PROGRESS: Lymington digipak printouts

An example of my digipak printouts.

I used Microsoft Word to print out the album cover and back for Lymington's Vodka and Cherryade, and to my surprise, the images printed out were smaller than what the jewel case expects the measurements to be.

Unfortunately, there is no way to measure digipak measurements on Photoshop, and to overcome this problem, I have to measure the jewel case and its placeholder cover accurately using a ruler: a practical approach.

A pink colour palette seems to appear on both sides of the front and back covers, making it more vibrant - but the decreased quality of each printout makes the text and tracklist harder to read, requiring me to start again from scratch and increase the overall quality of the album cover and back cover.

Here are altered versions of the front and back cover, complete with a complementary inner cover. Here, the 3D effect applied to Lymington has been eliminated after a recommendation from one of my focus group members, who said that the quality of the album cover was blurry with the glitch effect - constructive criticism. In particular, Ms Casson said to use a repeating motif for a sense of brand identity in this digipak - which, in this case, was the cherry image. In order to show this, I copied and pasted the same image from the front cover which I rotated and resized to fit in better with the back cover and the spines.

One major difference from the initially printed back cover is the name change of three songs. "Little to Believe In", "Until the Dawn" and "D.I. Ded" have been changed to "Little Belief", "Curtains", and "Providence". This was implemented to better suit the indie feel of Lymington's debut album.

Also, another change I worked on was the band and album name on the spine. Initially it was white to fit in with the house style of the album, but when Joseph said the font was not visible enough for audiences to look at, I had to revert the font to black so that it would be easier to spot.

Stop-motion progress

A still from one of the newly-filmed stop-motion animation clips from Vodka and Cherryade.

(James Aris)

Dutch angles make an appearance during stop-motion clips which add tension and unease throughout the music video.

Stop Motion Studio

Developed by CATEATER, LLC.

Stop Motion Studio is a typical stop motion animation app on the iPhone which collects captured frames together into one source of footage. Just a few snaps, then you're good to go!

But this app also acts as a revolutionary software capable of producing hundreds of professional stop-motion animation projects.

Offers in-app purchases.

This app was apparently "seen on Apple's TV commercial "Life on iPad".

Create beautifully animated stop-motion movies instantly on your device. No computer needed. Powerful but simple to use with handy fingertips. Features include: titles, sound effects and themes.

Stop Motion Studio offers these additional features:

• Overlay mode - allows for precise frame control
• Grid mode - lets the animator position their subjects easily
• Integrated movie editor
• Cut/copy/paste/delete/insert any frame at any position
• Zoom in and out of the timeline preview in just one click... for easy navigation through hundreds of frames
• Fade in/fade out.
• Ultra High Definition uploads with 4x the quality of full HD
• Camera zoom
• Cinema mode
• Upload as an animated GIF
• Record audio and import media from other sources (in-app purchases only).

This software is installed on my phone. I used it to take trial stop-motion footage of a LEGO equivalent of the artist I am currently using (Lymington).

RESEARCH: Radiohead - Burn the Witch

Radiohead's most recent single, "Burn the Witch", is taken from A Moon Shaped Pool. It was released on 3 May 2016, with the album following up 5 days later, and its eventual LP and CD physical copies on 17 June.

This stop-motion animation video is shot in the style of the Trumptonshire trilogy (1960s era of children's English television programmes Camberwick Green, Trumpton and Chigley).

Finished in exactly 2 weeks, the music video for "Burn the Witch" was directed by Chris Hopewell, who also directed the animated video for Radiohead's 2003 single "There, There" from "Hail to the Thief".

Like "Burn the Witch", "There, There" uses stop-motion animation but in an abstract modern form. It depicts a lone traveller exploring a tall forest, discovering a wide colony of forest animals seemingly enjoying village life until the seeker steals a glowing coat and walking boots from the tree top, later getting chased by crows and consequently transforming into a tree, forever a denizen of the sinister woods.

But- back to the main subject at hand...

A blue songbird appears at the beginning of "Burn the Witch", chirping on a tree branch.

The main plot of the music video involves an inspector arriving at a model village where the town mayor greets him. Exploring the buildings nearby, the inspector is bedazzled at the unsettling sights awaiting him, from a red cross being painted on a wooden door ("Red crosses on wooden doors"), to an armada of men with swords surrounding a woman tied to a tree, to what appears to be a cooked cow on a feasting table with its limbs and horns sticking out, bleeding on the floor.

Each reveal culminates in the unveiling of a wooden construct resembling a colossal figure, in a homage to the 1973 British mystery horror film The Wicker Man. The inspector is beckoned to climb up to the cavity opening in its stomach, where he is locked inside as a human sacrifice. The wicker man is set on fire; as the flames spread, the townspeople gather in a crowd and wave goodbye to the receding camera.

The same songbird from the intro appears again at the end, followed by a downwards shot of the inspector, who somehow survived the incineration of the wicker man. He scrubs his face with a white cloth and escapes into the shrubbery.

Looking at the footage shot for "Burn the Witch", I have decided to utilise the stop-motion animation technique in my music video for "Vodka and Cherryade". This is a practical approach to creativity, where I feel like I have shot more than enough footage for the music video, but not most of Lymington's actual performance of that particular song.

In the second half, after the two girls holding their beverages begin dancing, stop-motion elements will become prominent. A LEGO version of Lymington will replace their human performance, with particular focus on their guitars and the drummer "Sean".

This will ensure that I still stick to indie rock codes and conventions - in a UNIQUE and INNOVATIVE way, using frame-by-frame animation to simulate the band's performance in a "brick-built" (?) studio. Bright lighting will also be used for the wide performance shot.

Again, in this sense, an animated glass of "vodka" will appear as another prominent object in the music video, using water to create the illusion of said alcoholic drink as both are transparent, colourless liquids. A small collection of cherries will make their debut stop-motion appearance to further make literal the title of "Vodka and Cherryade". Each cherry will move around frame by frame and eventually form the shape of a heart at the end, indicating that the subjects' love for one another has blossomed completely.

Like this:

GENERIC RESEARCH: Canon DSLRs for stop motion animation

Corpse Bride (2005) was shot using a Canon EOS-1D Mark II. It became the first stop motion feature film to be shot with a digital still camera. Live video streaming through the lens was not an invented feature in early DSLR cameras.

Canon and Nikon introduced DSLRs with live view in 2007. Today, DSLRs are responsible for all professional stop motion animations you see in commercials, music videos, TV programs and films.

Dragon 1.0 (released March 1, 2008) was the first stop motion package to support both Canon 4OD and Nikon D90 DSLRs with live view.

With Dragon 1.0, animators could view an accurate through-the-lens preview of their project.

Dragonframe

• Software which assists in time-lapse photography and stop-motion animation using frame-grabbing.
• High-resolution frames captured.
• Step-to-live
• Onionskinning
• Auto-toggle
• Drawing (virtual grease pencil)
• Five workspaces: tools for video assisting, frame-grabbing and editing
• Cinematography tools for Director of Photography
• Integrated lip sync tools
• Move frames using a multi-axis to edit complex camera movements for smooth animation.

GENERIC RESEARCH: Capturing stop motion animation

Godzilla (1954). This early kaiju flick utilised stop-motion to animate the titular monster rampaging through Tokyo.

Modern stop motion now, as demonstrated in ParaNorman (2012). Picture: Focus Features, Laika

Film cameras used to capture early stop motion projects. Surface gauges helped animators to keep track of the locations of their characters, and they couldn't even view progress until their film was processed. Because digital technologies such as iMovie were non-existent at the time, animators had to start their progress all over again if the set was bumped or the light was terrible.

Further video machinery allowed animators to view their last one or two frames - and compare it to the live video in motion from the camera - which allowed them to track their progress.

ADDITIONAL RESEARCH: Stop motion animation techniques - description

WHAT IS STOP MOTION?

Stop motion is a film-making technique which manipulates an inanimate object to move by itself. This is achieved by taking a series of picture frames of the chosen thing, yet its position slightly differs per photo. An illusion of movement is created when a sequence of frames is played rapidly.

Do not confuse this with "time lapse" as the latter is concerned with taking still pictures of live scenery, composing them into a single film at hyper frequency. This creates the perception that time is lapsing as events occur at a faster rate than normal.

Stop motion animation is also known as stop frame animation.

Simple sequence.

First, you, the photographer, takes still images of the items/characters you want to animate in your project, with each frame featuring an artefact in a different position. For every replay of your video, the items/characters all appear to move without human supervision.

Design decisions for digipak: front cover

Be Human (Deluxe Version) [2009]

Another album cover I found peculiar to examine was British rock band Fightstar's "Be Human (Deluxe Version)". It depicts the four band members walking towards the screen wearing similar outfits, black and white suits, and their deadpan serious expressions on their faces proves that they don't need to face the camera to be expressively recognised by musical fans. Behind Fightstar is London - a city skyline on fire, with the ashen sky blocking out possible sunlight.

For Lymington's album cover the "city on fire" concept will not be used because the album is not about mass destruction and political anger against a capitalist society. Instead, a lively Southend Seafront background will be used for the scenery on Lymington's album cover to establish cultural and regional identity: they are native members of the borough attached to their local musical community.

Like this:

Lymington band shot (without James Aris)

...but walking towards the audience with deadpan serious facial expressions. It may create a PARALLAX EFFECT if the image of the band is taken using a Dutch angle.

A Dutch angle or oblique/canted angle is set on a roll axis so that the angle bears a resemblance to tilting one's head to the side. AKA: the subject is partially, or completely, vertical. Tension or uneasiness is created in the viewer.

The PARALLAX EFFECT involves the background moving at a slower rate to the foreground, creating a three-dimensional effect, creating a subtle element of depth.

I was interested in applying a 3D effect to the album cover as it provides a more experimental approach to digipak creativity.

"808s & Dark Grapes II" (2011) by Main Attrakionz

Simple demonstration of the 3D effect. Looks visually intriguing but may cause vertigo for some sensitive viewers.

I am divided over using this innovative effect for my digipak. I would apply it first to test how cool it would feel in an actual album cover. But if it does not work to a certain extent I may not apply it at all.

DIGIPAK RESEARCH: Muse - The Resistance

The Resistance (2009)

Front cover of English rock band Muse's fifth studio album, "The Resistance". It depicts a figure surrounded by a kaleidoscope of multiple colours. They are standing on an illuminated pathway which leads to Earth, skilfully placed in the centre of the album cover. This is trying to convey the idea that human beings are hoping to find the meaning of life through a panopticon of colours.

But... this artwork also raises enigmas among the audience. Why is our human being travelling through the cosmos to find a meaning to life on Earth? We shall find out in approximately a hundred years' time.

What a work of art.

Meanwhile, I have noticed that the font for Muse's band name remains the same on all of their album covers to maintain brand image and audience appeal:

The original Muse logo since 1999.

Included on the physical copy of the digipak is a label: "Includes Uprising / Resistance / Undisclosed Desires". This is one clear example of single promotion, since all three songs were released as singles, all of which are well-known to Muse fans along with their positive commercial performance. In addition, I will borrow this digipak CODE and utilise it on my album cover for Lymington's "Vodka and Cherryade" to promote their hit singles to indie music fans alike.

Meanwhile, I have decided to keep the font of Lymington's band logo the same; this is to promote brand image for them, given that I opt to make my digipak a professional artefact to mirror those of other indie rock bands.

Back of "The Resistance"

Back cover of The Resistance. All three band members are depicted walking through a suburban cityscape blurred out on the cover, in monochrome. Song titles are illuminated in an iridescent colour scheme akin to those visible on the album cover. They are laid out like a contents page (described in numerical order).

Barcode, band credits, copyright notes and record labels are all cobbled together on the bottom right of the digipak back cover. I will include a barcode on my back cover to continue the trend of a professional digipak which can easily be recognised by CD consumers.

Gatefold.

Gatefold depicts muse in different locations all while maintaining the monochrome colour scheme, showing a journey in retrospective captivating aware audiences. The second photo shows Muse walking through what appears to be an abandoned warehouse. However, the picture was blurred for a vertigo-inducing effect. It's as like the viewer is drawn into the action.

Lyric booklet cover 1

Lyric booklet cover 2

Lyric booklet cover 3

Lyric booklet cover 4

Lyric booklet cover 5

Lyric booklet cover 6

CD artwork.

From the subtle details I have seen whilst researching this digipak, I have decided to include pictures of my chosen artist in the gatefold of my own digipak (some of them in monochrome) to make it look professional and have a sense of branding - promoting Lymington in an internal fashion. But sophisticated album artwork like the one shown on the front cover may not be implemented because it will be time-consuming to compose a complex design like a flamboyant kaleidoscope (unless I get creative and apply my innovation skills!). But besides that, it will add colour to the digipak so it wouldn't look boring all of a sudden.

PROGRESS: Music video log

Following the first draft of the music video for "Above, and", this shows the log of what I am currently working on. Tweaks of footage and audio along with performance footage are shown here. Heeding my audience feedback, I am also tweaking cutaways and pacing of shots.

However, the song I have decided to make a music video out of is "Vodka and Cherryade" since I have found their demo recording of "Above, and" too distorted to focus on, even with audio enhancement tools present in iMovie. "Vodka and Cherryade" poses greater audio quality, which is suitable for a professional artefact.

Generic research: youth subcultures.

YOUTH SUBCULTURES - are they dying out in a modern consumer society?

Some examples of stereotypical youth subcultures associated with the music scene nowadays.

Speaking from a Marxist dystopian point-of-view...

Since the past few decades, youth subcultures have dramatically changed. Contemporary music audiences have fully integrated themselves into their favourite genre of music, ascertaining that there is no legitimate way to represent their music taste.

Back in the mid-1980s, goths, metalheads and punks populated the early music scene. Punks with their brightly-coloured mohicans and flamboyant hairstyles, complete with body piercings and studded leather jackets. Goths were commonly associated with the colour black, complete with their equally black clothing and hairstyles, with makeup thrown in the subcultural mix. Metalheads constantly listened to heavy metal music - they were committed fans of the genre, wearing T-shirts of their favourite metal band on them (Motörhead provides an example here). Music and subculture interlinked together in a plethora of ways in the 80s: the pinnacle of rhythm.

It is now the 21st century. The idea of the typical youth subculture has changed: sociologist Kevin White, based at the University of Sussex, infers that youth subculture has altered due to British society's changing class structure. Contemporary teenagers are now hooked to technology, constantly pleasuring themselves in the world of distracting entertainment which proved hard for them to rebel against society through the way they dress. Scrap the mohawks and the leather jackets. Make way for the new Google generation, confined to their bedrooms listening to music through Spotify and Apple Music, blatantly consuming pop music all day and not turning to other forms of music, for instance hardcore punk and alternative rock, as well as indie music!

For certain, our generation of teenagers are now informed and controlled by an older university-educated cohort. The rise of the Internet has revolutionised a brave new virtual paradise where people mainly focus on constructing a self-identity online than exposing their allegiances and interests to the outside world. Teens are frequently posting selfies on Facebook, Snapchat and Instagram, hoping for thousands of likes gartered based on a false impression of a "perfect" physical appearance created using filters courtesy of these social networking juggernauts.

Ultimately, the result is a consumer society where people are passively spoonfed ideas of pop culture.

Fashion and music are quoted by Dr. Ruth Adams of King's College, London as progressively "much cheaper and much faster today." Once you start examining modern subcultures online, lines gradually become blurred and many online instances of such subcultures become buried under layers and layers of hegemonic idea-injecting mirth, the latter becoming passively accepted by digital natives today.

"So, baby, pull me closer in the backseat of your Rover / that I know you can't afford / Bite that tattoo on your shoulder / Pull the sheets right off the corner / of the mattress that you stole / from your roommate back in Boulder / We ain't ever getting older..."

Nope. Just... nope. I just don't know why things change these days.