Technical Analysis: Ne-yo, 'Mad', 2008.

I decided to complete my technical analysis based on the music video for ‘Mad’, by Ne-yo (2008). I made this choice based on the fact that this video consists of some narrative shots, as well as performance shots, and regularly cuts between the two. As a group, this is our proposed style for our music video, and so although this is a different genre and simply one artist unlike our band choice, I believe that deconstructing ‘Mad’ shot by shot would proved extremely useful as it gave me an insight into the much more technical aspect of music video production in terms of the mix between performance and narrative based shots.
I printed off a chart with the headings; shot size, camera movement, mise-en-scene, notable shot length and transition so that I could watch and pause the video whilst taking notes under these headings on paper. Once this chart was completed, I highlighted which type of shot it was: pink for a performance based shot (such as the shots of ne-yo singing in a directionally lit studio), green for narrative based shots (such as the shots of ne-yo and his girlfriend looking at each other, arguing, and in bed) and blue for the shots that mix these two aspects (such as when ne-yo is singing on the bed with his girlfriend behind him, whereby he is delivering a performance about the narrative). This proved to be extremely useful as I could easily see the ratio of these 3 types and how they followed after each other.
From my technical analysis I have learnt that this video is shot using a handicam, resulting in no static shots. This gives the video a very intimate feel, which helps to reinforce the sad mood of the track and closeness that the artist is singing about. I am also now aware of the repeated use of similar shots. There are only a few locations; the apartment, the funeral, the studio, the street that the boy is ran over in and the street that ne-yo is singing in. This means that as the video is quite long (4 minutes and 41 seconds), and has fairly short shot lengths (mostly 2 or 3 seconds long), these locations are use throughout and there is a fairly equal blend of narrative and performance based shots. To avoid over repetition and boredom, this locations are introduced gradually as the track progresses and the tempo changed. For example, as the chorus kicks in at 2 minutes 42 seconds, the change in tempo is reflected with the introduction to a new location; ne-yo singing in the rain (2 minutes 50 seconds) and shots off a group of friends drinking in the apartment (2 minutes 56 seconds). This technique is used throughout and keeps the audience’s attention as it follows the narrative. The transition used throughout is a simple cut, meaning audiences are less aware of the editing and more focused on the track and the narrative presented.
The shot size predominantly used is a close up. This ‘meat’ shot is likely to be used as not only does it advertise the artist effectively, leaving no question for who the track is by, but it also meets the demands of the record label who aim on maximising their income through the video and need to ensure the artist gains as much screen time as possible. Close ups are also effective in reinforcing the sad mood that is evoked by the track as audiences are not only able to facial expressions much more easily, but feel much closer to the artist as if they can relate to him. This mood is also created by the fact it is a black and white video. No colour means that the overall feel off the video is quite dull, grey and sad, relating to the lyrics well. This relationship is also evident in the fact that the artist is miming to the track, and a number of cuts are in time with tempo changes and lyrics throughout the track. As mentioned earlier, new locations are also introduced as the track changes and develops.
The camera movement throughout is general handicam shake with some slight tilts (such as when the music kicks in and the camera tilts up in the point of view shot up at the paramedics and pedestrians). The camera also often follows the action, such as when Ne-yo storms out off the house, the camera is placed in front of him and moves backwards as he walks forwards. The slight handicam shake during this suggests that it has simply been shot with a cameraman walking backwards, as opposed to the use of a track which would give a much smoother aesthetic.
The narrative is constructed with the argument between Ne-yo and his girlfriend at the start. This is an example of how the video amplifies the track, in that this argument is not part of the track and is solely for the benefit of constructing the narrative in the video. This narrative is continued with shots of the couple in their home throughout the video. These cut to shots of the other narrative about the boy who gets ran over, with shots at the scene of the accident and at his funeral. These multiple narratives make the video interesting and maintain audience’s attention throughout as they are keen to establish what is going to happen next.
This exercise has proved to be extremely useful as it has shown me the technical side of a music video and how exactly this creates the overall production. Having now looked at the more technical side of a music video, as well as other issues such as aspects of mise-en-scene, representations and ideologies in my textual analyses, I am now confident that we will know exactly what we are doing when it comes to the shoot