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AdAptAtion in the Age of MediA ConvergenCe
emulate 1980s’ music videos but are nevertheless components that meet the
entry level standards of YouTube covering musicians and communicate the
exploratory relationship between a musician and their video production tools
as well as online audience (whose reaction might not always be friendly).
Radio visualization trends on YouTube channels operated by radio stations
and their emulation by YouTube performers are an interesting development,
as both recording artists and amateur musicians put their skills to the test
and “battle” for online attention. The visual elements of many amateur and
independently made online music videos (which are mainly composed of
close-up shots of a performer wearing a headset with half of his/her face,
off center, covered by the pop filter of the microphone and close-up shots
framing hands playing a variety of musical instruments) are closer to the
visualized covers published by radio shows such as BBC Radio 1’s Live Lounge.
The sound of radio visualization-like YouTube cover videos is usually prerecorded, as performers tend to create a multitrack audiovisual production.
In addition, artists whose music videos are self-made cannot afford/manage
a two-camera shoot (which will provide them with a variety of shot sizes
and angles to play with in the editing part) if they decide to video record
a live performance; hence a pre-recorded sound track allows for a better
visual arrangement. Mia Wray’s cover of “No Diggity vs. Thrift Shop” is an
example of a pre-recorded multi-tracked YouTube cover featuring vocals by
herself that emphasizes the arrangement of visual elements, in turn hinting
at the non-elaborate characteristics of visualized radio covers or official
music videos that often use a recording studio as their visual setting. The
opening shot features Wray in a medium-to-close-up shot preparing for her
performance. A dominant visual element is the microphone she appears
to sing into while playing the guitar. Wray attempts to establish depth of
field by adding a legible and slightly out of focus line of musical instruments
behind her, leading to the closed door of what seems to be a bedroom. The
second shot of the video frames her hands playing the guitar and then a
third shot is a side view of her lip-syncing the backing vocals of the track
into the microphone. This obviously affirms that the pre-recording was
edited by, for instance, adding additional vocal tracks in the mix.
YouTube performers like the examples discussed here attempt to improve
their video skills or visual settings (separate from their music skills) over
time, or collaborate with other creators to mediate more effectively their
personality and creativity. Mia Wray’s first uploads are examples of basic
bedroom covers and Sunn’s improvement in the making of cover videos is
evident over time, possibly after her realization that her performances were
attracting a good number of viewers. Sunn’s “Rather Be” cover published three
AdAptAtion in the Age of MediA ConvergenCe
emulate 1980s’ music videos but are nevertheless components that meet the
entry level standards of YouTube covering musicians and communicate the
exploratory relationship between a musician and their video production tools
as well as online audience (whose reaction might not always be friendly).
Radio visualization trends on YouTube channels operated by radio stations
and their emulation by YouTube performers are an interesting development,
as both recording artists and amateur musicians put their skills to the test
and “battle” for online attention. The visual elements of many amateur and
independently made online music videos (which are mainly composed of
close-up shots of a performer wearing a headset with half of his/her face,
off center, covered by the pop filter of the microphone and close-up shots
framing hands playing a variety of musical instruments) are closer to the
visualized covers published by radio shows such as BBC Radio 1’s Live Lounge.
The sound of radio visualization-like YouTube cover videos is usually prerecorded, as performers tend to create a multitrack audiovisual production.
In addition, artists whose music videos are self-made cannot afford/manage
a two-camera shoot (which will provide them with a variety of shot sizes
and angles to play with in the editing part) if they decide to video record
a live performance; hence a pre-recorded sound track allows for a better
visual arrangement. Mia Wray’s cover of “No Diggity vs. Thrift Shop” is an
example of a pre-recorded multi-tracked YouTube cover featuring vocals by
herself that emphasizes the arrangement of visual elements, in turn hinting
at the non-elaborate characteristics of visualized radio covers or official
music videos that often use a recording studio as their visual setting. The
opening shot features Wray in a medium-to-close-up shot preparing for her
performance. A dominant visual element is the microphone she appears
to sing into while playing the guitar. Wray attempts to establish depth of
field by adding a legible and slightly out of focus line of musical instruments
behind her, leading to the closed door of what seems to be a bedroom. The
second shot of the video frames her hands playing the guitar and then a
third shot is a side view of her lip-syncing the backing vocals of the track
into the microphone. This obviously affirms that the pre-recording was
edited by, for instance, adding additional vocal tracks in the mix.
YouTube performers like the examples discussed here attempt to improve
their video skills or visual settings (separate from their music skills) over
time, or collaborate with other creators to mediate more effectively their
personality and creativity. Mia Wray’s first uploads are examples of basic
bedroom covers and Sunn’s improvement in the making of cover videos is
evident over time, possibly after her realization that her performances were
attracting a good number of viewers. Sunn’s “Rather Be” cover published three