our lean forward moments will lie. And where are the biggest changes in a song? The places where we move from verse to chorus and then back into a verse. Let's look at the lyrics for this song. This is a happy song about a man who finds his perfect mate at a dance and gives her his full love leading to marriage. The choruses are bright, upbeat chants at which he tells her: take my love.
More often than not, the band and the director of the video will want to attach a story to the song since that's often a better way of keeping an audience watching all the way through. In this case the film makers decided to add a story about the woman who Bali gives his love to and the story turn out to be a dream of a woman at a slumber party clutching a teen magazine as she and her friends listen to the song. She imagines what it would be like to be loved by Bali. Male: Once we are into her dream. We discover that Bali's is performing at her school dance.
Male: They end up dancing together and after a bit we dissolve through to them getting married. Once this happens, everybody's happy. And, at the end of the video we ripple back to a very happy girl who is still listening to the song on the ancient turntable. So, as it turns out, this story is not about Bali, then, but about the joy that this girl feels when Bally falls in love with her. This is not uncommon in the music video world where the music performers are not often as good actors as they are singers.
The story is thrown to someone who's a better actor, in this case the lovestruck girl. So let's ask ourselves the questions we always ask. Whose story is it? It's the girls story. How does she start the film? She's dreaming of Bali, fantasizing, happy. How does she end the film? She's even happier and excited. Then you'll need to identify the lean forward moments in the video. In each case they occur at the moments that I mentioned earlier as she starts dreaming.
As they noticed each other, as they get married, and as we return to the slumber party at the end, where she's very happy. It will come as no surprise that each of these moments come right around the transitions, from verse to chorus or back again. Note that all of the major transitions that I mentioned occur as things change on screen. Music changes, locations change. Cutting patterns change. Also notice something else. It isn't necessary to make every cut happen on a strong beat in the music.
A downbeat. In fact, if you spend a lot of your song not cutting on the beat, then when you do, your audience is really going to feel it. Thanks to that rule of threes that we always talk about. The same goes if you'd be cutting on the beat and then choose to cut off the beat. It's those changes that will cause the audience to lean forward and pay a bit more attention. Once you understand that finding the story will always lead to answers to the question about the lean forward moments, and that those answers will help you write the script And shoot the footage and edit the video to suck the audience into your story.
Well then, a large part of your work is done. I now you see that this works not just with narrative features, but for music videos of all kinds.
Start with an overview of concepts like the rule of threes, review a sampling of footage from films past and present, and then dive into script analysis. Find out when and when not to make cuts, how to collaborate with clients and directors during recutting, and how to ground the emotional backdrop for your piece with music and sound. Norman closes with a look at adapting to different genres and filmic styles.
- Exploring the history of video editing
- Controlling what the audience sees
- Identifying the logline
- Performing script and scene analysis
- Coming up with an editing plan
- Cutting from on-camera to off-camera action
- Understanding the value of recutting
- Shaping moments with music
- Working in a specific genre
- Mixing editing styles together