Blog 11 CASE STUDY 2 Emil Nava

•Emil Nava• Began as a runner for film

production companies

• Worked for Blink Productions

• Now freelances for OB Management

CASE STUDY 2 Emil Nava

• After working as a runner graduated to Assistant Director (A.D.) where he would manage the video shoots

• He signed to Academy – who are the biggest music video production company

• Then worked for Between the Eyes and now works mainly for Pulse

CASE STUDY 2 Emil Nava

• Emil’s first budget was for the band Kid British and the track Our House

• Budget - £20,000

• Location – Manchester

• Cast – local people

• 1 day for filming

• 2/3 days for editing

• 10 days pre-production

• Demonstrates the very tight timescales involved

• http://www.youtube.com/watch?v=ltPxz4PinDA

Emil Nava on being a Music Video Director.

• http://www.youtube.com/watch?v=S5L07sR9SO0

• http://www.youtube.com/watch?v=l7UYOrWOypI

• Jessie J “Wild”

• http://www.youtube.com/watch?v=jrNLsC_Y9Oo&list=PLpF8XG51rqc1TdFmOEtYeW8DZmPb379pI

• “Domio” behind the scenes

CASE STUDY 2 Emil Nava

• At his busiest Emil has made 24 music videos in one year

• When he began shooting videos for independent labels the budget would be as low as £5,000 to £10,000

• His most expensive video to date has been for Jessie J and the budget was £160,000

CASE STUDY 2 Emil Nava

• Has now begun to make adverts, which generally have a far higher budget and production values but which allow for less creative freedom

• http://www.youtube.com/watch?v=jmlWSaKrclk

CASE STUDY 2 – Emil Nava’s Videos

• Paloma Faith ‘30 Minute Love Affair'

• Client Sony - Director Emil Nava• http://www.youtube.com/watch?v=O0O2DfNRxv4

CASE STUDY 2

• Paloma Faith 'Picking Up the Pieces'

• Client Sony - Director Emil Nava

• Cost - £80,000

• http://www.youtube.com/watch?v=Ijel4Vcqd9g

CASE STUDY 2

• Ed Sheeran 'Lego House'

• Client Atlantic - Director Emil Nava• http://www.youtube.com/watch?v=c4BLVznuWnU

CASE STUDY 2

• Jessie J 'Do It Like A Dude'

• Client Island - Director Emil Nava

• Cost - £25,000• http://www.youtube.com/watch?v=pOf3kYtwASo

CASE STUDY 2

• Rita Ora 'RIP'

• Client RocNation - Director Emil Nava• http://www.youtube.com/watch?v=L1l9WST5lXM

CASE STUDY 2

• Ed Sheeran 'You Need Me'

• Client Atlantic - Director Emil Nava

• Cost - £35,000• http://www.youtube.com/watch?v=ZXvzzTICvJs

CASE STUDY 2

• Jessie J 'Price Tag'

• Client Island

• Director Emil Nava• http://www.youtube.com/watch?v=qMxX-QOV9tI

CASE STUDY 2

• Emil’s Top Tip

• Use Extreme Close Up on faces wherever possible

• Do not shoot whole of video in medium shot/long shot

• Example – Sinead O’Connor –Nothing Compares to U

• Godley & Crème - Cry

CASE STUDY 2

• Some of the Production Companies that OB work with are:

• Pulse Films

• Rocket

• Agile Films

• Friends

• Wonda

CASE STUDY 2 – OB Management

• OB Management work as agents for music video directors. They describe themselves as, “ three straight up dudes who work out of Denmark Street London”.

• Their aim is to:

• Nurture talent

• Work with production companies

• Work with record labels

• Match the right director to the right artists

Ideas on How to Analyse Pop Videos

http://www.slideshare.net/sarahhemingway/analysis-of-three-music-videos-using-goodwins-terminology-2242768

Andrew Goodwin Key features of Music Videos• Andrew Goodwin in Dancing in

the Distraction Factory (1992) has identified the following features of music videos:

Key features of Music Videos

1. Music videos demonstrate genre characteristics (eg stage performance in metal video, dance routine for boy/girl band).

2. There is a relationship between lyrics and visuals (either illustrative, amplifying, contradicting).

3. The demands of the record label will include the need for lots of close-ups of the artist and the artist may develop motifs which recur across their work (a visual style) EG Katy Perry / Michael Jackson (to be analysed in separate blogs).

4. There is frequently reference to the notion of looking (screens within screens, telescopes, etc) and particularly voyeuristic treatment of the female body.

5. There is often intertextual reference (to films, TV programmes, other music videos, etc).

Relation of Visuals to Song

There are three ways in which music videos work to promote a song

Music videos can use a set of images to illustrate the meaning of lyrics & genre, this is the most common

This is similar to repeatability. Meanings and effects are manipulated and constantly shown through the video and drummed into our vision

This is where the meaning of the song is completely ignored

Laura Mulvey.Please copy these points down for future reference.

Laura Mulvey’s theory relates to classical Hollywood cinema. However, we can apply some of her ideas to our work on the pop video.

How many of these characteristics apply to Music Videos?

The male gaze =

• women viewed as the objects of male erotic desire – in film and audience

• men active / women passive.

• Women do not have agency – they do not move the plot forward.

• The audience is forced to identify with male gaze.

• Cinema reflects patriarchal (male dominated) society

• Patriarchy and phallocentrism linked – phallus (penis) a symbol of power – e.g. in cinema guns = phallus = power.

Using media language to analyse Pop Videos.

• Camera work: angle - high or low; long, medium or close up; over the shoulder - point of view, tracking, pan, steadycam.

• Editing: speed (long or short take); Style – straight cut, dissolve, fade, wipe, jump cut.

• Mise en Scene: setting/location, props; hair/make up/costume; positioning of characters in frame; body language/facial expression; colour; lighting – high or low?