After presenting my capstone project to the wonderful Mass Communications faculty, the response was generally positive. However, between that and my subsequent meetings with my director, a few tasteful additions were called for to both demonstrate what I have learned within the program nd to heighten the sense of legitimacy in the podcasts.
The first (and probbly most important) change is the addition of some form of sound bite at the beginning of the first 3 podcasts. Most radio shows have some form of intro music that fits the theme of the station. As such, a rock station might have a rock musical intro, while a country or rap station may have their respective types of music at the beginning of the talk program. As 99.4FM is a rock radio station, some form of rock or metal instrumental clip at the beginning of the podcast would break the monotany of me talking for 4-5 minutes. This intro would drop off during the 4th and 5th podcasts, as that is when the mood of the program drastically shifts.
The second major change to the series lies within the radio interview in the 3rd episode. While the voice of the person I'm interviewing fits perfectly, he lacks inflection and at times sounds forced. Rerecording this so that it sounds more natural is a good start, but I also want to convert it from a live radio interview to someone calling into the program. Now I just have to figure out how to filter his voice to make it sound as if he's talking over a phone.
The third change is rather small, but is something that I'm mildly ashamed I didn't think of before. The CDC press release turned out fantastically, however was missing one key detail: a crowd of reporters attempting to ask questions at the end. The audio clip for this shouldn't be too terribly difficult to find, though editing it in might be a problem. Over all, just that small change would break the monotony of the podcast and further the realistic feel I'm going for.
Monday, November 5, 2012
Monday, October 22, 2012
A Voice in the Dark
The first video contains parts 1, 2 and 3. The second contains parts 4, and finally the finali (part 5).
Here is the alternate version of the finale with a more disturbing ending. For those of you who enjoy a sadder tale, this should do the trick.
Sunday, September 30, 2012
Writing a script... For one?
One the outlines and alter ego were in place, it was time for the meat and potatoes of the whole project; the script. Most of my experience in writing has been in short stories or the occasional play-style script, and radio turned out to be a different monster entirely.
The first of many requirements of the script was that it had to sound natural. Radio hosts are seldom scripted in what they say, and generally go with the flow of the conversation, or talk about points of interest. At most, they have guidelines or a schedule to follow, but never read anything verbatim, other than a direct quote. The use of pauses (sometimes awkward) or slang gives the script a natural feel, and will hopefully keep the listener from thinking that everything has been pre-written.
The bulk of my research for the script was essentially a part of my daily routine. I'm a bit of a radio addict, especially talk shows. 101.5 Bob Rocks is by far my favorite, and the easy and somewhat comical style that they interact with each other and more importantly the audience (more on that later) inspired my own Rick Nelson character, and his laid back attitude.
By far the most difficult part about writing the script was doing how the dialogue would flow without another person in the room. Other than a couple phone calls and an interview, the vast majority of the radio show will be Rick talking to the unseen and unheard audience. I had to write in such a way to keep things interesting, and involve the listener in what's going on. Using phrases like "you guys" and other ways of addressing the audience directly will (hopefully) do the trick.
The first of many requirements of the script was that it had to sound natural. Radio hosts are seldom scripted in what they say, and generally go with the flow of the conversation, or talk about points of interest. At most, they have guidelines or a schedule to follow, but never read anything verbatim, other than a direct quote. The use of pauses (sometimes awkward) or slang gives the script a natural feel, and will hopefully keep the listener from thinking that everything has been pre-written.
The bulk of my research for the script was essentially a part of my daily routine. I'm a bit of a radio addict, especially talk shows. 101.5 Bob Rocks is by far my favorite, and the easy and somewhat comical style that they interact with each other and more importantly the audience (more on that later) inspired my own Rick Nelson character, and his laid back attitude.
By far the most difficult part about writing the script was doing how the dialogue would flow without another person in the room. Other than a couple phone calls and an interview, the vast majority of the radio show will be Rick talking to the unseen and unheard audience. I had to write in such a way to keep things interesting, and involve the listener in what's going on. Using phrases like "you guys" and other ways of addressing the audience directly will (hopefully) do the trick.
Sunday, September 23, 2012
Crafting an Alter Ego
Once the outline for the 5 radio broadcasts had been penned, and a timeline had been written out, the first major step towards making a believable (but ultimately fictional) radio broadcast was to create a living person. This may sound like some kind of mad science experiment, but was more an exorcise in literary strength. This individual, the host of the radio show, needed to be as real as possible. Every last thing about him needed to be unremarkable enough to pass off as real, but interesting enough to grab the readers attention and inspire empathy.
But first, a name. I knew the host was going to be a man (I'm doing the voice, and I can't very well be a woman), and his name needed to be short, concise, and have a quality that rolled well off the tongue so it would be easy and natural to say over the airwaves. John is good, but too stereotypical. My own name is a little awkward sounding, so I settled on Rick. It sounds like a casual nickname for a casual show, and follows all the requirements I needed it to. Since I had a first name with one syllable, I wanted a last name with two. Nelson offset the hard consonants of Rick, and when said together sounded fluid and easy.
The name and sex were out of the way, so now it was on to the place of residence. This area had to be near enough to a major city that a zombie outbreak would be a threat after a week or so, but far enough away to buy some time. Furthermore, this area couldn't be too close to Washington D.C., as military action would be immediate. It was for these reasons that I chose Grand Rapids, Michigan. It's a nice suburban area with a thriving radio scene, and is only a few hours out from Detroit.
The rest of the information was required to add depth and a sense of empathy to Rick. Most characters in movies that the director wants to make more sympathetic have dogs, so mentioning that he has a Shiloh Shepherd named Aragorn gets that job done. A wife and unborn child complete the picture, creating a person who you would want to meet, and who you feel sorry for in the end.
But first, a name. I knew the host was going to be a man (I'm doing the voice, and I can't very well be a woman), and his name needed to be short, concise, and have a quality that rolled well off the tongue so it would be easy and natural to say over the airwaves. John is good, but too stereotypical. My own name is a little awkward sounding, so I settled on Rick. It sounds like a casual nickname for a casual show, and follows all the requirements I needed it to. Since I had a first name with one syllable, I wanted a last name with two. Nelson offset the hard consonants of Rick, and when said together sounded fluid and easy.
The name and sex were out of the way, so now it was on to the place of residence. This area had to be near enough to a major city that a zombie outbreak would be a threat after a week or so, but far enough away to buy some time. Furthermore, this area couldn't be too close to Washington D.C., as military action would be immediate. It was for these reasons that I chose Grand Rapids, Michigan. It's a nice suburban area with a thriving radio scene, and is only a few hours out from Detroit.
The rest of the information was required to add depth and a sense of empathy to Rick. Most characters in movies that the director wants to make more sympathetic have dogs, so mentioning that he has a Shiloh Shepherd named Aragorn gets that job done. A wife and unborn child complete the picture, creating a person who you would want to meet, and who you feel sorry for in the end.
Saturday, September 15, 2012
Strange times indeed
We live in an era where social media is a huge factor of everyday life. You would be hard pressed to find someone in a modernized country who doesn't have facebook, twitter, or the like. Such an easy and common connection with people across nations has made the sharing of information and events easy, and the suppression of such information rather... problematic. Simply barring reporters from witnessing an event or crisis does not mean that information does not get around. A single picture or post can go viral in a matter of hours, and what was once classified information becomes common knowledge.
It was this key factor that made me realize the importance of social media in the early stages of a "zombie apocalypse". Where traditional news sources such as radio and television fail or are controlled by the government, social media is too big to keep track of. In my series of podcasts, a media blackout is set in place in order to contain the reports of "rabies-like" outbreaks in major cities (particularly Detroit), mostly to stop a national panic. However, reports via twitter and facebook begin popping up, most of which have some very disturbing things to say. Here's an example...
Travis Jennings
Just Now
Saw two dudes in an ally eating another dude... Kept my distance and called the police. A black van showed up and guys in gas masks ran me off. What the f*ck is going on here?
Leaks such as this will be a huge source of early information regarding the outbreaks, and will create a sense of dread that will mount as the podcasts (and the disease) progress.
It was this key factor that made me realize the importance of social media in the early stages of a "zombie apocalypse". Where traditional news sources such as radio and television fail or are controlled by the government, social media is too big to keep track of. In my series of podcasts, a media blackout is set in place in order to contain the reports of "rabies-like" outbreaks in major cities (particularly Detroit), mostly to stop a national panic. However, reports via twitter and facebook begin popping up, most of which have some very disturbing things to say. Here's an example...
Travis Jennings
Just Now
Saw two dudes in an ally eating another dude... Kept my distance and called the police. A black van showed up and guys in gas masks ran me off. What the f*ck is going on here?
Leaks such as this will be a huge source of early information regarding the outbreaks, and will create a sense of dread that will mount as the podcasts (and the disease) progress.
Wednesday, September 12, 2012
The Zombie Proposal
Zombies. Of all the horrible monsters that humans have come up with in our time on this earth, zombies are my favorite. Whether they are the shambling masses of early cultural legends and horror films, or the Romero modern zombies who charge at you in a dead sprint (pun intended), I love them all. My first love, however, has always been politics and government. But how to combine the two into a capstone that will merge my experiences in both the political science and mass communications departments?
The answer was found in the original radio broadcast of "War of the Worlds". Presented as a believable new broadcast, it chronicled an alien invasion and hostile takeover of our planet. It was so legitimate in its presentation that people panicked, believing that the human race had come under attack. Adding to this, I've always enjoyed the medium of radio (I have the face for it, apparently), and knew almost as soon as our first capstone class started that I wanted to do a WotW style series of podcasts chronicling the zombie apocalypse in the United States.
Most of all, I want this to feel real enough that an outside listener would believe that the zombie apocalypse (or some other rabies style outbreak) was upon us. To add this sense of realism, along with added depth, I want to show how social networking such as facebook and twitter would play into the scenario, and how the government, people and media would interact with one another.
The answer was found in the original radio broadcast of "War of the Worlds". Presented as a believable new broadcast, it chronicled an alien invasion and hostile takeover of our planet. It was so legitimate in its presentation that people panicked, believing that the human race had come under attack. Adding to this, I've always enjoyed the medium of radio (I have the face for it, apparently), and knew almost as soon as our first capstone class started that I wanted to do a WotW style series of podcasts chronicling the zombie apocalypse in the United States.
Most of all, I want this to feel real enough that an outside listener would believe that the zombie apocalypse (or some other rabies style outbreak) was upon us. To add this sense of realism, along with added depth, I want to show how social networking such as facebook and twitter would play into the scenario, and how the government, people and media would interact with one another.
Friday, April 20, 2012
Eluveitie: Calling the Rain
The concept for my video was bold and pretty ambitious, to say the least.
I wanted to show and represent the endless and untouchable cycle of nature, from its serenity to harsh and unforgiving extremes portrayed in the cycle of a day. The video begins with a sunrise over a perfect and beautiful landscape, and continues in this theme with footage of calm forests and waterfalls.
Lightning crashes intermittently through this calm world, and as the rain begins to pick up, the viewer realizes something is definitely coming. A massive storm rolls in, breaking the calm in a big way. The weather gets progressively worse and more extreme as time goes on, with tornadoes, wind and lightning cutting vast swaths through the once beautiful countryside. At the climax of the video, the viewer is treated to a fast paced recap of everything that has happened throughout the course of the day, before the storms eventually calm and the sun sets over a once again scenic view. Nature resets its self.
I wanted to show and represent the endless and untouchable cycle of nature, from its serenity to harsh and unforgiving extremes portrayed in the cycle of a day. The video begins with a sunrise over a perfect and beautiful landscape, and continues in this theme with footage of calm forests and waterfalls.
Lightning crashes intermittently through this calm world, and as the rain begins to pick up, the viewer realizes something is definitely coming. A massive storm rolls in, breaking the calm in a big way. The weather gets progressively worse and more extreme as time goes on, with tornadoes, wind and lightning cutting vast swaths through the once beautiful countryside. At the climax of the video, the viewer is treated to a fast paced recap of everything that has happened throughout the course of the day, before the storms eventually calm and the sun sets over a once again scenic view. Nature resets its self.
Music Video: Sh*t that went right, and sh*t that went wrong.
Most of this is explained in my production notebook and commentary, but here we gooooo....
My start to the video making process was rocky at best and maddening at worst. After getting permission from the band to make a video for their song, and having my heart set on both the use of the song and the concept of the video, I realized two things: that the song was just over 5 minutes in length, and that I had no idea where I would find the footage that I needed.
The first problem was solved with the extensive stock footage library owned by the Comm Department. Contained within were literally hundreds of clips and stock videos that were perfect for my video concept. The second problem could only really be solved by a liberal application of elbow grease and hard work.
Final Cut was also being difficult in the beginning. Clips would refuse to render for no real reason, and I had to start from scratch several times. However, after changing computers no less than 3 times and finally figuring out the ins and outs of the program, it was smooth sailing. The editing process to a grand total of 8-10 hours to fill the 5 minute video, and even though there are still a few things that I'm not happy with, given my lack of previous knowledge with video software, I managed to reach my intended concept.
My start to the video making process was rocky at best and maddening at worst. After getting permission from the band to make a video for their song, and having my heart set on both the use of the song and the concept of the video, I realized two things: that the song was just over 5 minutes in length, and that I had no idea where I would find the footage that I needed.
The first problem was solved with the extensive stock footage library owned by the Comm Department. Contained within were literally hundreds of clips and stock videos that were perfect for my video concept. The second problem could only really be solved by a liberal application of elbow grease and hard work.
Final Cut was also being difficult in the beginning. Clips would refuse to render for no real reason, and I had to start from scratch several times. However, after changing computers no less than 3 times and finally figuring out the ins and outs of the program, it was smooth sailing. The editing process to a grand total of 8-10 hours to fill the 5 minute video, and even though there are still a few things that I'm not happy with, given my lack of previous knowledge with video software, I managed to reach my intended concept.
Living, Breathing video
We here in the Comm Department never view any form of media just on the surface. Music video is no different, and a wealth of depth and living, breathing media can be found just underneath the surface.
Music video can easily be considered a mirror image of different parts of society, either in gritty realism or idealized visions. In this sense, the video takes on a life of its own, letting the viewer make it evolve and create their own interpretations. The multimedia and multisensational aspects of the video grasp the significance of the world around us in all it's forms.
The other unique aspect of music video is the relative silence of the actual images being shown. Only rarely does what's happening in the video its self make any actual noise. Thus, it is left up to the music to provide the sound and much of the emotion to this 2D image, in essence adding a 3rd dimension to the world contained to the TV.
Music video can easily be considered a mirror image of different parts of society, either in gritty realism or idealized visions. In this sense, the video takes on a life of its own, letting the viewer make it evolve and create their own interpretations. The multimedia and multisensational aspects of the video grasp the significance of the world around us in all it's forms.
The other unique aspect of music video is the relative silence of the actual images being shown. Only rarely does what's happening in the video its self make any actual noise. Thus, it is left up to the music to provide the sound and much of the emotion to this 2D image, in essence adding a 3rd dimension to the world contained to the TV.
Tuesday, April 17, 2012
Music in Passing
Other forms of media find it easy to appeal to the senses and be aesthetically pleasing. Television and other forms of video are fantastic in the way that they appeal to multiple senses at once, while canvas artwork, even though it appeals only to the sense of sight, can be actively analyzed while the work is being enjoyed. Each of these can have a far deeper meaning, with many works requiring deeper thought or understanding to truly enjoy.
This is not true of music. Music simply is.
As far as the senses are concerned, music only appeals to our sense of hearing. That being said, the concept of synesthesia has the wonderful ability to instill in us percieved feelings of the other senses. How else would different genres of music be described as hard or smooth? Hell, some songs can even sound painful. The aesthetic experience of music is one dimentional on the surface, but far deeper than one would expect.
The deeper meaning of music can also only be thought of after the music has stopped. Unlike still artwork, music is very hard to pick apart as you're listening. One must look back on what has already happened and what you've already heard to get the full meaning.
Tuesday, April 10, 2012
Post Apocalyptic Studio Production
Group B
Our group was by far the largest one, which was great for having enough people to delegate tasks to, but definitely a pain when it came to making sure no one was tripping over each other or doubling up needlessly on tasks. The topic we chose is one of increasing popularity: the 2012 theories and the end of the world as we know it.
My part was definitely not insignificant. The one professor that was able to make it was a contact of mine that I've used before for other classes. Dr. Conley is a biology professor here at Shepherd University, and I kept her up to date with times and lists of questions after making sure she was available for the video shoot.
The second part of my contribution to the tv show was an emergency guest. Our second professor bailed, and we could not find a replacement in time for the shoot. I have fairly extensive knowledge of "post apocalyptic theory" since it's somewhat of a hobby of mine, and by doing a bit more research I was able to stand toe to toe with a professor, and present my points with confidence and accuracy.
It was during this whole process that I realized my place is in front of a camera. I have never been bothered by being in front of people, or under stage lights or any other high pressure situation. I thrive there.
Our group was by far the largest one, which was great for having enough people to delegate tasks to, but definitely a pain when it came to making sure no one was tripping over each other or doubling up needlessly on tasks. The topic we chose is one of increasing popularity: the 2012 theories and the end of the world as we know it.
My part was definitely not insignificant. The one professor that was able to make it was a contact of mine that I've used before for other classes. Dr. Conley is a biology professor here at Shepherd University, and I kept her up to date with times and lists of questions after making sure she was available for the video shoot.
The second part of my contribution to the tv show was an emergency guest. Our second professor bailed, and we could not find a replacement in time for the shoot. I have fairly extensive knowledge of "post apocalyptic theory" since it's somewhat of a hobby of mine, and by doing a bit more research I was able to stand toe to toe with a professor, and present my points with confidence and accuracy.
It was during this whole process that I realized my place is in front of a camera. I have never been bothered by being in front of people, or under stage lights or any other high pressure situation. I thrive there.
Comm 333 Ch. 6-7
Persistant vision, realism and hyper reality are not new concepts in any form of media. Indeed, the former two ideas are almost a century old or more, with Persistant Vision being originally theorized as a concept in the early 1920's and realism being far older. Realism in particular can apply to anything from paintings to film, and has just that over the last two hundred years or so.
Realism as we know it today is applied mostly to film. Programs such as late night talk shows or "live" TV are considered realism because while they may not be filming this program live, i.e. you're not watching it as it happens, they are meant to give the feel that it's all happening now. Bands playing during such talk shows are made to look as if all their music is live, even though the sounds levels are far too even, and the band in question will probably sound exactly like they have on their album. Be that as it may, all of these factors come together to make a realistic atmosphere.
Hyper reality comes into play moreso in films, where everything is so gritty and panoramic that everything seems too real, or too perfect. The frame rates are so smooth that it plays out like our own field of vision (or faster) and "reflects" reality in excruciating detail.
That brings us to the concept of persistent vision. PV, as we'll call it for now, is the brief (.25 second) after image that is left in our eyes after an image has been viewed. For film and TV, this means that anything above 12 frames per second will have a sufficient after image to make transitions from one frame to another flow seamlessly. Since most movies run at around 24+ frames per second, this creates a sense of realism or hyper realism as the case may be,
Realism as we know it today is applied mostly to film. Programs such as late night talk shows or "live" TV are considered realism because while they may not be filming this program live, i.e. you're not watching it as it happens, they are meant to give the feel that it's all happening now. Bands playing during such talk shows are made to look as if all their music is live, even though the sounds levels are far too even, and the band in question will probably sound exactly like they have on their album. Be that as it may, all of these factors come together to make a realistic atmosphere.
Hyper reality comes into play moreso in films, where everything is so gritty and panoramic that everything seems too real, or too perfect. The frame rates are so smooth that it plays out like our own field of vision (or faster) and "reflects" reality in excruciating detail.
That brings us to the concept of persistent vision. PV, as we'll call it for now, is the brief (.25 second) after image that is left in our eyes after an image has been viewed. For film and TV, this means that anything above 12 frames per second will have a sufficient after image to make transitions from one frame to another flow seamlessly. Since most movies run at around 24+ frames per second, this creates a sense of realism or hyper realism as the case may be,
Thursday, March 8, 2012
Three Point Editing
Three point editing is one of the many important methods and tools that can be used with Final Cut Pro (and its previous installments) that can seamlessly fit any clip into an existing film project. The editing process begins by marking the "in" and "out" points in our movie, thereby setting out the eventual duration of the clip we wish to insert. After doing so, you can drop your clip in between the in and out points, shortening it to fit your own needs. At any point thereafter, if you wish to add a different clip, you can just insert another file in between the points.
By utilizing three point editing, one can try out multiple different clips in the same spot without having to re-edit, or go through the entire process again. It allows the creator to go through a trial and error process, with his or her artistic freedom unhampered by the red tape of an over complicated editing process.
By utilizing three point editing, one can try out multiple different clips in the same spot without having to re-edit, or go through the entire process again. It allows the creator to go through a trial and error process, with his or her artistic freedom unhampered by the red tape of an over complicated editing process.
Tuesday, February 21, 2012
Writing Center Script
It's always difficult to interpret how a scene will look from just reading the script. Conversations or camera changes that seem jumbled or disorganized on paper flow seamlessly on the silver screen, as long as you have a good editor.
That being said, I completely understand the idea and the scene that this script is trying to get across. When multiple people and actors repeat the same line several times, it drives home whatever point they're trying to make. From what I can see, this script will do a fairly good job of that, but may suffer from doing that too well.
Commercials and advertisements need to be long enough to get a point across, but short enough to not lose the viewers attention, and in these days, that attention span is remarkably short. The ad may suffer from being a bit too wordy and long, much longer than it should be. By cutting out some of the repetition, we can condense the commercial into something much easier to follow and pay attention to without losing any of the overall idea.
That being said, I completely understand the idea and the scene that this script is trying to get across. When multiple people and actors repeat the same line several times, it drives home whatever point they're trying to make. From what I can see, this script will do a fairly good job of that, but may suffer from doing that too well.
Commercials and advertisements need to be long enough to get a point across, but short enough to not lose the viewers attention, and in these days, that attention span is remarkably short. The ad may suffer from being a bit too wordy and long, much longer than it should be. By cutting out some of the repetition, we can condense the commercial into something much easier to follow and pay attention to without losing any of the overall idea.
Tuesday, February 14, 2012
Concrete Jungle
In the same vein as "Welcome to the Jungle" by Guns'n'Roses, Black Label Society's "Concrete Jungle" is a bleak and rather dark look at life in the big city. More than that, however, is the look at society and corporate greed and the way it has affected us.
The lyrics throughout the song are fairly simple (and mildly repetitive at times), and illustrate the hopelessness that accompanies the times. The description that they give is almost apocalyptic in nature, talking of freaks in the streets and rampant death. The will of the damned is the only thing that matters here, and no one gets out alive. The visual track that the video takes illustrates the details of the lyrics almost literally, with each phrase being represented. In this way, the words back up the visuals, rather than contrast them or add a deeper meaning.
This brings us to the visuals themselves. As I stated before, the video solidifies the lyrics and gives them a visual form rather than enhance their meaning, which is already fairly apparent. The rhythm and beat is heavily supported, however. This adds a pounding feel to the experience, not unlike a heartbeat or pulse.
The band themselves are all represented as characters within the concrete jungle. All take on heavily stylized forms, with exaggerated illustrations abound. They are also represented as being in some form of bondage, be it a cage, prison cell, or bound in chains. This is not a representation of real life (I hope...)
Monday, February 13, 2012
Studio tyme!
Yes, I know I misspelled that. It was intentional. Moving on.
Admittedly, I've always been somewhat of a ham, so no matter what I do, whether it be behind a camera, in an audio booth or directing the entire process, I feel the most natural and at home in front of the lense.
I've always had a natural talent for talking, the gift of gab if you will. Conversation comes easily, I'm not shy around people, and large crowds rarely get me nervous. Filling gaps in interviews and transitioning in between subjects is my strong suit.
I suppose I get these qualities from my father. He's always been a charismatic salesman, talking to everyone he meets like an old friend. He has this incredible ability to put people at ease (both their nerves and their wallets) that I've tried hard to match. Even though I'm not quite there yet, I believe it gives me an edge on screen.
Admittedly, I've always been somewhat of a ham, so no matter what I do, whether it be behind a camera, in an audio booth or directing the entire process, I feel the most natural and at home in front of the lense.
I've always had a natural talent for talking, the gift of gab if you will. Conversation comes easily, I'm not shy around people, and large crowds rarely get me nervous. Filling gaps in interviews and transitioning in between subjects is my strong suit.
I suppose I get these qualities from my father. He's always been a charismatic salesman, talking to everyone he meets like an old friend. He has this incredible ability to put people at ease (both their nerves and their wallets) that I've tried hard to match. Even though I'm not quite there yet, I believe it gives me an edge on screen.
Thursday, February 2, 2012
Of Cameras and Lighting
My first experiences in the new Shepherd Studio have been nothing but enjoyable. Despite near constant problems with lighting, and a few issues with sound and having everyone know exactly what they're doing (still haven't gotten that one yet...) the process has gone as smoothly as it could have in such an early stage of the learning process. I for one have had an absolute blast, and I feel as if I've been bitten by the studio bug...
My classmates seem to be getting into this ongoing project as well. After a few initial reservations, everyone fell into each role they were given in turn and tackled every project and problem with growing confidence. Furthermore, there was a growing enthusiasm and passion that seeped into everyone present, and I truly hoped our instructor sensed that.
In essence, we're not so different than Hamish and his powerful, passionate and innovative style. We may be many levels below him in experience and professionalism, but truthfully we represent him in miniature. We are on the same path, even if we're far behind.
My classmates seem to be getting into this ongoing project as well. After a few initial reservations, everyone fell into each role they were given in turn and tackled every project and problem with growing confidence. Furthermore, there was a growing enthusiasm and passion that seeped into everyone present, and I truly hoped our instructor sensed that.
In essence, we're not so different than Hamish and his powerful, passionate and innovative style. We may be many levels below him in experience and professionalism, but truthfully we represent him in miniature. We are on the same path, even if we're far behind.
Friday, January 20, 2012
Video Killed the Radio Star?
Music videos, specifically the advent of MTV, certainly changed the face of music forever. But as the classic song goes, did it truly kill the raidio star?
Before music videos came into the limelight, music (and the artists that created it) was transported primarily through the medium of the radio. Though the sound had an intimate feel, as if you were right in front of the band and they were playing this song just for you, they remained a faceless entity comprised only of sound waves. MTV and all of its followers and subsequent copycats put a face to the name and sound, forcing an entirely new dimension and medium onto the artists and industry.
The simple answer here is that music video stars outshone the counterparts that weren't "pretty" enough to make the jump from radio, but the truth is far more complicated. Former radio stars had to adapt to and embrace this new medium in order to survive, and many of them did just that. Likewise (at least in today's world) an artist or band cannot survive on music videos alone, and must have radio play as well. The music must be able to stand on it's own for radio play, and be flashy enough (and have a good enough video) to be a hit on TV as well. Video did NOT kill the radio star. The video star IS the radio star, and vice versa. They are one in the same.
Before music videos came into the limelight, music (and the artists that created it) was transported primarily through the medium of the radio. Though the sound had an intimate feel, as if you were right in front of the band and they were playing this song just for you, they remained a faceless entity comprised only of sound waves. MTV and all of its followers and subsequent copycats put a face to the name and sound, forcing an entirely new dimension and medium onto the artists and industry.
The simple answer here is that music video stars outshone the counterparts that weren't "pretty" enough to make the jump from radio, but the truth is far more complicated. Former radio stars had to adapt to and embrace this new medium in order to survive, and many of them did just that. Likewise (at least in today's world) an artist or band cannot survive on music videos alone, and must have radio play as well. The music must be able to stand on it's own for radio play, and be flashy enough (and have a good enough video) to be a hit on TV as well. Video did NOT kill the radio star. The video star IS the radio star, and vice versa. They are one in the same.
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