Throughout the creative process, I received feedback which helped me to reflect upon, re-evaluate and develop certain aspects of my music video, as well as my print productions. For example, during the construction of our music videos, we had a small screening of around 8 people between the ages of 17-18 to which they completed genre specific questions in order to inform our progress. Once the whole promotional package was complete, I then distributed 2 questionnaires as well as conducting one in-depth interview with audience members. The two questionnaires focused on the music video and print productions, to which this method enabled me to receive quick and instant feedback, in the sense that answers where relatively simple. This then allowed an in-depth interview to explore these questions further, properly conversing with a member of my target audience. Both methods of feedback were given to a similar age group to that of my target audience; ages range from 17-21, male and female. However, these members of the public didn't necessarily have the preference of acoustic music. This was useful in terms of feedback as it allowed me to see whether an audience member outside of the acoustic 'fan base' could decode any conventional meanings and expression within both the music video and print productions.
Feedback During Construction:
Below, are the 'Peer Assessment' sheets that were handed out after the first rough cut of our music video. The aim of this feedback was to confirm whether our intentions established within the planning stages regarding genre conventions and representations, were successful. This method also enabled us to create a strong print production piece on the basis of the feedback; questions such as 'what aspects promote the track' being particularly useful, as these images or themes could also be referenced within the digipak.
At this stage of the creative process, my ideas regarding my print productions were still very much up for development and manipulation, therefore this audience feedback was very informative when considering how to appeal to a wide audience, whilst correctly representing the acoustic genre.
The 'favourite image' varied in answers, ranging from mise-en-scene to camera techniques such as focus pulls. Because the feedback on this particular question was so diverse, it gave me the opportunity to potentially express each aspect within each panel; for example, the focus pull on the back panel, as well as capturing nature, and the protagonist. However, the feed back for what promoted the track focused primarily on the nature and 'love story', therefore informing me on what potential images to use or themes to continue throughout the digipak to order to achieve coherence. 'Nature' was also highlighted as a acoustic convention, which would appeal to and attract a 'loyal' audience if an audience with varying musical preferences were able to pick up on this aspect.
Furthermore, these feedback sheets very much influenced us upon our second edit. This is because we focused on the promotion of the track being the naturalistic imagery and heartfelt storyline, therefore we revised and developed scenes; drop cutting to nature and making sure that the editing moved the storyline forward.
Feedback of Finished Products:
As mentioned, I used two methods in order to receive feedback; questionnaires, and an in-depth interview. Regrading the demographic of participants, the questionnaire was given out to 10 people aged between 17-21, 6 of which were female, 4 of which were male. There was also an equal amount of questionnaires distributed for the music video, and the print productions (5).
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| Gender and Age demographic. The majority of my audience feedback was attained from females aged 16-20 which, referring to my audience profile, was predominantly, our target audience. 4 questionnaires were completed by females 16-20, 2 were completed my female 20+, 3 by male 16-20 and 1 male over the age of 20. This demographic pans across both questionnaires to which there were both male and female participants for the music video questionnaire and print productions questionnaire. |
What was your favourite part of the music video?
This opening question is somewhat vague, as a favourite 'part' can pan from editing, to narrative and mise-en-scene. However, the point of this question was to evaluate whether the participants preferred aesthetical qualities such as the location and lighting, or the more thought-provoking aspects, such as the storyline or reserve technique. With this is mind, the feedback was, as anticipated, varied; much like when asked during the construction of the music video. However, preferred aspects seemed to resolve around the naturalistic and aesthetic theme, such as the opening nature shots, woodland scenes and the bedroom/mirror shots. Therefore the feedback for this question was successful, seeming as throughout the planning and production process, focus was always upon the mise-en-scene, and how this implied romance.
Did you understand the storyline?
Focusing upon our narrative structure, this question was particularly important to see whether the narrative and storyline was clear and coherent. The response to this question was generally, good, for the majority of participants understood the storyline, indicating that it was about a 'heartbroken'. However, a few participants, male and female said that they partly understood the storyline. Due to this, I explored this question further in my interview.
What was the representation of the protagonist? Did this representation appeal to you?
The representation of the artist was crucial in terms of audience appeal; we didn't want to represent the protagonist as identifiable, especially with the female demographic. Regarding female participants, they wrote that the protagonist was appealing, as her representation was realistic; one participant stating that she was 'looking for love/friendship' which is a universal concept, regardless of gender. The feedback also shows that the appeal of the protagonist derives from the storyline; they can relate to heartache, and therefore evokes sympathy from the viewer. Male participants didn't state whether they related to the protagonist, simply stating that she was 'lost' and 'pretty'. However, this feedback was welcomed as this was often the representation of other female artists researched such as Gabrielle Aplin.
How does this music video represent the artist? Did this representation appeal to?
A slightly more complex question, to which answers were rather short, combined with the fact that the artist was not present within the music video. Answers included 'fresh' ,'naturalistic' and 'sensitive'. This was positive feedback considering the importance of location reflecting the artist. However, it was mentioned that the artist was 'shy' due to not being in the video themselves; the only time the absence of the band was acknowledged, this implies that the audience were focused upon the storyline to consider the 'image' of the artist.
How effective was the camera work and editing?
Although feedback regarding camera work and editing was generally positive, it was also the most critiqued aspect of the music video. This is because, whilst participants enjoyed the focus pulls of nature, the construction of the bike scene and the conventional cutting to the beat, we also received comments on how the editing at the start of the music video, contradicted the soft and natural mise-en-scene as the cutting to the beat looked quite choppy and 'harsh' at this particular point. However this critique is welcomed as it highlights Stuart Hall's reception theory. This regards agreement between the encoder and the decoder; the encoder being the producer, and the decoder being the audience. Therefore this suggests that meaning at this particular part of the music video was interpreted differently to what we intended.
Does the mise-en-scene correlate well with the music?
This question was highly successful as each participant confirmed that the mise-en-scene did correlate with the music.
Would you watch the music video again?
A simple but extremely important question, watching a music video multiple times enables an artist/band to establish a strong and loyal fan base. Again, each participant said they would watch the video again.
Did the music video hold your attention?
Again, each participant answered with 'yes'.
What aspects could be improved?
Whilst many participants commented upon the opening shots, there were also comments regarding the mug. Although the reverse technique was very well received, some participants were unsure as to why the mug was included; how it contributed towards the storyline was somewhat confusing and therefore participants felt that it looked quite isolated, in terms of narrative structure. Again, this highlights Hall's theory, to which it is evident that our intentions were not fully understood. However, this is extremely constructive criticism, which could easily be amended by reverting back to certain aspects of the creative process, such as storyboarding.
Print productions:
Do the print productions create an overall coherent promotional package?
Arguably the most important question in the questionnaire,coherence not only indicates a professional outcome, but also a collective identity throughout all products and a visual appeal with the audience. Each participant said that the print productions did create an overall coherent promotional package, in which they could make visual links with the music video.
Do the print productions create a correct representation of the genre and/or artist?
The response to this question was generally 'yes', to which I assume if there was any further questioning, the answers would be similar to the representation of the protagonist within the music video.
Are the colours appealing?
For this question, there was a united agreement that the colours were very appealing, particularly the inner panels as they particularly vibrant. This response is appealing as our promotional package was very much focused on the beauty and aesthetic qualities of nature, to which colour was extremely important in creating an inviting, natural tone, as well inter-textually referencing fairy tales through the bright colour choices, and coherence with the colours and lighting within the music video.
What is your favourite aspect of each panel?
All answers were focused upon the naturalistic imagery; the symmetrical trees on the front panel, the bark detailing and the text layout on the back panel, and the back lighting on the flowers on the middle panels. The protagonist was not mentioned within any of the questionnaires, proving our focus on the nature and also the music, due to the layout of the text. This also somewhat proves and conforms to the convention of the acoustic genre being very music orientated, as no participants were visually 'sold' on the protagonist.
What could be improved?
I received little feedback on what could be improved, except for font size. However, I understand this criticism, as the trees can be seen as over-powering, due to my intentions of referencing fairy-tale locations that have a sense of awe. Therefore the font could possibly seem 'lost' upon the image, although my intention as an encoder was for the font to reflect the long, slender trees, adding to this sense of surrealism.
What is your favourite aspect of the magazine advert?
Despite what was said about the font previously, this aspect was mentioned as many of the participant's favourite aspect of the magazine advert, combined with the font placement. This is successful feedback as the purpose of a magazine advert is to sell the artist and, more so in my case (regarding the acoustic genre), the song, to which all the appropriate information is in the form of text.
What could be improved?
This question was often left blank, however, one participant mentioned that the size of the protagonist could have been altered. Interested by this commented, I decided to explore it further in my interview, to which the participant, also female, said 'She is further away than expected, which is quite unusual, especially as she is a new artist, but it brings focus upon the location'. This was interesting as although it was a performer, to the audience, they are somewhat representing the artist. It also made me consider the prospect of a 'new artist' which I admittedly dis-regarded during the creative process because our aim was to promote the music, instead of the artist themselves.
Does the magazine advert 'sell' the song?
To further the questionnaire's simple 'yes', the participant of my interview said 'Some adverts use a completely different image, but considering that this artist is new and unsigned, this is a good technique because it establishes the artist and makes them instantly recognisable'. Therefore, this 'sells' the song.
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The interview above was a more in-depth exploration of the questions asked in the questionnaires. However, the interview clearly expresses Stuart Hall's reception theory regarding an 'agreement' between encoder (me) and the decoder (audience). This is because some of the responses where more critical than the responses from the questionnaire, but nevertheless constructive and honest.
For example, discussion regarding the use of quote on the magazine advert was particularly interesting. The participant stated that they hadn't seen a radio quote on a magazine advert before, which could potentially link to genres being 'manipulated' in the media today, which we have already done so within our music video by not including the artist.
Because of these critiques, it could be regarded that, as a fan of acoustic music myself, as well as being the encoder, elements of the music video were directed at 'me'. However, I was constantly aware of a wider audience due to feedback throughout the production process.
In conclusion, the value of my audience feedback has been extremely constructive; without it, I would have no idea whether my ideas and techniques were successful and more importantly, whether my target audience were able to easily decode meaning. The strengths of this research include the range of detail within the responses, as well as the feedback being quick and immediate; this was particularly useful for the feedback given during the creative process as developments were then allowed to me made. However, weaknesses include possibly my lack in clarity for the questionnaire; answers are most effective when short and precise, which have to be promoted by a very clear question. However, because of this, I was able to conduct a longer interview, which was very insightful.
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