Research For VLOG: Indie Music Video Analysis

Research for VLOG - Indie Music Video Analysis:

In order to create an effective VLOG, I decided to research a variety of indie music videos and make notes on reoccurring codes and conventions used in order to decide on the codes and conventions I would display. 

The Hunna - Bonfire:

Usage of quick cuts between shots on each beat of the opening

Dim low-key lighting reminiscent of a concert or nightlight party scene

Continual close-ups of band members lip-syncing the lyrics

Common props/ iconography include red cups filled with alcohol 

Overlay grained text or film grain scratches of bright white light transitions changing the shot

Quick tracking and pan shots to increase the pace of video to link to the fast paced up tempo song

Slight voyeuristic usage of shots of females dancing with the band 

Catfish and the Bottlemen - Homesick:

Black and white colouration, dark

Overlay film grain

Comprised of stop motion animation pictures playing in order, different shot types in quick motion

Iconographic usage of instruments 

Usage of concert setting - performance rather than concept communicating the buzz of a their concerts within the video and simultaneously attempting to sell tickets for their next tour in order for their fans to feel part of the ‘buzz’. 

The Wombats - Greek Tragedy: 

Fade from black transition 

Slow motion tracking shots, with fast paced glitch transitions between low-quality film and television grained footage of the band

Low-key dim lighting in the warehouse set

Concept video with elements of performance within the video 

Pink toned gobo lighting 

KYKO - Native:

Slow paced shots mostly placed in slow motion

Static white colours, with single colours, quick cuts between white background and pink background 

Constant close-ups and mid-shots of the artist adhering to Andrew Goodwin’s features of music videos, as the demands of the record label ensure that there is many close-ups of the artist in order to develop a visual style. (smaller artists, lower budget, higher focus on the artist to create a visual identity.) 

The usage of musical instruments 

Coloured paint being thrown around in slow motion 

Warehouse setting with graffiti on the walls and bright white lighting, simplistic set. 

High-key lighting 

Sigrid - Don’t Kill My Vibe: 

Single bright colours with static white colours in background

Canted angles 

Pink neon LED lights highly iconographic representation of the indie genre, with the dark night background highly representative of celebration and ‘indie’ party. 

Beginning with a slow pace and long mid-shots however, as pace quickens the cuts become quicker in conjunction with canted angles 

Not a highly elaborate set - varied colour screen’s behind Sigrid, with peoples hands grabbing her and contorting the material - highly simplistic but clever, in the foreground with shallow depth of field and high white balance is a sea setting, therefore close-ups have been used to display the artist (smaller artists, lower budget, higher focus on the artist to create a visual identity.)

The 1975 - The Sound:

Fade from black opening transition to reveal pink iconographic LED lights highly representative of the indie genre

Quick cut to shot of that has been edited in post production to have a pink colouration with ‘The 1975’ in a simplistic white bold typeface.

Concept video whereby ‘The Sound’ of their music is representative of the line (relationship between lyrics and visuals) ’the sound’ and the pink colouration is representative of the heart, direct link between stings in the music/ change in the beat and quick cuts to shots whereby the lighting has changed from white to bright pink (mostly on the chorus) 

Iconographic costumes of leather jackets a common reoccurring costume for indie artists 

Contrast between static white colouration and pink 

Usage of a warehouse setting surrounding the neon light box that they are within, whereby spectators walk round the box watching wearing all white.  

Frequent reference to the notion of looking, particularly with the box they are within and spectators around Usage through the usage of performance within the video (Andrew Goodwin) 

Self deprecating quick cuts between shots and pink background with bold text making fun of their song lyrics in the 1975’s iconic style 

Usage of constant well timed light transitions 

Crystal Fighters - You & I:

Concept video utilising nature, e.g. the tree has been animated to sing the lyrics; explains the story of a tree and a bird. The setting of the trees in juxtaposition to the busy streets, electricity pylons and and wood chipper whereby the tree eventually gets chipped along with the selfless bird. 

Highly fast paced clever transitions between pan shot of artist to the right to a shot of a bird flying to the left, to increase the pace 

Usage of light leaks and low saturation colours, in relation to the setting of the music video light has been used to convey sunset

Close up panning shots of the band

The Maine - English Girls:

Concept video with occasional links back to the lead singer singing , quick glitch crossfade transitions between face of leader singer within the concept and within the performance in order to display the clear link between the two

Dark colouration, and low-key lighting with bright white lights in flashback scenes 

Highly stereotypical English pub set linking to lyrics and concept of ‘English Girls’. 

The Maine - Am I Pretty?

Concept based video beginning with diegetic-narrative voice over of individuals discussing their experiences narrating over visuals of themselves or others. 

One Size Shot 

Simple white background with single blue colours 

Features of performance of the band 

NEIKED - Call Me:

Concept music video, predominantly filmed in slow motion with slow quick cut transitions

Circa Waves - T-Shirt Weather: 

Fade in from black transition

Dark dim low-key lighting with bright yellow and orange spotlights creating single bursts of colour .

Usage of projection of a stereotypical ‘indie road trip’ onto the singers 

Usage of musical instruments as props in the performance based video

Warehouse set, with revolving stage 

Final shot is a close up of the last strum of the guitar linking to the final beat of the song, visuals linking with songs 

Tracking shots moving around the revolving stage to increase the pace of the shots as the song reaches its crescendo. 

BORNS - Electric Love

Low-key dim lighting within the mise-en-scene, with a smokey and mysterious set, casting shadows and making the dancers appear as silhouettes

Voyeuristic tracking shots of females prancing around - casting a clear outline of their body shape relating to Laura Mulvey’s male gaze theory

Clever costume choice in coherence with the choice of bright pink LED lighting (iconographic) as the sparkles on the costume reflect the beams of light 

Canted angles, distorting the view of the blurred complex set 

Limited close-up’s with high visibility of the artists face due to the dark low-key lighting, juxtaposing Andrew Goodwin’s theory of constant close-ups of the artist. 

Mirrored effect, manipulating the frame making the video appear unconventional and mirroring a fairground attraction 

Usage of VFS/Special effects to illuminate his entire body in an ‘electric glow’

Ghostly post production editing to create a ghostly shadow 

Panning shot upwards transition crossfading into a shot of an animated sky, with the planets and stars aligned to create his body.