Film Cut Pro

This is the editing program we are using.

Final Cut Pro is a professional non-linear editing software application developed by Macromedia Inc. and then Apple Inc. Final Cut Pro 7 runs on Mac personal computers powered by Mac OS X version 10.5.6 or later and using Intel processors. It is a module of the Final Cut Studio product. The software allows users to log and capture video onto a hard drive (internal or external), where it can be edited, processed, and output to a wide variety of formats.

From the early 2000s, Final Cut Pro began to develop a large and expanding user base, mainly comprised of video hobbyists and independent filmmakers. It has, in latter years especially, made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut made up 49% of the US professional editing market, with Avid at 22%.^[1] A published Survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others are still on an Avid system of some kind.

The start of music television in different countries

Australia

The Australian TV shows Countdown and Sounds, both of which premiered in 1974, were significant in developing and popularizing the music video genre in Australia and other countries, and in establishing the importance of music video clips as a means of promoting both emerging acts and new releases by established acts. In early 1974, former radio DJ Graham Webb launched a weekly teen-oriented TV music show which screened on Sydney's ATN-7 on Saturday mornings; this was renamed Sounds Unlimited in 1975 and later shortened simply to Sounds. In need of material for the show, Webb approached Seven newsroom staffer Russell Mulcahy and asked him to shoot film footage to accompany popular songs for which there were no purpose-made clips (e.g. Harry Nilsson's "Everybody's Talking"). Using this method, Webb and Mulcahy assembled a collection of about 25 clips for the show. The success of his early efforts encouraged Mulcahy to quit his TV job and become a full-time director, and he made clips for several popular Australian acts including Stylus, Marcia Hines, Hush and AC/DC.^[20]

After relocating to the UK in the mid-1970s, Mulcahy made successful music videos for several noted British pop acts—his early UK credits included XTC's "Making Plans For Nigel" (1979) and his landmark video for The Buggles' "Video Killed The Radio Star" (1979) which became the first music video played on MTV in 1981. Countdown was partly based on the 1960s Australian pop show Kommotion and on the BBC's Top of the Pops but unlike its British counterpart, Countdown was not restricted in its use of music videos. The program was launched in late 1974, a few months after Sounds, and initially screened in a late Saturday afternoon timeslot, but in January 1975, only a few weeks before color TV was officially launched in Australia, it moved to the prime 6 pm Sunday timeslot; thanks to the ABC's nationwide reach, it rapidly became one of the highest-rating shows on Australian TV.

As it gained popularity, Countdown talent coordinator Ian "Molly" Meldrum and producer Michael Shrimpton quickly realized that "film clips" were becoming an important new commodity in music marketing. Despite the show's minuscule budget, Countdown's original director Paul Drane was able to create several memorable music videos especially for the show, including the classic film-clips for the AC/DC hits "It's A Long Way To The Top" and "Jailbreak".^[20] Countdown became successful in Australia and other countries picked up on the format. At its highpoint during most of the 1980s it was to be aired in 22 countries including TV Europe. In 1978, the Dutch TV-broadcasting company Veronica started its own version of Countdown, which during the 1980s featured Adam Curry as its best known presenter. Although the ABC's facilities and expertise enabled Countdown to present regular studio 'performances' by local and visiting acts, rival shows like Sounds lacked the resources to present such segments, so they at first used music videos almost exclusively.

United Kingdom

The long-running British TV show Top of the Pops began playing music videos in the late 1970s, although the BBC placed strict limits on the number of 'outsourced' videos TOTP could use. Therefore a good video would increase a song's sales as viewers hoped to see it again the following week. In 1980, David Bowie scored his first UK number one in nearly a decade thanks to director David Mallet's eye catching promo for "Ashes to Ashes". Another act to succeed with this tactic was Madness, who shot on 16 mm and 35 mm, constructing their clips as "micro-comedic" short films.

In 1974 the band Sparks filmed a promo video for their single "This Town Ain't Big Enough for Both of Us" from the album Kimono My House

In 1975, The Who released their all-music feature film Tommy, directed by Ken Russell, based upon their 1969 rock opera of the same name. Also in 1975, the band Queen ordered Bruce Gowers to make a promo video for their new single "Bohemian Rhapsody" to show it in Top Of The Pops; this is also notable for being entirely shot and edited on videotape.

The Alan Parker film adaptation of Pink Floyd The Wall transformed the group's 1979 concept double-LP of the same title into a confrontational and apocalyptic audio-visual labyrinth of stylized, expressionistic images, sounds, melodies and lyrics.

United States

American alternative rock group Devo created many self-produced music videos, which were included in the pioneering compilation "The Truth About Devolution", directed by Chuck Statler and Devo's video cassette releases were arguably among the first true long-form video productions.Also,one of their music videos "The Day My Baby gave me a Surprise" was the first to use Computer and traditional animation. Shock-rocker Alice Cooper took a video of his Welcome to My Nightmare concert showcasing the intense visual performance it gave. Alice Cooper himself makes reference to making one of the first music videos on the promotional videos for his album Along Came A Spider.^{[citation needed]}

Video Concert Hall, created by Jerry Crowe and Charles Henderson, was the first nationwide video music programming on American television, predating MTV by almost three years. The USA Cable Network program Night Flight was one of the first American programs to showcase these videos as an artform. Premiering in June 1981, Night Flight predated MTV's launch by two months.

Two feature-length films released on the cusp of MTV's first appearance on the dial contributed enormously to the development of the form. The first was 1981's Shock Treatment, a pseudo-sequel/spinoff of The Rocky Horror Picture Show principally written and scored by RHPS creator Richard O'Brien. Although it was a commercial flop, the film broke stylistic ground by being more focused and less visually ambitious – and thus easier to emulate on a tight budget – than either RHPS or Ken Russell's 1975 adaptation of The Who's music and storyline from the album Tommy, or even a lower-budget affair like The Ramones' Rock 'n' Roll High School (1979).

In 1980, New Zealand group Split Enz had major success with the single "I Got You" and the album True Colours, and later that year they joined Blondie in becoming one of the first bands in the world to produce a complete set of promo clips for each song on the album (directed by their percussionist, Noel Crombie) and to market these on video cassette. This was followed a year later by the first American video album, The Completion Backward Principle by The Tubes, directed by the group's keyboard player Michael Cotten, which included two videos directed by Russell Mulcahy ("Talk To Ya Later" and "Don't Want To Wait Anymore").^[22]

Among the first music videos were clips produced by ex-Monkee Michael Nesmith who started making short musical films for Saturday Night Live. In 1981, he released Elephant Parts, the first winner of a Grammy for music video, directed by William Dear. A further experiment on NBC television called Television Parts was not successful, due to network meddling (notably an intrusive laugh track and corny gags).Billboard credits the independently-produced Video Concert Hall as being the first with nationwide video music programming on American television.

History of Musicvideos

In 1894 when sheet music publishers still ran the music business, Edward B. Marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song The Little Lost Child. Thomas projected a series of still images on a screen simultaneously with live performances in what became a popular form of entertainment known as the illustrated song. This has been termed the first music video. Even today, many music videos and much contemporary television still use series of still images accompanied by song.

In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts (1926–30), which were produced by Warner Bros, featured many bands, vocalists and dancers. The series entitled Spooney Melodies was the first true musical video series. The shorts were typically about six minutes in duration, and featured art deco style animations and backgrounds combined with film of the performer singing the song. This series of shorts can also arguably be considered to be the earliest music videos.^[2]

Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball". Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, which featured several interpretations of classical pieces, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Warner Brothers also produced the cartoon "Three Pigs in a Polka", set to Johannes Brahms' Hungarian Dances. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.

Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatized performance of the hit song. It was shown in theatres until 1932. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister; these films were, according to music historian Donald Clarke, the ancestors of music videos.

Another early form of music video were one-song films called "Promotional Clips" made in the 1940s for the Panoram visual jukebox. These were short films of musical selections, usually just a band on a movie-set bandstand, made for playing. Thousands of soundies were made, mostly of jazz musicians, but also of "torch singers," comedians, and dancers. Before the Soundie, even dramatic movies typically had a musical interval, but the Soundie made the music the star and virtually all the name jazz performers appeared in Soundie shorts. The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War II.

Musical films were another important precursor to music video, and several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl" (directed by Mary Lambert) which was closely modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark John Landis clip for "Thriller" (at the time, the most expensive music video ever made) and the Martin Scorsese-directed "Bad" which was influenced by the stylised dance "fights" in the film version of West Side Story.

In 1956, Petrushka, directed by John David Wilson for Fine Arts Films aired as a segment of the Sol Hurok Music Hour on NBC. Igor Stravinsky conducted a live orchestra for the recording of the event. In 1957, Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of "Stranger in Paradise" played; this film was distributed to and played by UK and US television stations. According to the Internet Accuracy Project, disk jockey-singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. It is no coincidence that the rise of popular music was tied with the rise of television, as the format allowed for many new stars to be exposed that previously would have been passed over by Hollywood, which normally required proven acts in order to attract an audience to the box office.

Things which need to be sorted to start filming (to do list)

One of the important things is the permission to film at the different locations.

I also need equipment for the film. The equipment includes: A guitar, a microphone, a table and a candle.

I need to finish the storyboard.

The Digipack as well as the advert has to be done.

Locations

There will be three locations used for my video: the drama hall, the medical center and McGill's (my boarding house).

The Drama hall
The drama hall will be used to film the parts for the chorus.

The Medical center
I'll use the Medical center to film the first verse and the third verse there.

McGill's house ( My Boarding house)
The second verse is going to be filmed here.

Adobe InDesign

Adobe InDesign is the programm, I'm using it, to create my digipak. Adobe InDesign is a software application produced by Adobe Systems. It can be used to create works such as posters, flyers, brochures, magazines and books. Designers and graphics production artists are the principal users, creating and laying out periodical publications, posters, and print media. The Adobe InCopy word processor uses the same formatting engine as InDesign.