2. Two main protagonists, the vocalist –
Male, 20 years old, dark haired but soft
natured. The character being referred
to in the narrative – Female, 18 years
old, scene/punk style, but shy.
Combining indoor with outdoor,
and contrasts between light and
dark. Studio for vocalist, to convey
set-up and safety. Dark outdoor
spaces, e.g. fields/forests to show
vulnerable nature of protagonist
and desperation.
Choosing the genre of indie/acoustic/soft pop
means meaningful lyricism. While I would use this
to inspire my narrative, I would include less-
obvious elements of the writing style to create
structure and make the piece more abstract.
Shots: Establishing shot (show setting), close-ups
(introduction of characters), extreme close up (for
emotion), over the shoulder (shows relationship with
background characters).
Editing: Graphic match (to link different scenes of the
whole piece), artificial bullet time (to break the
boundary between protagonist and vocalist), eye line
match (between character and the stars, create chill
atmosphere).
Genre
Narrative
Protagonist
Locations
Editing styles
12/09
3. Choosing the artist
Fast Paced?
Clear
message?
The Script Bastille
Male
vocalist?
Kodaline Birdy
Yes No
Yes No Yes No
I use this simple flow
diagram to physically
map out my thought
process and weigh up
the pros and cons of
using various artists.
Instead of just jumping
in to using one that I
like, I can therefore
choose the most
appropriate artist/band
according to the
requirements of my
music video.
13/09
4. Choosing the song
The Script
High hopes
• No introduction
• Good rhythm
All I want
• Slow/high pitched
• High level of
emotion
The one
• Repetitive
• Catchy chorus
Bastille
Icarus
•Nice, lengthy
introduction
• Lyrics reference a male
protagonist
Good Grief
•Too fast paced
•Can be interpreted
Weight of living
•In two parts, would be
too long
•Poignant message
Man who can’t be
moved
• Too well known
• Message cannot be
interpreted
If you ever come
back
• Too upbeat
• Well structured
Before the worst
• Perfect pace
• Too much rap/not
showing off vocals
Not about angels
•Quiet
•Emotional
Skinny love
•Far too slow/repetitive
• Lyrical hook to grasp
attention.
Wings
•Long winded instrumental
•High levels of energy to be
mirrored in the video.
Kodaline
Birdy
Birdy goes against my convention
of a male vocalist, but thought it
would create more variety and
choice when choosing the final
product.
13/09
5. Drafting Ideas
Colour Scheme?
Sound? Timing?
Instruments?
Shots?Narrative?
Costume?
Props?
Lighting?Location?
Dark Green, Grey and
Sound bridge, listening through headphones,
breathing to create effect. Clearly the audio
from the chosen song will be used, but can
be manipulated and broken up so as to
create an ever-changing story for the viewer.
Duration of song to be no longer than 4
minutes, however the proportion of
scenes must be long enough to include
all content. No confusing/random shots.
No vibrant/abstract colours to
portray the severity of the
narrative, light to create
contrast between the
personality of the characters.
15/09
Guitar, piano (Lucie? Shot
of hands?), drums, main
focus on vocals
(acapella?).
Girl – dark clothing, hooded,
reserved, dark makeup
Boy – Light T-Shirt, trainers for ease
of movement and comfort in his
personality.
Microphone (for obvious reasons) on
a microphone stand, cigarette, to
show outsider and solitude. Weapons
or tools for self-harm perhaps? Close-
ups on any necessary props that do
not link to the narrative told in the
lyrics.
Clear woods/fields, a rooftop, shower,
photography studio (if needed). Would like
to use a variety of locations and possibly
sets in order to separate and distinguish
each section of the narrative and the
emotions associated with them.
The lighting for the majority of the video
should differ from dusk/natural lighting in
dark open areas, and artificial lighting in
enclosed spaces. This is again to show the
clear divide between the comfort in one’s
own body and situation, and the
vulnerability of feeling alone and self
conscience/damaged.
The subject could be CHANGE,
whether it be a change in a
relationship, or a character,
positive or negative.
Close-ups for emotion, establishing
shot/over the shoulder shot for setting
and atmosphere. Using the free
movement of the camera whilst trying to
avoid shaky-cam, to show
professionalism as well as realism in the
piece.
6. Structure of Songs – The Script16/09
Man Who can’t be Moved
- Intro
- First Verse
- Chorus
- (Lyrical) Hook
- Instrumental
- Second Verse
- Chorus
- Hook
- Bridge
- Second Bridge
- Chorus
- Hook
- Third Verse
- Outro (Start of song)
- Fadeout
If you ever come back
- Intro
- First Verse
- Bridge
- Chorus
- (Lyrical) Hook
- Second Verse
- Bridge
- Chorus
- Hook
- Second Bridge
- Climax
- Chorus
- Hook
- Second (Lyrical) Hook
- Instrumental
- Outro
Before the Worst
- Intro
- First Verse
- Bridge
- Chorus
- Second Verse
- Bridge
- Chorus
- Second Bridge
- Instrumental
- Chorus
- Instrumental
- Fadeout
10
35
20
10
10
20
20
20
15
25
20
20
10
10
40
20
20
10
20
20
20
10
20
20
10
10
10
15
20
15
15
20
15
15
15
20
15
25
Numbers = to show the
proportion of each of the
elements in the song, if
the timing is evenly
distributed, with sections
lasting between 10 and 20
seconds, it means the
scenes can be filmed and
fitted accordingly.
Without any need of
rushing certain areas, or
other shots dragging
longer than they should.
Also, noting the number
of transitions between
verse, bridge, chorus etc..
Allows me to analyse how
interesting or easy to
follow the song will be.
I am extremely impressed with the distribution of verses for the song ‘If
you ever come back’, this evenness is exactly what I would be looking
for in order to get the best potential from my music video through
clear structure and professional cuts.
7. Structure of Songs - Bastille
Icarus
- (Melodic) Hook
- Intro
- First Verse
- Bridge
- Chorus
- Second Verse
- Bridge
- Chorus
- Second Bridge
- Climax
- Chorus x2
- Instrumental
- Fadeout
Good Grief
- Dialogue
- Intro
- (Lyrical) Hook
- First Verse
- Hook
- Second Verse
- Bridge
- Chorus
- Hook
- Third Verse
- Bridge
- Chorus
- Second Dialogue
- Second Bridge
- Chorus
- Hook
- Chorus (1/2)
Weight of Living I
- Intro
- First Verse
- Bridge
- Chorus
- Verse
- Bridge
- Chorus
- Second Bridge
- Chorus (soft)
- Chorus
- (Across songs) Hook
- Instrumental
- Outro
Weight of Living II
- Intro
- (Lyrical) Hook
- First Verse
- Bridge
- Chorus
- Hook
- Second Verse
- Bridge
- Chorus
- Hook
- Instrumental
- Second Bridge
- Chorus
- Outro
- Hook (repeated)
16/09
40
30
8
15
5
15
8
30
25
30
10
5
15
15
8
15
10
15
8
15
10
15
10
35
15
8
8
15
15
8
20
15
8
30
30
30
15
20
5
15
15
8
15
5
15
8
15
5
15
15
15
15
As I noticed many different transitions in
Good Grief’s structure, it gives the
impression of a complex and fast paced
song. This would be significantly harder to
tell a meaningful narrative as each
verse/chorus also has a different emphasis
and feel.
Given the song ‘Weight of Living’ is told
in two parts, I feel so is the narrative
between them. I would prefer not to
have a music video over 4 or 5 minutes
so using both tracks together is not an
option for me.
8. Structure of Songs - Kodaline16/09
High Hopes
- First Verse
- Second Verse
- Chorus
- Instrumental
- Third Verse
- Chorus
- Instrumental
- Chorus (repeat end)
- Instrumental
- Fadeout
All I want
- Intro
- First Verse
- Second Verse
- Chorus
- Instrumental
- Third Verse
- Chorus
- Instrumental
- Climax
- Chorus (soft)
- Outro
The One
- Intro
- First Verse
- Second Verse
- Chorus
- Instrumental
- Third Verse
- Chorus
- Bridge
- Climax
- Chorus
- Fadeout
25
25
25
20
20
35
20
40
15
10
25
25
35
25
25
35
80
30
10
10
25
25
30
10
25
30
30
40
10
All these songs have slightly longer
verses and sections that the ones I
chose from other artists, this shows the
slow pace and how most areas of the
music can drag for a long amount of
time. Note: All I want’s 80 second
instrumental.
High Hopes’ sections are more
evenly distributed and
proportioned, however, the
absence of any kind of intro
would not benefit me for my idea
for a music video. As I would like
to establish the
setting/protagonist before any
narrative is told.
9. Structure of Songs - Birdy16/09
Not About Angels
- Intro
- First Verse
- Chorus
- Second Verse
- Chorus
- Climax
- Chorus
- (Lyrical) Hook
- Fadeout
Skinny Love
- Intro
- First Verse
- Second Verse
- Bridge
- Third Verse
- Bridge
- Second Bridge
- Chorus
- (Lyrical) Hook
- Outro
- Fadeout
Wings
- Intro
- First Verse
- Second Verse
- Chorus (1/2)
- Third Verse
- Chorus
- Instrumental
- Chorus (soft)
- Outro
- Fadeout
5
35
40
35
35
25
10
15
25
25
25
25
25
20
10
10
15
25
25
20
25
25
45
25
45
10
The song ‘Skinny Love’ was hard to
distinguish between the verses and
chorus’ etc. This would not be effective
for my music video as I need
structured sections that I can plan my
narrative around.
These songs had some similarities,
for example; an intro and a faded out
outro. However, they were also too
similar in that the melody and pace
all link into one. I would need a song
in which the different sections are
easy to establish.
10. Evaluation
19/09
The songs I have narrowed it down to are:
- Before the Worst (The Script)
- Icarus (Bastille)
- Good Grief (Bastille)
- High Hopes (Kodaline)
Before the Worst:
This song has a good
beat in which to base
the scenes and
transitions of my music
video. The message of
the lyrics can also easily
be portrayed in a music
video, that can follow
the narrative, but also
differ in regards to
interpretation.
“Where everything we talked
about is gone
And the only chance we have of
moving on
Is trying to take it back before it
all went wrong.”
Icarus:
The thing that attracted
me to this song was the
deep hum of the
melodic hook, the
‘Viking-syle’ chant. This
also forms the basis of
the long introduction,
which is also appealing
to establish the setting
and story of the music
video.
“Your hands protect the
flames
From the wild winds
around you.”
Good Grief:
For me, listening to this song, I
found a second meaning which
may not have been considered.
By using the visuals in the
music video, I could change
the audience’s perspective of
the lyrics. Although this would
be challenging, I think it would
have a very rewarding effect.
The pace of the song could
also make for a more
interesting piece.
“Sleeping in the clothes you love
It's such a shame we had to see them burn,
shame we had to see them burn.”
High Hopes:
This song is by one of my
favourite artists, the reason for
this is because I love how
meaningful the lyrics and melody
are and how well they combine to
create a tear-jerking song. This
could be useful in my piece, as
the video only needs o be subtle,
and the song can convey most of
the emotion. The pace of the
song means I could include in-
depth scenes and shots.
“Memories, they seem to
show up so quick but
they leave you far too
soon.”
