Shot Count Analysis
Track: 응프리스타일 (Eung Freestyle)
Artist: Live, Sik-K, Punchnello, Owen Ovadoz, Flowsik
Director(s): Visuals: DPR, KRSP, Lee Han Kyul Prod.: GroovyRoom Set: @markxhj
Release Date: 19th April 2016
Length of video: 2:31
Number of shots: 7
Average length of shot: 0:15
No. of shots in 30 second segment: 1
In the thirty second segment there are...
No. of CU: 0
No. of ECU:0
No. of LS: 0
No. of MS: 5
No. of Panning Shots: 0
No. of tilts: 1
Other shots: 1
It must be taken into consideration that the majority of the mid shots are taken from low angle to put each rapper into a position of power. The shot which I labelled as 'other' is a whip zoom occurring here where the thumbnail of the You Tube video is. From there, it tilts up quickly, to what appears to be 360 degrees and the audience is almost thrown into another environment where Flowski is seen in a room surrounded by a number of party-goers.
It must also be noted that the colour of the video is very negative in the sense that it appears to be dipped in red. Notoriously known for being a colour of anger, it seems fitting to use such a filter for such a video, especially considering the fact that the rappers tried to focus on what hip hop and rap had been in the past- A session of endless offensive slurs to an opponent in an attempt to make oneself feel superior to the other in terms of 'flow' of words and ability to freestyle. In this particular song, they seem assess the issue that rappers "요즘" (recently) had begun "sounding extra... lame" considering what recent pop culture has done to hip-hop and rap.
Furthermore, the reason I enjoy this song so much, is not because of the lyrics (parts of which I find crude and unnecessary), but the flow and the rhythm which matches the editing and special effects. I would consider using this technique of drawing over aspects of the video when making my own music video as the graphics emphasise the certain actions or words which should have significance or importance. On the left are a few examples.
It must be taken into consideration that the majority of the mid shots are taken from low angle to put each rapper into a position of power. The shot which I labelled as 'other' is a whip zoom occurring here where the thumbnail of the You Tube video is. From there, it tilts up quickly, to what appears to be 360 degrees and the audience is almost thrown into another environment where Flowski is seen in a room surrounded by a number of party-goers.
It must also be noted that the colour of the video is very negative in the sense that it appears to be dipped in red. Notoriously known for being a colour of anger, it seems fitting to use such a filter for such a video, especially considering the fact that the rappers tried to focus on what hip hop and rap had been in the past- A session of endless offensive slurs to an opponent in an attempt to make oneself feel superior to the other in terms of 'flow' of words and ability to freestyle. In this particular song, they seem assess the issue that rappers "요즘" (recently) had begun "sounding extra... lame" considering what recent pop culture has done to hip-hop and rap.
Furthermore, the reason I enjoy this song so much, is not because of the lyrics (parts of which I find crude and unnecessary), but the flow and the rhythm which matches the editing and special effects. I would consider using this technique of drawing over aspects of the video when making my own music video as the graphics emphasise the certain actions or words which should have significance or importance. On the left are a few examples.
The second screenshot is the opening of the music video where the audience sees Live being shaded into the shot before any of the other rappers.
Shot Count Analysis
Track: 첸백시 (Hey Mama!)
Artist: EXO-CBX (Sub unit (CBX) consisting of three members from the band: EXO)
Director: ?
Release Date: 30th October 2016
Length of video: 3:24
Number of shots: 196
Average length of shot: 0:01
No. of shots in 30 second segment: 32
In the thirty second segment there are...
No. of CU: 9
No. of ECU:1
No. of LS: 4
No. of MS: 10
No. of Panning Shots: 2
No. of tilts: 0
Other shots: 7
The first thirty seconds of the video which I have counted the shots for contain shots which combine zooming/ panning and tilting while they remain very short due to the number of angles each was filmed from.
The 'other shots' which I have included are listed below:
 |
| Canted Angle |
 |
| Arial Shot |
 |
| High Angle shot (among five) |
Shot Count Analysis
Track: 마지막처럼 (As if it's your last)
Director: Han Sa Min
Release Date: 22nd June 2017
Length of video: 3:36
Number of shots: 220
Average length of shot: 0:01
No. of shots in 30 second segment: 26
In the thirty second segment there are...
No. of CU: 6
No. of ECU:0
No. of LS: 8
No. of MS: 13
No. of Panning Shots: 1
No. of tilts: 1
Other shots: 0
Shot Count Analysis
Track: Lifted
Artist: CL It should be noted that CL (Lee Chaelin) produced this song inapired by the hip-hop artist, Clifford Smith who released the track 'Method Man' in 1993 while the member of Wut-Tang Clan.
Director: Dave Meyers
Release Date: 18th August 2016
Length of video: 3:01
Number of shots: 98
Average length of shot: 0:05
No. of shots in 30 second segment: 7
In the thirty second segment there are...
No. of CU: 0
No. of ECU:0
No. of LS: 4
No. of MS: 1
No. of Panning Shots: 0
No. of tilts: 0
Other shots: 1 (Aerial shot)
Possibly my favourite part of this music video is the editing done within the thirty second segment:
via GIPHY
Shot Count Analysis
Track: 무제 (Untitled, 2014)
Artist: G- Dragon (Kwon Jiyong)
Director: Han Sa Min
Release Date: 8th June 2017
Length of video: 3:48
Number of shots: 1
Average length of shot: 3:48
Kwon Jiyong's music video for 'Untitled 2014' was shot entirely in a single hour which makes it all the more impressive when considering that the entire music video is one long take of him stumbling throughout beautiful scenery which the director intended to change behind him. Originally, Han Sa Min had produced sets ready for a two to three day shooting, and the music video was to be consisting of the "best cuts" while the scenery changed behind Kwon (as in the final music video, just with separate shots and cuts throughout), however, the director's and Kwon's opinion had changed while on set.
Due to the nature of this music video, I have decided to not include the 30 second shot by shot analysis, therefore, I will analyse 30 seconds of the video from the first chorus.
This sequence seems to transition through colours and landscapes- the set changing rather than the shot which leaves a certain type of emotional effect on the audience. A reason for which such colour transitions may have occurred is due to the emotional weight of the lyrics.
This track was a very personal creation of Kwon Jiyong's and thus, it is appropriate to portray his emotions in a music video which progresses as the lyrics do.
An example is the following four frames throughout which the blue colour completely desaturates to black and white. The frames occupy the first half of the chorus section of the song:
"제발단 한 번이라도
너를 볼 수 있다면내 모든 걸 다 잃어도 괜찮아"
"(Please, just once, if I can see you, I am okay with losing everything I have)"
The frames are completely faded from the blue colour to black and white, while the background is also removed, possibly in reflection of the line "losing everything I have". Kwon is the only person who is seen in this music video, he does not hold props, nor does he seem to be in the position of possessing items other than his clothes and perhaps the backdrop, which disappears. 
The portrayal of the loss of everything seems rather innocent and very subtle, however, the emotional power is greater- Often the loss of material items seem far more drastic than the loss of perhaps one's emotional well-being. The sky, which he does not truly own, but can look upon, is still lost, thus the audience has the ability to listen to the lyrics with deeper meaning and understanding if they appreciate the music video. 
On the left, you may see that the shot begins to retrieve colour, in softer, redder tone, than what the blue was. The tone appears to be a variation of blue and red which creates a 'dreamy' feeling, reflective of the following lyrics:
"꿈에서라도 너를 만나
다시 사랑하기를"
다시 사랑하기를"
"(I'll meet you, even if it's in a dream
While Kwon Jiyong moves aimlessly through the scenery, the camera 'floats' backwards in a smooth motion, which seems to soften the physical appearance of the video.
Smoke is also used to create the illusion of clouds around Kwon's face to add to the verisimilitude of a dream-like state.
The following frames contain a backdrop which transitions to another colour (blue) while Kwon remains roughly the same hue of red. Perhaps the most interesting part about the composition of these frames is the small glare which is over Kwon's body. The straight line seems precisely placed and is more apparent in the last screenshot.
Throughout the music video, certain glares in the lens appear, perhaps a mistake of changing the difficult lighting during the long take, but very much fitting nonetheless.
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