# data[].attributes.attachment_link.description
Croosh Soundcloud: https://soundcloud.com/jamir-malek Croosh Instagram: @croosh_ Croosh Twitter: @croosh_ Croosh Snapchat: papabear43 Spotify: Croosh Song produced by Croosh. Directed/Shot/Edited by Michael Magnuson Instagram: @mike.video Color correction by Edgar Esteves Instagram: @edgaresteves

# data[].attributes.headline
How do audiences access these music videos?

# data[].attributes.subject
How do audiences access these music videos?

# data[].attributes.body
Over time, the methods in which an audience can access music videos are expanded, changed and developed on significantly quickly. One way that audiences can access these music videos is via websites on the internet such as YouTube, Vimeo and Daily Motion. These websites allow you to watch (in real-time) music videos from a highly extensive range of artists. YouTube, being the largest video sharing site, has enabled artists of any size and budget to upload their music videos free of charge, in return the potential for music videos to become very popular on these websites is very possible. There are even 'channels'' delegated to promotion major artist's new music videos such as 'Vevo', 'Warner' and 'Music' (hosted by YouTube itself). The ability to access video sharing sites has become increasingly easier as the capabilities of modern digital devices have developed, using Wifi and 3/4G anybody with a smart phone, tablet of laptop/device can use these video sites to watch music videos with ease.
Additionally, another method that audiences can access music videos is by watching TV channels that specifically show music videos only. Channels such as MTV Hits, Trace Urban and Nick Music are some of the largest music video TV channels available to watch music videos through. Accessing music videos via TV channels is perceived as a more traditional and 'old fashioned' approach since the development of the internet, the lack of choice and control over what music videos appear has reduced the view count on these channels, however they are still available and used in some cases.
One other method of audiences accessing these videos is via social media. Online applications such as Facebook, Instagram and Twitter allow artist's and labels to upload their music videos directly to their 'feed' so that all of their fan base following them on that social media site will be able to view the music video, with the addition of being able to 'like' and 'share' the video onto their personal feed of friends and family. Social media applications are becoming increasingly vast, with roughly 1 in every 3 people having an account to at least one or more of these sites. This of which suggests, that the chances of music videos being noticed are viewed much more significantly are much higher than using other methods such as TV channels.

# data[].attributes.body
The budget of a music video can significantly vary from video to video, from a vast budget easily exceeding £100,000, all the way down to cheap £200-500 budgets. The different in the end-product for the budgets used in small and large budgets has the potential to either show noticeable difference in quality and appearance, or even very little, depending on the skills and creativeness of the film crews.
Firstly, music videos filmed on a small budget tend to involve the following characteristics and features. Typically, a low budget music video means that the people planning the whole shoot do not have the funds to hire many additional film crew, editors, makeup-up artists and actors, therefore in these cases those people involved take up multiple roles, such as the director also being the editor for the music video. Hiring specialist professionals for a music video can cost between £200-1000+ per film day, this of which may be completely out of price range for a low budget music video.

In addition to this, for many music videos the location and setting of where it is filmed is considered a highly important element, however there is often permit fees or costs in place for film crews to access and use private locations, these fees of which can sometimes be out of the budget and therefore low budget music video producers may resort to use free public spaces such as urban walkways, quiet neighborhoods and people's own properties in order to reduce spending but still trying to not compromise quality. Usually with a low budget music video, the choice of location is determined on what you already have access too and the favors you can call in to assist at no further cost. An example of a low budget music video resorting to these types of locations is from the video by Croosh called 'Mind', at the bottom of this section is a direct link to this music video.

Furthermore, another characteristic of a low budget music video is that the final quality and aesthetic of final video can be improved and significantly impacted if the skills, originality and ideas that the editor has are used effectively. The ability to add colour grading, VFX, fitting transitions and syncing the cuts to the beat all add to the final enjoyment of the final version of the music video. An example of editing being the main quality of a low budget music video would be from the video of 'All I do' by Logic, with slow motion, time ramping effects and cutting techniques being one of the main editing focal points.

Equally, another characteristic of low budget music videos is that they a normally filmed on one camera alone, meaning that scenes may have to be filmed multiple times with slightly variations to positioning if the director wants different angles for the same moment in time during the music videos. As video cameras, especially those of expected high specification (4K at 60FPS that retail between £1000- £20,000) for many music videos can be very expensive to purchase, a low budget may only enable one to be bought. For the many music videos using one video camera can still be used effectively, the main drawback is that it adds additional time to the film day duration, in which certain elements such as natural lighting and shadowing could move position over time. Nonetheless, a camera is a necessary piece of equipment for any music video, regardless of the budget size and therefore it must be chosen accordingly.

In significant contrast of this, one of the main characteristics of a large budget music video is that they have the financial resources to utilize and/or contract some of best specialists in the industry, taking some of the most highly skilled camera operators, directors, video editors, sound assistants, actors and location scouts in the industry, all of which would most likely charge between £500-£3000 per film day. Obviously with hiring expensive yet skilled professionals collectively brings in another level of quality and opportunities to utilize their skills to give it a creative edge. The ability to access some of the top candidates to hire with a large budget can be very beneficial to some artist's and labels which may not have the proficient skills.

In addition to this, another characteristic that a large budget music video offers is the ability to rent/purchase permits to essentially use any location/setting to film at. Certain locations such as private mansions and pent houses could be very expensive and completely out of the budget for a smaller label, however on a large budget a location like this if affordable and can be utilized effectively without compromising quality in other aspects of the music video production process. Locations often require expensive permits or insurance schemes to access as a result of these places often being private property for individuals or businesses, therefore the need and ability to have the choice of any location for a music video definitely requires a very large budget.

Equally, one other characteristic of a large budget music video is that they often have the potential to incorporate advanced VFX and CGI (computer generated images) into the clips. The process of creating life like CGI visuals into music videos such as in the background is a futuristic city or vehicle can be a very long, complex and detailed process as the development time needed to plan, develop and implement these images with a music video is a costly feature, additionally hiring specialists with the level of skills, knowledge and knowledge using advanced software can also be an expensive costs, hence the need and ability to utilize this type of feature with a large budget. An example of this CGI and VFX into a music video would be from the video to 'Look what you made me do' by Taylor Swift, in which many of the scenes display a CGI landscape and buildings. below is a link to this video.

# data[].attributes.headline
How much money is usually spent on the average video?

# data[].attributes.subject
How much money is usually spent on the average video?

# data[].attributes.body
The amount of money spent on a music video can be highly varied as a result of certain influencing factors. One of these factors is the exiting fame of the artist, this can significantly affect costs because the artist may require more investment if they need to be broken into the industry/market. However, if the artist already has a respectably sized fan base, they may require less spending to get the same or potentially more support and views on the artist's music video.
Annually, it has been estimated that collectively, labels spend 4.5 billion on music videos.

# data[].attributes.headline
Who are some famous music video directors and why are their videos so well known?

# data[].attributes.subject
Who are some famous music video directors and why are their videos so well known?

# data[].attributes.body
One particularly famous music video director I have taken interest into and followed up his work with my own research on them would be James Defina. This director has recently exploded in popularity in the last five to six years when he began filming music videos for upcoming artists at the time, whom of which have become international stars such as 'Post Malone', 'Becky From The Block' and 'Rich Chigga'. The music videos he has created for the artists have collectively a sum total of roughly 900 million to 1 billion views world wide. Defina is the CEO for his film production company, 'DEFINATE FILMS', in which he works in all aspects of music videos including producing, camera operator, editor and lighting director. James Defina's music videos are so well known, particularly with the younger generations (teenagers), as a result of a few certain factors. Firstly, some of the success for these videos is partially down to the music industry and large scale audiences enjoying the actual artist's song, usually if the music is a national or international success, the music video will also have similar results soon after. Equally, another reason for Defina's music videos be well known is due to the quality and unique characters of the artist's featured. 'Post Malone' being one of the most recent international break through artists with hundreds of millions of streams worldwide, has helped the view count and publicity of Defina's music videos of the artist total almost the same as the stream count, there is a clear relationship between the popularity of an artist and the success of a music video. Despite the success from these videos by James Defina, he is still a relativity small film director in comparison to the music video directors working with major labels such as Universal, Warner and Sony.

In addition to this, another famous music video director is 'Hype Williams', whom of which has won and been entered for many awards including BillBoard's best director of the year and was even presented by MTV with a 'Video Vangard' award to celebrate and reflect on all of his most famous pieces he has directed in the last decade or so. Most of William's success was during the 1995-2007 period, in this time he directed globally successful music videos for songs such as 'Gold Digger' by Kanye West in 2006 or Will Smith's 'Gettin Jiggy wit it' in 1998. One reason why Hype William's music videos are so well known is because he created a platform for some of the most successful rap and hip-hop artists between 1990 and 2007 to create a visual representation of their music tracks. Through my research into this director further, I noted that his music videos all contain a signature style of using a fish eye lens camera for many performance clips, emphasizing the artist's featured (early technique of creating a star image motif). Featuring artist's such as Kanye West, The Notorious B.I.G, Jay-Z and Missy Elliot. Using this link below this section will show one of his most famous music videos.

# data[].attributes.attachment_link.title
Missy Elliott - The Rain (Supa Dupa Fly) [Official Music Video]

# data[].attributes.headline
What is the purpose of a music video for the artist/label

# data[].attributes.subject
What is the purpose of a music video for the artist/label

# data[].attributes.body
The purpose of a music video for the artist is for a few vital reasons. One of these reasons is that music videos act as another form of self-promotion, they help an audience form a visual link and memory between their music and their appearance, this of which is establishing a star image motif. Linking in with the promotional aspect, these music videos help provide a deeper and clearer meaning with the lyrics of the song, as well as entertain and demonstrate the talents of the artist.

Another purpose of a music video is to provide another source of income for both the artist and record label.  Many video sharing sites allow monetization by placing adverts on your videos. The more views a  music video gets, the more people that potentially interact with the adverts, in which you get a commission. For YouTube, the pay out is roughly £2-3 per 1000 views, hence the need for a large amount of views is required to make a substantial income off of music videos alone. Nonetheless, many companies are willing to sponsor and pay labels in return for their product or brand name being featured within these music videos, the majority of mainstream pop music videos generally include at least one promoted product/brand to help boost revenue. A good example of this would be from the music video to 'I'm the one' by Justin Bieber and DJ Khaled where Beats headphones are shown in the first opening scenes on one of the main artists featured. Gaining income is just as important for the label and the artist.

Equally, another purpose of a music video for an artist is to sell an image. Often in music videos, they represent the artist and any other people involved in a certain way to establish a particular code of dominance, importance and lifestyle. For example, in the music video by Travis Scott for the song 'Beibs in the trap' the props featured such as expensive sports cars, jewellery, attractive women and clothing sell the image of a luxurious, designer influenced life spending large amounts of money on materialistic items is perceived as ideal. To some viewers, they may see that the image being sold appears to be the life of a successful and rich person, inferring they should also aim for this lifestyle too. An artist can sell an image particularly well if the music video contains controversial themes of such as they tend to create a social media 'buzz', creating a larger view count an reinforcing a unique image. When an artist sells an image, they help ingrain a link between their music and the image shown. The link to the example I have described above is placed below this text.

# data[].attributes.attachment_link.title
Travis Scott - beibs in the trap ft. NAV

# data[].attributes.body
The process to producing a music video is often includes a large amount of phases to follow, these stages can vary in complexity, time pressures, resources and costs. Below I will describe the production process, walking through each of the key phases to creating a music video from start to end.
The first vital stage to the production process of a music video is where the planning takes place, writing up the first thoughts, ideas and the concept of what the music video could potentially consist of, essentially this is states all the initial themes and other information to progress with and develop on where is seen fit. This phase requires the involvement of the artist, the record label and any other included producers who would like to contribute their ideas for the music video. from here an agreement can be made and used to follow up with.

In progression of this, the next key stage of the production process is story boarding. Story boarding is used to create a visual step by step guide of all the aspects to the music video, including elements such as setting, performance, camera angles and key themes displayed. Story boarding is an important phase in the production process as it allows the directors and producers to preview their ideas for the music video in a visual layout before actually carrying them out, enabling amendments and these ideas to be understood in how they can be incorporated into the music video. Similarly, a story board can also be referred too when setting up the scene of a clip for the music video in comparison to the details stated in the designs, this helps make sure that the established ideas are used in the music video exactly how they were intended to be.

The next key stage of the production process to music videos would be the casting. The casting phase, involves sourcing out actors, dancers and other performers to play a part in a music video. For major labels, they may use their links and contacts to other aspects of the media industry such as Film and TV to find high level performers that will have the necessary skills and experience to follow directions professionally. Alternatively, smaller labels and low budget music videos may use an application system or reach out to smaller actors/dancers personally to invite them to perform. Casting for music video must be considered and carried out carefully, ensuring that the chosen performers are willing to follow your directions, show interest in the concept and will provide a realistic act.

Additionally, the next main stage of the production process for music videos would be location scouting. Location scouting is when key players involved with a music video such as the Directors will physically travel and visit various public/private locations for their suitability to a music video. Location scouting is used to make sure that the directors and producers are happy that the setting ties in with the key themes, conventions and ideas established during the prior planning stages to this. Location scouting is vital to the production process as it must fit with the concept appropriately and reflect the image that the artist is trying to create, e.g expressing someone's wealth through items like a mansion, top floor apartment, inside a designer shop or in a super car garage like Ferrari. Usually, having a large contact base can be particularly useful at accessing certain locations, of which may unavailable to utilize with weak or a small amount of relationships with sources.

The next, arguably the most important stage of the production process would be the filming phase. During this phase, the actual performance is filmed, including shots of the locations, cast and the ideas that were established in the planning section are implemented into the music video. For filming most music videos, highly skilled camera operators are hired to contribute their quality to the video through providing high resolution footage of the artist/cast/settings. Filming a music video often requires a large variety of camera angles and movements to keep the video in sync with the beat and reduce any prolonged timing clips which can be dull to watch. Most labels have the funds to access industry standard equipment (such as 'RED' film cameras) as well as camera specialists who will able to provide a large range of unique camera movements and angles such as birds eye view and crane shots. Despite this, for many low budget music videos do not have the funds for expensive filming equipment therefore they must compromise with cheap equipment. Nonetheless, some music videos have been filmed on mobile phones like the iPhone and still have turned out to be very successful videos. The video inserted at the bottom of this section shows a music video filmed completely on a mobile device.

The next important phase of the production process of music videos is the editing and coloring stage. Editing a music video can be a very slow, complex process requiring constant review and checking that all effects, transitions and clips are created and placed effectively. For many music videos the producer is also the editor, as it is vital that the editor understand, recognizes and see's the vision of the end-result the same as the artist and producer, hence why a large proportion of music videos are edited by the producers to ensure this. The editing of a music video is usually carried out in studio providing industry software (such as Avid / Adobe Premiere Pro) and equipment to improve the work flow and reduce the time frame required to edit, this can give editors the ability to manipulate the clips to create a colour theme, mood or feel to the music video via effects and colour grading.

Finally, the last step of the product process of music videos is the mastering, of both the audio and visuals to ensure it is optimized for various platforms of applications and devices. Mastering is the process of which final adjustments and balances are applied to the music videos. Ensuring that the colour balance is appropriate for the theme and mood of a music video is important, there should not be any overly saturated colours that make other colours in the palette be more or less exposed, mastering colour grading is an important process that can help make the music video visuals "pop". Likewise, audio mastering focuses on compression, equalization, limiting and stereo enhancements. Mastering is important to a music video as it ensures that the final cut has the appropriate sound quality, volumes and visual appearance to fit and be viewed on a multitude of digital devices (phones, tablets, PCs) and from online video sharing sites.

# data[].attributes.attachment_link.title
First OFFICIAL iPhone 4 Music Video - for FLAKJAKT "Cascades"

# data[].attributes.attachment_link.description
http://flakjakt.com & http://themartymartin.com Artist: flakjakt [Steve Failows] Song: Cascades Director/DP/Editor: Marty Martin Producers: Sam Toloui, Kelli Taylor Dancer: Robin Campbell Song was written in 2 days, video shot in 1.3 days and edited in 2 days. In a fun weeklong experiment, my friend Marty and I collaborated on this video for an original song I wrote specifically for the iPhone 4 shoot.

# data[].attributes.body
A music video generally follows a certain structure to which they are made, following the steps of  extensive planning and story boarding, organizing the dates, times, locations and people needed for each shoot, the actual film days where the camera operators are in action, post production process where the film is cut down, put into order and final effects and touches are added and finally the promotional aspect of the music video to increase views and knowledge of the video.