Even though most artists today rely heavily on the marketing power of a music video, most are unaware of the processes involved in transforming a song into a moving image that compels the viewer to support the artist being displayed. I'm not talking about being aware of the behind-the-scenes look into a production that many video channels show that deal with the personalities featured in the video, but rather the writing, scripting, and directing of the video itself.

My company, Cornbread Productions, does videos for many local acts in the metro-Detroit area. When one of these acts contract with my company, I first have them sit down and tell me what it is they are trying to accomplish. Sounds simple right? You'd be surprised at how many people are thrown off by that question. Most acts assume that a music video is just to promote their song.

A GOOD music video does that-- and much, much more. For starters, it conveys an image of the overall group or artist, an image which should tie into the group's or artist’s overall marketing plan. This image should project a persona or characteristic the act wishes to build on, one in which subsequent videos should continue to utilize. For example, Beyonce has distinguished herself from the crowded field of female singers by projecting a sexy yet very classy image. Each video she is in highlights this fact, playing up the very dignified, alluring image of a very capable and intelligent woman, one who can satisfy any man in her life, yet be capable of standing proudly on her own. This carefully designed approach to her entire image is one of the reasons Beyonce is now a superstar.

Next, I ask the client about what type of imagery or story do they see for their video. This is essential as well. Some videos are literal interpretations of the song, while others are more "visionary" in that they have a lot of images in them meant to be widely interpreted. Sometimes these "interpretive" videos are designed so that whatever meaning the viewer attaches to them is perfectly fine with the artist. I stress to my clients, however, that for an act just beginning, a video should showcase the act's strongest selling point or image. If this can be accomplished with a poetic rendering that leads to interpretation by the viewer, fine. I have found that most new acts lean more towards a scripted storyline-based video when told this.

Once the particular approach is decided upon, a "treatment" of the video is ordered. A treatment is a one-or two-page outline of what the video is about. It is simply a concise and to-the-point rendering of what the story, details, plot, theme or any other particulars of the video is about. A treatment could go like this: Boy meets Girl. Boy falls in love with Girl. Girl meets Another Boy and disses first Boy. Boy Devotes his Life to Music, becomes superstar, becomes rich and meets many more Girls. First Girl sees Boy on TV from home in trailer park. Kicks herself. The End. At the treatment stage, very little dialogue of the video's actors is included; that is left for when the actual script is being written. For now, the treatment is simply the basic idea of the video put to paper .Knowing what the video is trying to accomplish is why the treatment is done.

The next stage deals with the actual scripting of the video. This is where dialogue among all the actors in the video is created, as well as descriptions of scenery, mood music, effects, and length of project. If there is no dialogue, the script is usually in the form of the detailed shots that will be used in the video. Being a writer, my preferred method of production is to create a script that details a story, one with a beginning, middle, and end. Most artists have a surprise at this stage as well: most scripts are a constant work in progress; revisions to them can take place throughout the filming or taping process. Sometimes these revisions are being done because a better way to approach a particular scene is decided upon while shooting, or one listed simply does not work as originally planned.

Once a script has been agreed upon, the client and I now set about the task of choosing the appropriate actors, locations, setting, costumes, etc. so as to ensure that the best possible production can be made. We also finalize a budget which would detail the exact expenses needed to complete the project. A budget is vital to the project simply because it shows matter-of-factly what can or cannot be done. It also forces cost-saving measures when a particular approach is needed but the funding is simply not there. For example, a shot in the video may call for the singer to be standing atop a tall building in the city performing as a helicopter-mounted camera swoops low to record it. The exorbitant cost of renting a helicopter would force the production to look at other means to achieve that same shot if the shot was that important.

The overall completion time for a music video can range from several weeks to several months, depending on many factors such as time constraints, budget, shooting locations, format , cast, etc. But if the overall message is one that resonates with the audience, one that promotes and effectively markets the artists and the music, then this promotional device is well worth it. New acts starting out have always been advised to put just as much effort into promoting their music as they took in producing and recording it. A well-crafted, well-planned video would more than allow that principle to be applied.