I have had further discussion with Jack in regards to the project and it appears that he is more concerned with the digipak work as opposed to the actual video, however I have since explained to him that the process - according to my teacher's supervision - is best done with the video first. I really want to produce content of a high enough standard and so Jack's deadline for January seems a little unrealistic given how my shoot for the video will likely occur within such a time-frame, in an effort to not fall behind.
It is with regret that I now have to decline Jack's requests for a finished digipak however I will see about producing some concepts around this time if possible.
Wednesday, 14 December 2016
Monday, 12 December 2016
Change of Title
Jack requested that the name be changed from Under the Weird Sky to simply Weird Sky
Just a simple update: Jack has requested that I change the album title - and thus the project - to just Weird Sky as opposed to Under the Weird Sky. Although no official reason for this was given, I can only assume it was a decision made as to associate the leading song to the album.
Just a simple update: Jack has requested that I change the album title - and thus the project - to just Weird Sky as opposed to Under the Weird Sky. Although no official reason for this was given, I can only assume it was a decision made as to associate the leading song to the album.
Sunday, 11 December 2016
Pre-Plan - Under the Weird Sky Music Video
Planning Process:
Firstly, I'd like to open this post by establishing my planning method for the final music video within this project:
I used to Scout, create a Script, Storyboard and then focus on Audio in my AS project but that wasn't a really efficient process. The issue is that Scouting would effect everything else and I was rather restricted in my genre as to where I could shoot, which is why it took first priority. However this tailoring meant that everything else occurred at a slower rate.
As the current project is music-orientated, it makes sense for me to assess the Audio first and create not a Script but Concept and see how I am inspired by the music. This can then translate into an Animatic, I used a Storyboard during my AS project but a music video is focused a lot heavier around beats and the changes occurring on them. Scouting should be easier given that I can perhaps choose more available locations in my planning process and perhaps make changes to my original plans following the new discoveries made during Scouting.
After all of this is organised I'll be able to shoot, edit and evaluate - making improvements where necessary - no different really from before but hopefully my method of planning will be more efficient now.
As the current project is music-orientated, it makes sense for me to assess the Audio first and create not a Script but Concept and see how I am inspired by the music. This can then translate into an Animatic, I used a Storyboard during my AS project but a music video is focused a lot heavier around beats and the changes occurring on them. Scouting should be easier given that I can perhaps choose more available locations in my planning process and perhaps make changes to my original plans following the new discoveries made during Scouting.
After all of this is organised I'll be able to shoot, edit and evaluate - making improvements where necessary - no different really from before but hopefully my method of planning will be more efficient now.
Wednesday, 7 December 2016
Solo or Band?
In order to clarify, this is a solo project for Jack as an artist. He originally worked under the name of Jack DC and would often switch to Jack Calvesbert - linking into the names of his YouTube channels. However, I was unsure at first if Jack wanted to include members of his other bands into the project: he is part of the Acid Tsunamis, is part of a duo in the Completed Series and also has worked with some other friends on a band called Surf Girl.
Jack told me, when questioned what I would put on the album cover (Jack DC or Jack Calvesbert), to instead use the stage name 'Elsewhere Head'; as I have stated, I have decided to focus in on Ty Segall as he too is a psychedelic solo artist. I did run into some issue with whether or not this is a band project recently following my conversation with Jack via text. I'd been discussing the idea of framing the video with a scene beforehand in which he is smoking, however Jack made reference to involving some others in the scene along with involving them in the performance. This is something I'm not too keen on as it is difficult to organise multiple people, which is something I'll have to explain more to Jack at a later date.
Notably in the conversation, Jack mentioned Ty Segall's the Singer and its music video. He suggested I do something along those lines for the rest of the video however it is only filmed with a single wide shot of the artist on stage. While it is something I'd consider, it isn't something I could necessarily feature too heavily as I need to include a range of shots, as part of the project's specification.
Although, I could see about including a few interspersed wide shots of Jack and 'clone' him like in my Preliminary Video, in an effort to pay homage to Ty Segall's video. This'd only really require me to make Jack's clones more opaque.
Jack told me, when questioned what I would put on the album cover (Jack DC or Jack Calvesbert), to instead use the stage name 'Elsewhere Head'; as I have stated, I have decided to focus in on Ty Segall as he too is a psychedelic solo artist. I did run into some issue with whether or not this is a band project recently following my conversation with Jack via text. I'd been discussing the idea of framing the video with a scene beforehand in which he is smoking, however Jack made reference to involving some others in the scene along with involving them in the performance. This is something I'm not too keen on as it is difficult to organise multiple people, which is something I'll have to explain more to Jack at a later date.
Notably in the conversation, Jack mentioned Ty Segall's the Singer and its music video. He suggested I do something along those lines for the rest of the video however it is only filmed with a single wide shot of the artist on stage. While it is something I'd consider, it isn't something I could necessarily feature too heavily as I need to include a range of shots, as part of the project's specification.
Although, I could see about including a few interspersed wide shots of Jack and 'clone' him like in my Preliminary Video, in an effort to pay homage to Ty Segall's video. This'd only really require me to make Jack's clones more opaque.
Monday, 5 December 2016
Experimental - Psychedelic Clips
In the following video, with music from YouTube, I filmed various physical objects around my house to create psychedelic imagery - intense colours, kaleidoscopic, patterned or paisley and otherwise abstract imagery. Each came back with varying results and notably the zoom is rather slow in many of the clips, forcing me to physically move the camera closer and therefore looking more amateur and shaky - which isn't bad, however I wish to still film to a high standard.
I used a Canon PowerShot for the filming of these clips, along with a standard travel tripod.
Experimental from Eughan Wooding on Vimeo.
1) A thin black and white blanket found downstairs:
With a repeating pattern that includes quite equilateral or kaleidoscopic shapes, this blanket would've been ideal for creating a psychedelic clip or background to use in my final video. The downside being my inability to zoom effectively along with the focus of the camera (which is auto-matic) along with the poor lighting, it could be difficult to ensure the blanket is adequately flat or in good enough light, as it is too big to hang in direct light.
The rotation of the camera could be quite effective when generally applied to my final video; creating a dutch-angle could reflect the distortion and disorientation in reality in order to replicate the feelings of drug use - or at least indicate them to the viewer, for them to better empathise with Jack on screen.
2/3) The alternating sides of my duvet cover:
I very much like the patterns used on the duvet: the first being ideal for camera movement in the direction of the pattern while the second is rather kaleidoscopic and therefore more suited to zooms. Notably, the same issues as previously mentioned plague these two shots; the lighting and focus is way off and would be difficult to correct especially given my lack of equipment. It might be worth looking into stock footage, or generating footage, of patterns fitting the psychedelic conventions of paisley, fractal, kaleidoscopic and so on.
4) A Hoberman sphere toy:
Using a very 90s toy, I tried to create a moving psychedelic subject such as expanding colours but noticeably the background isn't particularly immersive or blank and my fingers can be seen in most shots. I don't believe it is particularly worth the time to film such visuals as the effects are obviously low-budget and don't look visually entertaining. This is one of my least favourite shots in terms of mise-en-scene however I certainly like the vibrancy of the colours and their blurred movement only adds to this.
5) My DVD collection:
In the first portion, the light was too low and I decided to reshoot with an extra torch - that of my iPhone. The second portion is clearer however there is too much glare from the torch and you can see the shadow of the camera for a second, furthermore the use of the collection would require a more vibrant and extensive range of films as the current set look rather dull; I tried fast camera movements to again generate my own psychedelic imagery of patterns or colours but I don't think this is a particularly easy way of doing it.
6) A lightbulb:
Strangely the imagery is further made abstract by the lack of focus, which I liked. It's just subtle enough to perhaps have the colours edited and overlaid onto another clip or even as an isolated clip itself, certainly something to consider when filming - plus there's no shortage of lighting! I also like the zoom out here, while the zoom on the camera is rather slow; the rotation included in the zoom out is what really makes it aesthetic and disorientating, as previously stated.
In conclusion, I think that the experiments have proven rather lackluster however it has only reaffirmed my idea of using stock footage, in fact I have an app called SoundColour which is supposed to react to sounds recorded - producing visuals accordingly. It is worth noting that the app has been suggested to replicate synaesthesia, the condition of the previously mentioned artist Jack B Coulter, which can directly link sounds/music to visuals; using this to create visuals for my final psychedelic video could enhance or replicate the 'trip' that psychedelia aims to enhance or replicate.
I used a Canon PowerShot for the filming of these clips, along with a standard travel tripod.
Experimental from Eughan Wooding on Vimeo.
1) A thin black and white blanket found downstairs:
With a repeating pattern that includes quite equilateral or kaleidoscopic shapes, this blanket would've been ideal for creating a psychedelic clip or background to use in my final video. The downside being my inability to zoom effectively along with the focus of the camera (which is auto-matic) along with the poor lighting, it could be difficult to ensure the blanket is adequately flat or in good enough light, as it is too big to hang in direct light.
The rotation of the camera could be quite effective when generally applied to my final video; creating a dutch-angle could reflect the distortion and disorientation in reality in order to replicate the feelings of drug use - or at least indicate them to the viewer, for them to better empathise with Jack on screen.
2/3) The alternating sides of my duvet cover:
I very much like the patterns used on the duvet: the first being ideal for camera movement in the direction of the pattern while the second is rather kaleidoscopic and therefore more suited to zooms. Notably, the same issues as previously mentioned plague these two shots; the lighting and focus is way off and would be difficult to correct especially given my lack of equipment. It might be worth looking into stock footage, or generating footage, of patterns fitting the psychedelic conventions of paisley, fractal, kaleidoscopic and so on.
4) A Hoberman sphere toy:
Using a very 90s toy, I tried to create a moving psychedelic subject such as expanding colours but noticeably the background isn't particularly immersive or blank and my fingers can be seen in most shots. I don't believe it is particularly worth the time to film such visuals as the effects are obviously low-budget and don't look visually entertaining. This is one of my least favourite shots in terms of mise-en-scene however I certainly like the vibrancy of the colours and their blurred movement only adds to this.
5) My DVD collection:
In the first portion, the light was too low and I decided to reshoot with an extra torch - that of my iPhone. The second portion is clearer however there is too much glare from the torch and you can see the shadow of the camera for a second, furthermore the use of the collection would require a more vibrant and extensive range of films as the current set look rather dull; I tried fast camera movements to again generate my own psychedelic imagery of patterns or colours but I don't think this is a particularly easy way of doing it.
6) A lightbulb:
Strangely the imagery is further made abstract by the lack of focus, which I liked. It's just subtle enough to perhaps have the colours edited and overlaid onto another clip or even as an isolated clip itself, certainly something to consider when filming - plus there's no shortage of lighting! I also like the zoom out here, while the zoom on the camera is rather slow; the rotation included in the zoom out is what really makes it aesthetic and disorientating, as previously stated.
In conclusion, I think that the experiments have proven rather lackluster however it has only reaffirmed my idea of using stock footage, in fact I have an app called SoundColour which is supposed to react to sounds recorded - producing visuals accordingly. It is worth noting that the app has been suggested to replicate synaesthesia, the condition of the previously mentioned artist Jack B Coulter, which can directly link sounds/music to visuals; using this to create visuals for my final psychedelic video could enhance or replicate the 'trip' that psychedelia aims to enhance or replicate.
Saturday, 3 December 2016
Experimental - Skittles
Again in an attempt to use practical effects to generate psychedelic imagery, I decided to use Skittles in a puddle of water in order to timelapse with an iPhone 7 the colouring dissipation. I compiled a video below explaining the process and used a sped up version of this YouTube song that I found. Additionally, I was inspired by a YouTube video in which a young boy and his father timelapse some Skittles too.
There are a few videos out there with the same concept and I noticed perhaps the reason why my Skittles took so long to dissipate and why the areas around aren't as clean - with very gross and faded bits of water around some Skittles. Essentially I used cold water despite many videos saying 'warm water', which could have resulted in a quicker and smoother clip. Additionally, I failed to use a plate in my video which might have given more shape to the pattern.
The timelapse is very shaky and the lighting is quite poor, as a result it is difficult to clearly see the pattern emerging; potentially, a tripod of sorts may have been useful however the fact that the timelapse occurred on an iPhone would make this difficult. Additionally, the inclusion of the Skittles in the frame make it obvious what is occurring so I would need to ensure they weren't shown - focusing mainly on the pattern - if I decided to include the effect in my final video.
Skittles from Eughan Wooding on Vimeo.
I do like the effect but it lacks a degree of movement I think would be best achieved through the use of digitally generated stock kaleidoscopic footage; the practical effects seem to have been a let down and the only feasible way to get the footage I need seems to be through previously generated means.
There are a few videos out there with the same concept and I noticed perhaps the reason why my Skittles took so long to dissipate and why the areas around aren't as clean - with very gross and faded bits of water around some Skittles. Essentially I used cold water despite many videos saying 'warm water', which could have resulted in a quicker and smoother clip. Additionally, I failed to use a plate in my video which might have given more shape to the pattern.
The timelapse is very shaky and the lighting is quite poor, as a result it is difficult to clearly see the pattern emerging; potentially, a tripod of sorts may have been useful however the fact that the timelapse occurred on an iPhone would make this difficult. Additionally, the inclusion of the Skittles in the frame make it obvious what is occurring so I would need to ensure they weren't shown - focusing mainly on the pattern - if I decided to include the effect in my final video.
Skittles from Eughan Wooding on Vimeo.
I do like the effect but it lacks a degree of movement I think would be best achieved through the use of digitally generated stock kaleidoscopic footage; the practical effects seem to have been a let down and the only feasible way to get the footage I need seems to be through previously generated means.
Thursday, 1 December 2016
Overview of Brand Identity
I have made a few decisions on my focus for brand identity for Jack and my project surrounding the production of a digipak and video for his new music. I believe it is also worth noting how I can refer to Jack's work on either notrightrecords or bandcamp for help with working off of his previous works. Moving on, the decisions I've already come to are as follows:
Inspiration
I've decided to focus on Ty Segall's style mainly for Jack as Ty Segall is also a solo psychedelic artist, and a favourite of Jack's. I've decided to include some aspects of his Dada art style and animations in my work on the project, as well as hand-draw some designs and fonts.
Additionally, I will need to analyse some of his videos in further detail - particularly when focusing on the animation side of my project. These videos will also offer me better insight into the style I aim to replicate to an extent.
I also intend to analyse some more psychedelic artists, such as King Gizzard and the Lizard Wizard, Tame Impala, the Dandy Warhols and Django Django.
Merchandise and Logo
I've decided to create a circular logo for Jack's solo band name 'Elsewhere Head', drawing inspiration from the Who, the Neighbourhood Watch, a YouTuber called Northlander and an artist called Dave Giles; stylistically it will likely include a stamp version of Jack's most definable identity features such as his distinct hair and glasses, taking inspiration from artists like Elvis Costello and Buddy Holly who used glasses to distinguish themselves. This decision is made as I believe it'll be stylistically well received but also a circular design would easily fit onto a badge for merchandise. Badges being usable on most attire and even bags, to further advertise the brand of Elsewhere Head.
Furthermore, T-shirts seem to be a universally viable option for merchandise as a range of artists sell shirts: Ty Segall, Iron Maiden and the Ramones being some that I looked at. I will likely include the logo or some album covers (previously made and the new one for this project) on the shirts.
Plus, I noted how Iron Maiden and the Ramones have become mainstream clothing options that are warn by people who aren't even fans of the music, as a result I wished to tap into this idea and perhaps include some merchandise specifically targeted at the mainstream youth - printing onto sweatshirts, tapered jogging bottoms and perhaps even hats.
Costume
Most psychedelic artists dress rather unassuming in casual clothes, therefore I would have no problem in allowing Jack to wear whatever he wanted. However, I would like to note that he does own Pretty Green clothes which typically feature a paisley design - conforming to psychedelic imagery - so it'd be an option for his costume in the material being used, certainly. Additionally, Pretty Green is run by Liam Gallagher from Oasis, who Jack has claimed have been an influence on his music and him as an artist.
Target Audience
Jack will likely be adhering to a demographic of the same age, specifically teens and young adults. There's been a notable resurgence of youths who are interested in indie culture, which has had a notable throwback to older genres and subcultures. Many young people, at least who I've interacted with and generally seen, have adopted a liking for old rock and psychedelic music and fashion - often wearing 90s clothes or leather and denim.
Additionally, many youths like trance music which some believe is linked to a branch in psychedelic music - with some similarities in rave culture's drug use being enhanced by music or vibrant colours and UV-esque designs or clothing. The vibrant colours I use will likely attract this younger demographic.
However, in focusing on Jack's musical ability I can perhaps tap into the nostalgia of older psychedelia fans, similar to how many older fans of rock have mixed with younger fans of the Strypes. The Strypes are a similar age to Jack and so their musical prowess is played in the promotional material to attract fans to the concept of 'revival of real rock'.
Palette
Palette is exceptionally important in brand identity and I believe that focusing on vibrant primary colours is the way forward. Additionally, vibrant and contrasting colours play a large role in Pop Art which has inspired much of psychedelic art, as I found in my research.
I will particularly use blue, linking to the sky imagery due to the project being 'Under the Weird Sky'; another set of colours I like and aim to use are pink and green as I feel they stand out the most, drawing inspiration mainly from an Instagram artist I found called Jack B Coulter - who has synesthesia).
Inspiration
I've decided to focus on Ty Segall's style mainly for Jack as Ty Segall is also a solo psychedelic artist, and a favourite of Jack's. I've decided to include some aspects of his Dada art style and animations in my work on the project, as well as hand-draw some designs and fonts.
Additionally, I will need to analyse some of his videos in further detail - particularly when focusing on the animation side of my project. These videos will also offer me better insight into the style I aim to replicate to an extent.
I also intend to analyse some more psychedelic artists, such as King Gizzard and the Lizard Wizard, Tame Impala, the Dandy Warhols and Django Django.
Merchandise and Logo
I've decided to create a circular logo for Jack's solo band name 'Elsewhere Head', drawing inspiration from the Who, the Neighbourhood Watch, a YouTuber called Northlander and an artist called Dave Giles; stylistically it will likely include a stamp version of Jack's most definable identity features such as his distinct hair and glasses, taking inspiration from artists like Elvis Costello and Buddy Holly who used glasses to distinguish themselves. This decision is made as I believe it'll be stylistically well received but also a circular design would easily fit onto a badge for merchandise. Badges being usable on most attire and even bags, to further advertise the brand of Elsewhere Head.
Furthermore, T-shirts seem to be a universally viable option for merchandise as a range of artists sell shirts: Ty Segall, Iron Maiden and the Ramones being some that I looked at. I will likely include the logo or some album covers (previously made and the new one for this project) on the shirts.
Plus, I noted how Iron Maiden and the Ramones have become mainstream clothing options that are warn by people who aren't even fans of the music, as a result I wished to tap into this idea and perhaps include some merchandise specifically targeted at the mainstream youth - printing onto sweatshirts, tapered jogging bottoms and perhaps even hats.
Costume
Most psychedelic artists dress rather unassuming in casual clothes, therefore I would have no problem in allowing Jack to wear whatever he wanted. However, I would like to note that he does own Pretty Green clothes which typically feature a paisley design - conforming to psychedelic imagery - so it'd be an option for his costume in the material being used, certainly. Additionally, Pretty Green is run by Liam Gallagher from Oasis, who Jack has claimed have been an influence on his music and him as an artist.
Target Audience
Jack will likely be adhering to a demographic of the same age, specifically teens and young adults. There's been a notable resurgence of youths who are interested in indie culture, which has had a notable throwback to older genres and subcultures. Many young people, at least who I've interacted with and generally seen, have adopted a liking for old rock and psychedelic music and fashion - often wearing 90s clothes or leather and denim.
Additionally, many youths like trance music which some believe is linked to a branch in psychedelic music - with some similarities in rave culture's drug use being enhanced by music or vibrant colours and UV-esque designs or clothing. The vibrant colours I use will likely attract this younger demographic.
However, in focusing on Jack's musical ability I can perhaps tap into the nostalgia of older psychedelia fans, similar to how many older fans of rock have mixed with younger fans of the Strypes. The Strypes are a similar age to Jack and so their musical prowess is played in the promotional material to attract fans to the concept of 'revival of real rock'.
Palette
Palette is exceptionally important in brand identity and I believe that focusing on vibrant primary colours is the way forward. Additionally, vibrant and contrasting colours play a large role in Pop Art which has inspired much of psychedelic art, as I found in my research.
I will particularly use blue, linking to the sky imagery due to the project being 'Under the Weird Sky'; another set of colours I like and aim to use are pink and green as I feel they stand out the most, drawing inspiration mainly from an Instagram artist I found called Jack B Coulter - who has synesthesia).
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