A Level Blogs

Over the course of this project, I created a music video along with a promotional Instagram page and a digipak design. All of these pieces were meant to work together as one connected media package. The process involved a lot of experimenting, adjusting ideas, and learning from mistakes along the way. Some parts of the production went exactly as planned, while others had to change due to time, location, and technical issues. Looking back on everything, the final outcome reflects the research, planning, and creative decisions that shaped the project from the beginning.

One important aspect of the project is how the music video represents certain ideas and themes. The song used for the project is Dead Girls by Penelope Scott. The song itself has very dark themes and references death multiple times, so it was important for the visuals to match that tone while still being visually interesting rather than disturbing. Instead of trying to make the deaths look extremely realistic, I decided to approach them in a more artistic and stylized way.

In the music video, there is one main character who appears to be haunted by four different “dead girls.” Each girl represents a different type of death: strangulation, murder, drowning, and sickness. These characters are not meant to look realistic. Instead, they have white contact lenses, exaggerated cheekbones, and pale makeup to clearly separate them from the main character. This makes them look more ghost-like and surreal rather than a realistic victim look.

The main character also has a very specific look that helps communicate her state of mind. Her makeup includes red under-eyes and glossy skin to make her look extremely tired, which could suggest that she is sleep-deprived, sick, or mentally overwhelmed. The idea is that she may be hallucinating these girls or slowly losing her grip on reality. Because of this, the video can connect to themes of mental strain or intrusive thoughts, which are issues that many people can relate to. The dead girls themselves also represent different tragic scenarios, but presenting them in a stylized way keeps the focus on atmosphere and symbolism instead of graphic realism.

Another important part of the project was creating a sense of branding across the different products. I wanted the music video, Instagram page, and digipak to all feel like they belonged to the same world. One of the ways I did this was through consistent visual choices. For example, all of the characters wear white clothing. The main character wears a long white dress, while the dead girls also wear white outfits. Normally, white represents innocence or purity, so using it in a darker context creates an interesting contrast.

Lighting and imagery were also important for creating a recognizable style. I used a projector during filming to place patterns and images onto the subject. This added a lot more visual interest to the shots and helped make the video feel more surreal. The projections also helped reinforce the eerie atmosphere that I wanted the video to have.

The same kind of aesthetic was used for the promotional Instagram account. The account was designed as if it actually belonged to the artist. The bio suggests that the artist has “come back from the dead,” which builds suspense and ties into the themes of the music video. I also posted edited photos that use grain, darker lighting, and a slightly green tint to make them feel unsettling. One of the main promotional images was created by overlaying two photos so that the shadow appears to be in a different pose than the subject. This small detail makes the image feel strange and slightly disturbing, which fits the tone of the project.

The digipak design also follows the same style. I made sure to clean up the template marks and added a proper spine with the artist’s name and album title so it looked more like a real album case. I also redesigned the back panel because the original version didn’t match the aesthetic very well. Even though it still uses a stone texture, the updated version fits the darker theme much better. I also added a QR code that links to a page where viewers can access the Instagram account, YouTube, blogs about the production process, and the Spotify page for the song. This helps connect the physical design to the digital side of the project.

Engaging the audience was another goal throughout the project. The promotional Instagram page was designed to slowly build curiosity rather than reveal everything immediately. For example, one idea was to post the dead girls individually, along with fictional “case reports” about each girl. This would make them feel like the real characters and encourage people to become more interested or involved in the story behind the music video.

The music video itself also encourages audience engagement through its visuals. Instead of telling a clear, straightforward story, it focuses more on atmosphere and symbolism. The audience sees the main character surrounded by these ghost-like figures, but it is never fully explained whether they are real or imagined. This leaves room for viewers to interpret the video in their own way. 

Research also played a role in shaping the final product. One important theory that influenced the project was Andrew Goodwin’s music video theory. Goodwin explains that many music videos include a connection between the lyrics and the visuals. This definitely applies to my project because the imagery of the dead girls directly reflects the themes mentioned in the song. Another idea from Goodwin’s theory is that music videos often create a strong visual style connected to the artist. The eerie aesthetic, white costumes, and haunting imagery all help establish a clear visual identity.

At the same time, the video does not completely follow typical music video conventions. Many music videos focus heavily on performance or choreography, but this one is more focused on visual storytelling and atmosphere. The use of projections and stylized makeup also makes the visuals feel a little more experimental compared to traditional music videos.

The production process itself also had a big impact on the final result. At first, I planned to film most of the video outdoors at night, but that quickly became difficult because of scheduling issues and park closing times. Since the video needed to be filmed in darkness, the available filming time was very limited. Because of this, I decided to change my approach and film my scenes indoors using projections. This actually ended up working better because it gave me more creative control and allowed me to film independently without needing extra help.

Overall, this project involved a lot of trial and error, but those challenges helped shape the final product. By the end, the music video, digipak, and Instagram promotion all work together as one connected project. The consistent visuals, eerie tone, and promotional strategy help create a clear identity for the project while leaving room for interpretation from the audience.

As I wrap up this chapter of creating my Dead Girls music video, I’ve been reflecting on everything I’ve learned throughout the process. Looking back at my blogs, about filming, rough drafts, peer critiques, promotion, and dealing with outside conflicts, it’s wild to see how much this project has taught me about creativity, problem-solving, and persistence.

One of the biggest lessons came from how much I had to change along the way. I originally planned certain shots and even made a shot sheet for editing, but as I worked, I realized some ideas didn’t fit the way I imagined. Instead of sticking strictly to the plan or making a new shot sheet, I went with the flow and adjusted as I went. It was a little scary at first, but it ended up working out perfectly. Being flexible and willing to pivot taught me that sometimes the best ideas come in the middle of the process, not just at the planning stage.

Editing the rough draft was especially time-consuming. All the shots were static, but I added jump cuts and special effects to make me and the dead girls appear beside each other. It was my first time doing something like this, and it took so much trial and error. There were moments that felt frustrating, but I also discovered so many accidental acts of genius, clips lining up perfectly, movements matching the song in ways I hadn’t planned. Those moments reminded me how much fun it is to experiment and let the video evolve naturally.

Peer feedback was another huge part of the process. My friends loved the energy, jump cuts, and the overall vibes I created, but they also pointed out small things I could tweak, like replacing a clip that felt awkward and shortening the very beginning. I appreciated their insight, and it reminded me that feedback is a tool, not a judgment, it helps make a project stronger.

Promotion was also a big learning curve. Creating Instagram posts with case reports and teasing the song with a video clip showed me how to expand beyond static images while keeping the aesthetic consistent. It was fun to see how people interacted with the content and get a sense of what intrigued them the most.

Of course, there were outside conflicts too, school, theater responsibilities, rehearsals, and taking care of my sick ferret, but I learned that persistence and passion can carry you through even when your schedule feels impossible. I also had to let go of some ideas because of time, which taught me that compromises are part of creating.

Overall, creating Dead Girls taught me so much about flexibility, experimentation, and trusting the creative process. Even when things didn’t go according to the original plan, everything came together in the end. Closing this chapter doesn’t feel like an ending, it feels like a milestone. I’m proud of what I’ve made, the energy I put into it, and the world I was able to build.

As the project started coming to a close, I also spent time refining the last pieces of the promotional side: the digipak and the Instagram page. At this stage, it wasn’t about completely redesigning things, but about polishing the small details so everything felt more professional and connected.

For the digipak, one of the first things I did was make it look more official by blocking out the template guide marks in black. Those marks are useful when designing, but they obviously aren’t meant to be visible in the final product, so covering them helped the layout feel cleaner and more realistic. I also added a proper spine for the CD case, including the artist name and the album title just like an actual physical album would have. It’s a small detail, but it makes the digipak feel much more authentic and believable as a real release.

I also decided to redo the back panel of the digipak. The original version had a stone background and font that didn’t quite match the tone of the rest of the design. Even though I kept the stone idea, I switched to a different texture and style that fits the eerie aesthetic much better. The difference might seem small at first glance, but those little adjustments really help the overall design feel more cohesive.

Another detail I added was a QR code placed in the bottom right corner of the back panel. When scanned, the code leads to a link that connects viewers to multiple parts of the project: my Instagram page, my YouTube channel, my production blogs, Penelope Scott’s Spotify page, and the song Dead Girls. Adding the QR code helps bridge the gap between the physical digipak design and the digital content surrounding the project.

I also updated the Instagram account to reflect the project’s completion. I added the same link used for the QR code into a Linktree in the bio so that all the platforms connected to the project are easy to access in one place. This keeps the promotional side organized and allows viewers to move easily between the music video, the blogs, and the other media connected to the project.

To mark the release, I also updated the bio to announce that the music video is now out. Along with that, I posted an ominous black video as a sort of announcement post, with the song playing in the background. The simplicity of the post keeps it mysterious while still making it clear that the project has officially been released.

Finalizing these pieces helped tie everything together. The digipak, Instagram page, YouTube video, and blogs all connect to each other, which makes the project feel more like a complete media package rather than just separate assignments. By focusing on those final details, the whole project now feels more polished and finished.

After many rounds of editing and reviewing footage, I finally reached the stage of finalizing my music video. This part of the process was mostly about refining what I already had and making small adjustments so the video felt more intentional and polished overall.

One of the biggest changes I made was shortening the beginning. The original opening dragged on a little longer than it needed to, which slowed down the pacing before the song really began to build. By trimming it down, the video gets into the main visuals much faster and feels more engaging right from the start. The eerie atmosphere is still there, but now it establishes itself more naturally instead of lingering too long.

I also replaced one specific clip that had been mentioned during peer critique. After hearing that feedback and reviewing the video myself, I realized that the shot did feel awkward compared to the rest of the footage. The angle and expression didn’t quite match the tone I was trying to maintain, so I swapped it out for a stronger clip that fit better with the flow of the video. Making that change helped the sequence feel smoother and more consistent with the unsettling mood I was aiming for.

Another decision I made was to avoid adding any filters or on-screen lyrics. While those elements can sometimes enhance a music video, I felt like they were unnecessary here. The lighting, projections, costumes, and makeup already create a strong visual style, so adding extra filters would have taken attention away from those details. Keeping the video simple visually allowed the eerie atmosphere to stand on its own.

As part of finalizing the project, I also created a YouTube channel to upload the finished video. I used the same imagery and style that I’ve been using on the promotional Instagram account so that everything feels connected. Maintaining that consistency helps the project feel like one complete identity instead of separate pieces spread across different platforms.

To strengthen that connection even more, I added my Instagram account to the description of the video. That way, viewers who discover the music video on YouTube can easily find the promotional page and see the buildup that led to the release. It helps tie the entire project together, from early promotional posts to the final product.

Reaching this stage feels rewarding because the video has gone through multiple revisions and improvements along the way. Small changes like adjusting pacing, responding to peer feedback, and refining visuals helped shape the final result. Now the project feels complete and ready to be shared as a finished piece

Link: https://www.youtube.com/@candidate1153 

Working on my Dead Girls music video and portfolio has been such an intense, time-consuming process, and honestly, there were so many outside conflicts I had to navigate along the way. I’ve been working tirelessly, sometimes it felt endless, but I learned a lot about balance, patience, and not letting setbacks stop me.

One of the biggest things taking up my time was my work with my school’s theater department. We just put on SpongeBob the Musical, and I was the costume designer for the show. That alone was a huge commitment, but I also ended up handling almost everything costume, hair, and makeup related, which meant I spent a lot of hours preparing and organizing for the cast. On top of that, I was also part of the cast myself, which meant a ton of rehearsals I had to work around.

On top of school and theater, my pet ferret was very ill during this time. I had to take her to the vet multiple times while juggling everything else. Luckily, she’s fine now, and I was still able to immerse myself in creating my music video and promoting it. Even with all these challenges, I found ways to keep pushing forward, filming when I could, editing when I had the time, and building the world of Dead Girls exactly how I imagined it.

Of course, there were some things I had to abandon because of my busy schedule. And that’s okay. Sometimes you have to let go of parts of a project or ideas that just won’t fit right now. We live, and we learn. Let bygones be bygones, and don’t let setbacks stop you from creating something meaningful.

Through all of this, I learned a lot about time management, persistence, and the importance of staying passionate about a project even when life keeps throwing obstacles in your way. The Dead Girls music video may have been a challenge to make, but overcoming all these conflicts made it even more rewarding. I’m proud of what I’ve created, and I’m excited for people to see it and experience the world I’ve been building.

I’ve been thinking a lot about promotion lately, and honestly, I really love the vibes I have going on right now on my Instagram. I feel like the posts I’ve been making, those photos with the case reports, cater to my audience really well. People seem to be into the dark, eerie energy, and the morbidly ironic tone fits perfectly with the world of Dead Girls.

But I also know that if I want to reach a broader audience, I can’t just rely on static images. I need to expand into video, which opens up so many possibilities. Ideally, I’d experiment with a bunch of different ideas, but due to outside conflicts, I need to work with what I already have. That’s why I decided that a sneak peek of the song would be perfect.

I think the very beginning of my video is the ideal clip for this, too. It’s just talking with the music beat in the back, which makes it easy to follow, and it builds suspense right away. After that, it cuts to black, and a simple announcement pops up: "these Dead Girls are on their way." I put on some filters on Instagram too, so that it matches the rest of my posts better. I think it’s the perfect recipe for success. It teases the video, gives people just enough to be intrigued, and leaves them waiting for more.

I’m excited to see how this will look on Instagram. It’s a small way to expand my audience while keeping the vibe consistent with what I’ve already built. Plus, it’s fun to see the video come alive in a new way, even just a little sneak peek. I can’t wait for people to see it and get hooked on the world of Dead Girls.

I finally finished the rough draft for my Dead Girls music video, and honestly, it was such a huge project. I made a full video of the entire song, which took forever to edit. Part of that was because I had outside conflicts, but a big part was the editing itself. This was my first time doing something like this, and I learned a lot. Using static shots, then adding jump cuts for the illusion of movement and effects to make myself appear beside the dead girl, a second self, was a whole new territory.

The jump cuts were especially time-consuming. I had to line up clips perfectly so that it felt like two versions of me were interacting in the same space, and that took a lot of trial and error. At first, it felt overwhelming, but I ended up discovering a lot of accidental acts of genius. There were so many moments where clips matched up perfectly in ways I didn’t plan, like the timing just hitting a lyric or a movement perfectly. It felt like the video was creating itself in some moments, and that made the whole process really exciting.

Even though all the shots are static, I added effects and exaggerated jump cuts to create movement and energy. It was fun to see how a single frame could feel so alive just through editing. Because I filmed each take to the full song, I had clips that lined up with any lyric, which gave me a lot of flexibility while cutting. And of course, only Penelope is singing along, which adds a little ironic humor to the whole thing.

I considered making a lyric video, too, but I decided against it. Adding words would have taken away from the atmosphere I built with the jump cuts, the timing, and the visual flow. Watching everything finally come together, the accidental perfect matches, the movement created through effects, and the way the static shots feel dynamic was incredibly satisfying.

Even though this rough draft took so long and tested my patience, it ended up being one of the most fun editing experiences I’ve ever had. I’m really proud of how it turned out, and since I'm a perfectionist, there's not much I think I will need to change for the final version

I’ve been working on making more Instagram posts to promote my music video Dead Girls, and I’m really excited about how they’re coming together. I wanted each post to feel like its own little story, so I took an isolated photo of each girl and paired it with her respective case report. I think it’s such a fun way to tease the video without giving too much away.

I also decided to switch up the order of the posts so that it matches the order the girls appear in the photos—from right to left. It makes the feed feel more cohesive, and it creates this subtle rhythm that I think people will notice when they scroll through. It’s a small detail, but it really ties the visuals together.

Another thing I focused on was making sure all the photos were edited exactly the same way. I didn’t want any of them to stand out for the wrong reasons. Consistency in color grading, lighting, and tone makes the posts feel like they belong to the same world as the music video, which is really important for keeping the aesthetic strong and recognizable.

It’s kind of funny, because while I’m doing all this planning and editing, I’m also thinking about how people will interact with the posts. The case reports are creepy and a little ironic, which I love, and pairing them with the photos makes them feel even more real. I hope people will start reading them, noticing the little details, and maybe even making their own guesses about what happens in the video.

I’ve realized that creating posts like this is a lot like building the world of the video itself. Each girl has her own story, her own tone, and her own personality, and now that’s reflected in the Instagram feed. It’s a fun challenge to translate something that’s meant for video into something static and scrollable, but I love seeing it all come together.

This is just another step in making Dead Girls feel like more than just a video—it’s a whole experience. Between the photos, the case reports, and the way they’re arranged, I’m trying to create a little universe that people can explore, engage with, and get excited about. And honestly, it’s kind of thrilling to see it all finally coming to life the way I imagined.

I’ve been thinking a lot about how to get people actually into the world of my music video Dead Girls. People haven’t seen any behind-the-scenes stuff yet, so I wanted a way to pull them in and make them feel like part of the story before the video even drops.

That’s where the idea of these mini case/news reports came from. Each of the four “dead girls”, strangulation, sickness, drowning, and murder, has her own little story, and I thought it would be so cool to present them like short news flashes. They’re formal enough to feel like actual reports but also have these darkly ironic, kind-of-funny twists. I wanted them to feel a little unsettling but also memorable, which is something I really love in Penelope Scott’s work, the way she mixes serious stuff with clever humor.

What’s exciting to me is that these reports let the audience start engaging with the story right away. People can read them, react, speculate about what happened, or just get freaked out by the details. It’s like the video’s world is already alive, even before they see a single shot.

Honestly, this feels like the natural next step for my creative work. I’ve been building these characters and their little dark stories, and turning them into news reports gives people a way to step inside that world. The video is one layer, the reports are another, and then whatever thoughts, reactions, or theories people come up with become another layer that makes the whole thing feel alive.

In the end, I just want people to feel drawn in. I want them to see the little details, notice the irony, and get excited about the full experience of Dead Girls. It’s creepy, it’s funny in a dark way, and it’s the kind of story I hope people keep thinking about long after they’ve read it.

The captions that I will be using are written below......

After spending so much time thinking about the visuals for the music video, I knew I wanted the digipak (CD design) to feel like an extension of the same world. Even though the music video and the digipak are technically separate pieces, I wanted them to share the same atmosphere and visual language so that everything connected together as one project.

When I started sketching ideas for the digipak, the first thing I knew for sure was that I wanted to include the images I took of the dead girls. Those visuals are such an important part of the project’s identity, and they immediately communicate the theme without needing a lot of explanation. Because of that, I placed them in a way that allows them to still feel eerie and slightly mysterious while tying the whole design together.

Another element I knew I wanted to use was one of the green forest backgrounds from the music video. Out of all the visuals I experimented with while filming, that forest background had a really strong atmosphere. The dark green tones felt unsettling but still natural, which perfectly matches the mood of the project. I ended up using the forest as a subtle background element so that the digipak would visually connect back to the environments seen in the video.

February 15, 2026

When looking deeper into how music videos are structured, Andrew Goodwin’s Music Video Theory stood out because it explains why so many videos feel the way they do, emotional, symbolic, and closely tied to the song itself. His theory suggests that music videos usually build a strong relationship between the lyrics, the visuals, and the music, while also creating a clear “star image” for the artist and using repetition to make the video recognizable and memorable.

One of Goodwin’s main ideas is that visuals often either illustrate, amplify, or disjuncture the lyrics. Illustration is when the video literally shows what the lyrics are saying. Amplification is when visuals add emotion or symbolism without copying the lyrics exactly. Disjuncture is when the visuals don’t seem to match the lyrics at all and instead create a different meaning or mood.

A good real-world example of amplification is Billie Eilish’s bury a friend. The video doesn’t act out the lyrics directly, but the eerie lighting, strange movement, and unsettling imagery intensify the dark tone of the song. Another example is Melanie Martinez’s Dollhouse, where the visuals symbolize hidden problems behind a “perfect” family instead of literally showing each lyric. For disjuncture, artists like Tyler, The Creator often use random or surreal visuals that don’t clearly connect to the lyrics but still create a strong emotional impact. Illustration can be seen in more story-based videos where lyrics are acted out almost like a mini movie.

Now that the Instagram comeback concept is in motion, I’ve started planning the next phase of promotion, and this time, I want to be more strategic. Instead of posting random eerie images, I want everything to build toward something bigger: the reveal of the single/cover art.

My new idea is to slowly leak the final cover image rather than posting it all at once. The full image will show Penelope (played by me) as the central subject, being haunted by the four dead girls. They’ll be looming over her, surrounding her, almost pressing in, like physical manifestations of guilt, memory, or madness. The idea is that she’s either losing her mind or trying desperately to shut them out. It visually reflects the themes of Dead Girls while staying consistent with the unsettling tone I’ve already established.

Instead of revealing that full image immediately, I plan to introduce the dead girls one by one. Each post will feature a single girl exactly as she appears in the final cover, cropped, isolated, and mysterious. In the caption, I’ll write a fictional “case report” about her, formatted like an official document. It will describe her as if she were a real missing or deceased person, but subtly stylized to feel slightly off or uncanny. A K-pop group that I love, X-Lov, often posts something similar. The only difference is that my images won't connect the same way theirs do; it's still like a puzzle piece, but the viewer will piece it together rather than Instagram putting it together for them.

I finally started filming with my new setup, and even though it wasn’t perfect, it felt like real progress. Since I needed my phone to play Dead Girls, I had to borrow my mom’s phone to actually film. The setup itself was honestly kind of messy: tripod slightly off, projector balanced in a way that probably wasn’t ideal, wires everywhere, but it worked. The lighting and projection still created the eerie atmosphere I wanted, so even if it wasn’t aesthetic behind the scenes, it translated well on camera.

One thing I made sure to do differently this time was film against multiple backgrounds. Instead of sticking to one projected image, I changed visuals throughout the shoot so the final video won’t feel repetitive. For each background, I filmed the entire song all the way through. That way, when I start building my rough cut and final cut, I have full flexibility to move clips around, layer visuals, and match certain moments to specific lyrics without being limited by missing footage. It gives me much more creative control in the editing stage.

Lately, production has kind of hit a wall. I had a clear plan in my head at the beginning: night shoots, open space, eerie outdoor visuals, but actually trying to make that work in real life has been way harder than I expected. Since everything needs to be filmed at night, I keep running into the same problem: the park closes early, especially on weekdays, and weekends are packed with schoolwork and extracurriculars. Between classes, activities, and just being exhausted all the time, my original filming schedule just hasn’t been realistic.

At first it was frustrating because I felt like I was falling behind, but it also made me step back and rethink what I really want this music video to feel like instead of forcing a plan that clearly isn’t working.

When I looked back at my mood board, one thing kept standing out, the projector imagery. I had originally added those visuals as an extra creative element, but now I’m realizing it can become a main part of the production instead of just a detail. By using a projector, I won’t need a partner to film most shots, I won’t be limited by park hours, and I won’t have to wait for nighttime or specific locations. I can control the lighting, the visuals, and the atmosphere all in one space while still keeping that eerie, unsettling vibe I wanted from the start.

The first filming session officially kicked off production, and while it didn’t exactly go how I imagined, it taught me a lot. Sometimes the messy days are the ones that end up being the most helpful.

First of all, it was 40 degrees. In Florida. Which already felt illegal. On top of that, my outfit required absolutely no jackets or shoes, so I had to fully commit to the aesthetic while my feet felt like a thousand tiny needles were stabbing them from the cold concrete and wet grass. I did swap in white pants under the dress to stay on theme, but overall it was definitely a “suffer for the art” moment. Next time I’ll be planning around warmer weather or at least bringing something to stay warm between takes.

Camera work was another big challenge. Since I didn’t have my SD card yet, I couldn’t use my Osmo Action 4 and had to work with a phone instead, which also took a hit on the quality. My partner struggled a bit with angles and headspace, which threw off some of the shots. For the next session, I’m bringing my real camera and a handle so the movement feels smoother and the framing stays consistent.

Location scouting is usually one of the most difficult parts of the filmmaking process for me. I often have very specific visuals in my head, and it can be frustrating trying to find places near me that actually match that vision. Most of the time, locations feel close, but not quite right. Because of that, I wasn’t expecting to find the location so easily this time, which made the experience feel even more special. 

Starting the promotion was honestly really fun because it felt like the first time the project stepped into the real world. I wanted the rollout to feel mysterious and slightly unsettling, but still believable, like something an actual artist might do before dropping a new single. Since the song is Dead Girls, everything about the promotion needed to hint at that theme without giving too much away.

Costume design for this video was really about mood more than fashion. I knew early on that I wanted everything to be white, no matter which character it was. White feels innocent, pure, and calm on the surface, which makes it way more unsettling when it’s paired with darker themes. It also helps the characters feel connected, like they exist in the same world, even though each one represents a different fate. I kept thinking about how clothes can quietly tell a story before anyone even says a word, and I tried to let each outfit do some of that talking. 

Creating the makeup for this music video ended up being one of my favorite parts of the whole process. Because makeup isn't just about looking cool, it's a storytelling tool. I wanted the main character (me/Penelope) to feel exhausted and slightly unwell, almost like she’s so tired or disconnected from reality that she’s able to see these “dead girls.” The other looks were never meant to be realistic in a literal sense. Instead, they’re more artistic and symbolic, focusing on mood and feeling rather than shock value. 

Before filming my music video, I knew I needed to organize my ideas visually so that everything would flow together once I got on location. Because the concept relies so heavily on atmosphere, dark park roads, eerie nighttime spaces, and subtle unsettling visuals, I wanted to make sure every shot had a purpose. Creating a shot sheet helped me map out exactly how the video would progress and what I needed to film.

The video follows a detached teenage girl wandering through quiet nighttime spaces while being surrounded by imagery connected to “dead girls.” Instead of the story being told through dialogue, the meaning comes through the visuals: the lighting, the framing, and the small details in each shot. Because of this, planning the shots ahead of time was really important. If I showed up to film without a clear plan, it would be easy to miss key moments or forget certain angles that help tell the story.

While creating the shot sheet, I started thinking about how the camera could mirror the character’s emotional state. A lot of the shots involve slow movement, long empty roads, and lingering close-ups. This helps create a feeling of isolation and unease. The park setting also plays a huge role because it feels quiet and almost peaceful at first, but when filmed at night, it becomes eerie and slightly uncomfortable.

I also wanted to incorporate smaller visual details that connect to the theme, like chalk writing, candles, and flickering edits between shots. These details help build the unsettling tone of the video while still keeping it visually simple. Since most of the video focuses on a single character, the camera work and editing choices become even more important for keeping the viewer engaged.

Another thing I considered while making the shot sheet was practicality. I had to think about what equipment I would realistically have access to while filming. For example, I planned a biking shot where I would need to use a selfie stick to record while riding. Thinking about these things ahead of time helps prevent problems when it's actually time to film.

Overall, creating the shot sheet made the entire project feel much more organized. Instead of randomly filming clips and hoping they work together later, I now have a clear plan for what I want each moment of the video to look like. It also helps me visualize how everything will come together during editing, especially with the dark color grading and flickering effects that will appear throughout the video.

So this year I’ve decided to make a music video! Which honestly feels like the only thing that makes sense for me. Music videos let you be dramatic, weird, quiet, and emotional, all without having to explain yourself too much. You can just vibe and let the visuals and the song do the work, which is exactly what I want.

To get a better sense of how genre, style, and postmodern elements shape contemporary music videos, I watched a bunch of videos from artists like Clairo, Arlo Parks, beabadoobee, The 1975, and Billie Eilish. Each one does something unique with camera angles, editing, and mise-en-scène that really shows how modern artists express mood and identity visually. 

I’ve always thought logos are kind of like the handshake of a film because they introduce the audience to the style and tone before the movie even starts. This time, I decided to look into some classic film studio logos and how they’ve changed over time so that I can better analyze my own production logo. 

Media regulation is there to make sure the media doesn’t get out of control. The idea is to protect the public, keep things fair, and prevent harmful content from spreading. Governments and regulatory bodies step in to check that what we see, read, or hear is ethical, accurate, and safe, especially now that social media and streaming platforms can influence millions of people in seconds. Without regulation, platforms could spread misinformation, promote harmful trends, or let huge companies dominate the market.

Different countries have different regulators doing this work. In the U.K., Ofcom oversees TV, radio, and online safety, using things like the Online Safety Act (2023) to investigate platforms that allow harmful content. In the U.S., the FCC handles broadcasting rules, while the FTC focuses on ads and influencer sponsorships. Over in Europe, the European Commission uses the Digital Services Act (DSA) and Digital Markets Act (DMA) to hold big tech companies accountable for unfair practices.

Theory actually helps explain WHY regulation happens. Moral panic theory says that when the public freaks out over media, like violent challenges or explicit content, governments respond by making new rules. Media effects theory shows that what we see or hear can influence our behavior, so harmful content really is a public concern. Cultural industries theory reminds us that big media companies control a lot of what we see, which is why laws like the DMA exist to prevent monopolies and protect consumers.

Recent examples make it really clear. In 2025, the EU fined Apple €500 million and Meta €200 million for restricting competition. In 2024, X (formerly Twitter) was warned under the DSA for spreading misinformation. Ofcom has investigated TikTok and 4chan for harmful content, and the FTC updated influencer guidelines in 2023 to make sponsorships transparent. These examples show that regulation is constantly adapting to new tech and trends to keep audiences safe, companies fair, and the media overall more responsible.

In the end, media regulation might seem complicated, but it’s really just about keeping things balanced and letting creators do their thing while making sure the content we consume isn’t dangerous or misleading.

Lately, I’ve been thinking about how much media actually shapes the way we see the world. It’s crazy because you’ll be watching a random TikTok or a movie trailer, and without even noticing, it’s already telling you how to think about something. Media theories help explain why that happens. They’re basically the “cheat codes” for understanding the patterns behind what we watch. Once you start seeing those patterns, you can’t unsee them (sorry in advance). 

I’ve been diving into the world of music videos, and honestly, it’s way more interesting than I expected. I wanted to understand not just why we watch them, but how they’ve evolved over time, the creative ideas behind them, and how they connect artists with fans. It’s kind of like exploring a mix of music, storytelling, and visual art all at once! 

The History of the Music Video

The history of the music video extends further back than most people realize. In the 1960s, artists like The Beatles began experimenting with visual storytelling alongside their music, with films such as A Hard Day's Night blending narrative and song performance. By the late 1970s, artists like Queen, with Bohemian Rhapsody, were creating videos specifically to promote singles, setting a new standard for music marketing. However, the real turning point came in 1981 with the launch of MTV, which offered a dedicated platform for music videos, transforming them into both promotional tools and artistic statements. As technology evolved, music videos moved beyond television to online platforms like YouTube, making them instantly accessible worldwide and enabling viral success. Today, music videos are a key part of an artist’s brand and continue to innovate through visual storytelling, animation, and digital effects.

Purpose of Music Videos

Music videos serve a dual purpose: promotion and artistic expression. From a marketing perspective, they increase a song's visibility, attract new listeners, and enhance the artist’s image, helping to build a recognizable brand. Videos can communicate themes or narratives that deepen the meaning of a song, engage viewers emotionally, and make the music more memorable. Target audiences tend to be younger, digitally active consumers, especially those who use platforms like YouTube, TikTok, and social media to discover new music. By combining entertainment with marketing, music videos ensure that artists remain relevant and culturally visible.

Types and Trends in Music Videos 

This week, I decided to dive deeper into the differences between feature films and short films, especially since this research will help me figure out how to approach my A Level project. I’m still deciding if I want to do a film promotion pr a short film package, so I wanted to really understand how each format works in terms of promotion, audience, funding, distribution, and production. 

MasterClass Staff. “Feature Film vs. Short Film: Key Differences Explained.” MasterClass, 14 June 2023, www.masterclass.com/articles/feature-film-vs-short-film.

BBC Bitesize. “Types of Films: Feature vs Short Films.” BBC Bitesize, 2023, www.bbc.co.uk/bitesize/guides/types-of-films.

IndieWire. “How Short Films Differ from Feature Films in Production, Funding, and Distribution.” IndieWire, 10 May 2024, www.indiewire.com/articles/short-films-vs-feature-films.

Today, I learned about the numerous types of documentaries that exist. I always thought a documentary was just a film about real life, but there’s so much variety depending on how the story is told. Some documentaries are serious and fact-heavy, while others are more emotional or artistic. I decided to explore a few main styles and how they’re made, as it helps me think about what kind of documentary I might want to create one day.