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This includes the cover art for the album, in larger form. It conveys the message very simple - "THE BRAND NEW ALBUM" - and not much else. As I say in my annotations, the conventions here vary, as long as that key information is conveyed boldly and clearly and the album art is included.

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While this digipak certainly isn't conventional, notice that the disc itself repeats the imagery from the front cover. This is also true of my digipak, as seen in the annotations. Also, it can be said that, while it's still an "X" symbol, the colour design is different, meaning that the inside cover does include alternative art.

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Notice that the artist is the main subject of the cover. Unlike with ours, this is the norm - promoting heavily the imagery of the artist first, making it just as much about them as the music.

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Ultimately, it's fairly simple - too the letter, we follow the conventions observed by their theories, showing that our music video is not made to challenge the norms in any other way than being a female-centric rap/grime song, which isn't truly that rare within the emerging genre anyway.

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Another major aspect of Goodwin's theory is that, as lyrics repeat, so too do visuals. This is particularly true of choruses, which is why music videos often have us return to the same scene/shots for the chorus. Once more, this is also applicable to the music video we created, as we return to the pink/purple tinted shot by the river with our performer. Proof: Follow the video timeline bar at the bottom - notice the jump to a much further point in the song, showing that we do return.

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Goodwin stated that music videos, even those that don't offer any narrative, tend to provide some kind of closure. This, also, holds true for our video, where our performer swings her baseball bat at the camera and the screen flashes red.

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Much like Goodwin's theory suggests, our music video has our performer making lots of irect eye contact with the camera, breaking the fourth wall and putting her at the centre of attention.

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Here we see the base-track theory in action, all of these shots being tracks that we come back to in order to anchor our video's structure. This, again, is yet another example of sticking to the established conventions of music videos.

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These shots, part of a larger sequence, are a good encapsulation of how much we kept to the conventions of music videos in general. The cuts occur on the beat of the song, giving it the rhythmic editing basis that Vernallis speaks of. Also, there is a filter over the screen that is fairly noticeable, which adds to the idea of stylisation that Vernallis suggested most music videos will stick to.

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Even our central idea for the openings can be found in this music video, though in reverse. We pull out and cut the gaps, while Hayne's director opted to push in and cut the gaps.

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Here we can clearly see that Will Hayne's "Crack of Dawn" music video provided us with a lot of the imagery and stylisation that we attempted to emulate, to some degree, in our own videos. Here is a shot from our video in front of a graffiti wall contrasted with an almost identically composed shot from Hayne's video that we liked, down to the costume matching the surroundings.

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This is "16. Deborah, Jan, Alex, Hasan" by 283goswellg on Vimeo, the home for high quality videos and the people who love them.