Research

What is a Music Video?

Music Video Techniques & Aesthetics

Music videos have long been a channel for artistic expression, often they are visually experimental and have a distinct ‘aesthetic’.

There are a few different factors that make up a music video’s aesthetic. The visual style, mood, and artistic choices define the look and feel of a music video. The visual aesthetic encompasses everything from cinematography and colour grading to fashion, set design, editing style, and visual symbolism.

Visual Style and Cinematography

A variety of elements related to visual style and cinematography play a crucial role in shaping the overall aesthetic of a music video. Since the music already takes care of the audio aspect, music videos are inherently visual media, relying heavily on imagery, composition, lighting, and movement to complement and enhance the song’s mood, message, and emotional impact.

Colour Grading & Colour Theory in Practice

The use of colour is incredibly important in conveying emotion visually, music video directors choose the emotion they want the audience to feel by applying colour theory. For example:

Red is commonly associated with passion, danger, and power. In music videos, it is often used to convey sexiness, violence, or a sense of urgency, as seen in Dua Lipa’s “Physical” here:

The video opens with an intense sequence, where the deep red lighting amplifies the energy and urgency of the scene; throughout, the vibrant red scenes heighten the intensity of the choreography and complement the retro-inspired visuals.

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Blue represents melancholy, calm, and emotional detachment. It’s frequently used in music videos to express loneliness or to create a cool, moody aesthetic, such as in Billie Eilish’s “Everything I Wanted.” or in Bo Burnham’s “All Eyes On Me” from his “Inside” Musical Comedy Netflix special.

In Bo Burnham’s video, the blue lighting reflects how alone he feels. Even though lots of people are watching him, the song shows that he still feels isolated, and the cool, blue tones help accentuate that.

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Green is linked to envy, nature, and toxicity. In music videos, it can suggest surrealism or rebirth, like in Lorde’s “Solar Power.”

This video uses green to symbolise the connection to nature and tranquillity. It also reminded me of a similar video which may serve as inspiration for my project…

This video for the song “W.I.T.C.H.” by Devon Cole uses the colour green to symbolise several of the colour’s common connotations. For example, as I mentioned earlier, green is traditionally associated with nature, fertility, and life, all of which are tied to historical and folkloric depictions of witches as women connected to the natural world and ancient knowledge as explored in this video. Green can also symbolise growth and rebirth. In this context, it may represent a new wave of feminist representation. By bathing scenes in green or dressing in green hues, the video creates a visual language of renewal and defiance, growing out of the old patriarchal constraints.

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Pink symbolises innocence, artificiality, and rebellion. It is often used to subvert traditional notions of femininity, as demonstrated in Doja Cat’s “Say So.”

Towards the end of Doja Cat’s “Say So” music video, the colour pink takes centre stage. It emphasises her playful, sexy, and confident energy, perfectly matching the flirtatious tone of the song. Doja herself has described pink as “a passionate color, it’s a sexy color, it’s just a vibrant color,” which reflects the mood she creates in this scene.

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Black and white imagery conveys timelessness, drama, and memory. Music videos use this colour scheme to create a serious or vintage tone, such as in Beyoncé’s “If I Were a Boy.”

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Camera Language

Camera movement and positioning aren’t just technical choices, they can be tools used by directors and cinematographers to elicit an emotion. The way a camera behaves can subtly (or dramatically) influence how a viewer feels about a scene, a character, or a moment. Let’s look at a few examples:

Tracking Shots (Moving with Subject)

Tracking shots where the camera follows the subject, often using a dolly, Steadicam, gimbal, or handheld rig carries creates the following emotional tones: Momentum, immersion, control, connection. It also creates a sense of being on a journey with the character (both physically and emotionally), it reinforces narrative momentum – literally pushing the story forward, when it is smooth and fluid it can suggest confidence and purpose, and depending on what effect you’re going for it can make the audience feel like a participant rather than a spectator – they feel as if they are in on the action, engaging them more.

Whip Pans (Quick Horizontal Movement)

A whip pan is a rapid pan that blurs the frame momentarily as it shifts focus. This creates an emotional tone of energy, chaos, surprise, and dynamic tension. It mimics the natural movement of a head turn, which can be used to highlight sudden action or shift attention. They can also enhance fast-paced sequences, helping to convey urgency or confusion. Furthermore, they can also be used as a transition tool to move quickly between two scenes or actions.

Dutch Angle (Tilted Frame)

Dutch angles, where the camera is tilted so the horizon line is off-kilter, are typically associated with unease, disorientation, and psychological imbalance. The effect of this can be that it conveys mental instability, anxiety or tension. It is also often used to suggest that something is wrong, either in the world or within a character. It can also be used as a visual metaphor for the distortion of reality.

Zooms (vs. Tracking Shots)

Zooms, where the lens magnifies or reduces the field of view without physically moving the camera, can evoke emotions of being observed, psychological intrusion, or introspection. The effect of zooming in rather than tracking (physically moving the camera) is that it can often feel detached or mechanical and can emphasise emotional distance or surveillance (for example spying or analysis). When it is used slowly, it can draw us into a character’s internal state or realisation, whilst a fast zoom can feel aggressive or shocking.

Extreme Wide Shot

An extreme wide shot where the subject is dwarfed by the environment, or may not be visible at all evokes a feeling of isolation, insignificance, majesty, and scale. It emphasises how small a character is in relation to their surroundings and can evoke loneliness, existential dread, or awe. An extreme wide is often used to introduce a setting or to create a contemplative pause. They are useful for establishing tone or geography without dialogue.

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As well as camera movement, the aspect ratio a film, music video, or ad is filmed or released in can also affect tone.

Choosing a particular ratio can:

• Guide where the viewer looks
• Set a historical or emotional context
• Define the viewing platform
• Create a specific mood (intimate, epic, modern, nostalgic)

4:3 (Boxy) – Nostalgic, Intimate, Retro

The 4:3 aspect ratio is nearly square just with a tighter vertical frame. It evokes a sense of the past as it was common in old television broadcasts and early cinema.

As an aspect ratio it is often used narratively to invoke nostalgia or intimacy. Filmmakers may use it to signal a character’s inner world or to focus more closely on faces and performances.

For example, Wes Anderson used the 4:3 aspect ratio in “The Grand Budapest Hotel” for the 1930s scenes as it was more accurate and evoked that sense of history.

David Lowery also used it in “A Ghost Story” the A24 film as it enhances the feeling of isolation and time.

16:9 — Standard, Balanced, Contemporary

The 16:9 aspect ratio is wide but not extreme, it is the modern default for TVs, YouTube and streaming.

It feels familiar, neutral and unobtrusive. It suggests realism, accessibility, and everyday storytelling. Narratively, it is great for vlogs, documentaries, television and most modern digital content as it balances character and environment.

2.39:1 (Cinematic Widescreen) — Epic, Grand, Dramatic

The 2.39:1 aspect ratio is traditionally used in film for distribution to cinemas. Visually, it’s classed as ‘Ultra-wide’, giving a panoramic or ‘letterbox’ experience.

Emotionally, it enhances drama, tension and scope, it feels epic and stylised.

Narratively, the 2.39:1 aspect ratio is ideal for landscapes, action sequences, and dramatic storytelling. It visually separates the audience from the world, more like “watching art” than “being there.”

Typically, this aspect ratio is used in blockbuster films such as Blade Runner 2049 and Dune (2021).

Vertical Video (e.g., 9:16) — Casual, Immersive, Social

And finally there’s 9:16 vertical video. It’s tall and narrow and optimised for smartphone screens.

When used in film for effect, it can feel raw, immediate, and personal. It mimics real-time experiences and intimacy.

Other Ratios

Some other ratios include:

• 1:1 (Square): Balanced and symmetrical. Often used in Instagram posts. Neutral and simple, good for focusing attention.
• 21:9 (Ultra-widescreen monitors): Even wider than 2.39:1, often used in gaming or immersive digital storytelling.
• IMAX (1.43:1 or 1.90:1): Tall, expansive formats meant to engulf the viewer – ideal for spectacle and immersion.

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Costume is important too…

The clothes worn in music videos is also often important in portraying a certain aesthetic to provoke emotion, thought or a specific feeling within the viewer.

This video goes into the importance of costume design more generally in the film industry. It looks at how costumes are not just for show or fantasy, often, they aim to create authentic, believable characters. Just like in real life, what a character wears says a lot about who they are.

Let’s have a look at some ways fashion choices alter/complement the theme of a music video.

Take luxury fashion, for example. In rap and R&B videos, it often stands for power, success, and aspiration. Covered head to toe in designer labels and expensive jewellery, artists use these looks to show where they’ve come from, and where they are now. It’s about visibility and presence: “Hey look ma I made it” (cheeky PATD reference).

And then there’s streetwear, that’s more rooted and authentic. It’s related to culture, community, and credibility. In hip-hop and alternative cultures especially, wearing streetwear isn’t fashion, it’s identity. It suggests that the artist remains grounded from where they came, remains of that world, even if they are performing on a much larger, global stage.

Glam and drag-inspired looks bring yet another level of a different sort. These are big, boisterous, dramatic clothes, but they’re not necessarily for show. They’re performing transformation and amplification, and they usually play with or challenge ideas about gender, beauty, and identity. Think of them as performance in performance: the clothes become character in the story, and fashion becomes some kind of commentary.

On the other side is minimalism. Simple, stripped-back aesthetics, like the nude leotard on the dancer in Sia’s “Chandelier”, don’t divert our gaze away, but instead, unveil. These are choices that ask us to sit with unadorned movement, feeling, and vulnerability. It’s a way of circumventing the static and getting to something deeper. Something more human.

Traditional dress, by contrast, is laden with symbolism. When artists like Burna Boy, BTS, or Rosalía take to the stage in clothes that are derived from their heritage, it’s a tribute and an announcement. It defies the dominance that Western fashion holds over popular culture, and it demonstrates pride in whence they originated. These outfits might be deeply personal, connecting the sound to history, heritage, and bloodlines in ways that are powerful.

Having now discussed the key elements that make up a music video — from cinematography and visual style to colour theory, camera language, and costume — it’s clear how these are used as more than merely aesthetic choices, but also as narrative tools. This research has informed a shift in my own practice as a maker. In previous work, the visual materials used were selected based on their appearance, instead of for what they had the potential to mean on a more underlying level.

Now, with a greater understanding of symbolism and visual language, I wish to be more intentional. Colour theory and grading will allow me to evoke emotion through palette and tone; camera movement and shot composition will allow me to guide the viewer’s attention and emphasise meaning. Studying different aesthetics and subcultures has given me tools and ideas with which to craft a visual identity that is appropriate to the mood and message of the song. Editing, too, will no longer be solely in the service of rhythm, but will be employed to build an emotional arc for the piece.

Lastly, this is not just an exercise in creating another music video; it’s about using the medium more purposely to convey something personal and considered.

Sources

• boburnham (2021). All Eyes On Me — Bo Burnham (from ‘Inside’ – album out now). YouTube. Available at: https://www.youtube.com/watch?v=1Rx_p3NW7gQ.
• Cole, D. (2022). Devon Cole – W.I.T.C.H. (Official Video). [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=GjNY5HGcopA.
• Dua Lipa (2020). Dua Lipa – Physical (Official Video). YouTube. Available at: https://www.youtube.com/watch?v=9HDEHj2yzew.
• Eilish, B. (2020). Billie Eilish – everything i wanted. YouTube. Available at: https://www.youtube.com/watch?v=EgBJmlPo8Xw.
• Elena (2024). Indie Visual Aesthetics Explained Through 5 Music Videos – Distromono. [online] distromono.com. Available at: https://distromono.com/inspiration/indie-visual-aesthetics-5-music-videos/.
• Lorde (2021). Lorde – Solar Power. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=wvsP_lzh2-8.
• RuChapdelaine (2020). Opinion: Doja Cat’s ‘Say So’ music video follows ‘70s theme with psychedelic visuals – WKUHerald.com. [online] WKUHerald.com. Available at: https://wkuherald.com/16248/opinion/opinion-doja-cats-say-so-music-video-follows-70s-theme-with-psychedelic-visuals-2/ [Accessed 28 May 2025].
• styletodaymag (2023). Style Today Magazine. [online] Style Today Magazine. Available at: https://styletodaymag.com/2023/10/08/the-symbiotic-relationship-between-fashion-and-music-videos/ [Accessed 30 May 2025].

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After researching how cults form and how they’re portrayed in media, I wanted to dig deeper into what happens once someone is inside a cult. What are they actually doing day to day? Is it just chanting and staring into candles, or is there more going on?

Turns out, cult routines are mostly about maintaining control. Almost every activity serves to either strengthen group cohesion, isolate members from the outside world, or wear down independent thinking.

Group Rituals

One of the most common elements is regular group rituals. These can range from morning chants and extended meditation sessions to more elaborate, almost performance-like ceremonies. The specific activity doesn’t matter as much as the repetition. Doing the same thing in unison with others creates a sense of unity and shared purpose, while gradually dulling critical thinking. It can feel meaningful or even transcendent, but it also makes people more compliant.

This directly connects to the choreography in my FMP. I’m interested in using synchronised movement not just for visual appeal, but as a way to show how individuality erodes over time. Repetition becomes a tool of control.

Acts of Devotion

Cult members are often expected to prove their loyalty through acts of devotion. That might start with donating money, but it can escalate to giving up possessions, cutting ties with family, or even changing their name and identity. The goal is to replace outside influences with total dependence on the group.

I plan to reflect this visually through costume design—creating a uniform look that suggests members have surrendered personal identity. The cult leader, by contrast, will wear something distinct to emphasise their elevated status. That imbalance is central to how power is maintained.

Isolation and Surveillance

Many cults isolate members either physically or emotionally. Some encourage internal surveillance, asking members to report on one another. Others control access to outside information, restrict internet use, or even limit sleep and food to make people more vulnerable and easier to manipulate.

While I won’t show every detail of this in the video, I do want to convey the emotional pressure. Lighting and framing will help create a sense of distance, confinement, or unease—ways to visually express isolation without needing to over-explain it.

Punishment and Reinforcement

Cults often rely on a system of rewards and punishments. Loyalty is rewarded with praise, attention, or access to secret knowledge. Doubt or resistance can lead to shame, exclusion, or emotional withdrawal. The line between love and fear becomes blurred, making people unsure of what’s real and what’s manipulation.

So no, cult life isn’t all bonfires and hooded robes—though sometimes that’s part of the image. Most of the control is psychological. Repetition, isolation, loyalty tests, emotional highs and lows—it’s all carefully designed to shape members into something obedient and dependent.

That’s the dynamic I want to explore in my project. Not just through visuals, but through mood, pacing, and the emotional journey of the characters.

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Cults in Consumerism

One of the most common forms of ‘cult-like’ behaviour in modern society can be seen in the way we act as consumers. Take Apple, for example, its customer base shows a level of loyalty that goes far beyond simply liking their products. People line up for hours on launch day, use branded language when talking about Apple devices and services, and often defend the brand passionately, almost like fans of a sports team or members of a belief system. The company’s sleek design, closed ecosystem, and clever marketing make its products feel exclusive and even personal. And this kind of behaviour isn’t just limited to Apple. Other brands like Tesla, Supreme, and Starbucks have created similar followings in the US and around the world. Tesla fans aren’t just buying cars – they’re buying into Elon Musk’s vision of the future. Supreme drops are treated like special events, with people camping out overnight to get their hands on limited-edition clothing. Starbucks, too, has built a routine and culture around coffee, turning something simple into a daily ritual with personalised drinks and seasonal specials. These brand communities give people a sense of identity, belonging, and even purpose. In some ways, they fill the roles that traditional communities or belief systems once did. But at the same time, they raise important questions. Are we thinking for ourselves, or letting brands tell us who we are? And as we buy more to feel connected or important, are we at risk of losing touch with our real values and individuality?

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The Perception of Cults

After looking into all that, I got curious about what people picture when they think of cults. I figured if I knew that, I could make a video that people would instantly recognise as being about a cult. So, I put together a quick survey to find out.

The idea of this survey was to find out how I could use costumes, activities and other visuals to clearly denote the cult theme. As such, I split the questions into the following sections.

• General Perceptions
  • I asked general questions about the perception of cults, including the open-ended ‘When you hear the word “cult,” what comes to mind?’, ‘What are three words you associate with cults?’ as well as a multiple choice ‘What emotions do you feel when you think about cults?’
• Appearance and Visuals
  • This is where I wanted to look at costume, symbols, objects and settings. I asked ‘What kind of clothing or appearance do you associate with cult members?’ with the options of ‘Uniforms or matching outfits’, ‘Robes or ritualistic clothing’, ‘Ordinary/normal clothes’, ‘Face paint or masks’ and an ‘other’ option. I also asked ‘What kinds of symbols, objects, or decorations do you associate with cults?’ as an open-ended question and ‘What kind of setting or environment feels “cult-like” to you?’ with the options of ‘Remote woods’, ‘Large mansion’, ‘Abandoned buildings’, ‘Underground spaces’, ‘Ordinary houses’, ‘Desert or rural areas’, and an ‘other’ option.
• Behaviours, Activities and Atmosphere
  • For this section, I wanted to get an understanding of what to have in the video and what to have my actors do. So, I asked the following questions, starting with ‘What kinds of activities or rituals do you immediately associate with cults?’ with the options of ‘Chanting or singing’, ‘Group dancing or movement’, ‘Strange or secretive ceremonies ‘, ‘ Worship of a leader ‘, ‘ Isolation from outsiders’, ‘Strict rules for members’, and an ‘other’ option. I also asked ‘What kind of leader do you imagine in a cult?’ with the options of ‘Charismatic and charming’, ‘Authoritarian and strict’, ‘Mysterious and distant’, and ‘other’. And, finally, for this section, I asked, ‘How do you think cult members interact with outsiders?’ with options of ‘Friendly and welcoming’, ‘Secretive and suspicious’, ‘Hostile or aggressive’, and ‘other’.
• Optional: Recognition and References
  • This section was optional; I created it with the idea to gain insight as to where I should look for inspiration and what people liked from the representations they’d seen.

Survey Results

Survey results can be found in more detail here.

Survey Conclusion

These survey results have been super helpful for my project! They really highlight how people generally see cults, mostly as something scary, manipulative, and isolating. It’s clear that ideas like brainwashing and abuse come to mind, along with that picture of a charismatic but controlling leader, often hidden away in remote spots. People also strongly connect cults with strict rules, leader worship, and cutting members off from the outside world. And honestly, it’s pretty obvious that movies and TV shows play a big part in shaping these ideas, especially with their distinct visuals.

So, this understanding is awesome for shaping my project. For instance, knowing that “uniforms or matching outfits” are a common thing people associate with cult members is a huge help. It confirms that using uniforms, which I was already planning to do, will immediately click with what my audience expects, making my project’s message and vibe way more effective. It just helps me make more informed choices for the whole thing.

Sources

• A24 (2019). MIDSOMMAR | Official Trailer HD | A24. YouTube. Available at: https://www.youtube.com/watch?v=1Vnghdsjmd0.
• CharleyX (2014). Analysis of ‘This Is Gospel’ by Panic! At The Disco. [online] SlideShare. Available at: https://www.slideshare.net/CharleyX/analysis-of-this-is-gospel-by-panic-at-the-disco.
• Fueled By Ramen (2013). Panic! At The Disco: This Is Gospel [OFFICIAL VIDEO]. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=tGE381tbQa8.
• Future Proof (2024). How Apple Brainwashes You. [online] YouTube. Available at: https://www.youtube.com/watch?v=GAv6Y7a5j7I.
• Miller, J. (2016). The Path Fact-Checked: The Ugly Truth Behind Real-Life Cults. [online] Vanity Fair. Available at: https://www.vanityfair.com/hollywood/2016/03/the-path-cults?srsltid=AfmBOoqfwyo9cS31gfqIdP2jAEmwmzEbMX5SQwrJ372cW0OBL0qv248d.
• Nair, S. (2023). ‘The Ritual’ Isn’t Just Another Horror Survival Movie. [online] Collider. Available at: https://collider.com/the-ritual-horror-movie/.
• Series Trailer MP (2016). THE PATH Season 1 TRAILER (2016) Aaron Paul Hulu Series. YouTube. Available at: https://www.youtube.com/watch?v=npmxbKBBF1w.
• Shane, C. (2022). The Psychology Behind Cults. [online] Discover Magazine. Available at: https://www.discovermagazine.com/mind/the-psychology-behind-cults.
• Super User (2025). Lawsuit may force Aryan move to San Diego area. [online] Culteducation.com. Available at: https://culteducation.com/group/2049-how-cults-isolate-their-members.html.
• TED-Ed and Lalich, J. (2017). Why do people join cults? – Janja Lalich. YouTube. Available at: https://www.youtube.com/watch?v=kB-dJaCXAxA.
• The University of Texas Permian Basin (2023). The Psychology of Cults | UT Permian Basin Online. [online] online.utpb.edu. Available at: https://online.utpb.edu/about-us/articles/psychology/the-psychology-of-cults/.
• Winegust, M. (2025). The Cult of Midsommar. [online] Layered Butter. Available at: https://layeredbutter.com/editorial/cult-of-midsommar.
• www.cookman.edu. (n.d.). Cult-Related Activity. [online] Available at: https://www.cookman.edu/crl/cult-related-activity.html.
• Zero Media (2017). The Ritual Official Trailer #1 (2017) Rafe Spall, Robert James-Collier Horror Movie HD. [online] YouTube. Available at: https://www.youtube.com/watch?v=rsZkHrIFJxQ.

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For most professional productions, hiring a casting director is the primary method. These professionals specialise in matching actors to roles and have extensive knowledge of the talent pool. They work closely with directors and producers to understand the vision for each character.

Casting directors often have strong relationships with talent agencies. Agencies represent actors, singers, dancers, and other performers, promoting their clients for suitable roles. When a casting director receives a “breakdown” (a detailed description of a character and role requirements), they send it to relevant agencies. The agencies then submit their clients who they believe are a good fit.

Advantages:

• Access to professional talent: Agencies represent experienced and vetted performers.
• Efficiency: Casting directors streamline the process, handling initial screenings and negotiations.
• Expertise: Casting directors understand the nuances of performance and can identify suitable actors.

Disadvantages:

• Cost: Especially for small productions like this one, hiring anyone is generally out of the question, let alone someone who hires other people (usually quite expensive people as well)

Open Casting Calls

Open casting calls, also known as “cattle calls,” are public announcements inviting anyone interested to audition for a role. These are particularly useful for:

• Finding unknown talent: They can uncover fresh faces who might not have agency representation.
• Specific niche roles: When looking for a very particular look or skill that might not be found through traditional agency channels.
• Background actors (extras): Often, large numbers of extras are needed, and open calls are an efficient way to find them.
• Low-budget or independent productions: Filmmakers with limited resources can cast a wide net without incurring agency fees.

How they work: Notices are posted on casting websites (like Backstage, Mandy, StarNow), social media, and community forums. They detail the role requirements, project type, filming location, and payment.

Advantages:

• Diverse talent pool: Attracts a wide range of individuals, some of whom may surprise you.
• Cost-effective: Can be cheaper than agency fees, especially for non-union and small projects.
• Community engagement: Can generate buzz for the project.

Disadvantages:

• Overwhelming submissions: Can lead to a massive volume of unqualified applicants.
• Time-consuming: Sifting through many submissions and organising auditions can be very demanding. (although for my project, I don’t think this will be an issue 😮‍💨)

Auditions

Auditions are a fundamental part of the casting process, whether initiated by a casting director or an open call. They allow filmmakers to assess a performer’s skills and suitability for a role.

Types of auditions:

• Self-taped auditions: Increasingly common, especially for initial rounds. Actors record themselves performing “sides” (script excerpts) and submit the video online. This offers flexibility for both actors and casting teams.
• In-person auditions: Traditional auditions where actors perform live for the casting director, and sometimes the director and producers.
• Cold readings: Actors are given script excerpts on the spot with little to no time to prepare, testing their ability to react and improvise.
• Rehearsed scenes: Actors are grouped and given scenes to work on together, allowing the casting team to observe their collaborative skills and chemistry.

Networking and Referrals

Filmmakers often leverage their professional network to find talent. This can include:

• Word-of-mouth: Recommendations from other filmmakers, actors, or industry professionals.
• Film school connections: Tapping into talent from local film schools and drama programs.
• Theatre communities: Attending local theatre productions and connecting with actors who perform on stage.
• Social media: Many casting directors and filmmakers use platforms like Facebook groups (e.g., local film community groups), Instagram, LinkedIn, and Twitter to post casting calls and scout talent.

Talent Databases and Online Platforms

Websites like Backstage, Mandy, StarNow, and Spotlight (in the UK) serve as platforms where casting directors can post job listings (casting calls) and search for talent. Actors create profiles with headshots, resumes, and showreels, making themselves discoverable.

Advantages:

• Wide reach: Connects filmmakers with a large pool of talent globally.
• Searchable databases: Allows for targeted searches based on specific criteria (age, skills, appearance, location).
• Convenience: Submissions and communication can often be managed directly through the platform.

Local Theatre Groups

I’m currently evaluating the potential of finding talent for my projects within Carlisle’s local theatre scene. I’m looking at groups like the Carlisle Green Room Club and youth organizations such as Razzamataz Carlisle and ACT Youth Theatre.

The Potential of Local Theatre Talent

There’s definitely a strong upside to this approach:

• Experienced Performers: Members of these groups, particularly the Green Room Club, are actively engaged in acting. They understand performance principles, can learn lines, and are generally disciplined. Many are highly passionate about their craft, which can be a huge asset, especially for independent or lower-budget projects where pure enthusiasm can make a big difference.
• Local & Accessible: This is a key advantage. Having a talent pool right here in Carlisle simplifies logistics and helps keep travel costs down for both me and the actors.
• Work Ethic: Actors involved in theatre are used to rigorous rehearsal schedules and collaborative work. This discipline translates well to the demands of a film set, where efficiency and teamwork are crucial.

Important Considerations

While promising, there are a few things I’d need to keep in mind:

• Stage vs. Screen Performance: The biggest adjustment for theatre actors is often adapting their style from broad stage projection to the more subtle, naturalistic demands of the camera. I’d need to be ready to direct them specifically on this nuance.
• Availability: Many amateur actors balance their passion with other commitments. Their availability would likely be limited to evenings and weekends, and I’d have to work around their existing production schedules.
• Limited Screen Experience: Most might not have professional screen credits or extensive showreel material. This means I’d be relying heavily on my own auditions to assess their on-camera presence.

Sources

• Breakdown Express / Actors Access Solutions. (2025). CASTING: How to Post a Breakdown. [online] Available at: https://actorsaccess.freshdesk.com/support/solutions/articles/17000056203-casting-how-to-post-a-breakdown.
• Huntertalent.com.au. (2024). Page Restricted. [online] Available at: https://huntertalent.com.au/complete-guide/auditioning/.
• Ormsby, R. (2024). Talent Agents and Fees: A Producer’s Guide  – Media Services. [online] Media Services. Available at: https://www.mediaservices.com/blog/talent-agents-and-fees-a-producers-guide/.
• ScreenSkills (2022). Casting Director in the Film and TV Drama Industries. [online] ScreenSkills. Available at: https://www.screenskills.com/job-profiles/browse/film-and-tv-drama/development-film-and-tv-drama-job-profiles/casting-director/.
• The Film Look (2018). How to Cast an ACTOR for a No Budget Film. [online] YouTube. Available at: https://www.youtube.com/watch?v=YpCkRPqsiJ4.
• Webmaster (2025). How Do Casting Directors Find Actors? [online] Acting Magazine. Available at: https://actingmagazine.com/2025/01/how-do-casting-directors-find-actors/.
• Wikipedia. (2020). Casting (performing arts). [online] Available at: https://en.wikipedia.org/wiki/Casting_(performing_arts).
• www.careerexplorer.com. (n.d.). What does a casting director do? – CareerExplorer. [online] Available at: https://www.careerexplorer.com/careers/casting-director/.

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Cinematography Techniques

Exposure

Summary

In today’s session with Paddy, we went over the fundamentals of exposure in film production and how to properly control light to achieve the best possible image. It was a mix of theory and hands-on practice, which really helped solidify my understanding.

We started by breaking down the three key elements of exposure: aperture, shutter speed, and ISO. Paddy explained how these settings work together to control brightness and image quality.

• Aperture (f-stop) – This determines how much light enters the camera. A wider aperture (low f-number) lets in more light and creates a shallow depth of field, while a narrower aperture (high f-number) does the opposite.
• Shutter Speed – Controls motion blur. Faster speeds freeze action, while slower speeds add blur, which can be useful for creative effects.
• ISO – A higher ISO makes the image brighter but adds noise, so it’s a balance between brightness and quality.

We also looked at practical ways to get the right exposure, including using light meters and checking the camera’s histogram. Paddy emphasised the importance of avoiding underexposure (where you lose shadow details) and overexposure (where highlights get blown out).

One of the most interesting parts was discussing how exposure affects storytelling. Choosing to overexpose or underexpose a scene can dramatically change its mood. High-key lighting feels bright and clean, while low-key lighting creates a darker, moodier atmosphere.

We wrapped up by going over common mistakes and how to fix them. It was great to experiment with different settings and see the immediate impact on the image. I’m definitely feeling more confident in my ability to control exposure and use it creatively in my own work.

Practical Application

After the session, I went home and tried to apply the exposure principles with a bit of test footage. Although you obviously can’t see it, I used the false colour display to try and expose the shot correctly, applying all of the other notes from Paddy’s workshop.

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Equipment & Technical Research

Camera & Filming Equipment

Core Capabilities of the BMPCC6KPRO and Their Application to My FMP

The camera’s Super35 HDR sensor and ability to record up to 6K resolution in Blackmagic RAW are central to its value. This high resolution provides significant flexibility for post-production, enabling precise reframing or digital stabilisation within a 4K timeline without sacrificing image quality. The 13 stops of dynamic range are critical for capturing nuanced detail across varied lighting conditions, from deep shadows to bright highlights, which is essential for maintaining visual integrity in diverse shooting environments. Furthermore, the Gen 5 Colour Science consistently renders accurate and aesthetically pleasing skin tones and overall colour, a crucial factor for achieving a professional and emotionally resonant visual narrative for the FMP.

Beyond raw image performance, the BMPCC 6K Pro integrates several features that enhance practical workflow. The built-in IR ND filters (2, 4, and 6 stops) are highly practical for managing exposure efficiently, particularly when working with fast lenses in bright outdoor settings. This feature reduces reliance on external, often time-consuming, filter systems. The 5-inch tilting HDR touchscreen, with its 1500 nits brightness, significantly improves on-set monitoring, especially for challenging angles or bright conditions. The camera’s EF lens mount offers broad compatibility with a wide range of professional and readily available photographic lenses, providing creative versatility within budgetary constraints. Additionally, the inclusion of DaVinci Resolve Studio provides a robust and industry-standard post-production suite, streamlining the entire workflow from capture to final grade.

While the BMPCC 6K Pro excels in image acquisition, its design necessitates specific operational considerations. The limited internal battery life (NP-F570) requires a comprehensive external power strategy; for the FMP, this includes using a larger external NP-F970 battery in a battery grip to ensure sustained power during extended shooting periods.

The absence of continuous autofocus and in-body image stabilisation (IBIS) means that focus pulling must be executed manually and precisely, and camera movement stabilisation relies entirely on external rigging such as tripods, gimbals, or meticulously controlled handheld techniques. These aspects, while demanding, also reinforce fundamental cinematic practices. Finally, the uncompressed nature of Blackmagic RAW files, particularly at 6K resolution, results in large data volumes, necessitating high-speed, high-capacity storage solutions and a powerful workstation for efficient post-production. These factors have been integrated into the FMP’s technical pre-production and logistical planning.

In conclusion, the Blackmagic Design Pocket Cinema Camera 6K Pro represents a deliberate and well-justified choice for my Final Major Project. Its core strengths in delivering high-fidelity cinematic images, combined with practical features such as integrated ND filters and a robust post-production ecosystem, provide a solid foundation for achieving the FMP’s visual objectives. By understanding and proactively addressing its operational requirements, this camera will be a key instrument in producing a project that meets high academic and cinematic standards.

Lighting & Lighting Design

Lighting Control Software/Hardware

For last year’s FMP, I looked into various different lighting control software and hardware solutions, whilst I think I know which one I’ll be going with, let’s have a look at all the different options:

When embarking (is that too strong of a word?) on a lighting control project, the initial decision often revolves around the choice of hardware/software. This decision significantly impacts not only the budget but also the flexibility, scalability, and workflow of your lighting design.

Physical Controllers and Consoles

On one end of the spectrum, you have dedicated physical controllers and lighting consoles. These range dramatically in price and capability. At the entry-level, you might find “knock-off” USB-to-DMX controllers for around £20. These are often basic, offering limited channels and direct control, suitable for very small, simple setups or home use.

Stepping up, you encounter professional-grade consoles. These are robust, purpose-built devices with dedicated faders, buttons, touchscreens, and often integrated processing power. Examples include the high-end MA Lighting GrandMA3, which can cost upwards of £60,000. These consoles are the workhorses of large-scale productions like the Eurovision Song Contest, major concerts, and theatrical tours. They offer unparalleled control, advanced networking capabilities (Art-Net, sACN), and sophisticated programming features for complex lighting cues and effects. Their reliability and instant tactile feedback are crucial in high-pressure live environments.

Software-Based Control

For my project, I’m definitely leaning towards the software route. This involves using standalone software like ‘GrandMA3 on PC,’ Avolites ‘Titan,’ or Chamsys ‘MagicQ,’ usually paired with a USB (or Art-NET) to DMX adapter to get the signals out to the lights. It’s generally more cost-effective and offers a lot of flexibility.

Here’s my take on some of the major software options I’ve looked into:

MA Lighting – GrandMA

GrandMA3 is an incredibly powerful piece of software that’s widely used in the lighting industry for huge events like concerts and conventions. It’s often the go-to for big touring shows and pretty much the preferred option for events like Eurovision.

However, while it’s super functional, it’s also quite expensive for my purposes. The software itself is free, which is great for offline programming, but to actually output DMX, you need a piece of MA hardware on your network. The cheapest of these retails at £1,500. That’s pretty cheap compared to their £60,000 full-size consoles, but it’s still more than I’m willing to pay.

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Avolites – Titan

Avolites Titan is another strong contender, and it’s probably the second most popular lighting software package after GrandMA in the industry. It’s my personal favourite, mostly because it’s the one I’ve used most frequently on previous projects, so I feel really comfortable with it. It’s incredibly powerful and often used for live music events, though I’ve personally used it for theatrical shows, which really shows how versatile it is.

The best part? It’s not too expensive. The cheapest interface to activate the software is only about £170, which is much more palatable.

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ETC – Nomad

ETC Nomad is a piece of software I’ve never had the chance to try. It’s definitely geared towards theatrical performances rather than music events – “Electronic Theatre Controls” (ETC) gives it away. Because of this, it hasn’t really broken into the live music and events industries.

From what I’ve seen in images and videos, the software looks relatively easy to use and has a lot of features, though it seems to be missing some things found in the other software packages. The cheapest way to get access to it is by buying an ETCnomad Base Kit, which costs £549. That feels very expensive for what’s essentially a USB activation key.

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Chamsys – MagicQ

MagicQ is my college’s software of choice, primarily because it’s cheap – the most basic USB to DMX adapter that activates the software is only around £30.

However, I really don’t like MagicQ. I find the software far too clunky and convoluted for its level of functionality. I end up spending more time trying to find what I need instead of actually programming the show. Maybe it’s just a personal grudge, as it seems to be gaining popularity among lighting designers, especially after Chauvet (a well-known brand) bought them in 2017.

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My Decision

After doing all this research into the different software options available, I’ve, unsurprisingly, decided to go with Avolites Titan. It’s the software I have the most experience with; I used it for my visual project, last year’s FMP, and other previous projects, and conveniently, I already own an Avolites T1, which allows me to activate the software without any additional cost. It’s the most practical and comfortable choice for me.

Visuals & Projection Mapping

For the projection mapping aspect of my project, which involves mapping onto three, possibly four 2D surfaces using two projectors, I’ve decided to use QLab 5 with an educational video license. This is an excellent fit for my specific requirements.

QLab is an industry standard for live event control, known for its powerful audio, video, lighting, and show control capabilities. For projection mapping, it offers:

• Custom Geometry and Warping: I can create multiple “Surfaces” in QLab, precisely defining each of my four 2D physical surfaces. QLab’s tools for corner pinning and custom shape drawing will allow me to accurately warp and position my video content to fit these irregular shapes, even when projecting from two different angles.
• Masking: This is essential for 2D mapping. I can apply detailed masks to each QLab Surface to ensure the projected content stays precisely within the boundaries of my physical surfaces and doesn’t spill onto unwanted areas.
• Multi-Projector Management: QLab handles multiple video outputs seamlessly. I’ll configure my two projectors as separate outputs in QLab, then strategically assign and distribute my four 2D surfaces across these outputs. If any of my 2D surfaces require blending across projectors, QLab’s built-in Edge Blending feature will allow for a seamless transition.
• Video Layers: With the video license, I get up to 1,000 video layers, offering immense flexibility for complex compositions and layered effects across my four surfaces (although I don’t think I’ll be using more than 1 😅).

A video license for QLab 5 is perfect for this. It unlocks full video functionality, including unlimited video outputs (which is crucial for managing two projectors and multiple surfaces), and the advanced mapping tools I’ll need. And as I already have a verified student account, I can access the discounted license fees quickly.

Sources

• Avolites.com. (2017). T1 – Avolites. [online] Available at: https://www.avolites.com/product/t1/.
• ChamSys. (2025). MagicDMX Full. [online] Available at: https://chamsyslighting.com/product/magicdmx-full/.
• Depot, S. (2025). Avolites T1 Titan One USB DMX Dongle. [online] Stagedepot.co.uk. Available at: https://stagedepot.co.uk/lighting/control-dimming/dmx-interface/avolites-t1-titan-one-usb-dmx-dongle.
• Etcconnect.com. (2025). ETCnomad Education Package. [online] Available at: https://www.etcconnect.com/Student-Package/.
• Home (2020). MA Lighting grandMA3 onPC Command Wing XT. [online] Musikhaus Thomann. Available at: https://www.thomann.co.uk/ma_lighting_grandma3_onpc_command_wing_xt.htm.
• Malighting.com. (2025). System Requirements grandMA3 onPC – grandMA3 User Manual – Help pages of MA Lighting International GmbH. [online] Available at: https://help2.malighting.com/Page/grandMA3/onpc_system_requirements/en/1.9.

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Target Audience

My music video will likely appeal to several groups, beyond just existing fans:

Barns Courtney Fans (18-35)

This is my core audience, as they already love the song. They’re typically 18-35, digitally savvy, and active on streaming platforms and social media. They’re drawn to Barns Courtney’s energetic, alternative, indie, and blues-rock style, so they’ll be highly receptive to a creative visual interpretation. I should focus my UK promotion on fans in major UK cities.

Gen Z & Millennials (Trend-Driven Digital Consumers)

This group (roughly 13-44) are “musical omnivores” who discover music through playlists, social media (TikTok, Instagram Reels), and YouTube. They’re highly visual, so striking moments from my video that can be snipped for short-form content will perform well. They value authenticity, so highlighting this as a “final college project” could resonate.

Music Video & Visual Arts Enthusiasts

This audience appreciates filmmaking, cinematography, editing, and storytelling. They actively seek out innovative visual content and are likely to share impressive work within their niche communities. My LinkedIn posts targeting professional connections will be particularly effective for reaching them.

Alternative & Underground Culture Fans

These fans (often 18-34, but not exclusively) appreciate unique, non-mainstream artistic expression. They value authenticity and raw energy, which aligns with Barns Courtney’s persona. Highlighting the independent nature of the project will appeal to them.

General YouTube & Music Video Viewers

YouTube has a massive user base across all age groups. As a YouTube Premiere, I’m meeting this audience where they already are. Optimising my title, description, and tags will be crucial for discoverability within this broad group.

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Age Ratings: What I Need to Consider

For my YouTube Premiere and subsequent film screening, understanding age ratings is important, especially in the UK.

BBFC (British Board of Film Classification)

While my video isn’t part of the voluntary scheme for major labels, the BBFC’s categories (U, PG, 12, 15, 18) provide a good guideline. They assess content based on language, dangerous behaviour, drug misuse, sexual content, threat, violence, and discrimination.

My Key Takeaway: If my video contains anything strong (violence, nudity, etc.), I need to be aware that YouTube might age-restrict it, or I might choose to self-declare it as such. For the film screening, I’ll need to confirm any specific content guidelines or rating requirements with the rest of the group and make sure this is communicated to people coming to the screening before they buy tickets. For a typical music video with no explicit content, I’d expect a U or PG rating, or perhaps a 12 if there are moderate themes.

General Music Industry Guidelines

Beyond the BBFC, I need to remember that platforms like YouTube and Instagram have their own community guidelines. Violating these can lead to video removal. Also, the video’s content reflects on my artistic vision and professional capabilities.

Sources

• Age rating to be permanent feature on online music videos. (2015). BBC News. [online] 18 Aug. Available at: https://www.bbc.co.uk/news/newsbeat-33969075.
• Duarte, F. (2025). Music streaming services stats (2025). [online] Exploding Topics. Available at: https://explodingtopics.com/blog/music-streaming-stats.
• Fallon, H. (2024). YouTube beginning to dominate UK video consumption among adults, says Ofcom. [online] Screen. Available at: https://www.screendaily.com/news/youtube-beginning-to-dominate-uk-video-consumption-among-adults-says-ofcom/5199573.article.
• Spacemedia.uk. (2024). Streaming Stats of Barns Courtney. [online] Available at: https://spacemedia.uk/stats/artist/5tFRohaO5yEsuJxmMnlCO9.
• www.bbfc.co.uk. (n.d.). Age ratings and music videos. [online] Available at: https://www.bbfc.co.uk/about-classification/music-videos.
• www.ofcom.org.uk. (2025). Top trends from our latest look at the UK’s listening habits. [online] Available at: https://www.ofcom.org.uk/tv-radio-and-on-demand/digital-radio/top-trends-uk-listening-habits-2025.

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Post-Production Processes

Colour Grading

One area I really want to get better at is colour grading…

Why Colour Grade My Music Video?

Colour grading is essential for defining the video’s mood and appearance. For my cult meeting concept, it lets me:

• Set the Mood: Create an atmosphere of mystery, intensity, and ritual. I’ll use dark, rich tones to enhance shadows and secrecy.
• Enhance Storytelling: Emphasise key moments like a ritual’s peak or a shift in atmosphere. Lighting and projection mapping will be enhanced by grading, making them look otherworldly and telling the story visually.
• Create a Unique Style: Develop a distinctive look, perhaps mimicking old film for a timeless, unsettling feel, or creating a hyper-stylised look to emphasise abstract elements. The interplay of lights and projections, refined by grading, will define this appearance.

Ensure Visual Continuity: Unify footage from various shots, especially with dynamic lighting and projections, for a consistent mood and professional appearance.
Reinforce Artist Identity: Align the visual style with the artist’s brand and music genre, like a raw, gritty aesthetic for a more intense sound.

Key Colour Grading Concepts

I’ll be working with:

• Colour Correction vs. Grading: First, I’ll correct my footage (exposure, white balance, skin tones) to get a neutral starting point. Then, I’ll grade it creatively to establish the video’s specific mood and appearance.
• HSL (Hue, Saturation, Luma): These controls let me adjust the actual colour, its intensity, and its brightness. For the cult theme, I’ll use Luma to create deep blacks and dramatic highlights.
• Contrast: High contrast will be key for the cult meeting, enhancing shadows and making figures stand out dramatically.
• Colour Temperature: I can use warm (orange/yellow) or cool (blue) tones to evoke feelings—warmth for ritual fire, coolness for eerie control.
• LUTs: I’ll use these as starting points, but always tweak them in DaVinci Resolve to achieve my unique vision for the specific lighting and projections.

Using Colour Psychology for a Cult Theme

I’ll strategically use colours to evoke specific feelings:

• Warm Colours (Reds, Oranges, Yellows): Deep reds for danger or intense ritual; flickering oranges/yellows to mimic torchlight or fire within the scene.
• Cool Colours (Blues, Greens, Purples): Fantastic for mystery, the ethereal, and an eerie or otherworldly feel. Deep blues and purples in projections can cast a strange, mystical light.
• Desaturated/Monochromatic: Considered for grittiness, realism, or a timeless, ancient feel. May use selective colour to highlight key elements within an otherwise muted scene.

High Contrast: Crucial for drama and focus, creating deep shadows and sharp highlights to emphasise mystery.

My colour choices will align with the music’s atmosphere and the cult meeting’s narrative, amplifying the emotional impact.

I’ve also had a look at a few videos from Darren Mostyn, who comes very well recommended from both my tutor, Paddy and the arts technician, Alex.

These videos are incredibly helpful, especially the one on colour grading basics. It really helped me understand how the Colour page works. Even though I used it last year, it still felt like a bit of a mystery. The step-by-step breakdown of each function is extremely useful, particularly since many of the buttons aren’t even labelled. I also found the section on the node tree very valuable. It’s a great workflow improvement for colour grading, as it lets you adjust different aspects of the grade non-destructively within separate nodes. Plus, the standard layout of a node tree makes it much easier to compare grades between clips.

Sources

• Bauer, T. (2022). What Is Color Grading? Learn the Importance of Stylizing Footage | Descript | Descript. [online] www.descript.com. Available at: https://www.descript.com/blog/article/what-is-color-grading-learn-the-importance-of-stylizing-footage.
• Blackmagic Design (2024). DaVinci Resolve 19 – Panels | Blackmagic Design. [online] Blackmagicdesign.com. Available at: https://www.blackmagicdesign.com/products/davinciresolve/panels.
• Darren Mostyn (2023a). NEW to DaVinci Resolve? Color Grading – Tutorial. [online] YouTube. Available at: https://www.youtube.com/watch?v=YbDRl_xugJo.
• Darren Mostyn (2023b). The BEST Node Tree for ANY Camera! PRO Colorist (BBC, Amazon). [online] YouTube. Available at: https://www.youtube.com/watch?v=kdTMRQP_V7E.
• Elam, R. (2025). Color Grading in Film: Best Practices for Cinematic Videos – LocalEyes. [online] LocalEyes. Available at: https://localeyesit.com/color-grading-in-film/.
• J.SCALCO (2024). Mastering Music Video Color Grading: Elevate Your Visual Storytelling in 2024 – J.Scalco. [online] J.Scalco. Available at: https://www.jscalco.com/music-video-color-grading/.
• www.vegascreativesoftware.com. (n.d.). In Depth: What Are Color Correction vs. Color Grading in Film. [online] Available at: https://www.vegascreativesoftware.com/us/video-editing/color-grading-vs-color-correction-process/.

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