Ancillary Production - Final panels

Oh dark, the darkness that dozes in the dusk...

The flap which will lay on top of the disc upon opening the digipak.

The panel which will appear on the far right when the digipak is open.

I could regurgitate what I've said already about the whole dark imagery/guitar motifs again, but I think I've made the whole "branding" and "imagery" points clear by this point. I'll get these all edited together tonight.

-HM.

Ancillary Production - The Knight of the Wind (Inside panel photography RAWs)

Hey folks!

Last time I updated about the digipak, I mentioned I'd be putting some emphasis on the Black Knight for the inside panels of the digipak. I now have some photography to show off!

No, I was not under influence when I took these photos - they're at odd angles for a reason. I want to maintain the disjointed theme from the video within the digipak, for the sake of consistency. Not to mention that I think it'd be a nice touch.

This guitar is becoming a kind of motif associated with Dark Flame - Goodwin mentioned in his music video conventions theory that videos from artists tend to have recurring motifs; I've taken it a step further by featuring it across multiple pieces of promotional material.

Will get editing later on!

Music Video Props

Hey folks,

I thought it'd be a good idea to make a note of the props which I've made use of so far in the I Am... All of Me music video. These are actually surprisingly limited given the fact that it's a four minute video, though when you consider that props are usually more necessary to aid a narrative, and my video is performance heavy (as per my research into existing rock videos) it makes a bit more sense as to why.

Black Knight guitar

I've used this for the performance shots in the video. This is purely to conform to one of the rock video conventions I found from the videos I've researched, in that emphasis is placed on the performer playing guitar.

Why have I used this particular guitar then? It's because it's quite similar in design, and more importantly sound output, to the guitars Jun Senoue (the guitarist in Crush 40) is known for playing.

As one of Goodwin's conventions is that there should be a link between what we see and what we hear, I thought it'd be appropriate to use a guitar which if played by a competent musician could produce a similar kind of tone to that heard on the track.

Mobile phone

This is used by Stephen in one of the narrative "chapters". I thought having the victim character talk on the phone would be effective as it shows him as being preoccupied (talking to his friend), therefore being no direct threat to the main character. This emphasises the fact that the conflict between the two is purely one-sided, which further brings up the main point of the narrative: that the main isn't exactly mentally stable.

-HM.