Brand Identity - The Target Audience

Given the nature of my project, what is effectively a nostalgic revival of the seminal 90s Britpop group, I have opened doors to a varied demographic of audiences. For example, those who lived through The Stone Roses' debut and follow-up album would be grown adults currently; and lately there has been a large resurgence of indie bands from the 90s becoming popular in our present day, thus allowing for a younger teen audience. Despite The Stone Roses not being an active studio band since the release of 1995s 'Second Coming' up until 2016s single releases 'All for One' and 'Beautiful Thing' they still have a massive cult following on the debut album along with all their early singles. Masses of fans, young and old, continue to buy tickets for shows that almost instantly become sold out (speaking from experience). Therefore, giving me the job of attempting to create a brand that would appeal to both sides of the spectrum.

I believe that the music itself would simply appeal to the older demographic due to the fact that when The Stone Roses were in their prime they often didn't rely on music videos or promotional material as the music and the whole 'scene' behind the music gained them the cult following they have today. Live performances in famed Manchester club 'The Hacienda' helped The Stone Roses achieve a local following and thus developed the Madchester Rave scene. This therefore allows me to focus on appealing to the younger teenage audience through the use of the Music video and promotional material, given the boom of music videos and the importance behind the audience being able to identify with artist they are listening to. Music videos are even becoming an expression of art alongside the music itself, thus forming a more expressionistic culture around music videos. An example would be the music video for the late David Bowie's 'Blackstar' (https://www.youtube.com/watch?v=kszLwBaC4Sw). This music video/short film can be interpreted as having a completely different meaning to the song itself and thus becomes its own entity separate from the music, and an expression of art from the director of the music video.

Brand Identity - Colour Pallette/Design

Most bands/solo artist tend to have a specific color or logo that they are often associated with, for example a British band such as 'The Who' are often associated with the colors represented in the Union Jack flag as this was the primary colors used in the 'Mod' scene; the logo for this 'scene' was used as the band's symbol. These colors were often used in the band's live shows and some of the promotional photo-shoots the band did.

These colors and imagery help make the band distinguishable from others, and thus creating an iconography of sorts for the band that the audience can appeal to. Furthermore, it allows the audience to recognize products associated with this band because of the eye-catching colors. Choosing a specific palette is important as it can determine the image of the band, all the merchandise and general style of the band.

In my case, the imagery associated with The Stone Roses is the famous lemon. Those who lived through the 90s and interested in Britpop would instantly recognize this as The Stone Roses' icon. Furthermore, the use of Jackson Pollock's abstract painting influences is another key symbol of the band. This was a primary feature that was employed in the band's album covers, music videos and promotional shoots.

 

 For my choice of palette, however, I have decided to focus on the lemon imagery for the Album cover and the promotional material as this is by far their most recognizable symbol. I feel as if the Jackson Pollock-inspiration does not fully translate to the audience now as the famous lemon does. Additionally, in the band's current promotion for upcoming tours they employ the use of various lemon inspired designs, thus proving it to be the optimal promotion technique. Keeping in line with my wish to create a minimalistic, conceptual aura around the promotional material I will frequent the use of bright yellows and pale whites as this is not only striking but very reminiscent of The Stone Roses' fame in the 90s.

 

 

 

 

 

 

 

Editing/Shooting - Superimposition

I plan to use this editing technique as a homage of sorts to The Stone Roses' various music videos; additionally it creates a nostalgic sense of the 'psychedelia' to their music and lyricism. An example of this would be in the Sally Cinnamon video in which a majority of the video is various shots of scenery in Manchester; interestingly, the footage is almost all in slow-motion thus adding to the idea of psychedelic genre. The superimposed shots are often layered scenery shots, with one being stationary, and the other being a fast panning shot with a number of lights. It is understandable why an indie band such as The Stone Roses would employ such a primitive editing technique due to the obvious lack of budget in their production. Furthermore, it can create links to their brand identity as a whole; the idea of layering shots can form a link with the artwork, inspired by Jackson Pollock, that band guitarist John Squire illustrates. This artwork follows the theme of frequent layering, as does the superimposition. This editing technique can be seen on many other Stone Roses music videos; one good example being the video for 'I Wanna be adored'. The video employs the same use of slow motion shots and frequent layering. However, it is not just scenery used in this video. The video shows the band performing on an ethereal, purple desert, with a lot of psychedelic-inspired superimposition of individual band members; most notably John Squire playing the guitar. I would like to use a similar superimposition technique in that I will include frequent superimposed guitar playing upon the narrative of the video. Additionally, I have considered including the slow-motion editing as a callback to the artists and the genre.

This is an example of superimposition in an image. As you can see it is the layering of two images atop one another, I feel as if this provides a psychedelic vibe of sorts as it acts upon the visual sense of the video. In cooperation with the use of slow-motion, superimposition can be used to create psychedelic imagery as if it were some illusion on the eye.





https://www.youtube.com/watch?v=4D2qcbu26gs
The Stone Roses - I Wanna Be Adored
https://www.youtube.com/watch?v=WyfRRYlEn68
The Stone Roses - Sally Cinnamon
Both these Stone Roses music videos show heavy usage of superimposition, particularly in IWBA showing the band members playing their instruments across a desert. Sally Cinnamon, however, shows superimposition used with scenery shots and of random people. Both are used on cooperation with the slow motion effect to allow for a psychedelic feel to the video.
https://www.youtube.com/watch?v=3GhoWZ5qTwI
The Smiths - Girlfriend in a Coma
This music video is another from the 80s that heavily employs the use of superimposition.

Shooting - First day filming

Today I began filming the music video; shooting began in Liam's house, also using my storyboard plan for close reference. I feel as if the shooting for this scene went quite well considering is made easy with the storyboard and required very little travel as Liam's house is very close to mine. I attempted to get at least three versions of each shot so that I have a good variety of angles and shots when it comes to editing. This was particularly evident in the shot in which Liam speeds down stairs as it opened opportunities for various tracking shots and low angles. As described in a previous blog post, I ran into difficulties with filming Liam driving a car so I had to make some director's changes regarding the direction of the video; however, this didn't cause massive issues with the story. I also made some attempts at filming various close-up guitar shots for the super-imposed shots that will be used as an editorial callback to the Stone Roses' old videos such as Sally Cinnamon.

Shooting - London

Between 4th-7th of December I will be in London for a politics trip, though I am toying with the idea of bringing the camera to see if I can capture any shots. Even if they don't add to the narrative or, at whole, contribute to the final piece, it may still be useful for me to capture some shots to practice framing and shot types. This shots could range from looking out the window of the train to various shots of traffic and the London Underground.

Shooting - First Shots

At the weekend I captured some preliminary footage of some shots of the scenery from inside the car and what was essentially a practice run of the opening scene. Liam's house is an ideal shooting location as it very close and accessible, I think the fact that the video begins in Liam's bedroom adds to the narrative as it could be seen as any normal day for him. I feel as if the practice went well, however it opened up more ideas for a greater variety of shots instead of the ones I intended to use. For example, I played about with various angles of Liam coming down the stairs as oppose to just a low angle shot at the bottom of the stairs and fast tracking of his feet. The scenery shots, however, proved difficult as I filmed in the passenger seat of my mam's car, rather than Liam (as he is unable to drive, mentioned in previous post) thus allowing space for some continuity errors. Though I think I handled it well without causing too many errors. I feel as if these shots allowed for me to get a good idea of what I would like in the final edit.

Planning - Storyboard frame by frame rough plan

Storyboard plan from Luke Tiplady on Vimeo.


Frame 1/2:
These two shots will consist of a medium shot of Liam, the protagonist, looking out of his bedroom window. This shot will be edited to coincide with the initial chord strum of the song; additionally I have also considered superimposing a shot of a guitar strumming the guitar on top of the base shot. Following this, the next shot will be a close up of Liam's Stone Roses ticket, coinciding with the opening lyrics 'The Hardest Thing In The World'. Symbolizing the challenging he is about to undertake to reach the concert he has waited his whole life for.
Frame 3/4:
The first of these two shots will be a variety of shots; the first being a medium shot of Liam walking down his stairs, with the camera being placed at the bottom. Other shots will be a quick tracking shot of Liam's feet as he is walking down, a behind-the-back shot with a crane position being taken. I will use editing techniques such as action matching and the 180 degree rule to sync these shots as Liam is walking down the stairs.
The second shot will show Liam exiting his house through the front door with a low angle behind-the back shot showing his shoulder in the forefront of the shot and the sky in the back. This shot will match up with the lyrics, 'Searching for a perfect day, it never happens that way, a hey, hey, hey'.
Frame 5/6:
This shot will be a medium shot from within the car, showing Liam getting in the car. This will be a fairly short shot and will continue with the song in the background, with no direct link to the songs lyrics as seen in previous shots.
The second shot(s) will most likely be the longest sequence in the entire video. It will consist of shots varying in type and movement; an extreme long shot will be used from inside the car looking out the window, various close-ups of the protagonist with quick editing to match the quick drum beat in the song. This would ideally also feature a superimposed shot of the neck of a guitar playing the song above the base shots.
Frame 7/8:
The next two shots will take place at The Angel of The North (or Penshaw Monument) and will show the protagonist climbing the steps to the monument with a crane shot following him, followed by a low angle of the monument. The camera will then cut to a long shot of Liam at the base (or middle) of the monument playing the guitar; I chose to do this as it adds a sense of performance element, yet keeping the narrative in place.
Frame 9:
The shot will then cut to handheld footage of The Stone Roses concert I captured on my phone, perhaps with more superimposed shots of guitar playing or even the use of quick cuts to actual guitar playing in between the concert footage.
Frame 10/11:
These two shots will center around travelling on the road; the first will be a variety of medium shots of various road signs etc. to provide a sense of progress of time and distance in the video. The following shot will be a POV of the driver looking directly out of the front window, preferably with a GPS at the forefront of the shot. Once again I would like this shot to include some superimposed guitar playing.
Frame 12:
This shot will again be POV footage I captured from a Stone Roses gig.
Frame 13/14:
The next two frames will include a variety of shots. The first of which will be a close up of Liam's phone saying that the Stone Roses gig has been cancelled, this shot will include an action match edit of Liam opening up his phone. The following shot(s) will show Liam's distressed reaction to this news, however for this shot I would like to use some superimposed images of Liam's face on top of one another reacting to the news.
Frame 15:
The following shot will be a medium-long shot of Liam walking through a forest path, using pan movement. As Liam is walking, superimposed guitar playing will be used in tune with the chord strums in the song.
Frame 16:
Multiple shots of Liam playing the guitar, with close-ups used on the neck and body of the guitar.
Frame 17:
The final shot will be a static medium-long shot of Liam approaching the arena that the Stone Roses are playing at, Liam will be shown walking around the arena with quick cuts of guitar playing.

Planning - Change of Plan

I've had to rethink a majority of my scenes for my music video, particularly those that revolve around driving and going to places that require a form of travel. The person who I am filming with and who will be driving is having problems with insurance on his car, thus he cannot legally drive, hindering various scenes. I plan to still record footage of driving, just not with the protagonist. As for travelling to various locations I will have to find an alternative form of transport, or revise my ideas. I don't think this will cause a massive obstacle for me, but it is certainly a frustrating one.

Planning - Storyboard

Planning - Props and Costumes

I have wrote down the main props and costume I will need for each scene. I have chosen a very simple outfit for the character, however the use of the Pretty Green jacket creates a link to the style of the mid-90s as this was very common of bands such as Oasis and The Stone Roses to sport this sort of clothing. In addition to this, the brand itself is directly related to Liam Gallagher, front man of Oasis, thus creating a sense of nostalgia for the audience. Furthermore, the use of Adidas shoes is reminiscent of Ian Brown's style as he is almost always seen wearing Adidas.

Planning - Locations

These are some of the locations I may use for my video shoot:

House - Liam's House (Newton Hall)
Various Misc Roads
Angel of the North
Forest - Durham Woods
Etihad Stadium - Stone Roses Concert Footage
Undecided Arena/Stadium - Possibly Metro Radio Arena/Stadium of Light
Penshaw Monument

It won't take long to scout these locations as a majority of them are fairly nearby and have been visited before by myself and my cast member. I also have been able to take a picture of the bedroom which I will use for the introduction of the video. This will be ideal to shoot in, not only because it suits the narrative of the video, but it is accessible and will be easy to shoot in. Furthermore the decor in the room is very typical for a 17-18 year old who acts as the protagonist.

Planning - Shooting Schedule

Here is shooting schedule I will be following whilst I am filming my video. It is a slightly rough plan but gives me a clear idea of what shots I will be doing and where.

Planning - Casting and Lyrics

For my music video project, I have asked my friend Liam Bell to star in my production (he also starred in my movie opening sequence last year). I don't feel as if I need to cast any other people in this music video as I have envisioned it to be a solo performance by Liam.
Initially, I didn't want my music video to take a narrative approach; however with the issue of not having the appropriate equipment or musicians to perform a performance-driven video I must change my initial course of action. I will, however, incorporate some performance into the music video with a few shots of Liam playing the riffs in the song.

The song I will be doing is 'The Hardest Thing In The World' by The Stone Roses.
My initial plan for the lead track was the song Elephant Stone, however I changed my mind because I believe this song and its lyrics provide a greater structure for a narrative. Furthermore, Elephant Stone has been released as a single meaning that it is accessible as a song; yet using The Hardest Thing In The World, which was released as a B-Side to Fools Gold, allows for a 'rare' track  to be exposed to the audience.

The hardest thing in the world

Holland fades, it don't please
I never wanted to leave
Searching for a perfect day
It never happens that way, a hey, hey, hey

I'm sick and tired and so obscene
Will Heaven help me be clean?
Searching for a perfect day (a perfect day)
It never happens that way, a hey, hey, hey

Cut away
I know your world wants you around

You never heard a word I said (a word I said)
It seems simple to me
That if you knew you wouldn't say (you wouldn't say)
It never happens that way, a hey, hey, hey

And the impression I get as the story unfurls
Is that you're the hardest thing in the world

Cut away
I know your world wants you around

What you feel it might not be
It seems suffer to me
I cannot climb to touch your spire
I'm getting higher and higher

Cut away
I know your world wants you around

The hardest thing in the world

Research - Album Sleeves: Research into minimalistic album covers

Storm Thorgerson

Storm Thorgerson was an English graphic designer born in Middlesex, known for his work on rock album sleeves. Perhaps most well-known for his close work with prog-rock band Pink Floyd and their album sleeves. Thorgerson founded the art design group 'Hipgnosis' and continued to work with Pink Floyd under this label; though the group dissolved in 1983, Thorgerson continued to work on album sleevs and music videos until his death in 2013.

• Pink Floyd - Dark Side of the Moon

This iconic cover was designed by art design group Hipgnosis, with Storm Thorgerson as creative director. Record label, EMI, were initially skeptical with Storm's previous album sleeve designs (Atom Heart Mother and Obscured by Clouds) because of Storm's decision to go against the traditional design conventions of the album name, band name and a picture of the band being at the forefront of the sleeve. However, since Thorgerson was directly employed by the band, he was able to disregard such criticisms. Pink Floyd keyboardist Richard Wright instructed Thorgerson to design a sleeve that was 'neat and clean'. The contemporary sleeve design was said to be inspired by three primary factors: the band's vivid stage lighting and effects, the album's lyrics and Wright's request for a clean design. This album sleeve is heavily regarded as one of the greatest and recognizable of all time, due to its striking and memorable nature. I think this album cover is effective because of the simplistic, conceptual design. I believe the juxtaposition of the bright colors against the black background would appeal to the audience as it becomes a very striking, memorable. I envision my digipak cover to have a similar simplicity, whilst still remaining an abstract piece of graphic design. The contemporary nature of the album cover is appealing and inspiring to me because I would like the audience to see the cover as a separate expression of art to the music itself.

• Joy Division - Unknown Pleasures

Another iconic cover, Unknown Pleasures was designed by artist Peter Saville. The design of the cover itself is based on the first radio pulsar discovered; the exact same picture can be seen in a Cambridge encyclopedia, with the colors reversed. Again, I feel like I take inspiration from this album sleeve because of its minimalistic tone. Furthermore, the direct contrast of the colors is very striking to the audience. I particularly like the solid black coloring to add to the minimalistic tone of the cover. I plan to take inspiration from this cover through the use of few colors and a striking symbol, dead center in the cover.

• The Beatles - The White Album

Perhaps the most minimalistic album cover ever, The White Album, designed by Richard Hamilton and Paul McCartney, is a white sleeve with the band name embossed upon the cover with the serial number below. In stark contrast to how vivid Sgt. Pepper's Lonely Hearts Club Band was, The White Album's plain white sleeve is still recognized as one of the greatest album sleeve ever. Similar to Unknown Pleasures, I plan to draw inspiration from this cover through the use of minimalistic covers, thus creating a simple conceptual design.

• The xx - Coexist

Though not critically acclaimed for its design like the previous covers, The xx's Coexist has a very minimalistic, conceptual design that includes the big X that is symbolic of the band. For inspiration, I plan to take ideas from the large symbol in the middle of the cover that is iconic for the band. No band name, but an icon that lets the consumer know who the band is.

Research - Pinterest

https://uk.pinterest.com/luketiplady/album-covers/
https://uk.pinterest.com/luketiplady/minimalistic-album-covers/

I have created these two Pinterest boards to help with me research into album covers, particularly minimalistic covers. The minimalistic board allows me to draw inspiration from some conceptual designs. Covers I have already taken inspiration from range from The Beatles' 'White Album' to Pink Floyd's 'The Wall'.

Research - Very Early Album Cover Mock-up

This is a very early mock-up of the front album artwork I have in mind for my media project. This early version was created on Photoshop. For this I used the 'All For One' cover artwork, the half-lemon was also taken from the same artwork. The 'The Stone Roses' text was taken directly from the 'Elephant Stone' cover artwork. The placeholder album name 'Thirty Two' was created manually. I did this mock-up because I would like my idea illustrated onto my blog, rather than saving it in my mind for the real cover. Being on my blog, I feel as if this gives me a solid starting point to draw much inspiration from. Here I have articulated my interest in a minimalistic, conceptual cover art. I chose this particular font mainly to directly relate to the band's early years; I feel as if this adds credibility to the nostalgic aura surrounding this project, overall making it look authentic and true to The Stone Roses. The lemon was placed in the direct center of the sleeve, contrasting with the white canvas, as it is the most easily recognizable symbol of The Stone Roses that my target audience will be able to identify. The background however was chosen because of my minimalistic influences of sleeves such as The White Album. I feel as if this allows for the cover to be perceived as not only the sleeve, but a piece of conceptual art. I feel as if links to the fashion, for nostalgic purposes, because of the iconic lemon logo atop a plain background somewhat signifying the carefree 'baggy' generation.

Research - Campaign Pitch Video

Luke's pitch from Chris Earl on Vimeo.

Research - Campaign Pitch

Research - Branding

Genre

The genre I have chose for my project is a mix of Indie, Alternative and Britpop. I chose these genres because I feel as if I am familiar with the audience and the music's effect on them. In addition to this I believe that each genre has a specific style and 'look' that is related to it and these genres are the ones I am most well acquainted with.

The artist I have chose is The Stone Roses as I feel as if I can draw much influence from the late 80s/early 90s indie scene. The Stone Roses, born from the post-punk Manchester scene, essentially codified the Britpop genre in Manchester. Additionally, the 'baggy-generation' was thus created from the music of The Stone Roses with the help of other Manchester Indie bands such as Happy Mondays and Inspiral Carpets, thus making a sub-genre; 'Madchester'. The Stone Roses' music is very much inspired by 60s psychedelic indie music with the influence of punk. The term 'baggy' essentially derived from the sounds of indie, psychedelic, funk and house music. But not only was it the sound, but the appearance of these bands. The clothes and styles consisted of baggy clothes, mop hairdos and, generally, a lazy look. Furthermore, the entire Manchester 'rave' scene was formed with hits such as Fools Gold and Step On.
The Stone Roses' image was based on the art of Jackson Pollock; John Squire in particular drew influence from his work. In addition to playing lead guitar, John Squire took his free time to produce his own artworks. Squire incorporated his artwork in the band's sleeve design; he designed the cover for both of The Stone Roses' studio albums, their singles and the Turns Into Stone compilation album. I plan to have my project drawing influence from Jackson Pollock's work in particular, basing my band's style direction around his work and creating an overall 'art pop' look. The style and direction of my branding will be significantly different to that of the current indie scene; in the 90s the indie scene was popularized with bands wearing baggy clothing and being involved in the rave scene.

 









 An example of the style of clothing in the 90s.

















The Stone Roses, a band was seen to have a heavy influence on the popularization of the baggy scene.

 Current example of Indie trends


















 The Magic Gang, a current indie band, also giving an example of the current indie style.

The Stone Roses' logo is a bright, striking lemon that is used on their debut album cover and various promotional advertisements. However, I have chose not to draw any inspiration from this logo because I am trying to avoid copying from The Stone Roses too much as I believe this is their most recognizable symbol. I feel like if I were to use this for inspiration I would be risking my own artistic integrity. At this point I am unsure of my design for a logo, if at all. I would prefer my image/branding to be based a specific typography/or imagery used on the cover, as oppose to a striking logo.

 

 

 

 



 

 

Research - The Approach

For my A2 Media project I plan to create a music video, digipak and an advertisement for The Stone Roses. My idea for this project is that The Stone Roses have approached me, as a media professional, to create a music video for their single and to launch a branding campaign. I chose the music video task because I feel as if I am incredibly interested in music and the industry itself. The film trailer task however would require a plethora of good actors and would also be similar to last year's media task.

This project is planned to be an anniversary project of sorts for The Stone Roses, giving the branding for the band a very nostalgic aura. In light of this, I have given myself a wide target audience. There will be the older generation of fans who grew up with The Stone Roses' music, and there will be the fans who are listening to their music for the first time, like myself. A majority of this audience is ranging in the late teens-early twenties, whilst the older group can range from anywhere from 30-upwards. Furthermore, the project will act as a branding campaign for a completely new 'The Stone Roses' album, in which I will lead design.

For the music video, I will draw inspiration from the 'indie-Madchester' genre in particular. The Stone Roses' previous few music videos will provide a unique perspective into their music video style. Additionally, I would like to take inspiration and draw parallels with Jackson Pollock's artwork. John Squire, the guitarist, took a lot of inspiration from Jackson Pollock throughout his years in The Stone Roses. This included album artwork, promotional material and even the band's instruments.

For the digipak, I have come up with a few ideas regarding the front cover. For this I will draw inspiration from some minimalistic, conceptual album covers such as Unknown Pleasures, Dark Side of The Moon and The Beatles (The White Album). My initial idea is a half lemon atop a white canvas with no band name or album name. To have this work I must create two covers of the album the sleeve; the vanilla cover, and a cover in which the record company will assign stickers to be placed on the cover which can be peeled off if the audience wishes.

Research - The Beatles - Revolution Music Video Analysis

The music video is very similar to that of 'One Love' in the fact that it is purely a performance video. Similar to other Beatles' music videos, with the exception of Eleanor Rigby, it holds no form of narrative.The decision to make this video performance based could be due to the subject matter of the video, relating to the context of the Vietnam War and The Beatles' stance on violence. Furthermore, this could call back to the Beatles' touring years during the years 1962 through 1966 and their lack of performance since that date, allowing for a potential sense of nostalgia. There is a wide variation of shots for this music video with various long to medium shots of the whole band to intense close-ups of each individual member, particularly John Lennon, to match the intensity of the tempo. This stray away from the Beatles' usual style of music shows a raw, gritty style, particularly enhanced by the overdriven fuzz effect on Lennon's guitar. This theme is evident in other Beatles song 'Helter Skelter' from the same album, 'The White Album'. The genre for the song is Hard Rock and comes in at 45 rpm, uncommon for a majority of The Beatles' hits. This could be seen to adhere to the hard rock genre because of its heavy focus on the band and music itself, rather than a narrative to go with it. A number of close-ups are used in the video, one particular close-up seen at 2:39 sees Lennon expressing his political belief about the Chinese dictator Chairman Mao, this was a close-up specifically requested by John Lennon thus showing the artists value for the lyrics and their meaning. The band members are seen to be wearing their normal clothes, showing the lack of emphasis on mise-en-scene and more on the music. This is similarly evident on the lack of setting. The editing to the video is very quick, obviously used to match the fast paced tempo of the music. For inspiration, I would take the wide variety of shots and use of close-ups into account, rather than the performance based nature of the video itself.

Revolution was released as B-Side to 'Hey Jude' and later added to The White Album in 1968.
https://www.youtube.com/watch?v=BGLGzRXY5Bw

Research - Pink Floyd - Learning to Fly Music Video Analysis

This music video seems to follow a very vague narrative, mixed with some elements of performance. The narrative consists of a young man having aspirations to fly after seeing various things in flight, such as birds and planes. The vast landscape and long shots in the video provide an insight into the grand scale of the imagery and mise-en-scene; linking to the idea of freedom in flying, The narrative often cuts to a live performance of the song by Pink Floyd, thus creating a relation and sense of reality to the audience viewing the video.  The video seems to have a fair variety of shots, but most showing an extreme long shot and its relation to the main protagonist of the video. Furhtermore, the helicopter/plane shots provide a link to the overall theme of the song and video, flight. The genre of this song is Progressive Rock, though songs of this genre are often seen not to have an accompanying video, particularly in Pink Floyd's music. Though the choice to have a conceptual narrative and scenes of performance adhere to the idea and theme of progressive rock. The vivid colours and landscapes used in this video could appeal to the audience because it allows for a sense of engagement and visual grandeur. The mise-en-scene in this video delivers the theme and concept of freedom; with the vast scenery, light emphasis on costume design and natural lighting. In addition to this, the feature of a performance in the video shows the sense of proffesionalism and importance of the band. A lot of flight imagery is evident throughout the video with various long shots of birds and multiple POVs of planes and the protagonist himself actually flying.
For inspiration, I will use the theme of the narrative and variety of setting for my video.

Learning To Fly was a single released in 1987 for the album 'A Momentary Lapse of Reason'.
https://www.youtube.com/watch?v=nVhNCTH8pDs

Research - The Last Shadow Puppets - Bad Habits Music Video Analysis

This music video is very different to The Stone Roses' One Love; the former followed a performance structure, this one follows a very ambiguous narrative. This video is the first in a 4-part story spanning across the four singles from the new album, 'Everything That You've Come To Expect'. The story of this particular video follows the two band mates performing in a bar, whilst frequently cutting to the story behind the performance, a bachelor party. 'Bad Habits', the lyrics which gives a name to the title, could potentially link to the wrong-doing the band seem to be carrying out (seemingly sleeping with the bride before a wedding). The video seems to have a sinister/psychedelic tone to it; evident through the use of dark colors and strobe lighting. The remainder of the videos follow the consequences of their actions; 'Everything That You've Come To Expect' shows the two protagonists of this story buried in sand up to their heads, 'Aviation' shows a flashback of the two essentially digging their own graves on the beach in front of the groom of the bride they slept with, and finally 'Miracle Aligner' shows the two who have seemingly escaped their own burial (clue being the tans off both men off being buried in the sand for so long.
The genre for this song is Indie/Alternative, the video could be seen to adhere to the modern conventions of indie-rock; the band being involved in some sort of narrative love story, whilst still being able to perform. The choice to make the performance scenes in black and white and the narrative in color could be used to help the audience distinguish between the two. Could also be an example of a trope used in films in which a scene in the past is black and white, whilst the present is in color. This would make sense given the chronology of the music videos. Furthermore, this technique could be used to appeal to separate audiences. The black and white scenes could help appeal to a younger 'indie' audience because of the focus on music and its performance, whilst the color could appeal more to an adult audience, give the adult nature of the themes, as they could feel more engrossed in the story. The sinister iconography appeals to the indie-rock genre, traits such as the extremely attractive girls getting with the cool, slick band members and the focus on the heavy guitar playing in between.
The mise-en-scene in this video is fairly abstract, particularly the frequent change of scenery. The narrative appears to take place in an American diner/bar, showing the band's capacity for off-the-cuff live performance. Whilst the narrative features a large mansion bachelor party and a 'Shining-esque' snowy maze. Perhaps used to add to the sinister tone of the video. The bachelor pad used could be seen as a symbol for the band's lad-like, rebellious nature of sleeping with attractive women without considering consequences. The outfits used for the main characters are slick, unbuttoned suits; fitting well with the cool, rebel look. The lighting, as explained before, provides a sinister/horror tone to the video. The deep reds and dark blacks connote the idea of death, lust and general misbehavior. The camera work uses a variety of abstract close-ups in the narrative sections, particularly the guitar solo at 2:05. Linking to the idea of mental detachment shown in Miles Kane's erratic behavior and delivery of his lines.

Bad Habits was released as the first of four album singles for the album 'Everything That You've Come To Expect' in January 2016.

Research - The Stone Roses - One Love Music Video Analysis

This music video is mainly the band performing, like many of the other Stone Roses' music videos it has no narrative to the video. This was perhaps because of the band's style, only caring about the sound of their music rather than how the music is presented on a visual platform. I interpret this song to be about the idea of free love and unification through music. The lyrics, "One Love, we don't need another love. One Love, one heart and one soul" appeals to the idea of the Northern Soul scene taken from the late 60s Mod scene. The Stone Roses, showed signs of mod influence in their earlier years with songs such as 'So Young' and 'Tell Me'. This particular genre showed rhythmic influences from 'soul' and 'rhythm and blues', this inspiration is evident through the jangly guitar sounds and the rhythmic bass tones.
The genre for this song is a mix between Britpop and indie, and even the sub-genre 'Madchester' that was inspired by the 'baggy' generation. The conventions used in this music video adhere to the typical traits seen in the rock genre, which is seen as the overall 'blanket' genre of the seminal group. One such trait is the video just being solely based on the band, showing little narrative, thus making the video more of a performance. The iconography seen in the video seems to adhere to the rock genre, showing that the background is primarily fire, presumably to add the appropriate 'edge' to the video to appeal to the younger, teenage audience.
The mise-en-scene for this music video is fairly basic, using virtually no props or any inclination to what the setting is, other than a large fiery background. Despite the giant fire, the lighting used in the video is fairly dark when it comes to the band members, typical of the rock genre. Atypical, however, of the Britpop sub-genre. Music videos for a Britpop song such as 'Step On' by Happy Mondays feature bright lighting.The clothing of the band adheres to the foundations of the 'baggy' generation as they are seen , unsurprisingly, wearing baggy clothing and the drummer wearing a bucket hat. Thus providing a very natural vibe to the performance of the song, further suggesting the absence of a narrative. Almost as if the band turned up in the clothes they would be found wearing any other day, to perform one of their hit singles.
The editing in the video seems to switch between slow-motion and normal speed, perhaps adhering to the inspirations of psychedelics in the tone of their music. However, the editing and cuts don't seem to match with the drum beat, as seen in a majority of music videos . The camera work features a variety of shots, such as close-ups on various members of the band. However, the focus is primarily pinned on the lead singer Ian Brown's famous 'dancing' and John Squire's jangly guitar playing. This is done to bring the audience closer to the band.
As for inspiration I will take from this video, I would like to centre my music around a performance and possibly a narrative in between, different to this video. As for my branding intend to somewhat recreate the look, for the nostalgic purposes of my project.

One Love was released as a non-album single in 1990, then later appeared on the Turns Into Stone compilation.