Research and planning for the music video/idea generation.

1. MUSIC VIDEO
ASSIGNMENT 2

2. GUIDANCE
This template PowerPoint presentation includes all the relevant elements
you need to cover in your Music Video Assignment
It is suggested you save this PP in a different name and share it with your
group so you always have a copy – some sections require you to delete
the information on the slide and replace with your own work
Add more pages to each section where necessary [you should be doing
this!]
Add visuals as you see necessary
This document will be added to as you progress through the pre-
production phase.
Delete this slide when complete

3. TASK 1 Idea Generation and
Research

4. RESEARCH & IDEA GENERATION
Select a song/track that you like [or don’t like!]
Generate three ideas for music videos employing styles, techniques
and conventions that we have looked at in previous sessions. Explore
how you could interpret the song differently using different methods
You can add any extra info you think is relevant, images, mind maps,
etc
For quick mind maps you could use bubbl.us to generate these

5. RESEARCH & IDEA GENERATION
Chosen Song: Telan Devik – Lying and Deceiving
Idea 1: The song has an upbeat tune but the vocals have slightly
melancholy undertones. So I feel like the music video could match
those undertones, highlighting a sad narrative which contrasts with the
upbeat and happy nature of the song to portray the truer intentions
of the song. As the title suggests, maybe something to represent or
suggest ‘lying and deceiving’ (possibly referring to a relationship that
didn’t turn out so well). In terms of conventions, the artist could be
shown singing and going about the narrative of this ’lying and
deceiving’ story. However the vocals are quite difficult to make out so
for a creative twist maybe the artists identity could be hidden to
match the mysterious vocals.

6. RESEARCH & IDEA GENERATION
Chosen Song: Telan Devik – Lying and Deceiving
Idea 2: On the contrary, the music video could be more happy and
upbeat. The song itself is quite chill and relaxing so maybe a music
video to reflect that feeling. I feel like something along the lines of
driving through a city at night and showing all the lights and
commotion in the comfort of the artists car. From the outside looking in
almost, and being at ease whilst doing so. I feel like something like this
would match the energy of the song, it also matches the artists
intentions as it matches the album cover quite well. I feel like
a music video like this would also carry some form of
nostalgia for the audience as well as expressing something
creative yet simple.

7. RESEARCH & IDEA GENERATION
Chosen Song: Telan Devik – Lying and Deceiving
Idea 3: My final idea is showing something more energetic than my
other 2. I think the music video could simply portray a group of friends
enjoying themselves in the city and experiencing the nightlife. The
audience could be from a 1st person perspective maybe, letting the
audience feel involved in the fun and immersed. I feel like this would
have a sense of euphoria to it that matches the upbeat parts of Lying
and Deceiving. Maybe there could also be a darker twist toward the
end that subverts the audiences expectations or leaves the audience
on a sort of cliff hanger. Possibly the friends keep disappearing
slowly until the audiences perspective is the only one left, or a sense of
suspicion grows as the music video continues that they are running from
something. I feel like something like this would match perfectly with the
more melancholy undertones of the song.

8. RESEARCH
Watch a selection of videos to get your ideas started, make note of a
minimum of 5 – add extra slides, screenshot the video and in bullet
point note down info in terms of camera, editing, art design,
performance, etc and how this might link to your production
Hint!
You’ve already done this in your
case study, so you can summarise
that here where relevant

9. ALT-J – BREEZEBLOCKS
- Breezeblocks depicts a fight scene in reverse.
- It’s a little confusing as at first the audience will
antagonise the guy who had been shown to have
killed a woman, but as the music video goes on it is
revealed that it was the woman who should be
‘antagonised’ as the further in reverse you go the
more the true story is revealed. Never judge a book
by its cover.
- There's different usage shots to highlight the action
and danger within the fight.
- It is also in slow motion to dramatize the fight also.
- Lots of different angles, dark colouring to match
the mood.

10. VIDEOCLUB – MAI
- Different colouring/lighting to show difference in
place.
- Different colouring/lighting also shows the contrast
in emotion or the feeling within each area. The group
of friends is a warm colour to show the happiness and
euphoria, the girl and guy is more purple and blue to
show calm and melancholy etc.
- Camera techniques also help differentiate the
different vibes each of these areas give off, with the
group of friends the camera is always moving to show
the high spirits and energy in contrast to the still and
calm camera with the boy and girl.
- When the boy and girl run toward the door to join
the friends, the lighting turns warmer and the camera
moves around a lot to connote this.

11. K.FLAY – CAN’T SLEEP
- Lots of use of changes of velocity (speed) to
emphasise certain actions.
- Dynamic shots to help set the scene.
- The camera is always moving when there is
action.
- Lots of different angles to keep the parkour
interesting and dynamic.
- Also scenes of things and people that are
different to the main focus of the video, yet again
building a certain environment.
- The camera shots stay very diverse and
interesting.

12. MARS ARGO – USING YOU
- Lots of close ups of the singer and the band.
- Common convention of seeing the band lip
sync/play to the song.
- The singer is the main focus within the music video,
another common convention within bands music
videos.
- Portrays a narrative that’s fun and entertaining for
the audience, easy to follow. (a band playing music in
a experiment, makes the subject dance etc)
- Upbeat music fits with the upbeat music video and
lighting. Lots of bright colours are also used to match
the upbeat song (clothing, background).
- Wider shots of the band as a whole alongside the
close ups.

13. WILBUR SOOT –
INTERNET RUINED ME- Lots of close ups of the singer once more,
showing them play the guitar to the song.
- The editing is purposely done to make the music
video look old fashioned or retro. For example:
the use of aberration and overlays.
- Use of cut ins and slide transitions, yet again to
help fit the aesthetic he is going for.
- Lots of different locations used, keeps the video
interesting.
- Different types of shots used also, the focus
constantly remains on the singer however the shots
range from close ups to full shots.
- The colouring is purposely made to look retro.

14. LUSTINE – JUST A CLOUD
- For most of the music video a close up of a girl is
depicted with her eyes closed listening to music on
the bus, despite this it remains entertaining and nice
to watch.
- Lighting is used heavily to portray the music,
coming from different angles on the girls face and in
different colours.
- Can see the buildings and lights passing in the
background, at parts it goes completely black or
shows it going in reverse to match the song.
- The music video is all about being in time with the
music with the lights, editing etc.
- Sense of mystery, reaches out for a mysterious
hand at the end. I believe it represents the feeling of
listening to music and being immersed in it.

15. TAME IMPALA – LET IT HAPPEN
- Interesting transitions: eg passing a pillar which
leads you to the next shot.
- The angles help with different transitions, gives the
video a surreal feeling that nothing is certain.
- Different angles and types of shot on the same
action or scenario.
- Lots of expression.
- Camera moves a lot if there is a lot of action or a
dramatic scene.
- Everything happens in beat with the music.
- Lots of techniques used to portray a certain feeling
or set a mood.

16. K.FLAY – THICKER THAN DUST
- Editing is in time with the music and matches the
pace.
- Interesting camera shots, angles etc.
- Effects/colouring give the video a retro/vhs
feeling, nostalgic value.
- Upside down shots and reversed shots in time with
the music and matching it.
- Lip syncing
- Main focus is the artist, there are other people in
the music video but its K.Flay who takes the main
focus.
- Text on screen to help portray a narrative.

17. POTENTIAL SONGS
- Technology is a Dead Bird – Mars Argo (johnny k reprise)
[alternative rock/pop]
Song tells us about the imprisonment of technology, trapping ourselves
voluntarily.
- Your Sister Was Right – Wilbur Soot
[folk rock]
About treating someone he cared about in a relationship badly and hurting
them.
- You Don’t Know Me Anymore – Mars Argo
[alternative rock]
About beauty standards, and having to walk away from them.
- Sad Machine – Porter Robinson
[dance/electronic]
- Green – Cavetown
[pop]

18. POTENTIAL TECHNIQUES
- Changes in velocity to emphasise movement.
- Atmosphere building with dynamic shots, building a setting for the
music video.
- Variety of shots, close ups, full shots etc... (keeps the music video
interesting to watch/different perspectives)
- Lots of different locations and outfits, yet again keeping things
interesting.
- Colouring to portray a certain feeling, warm colours for happy
scenes and cold colours for sad scenes as an example. This lets the
audience immediately interpret the mood of the scene.
- Different angles to give more depth and keep things interesting.
- Aberration for a glitchy or retro effect.
- Music video cuts in beat with the song, immerses the audience more
into the music video.

19. CONVENTIONS YOU PLAN TO USE
- Lip-syncing/artist singing along, illusion of performance.
- Showing instruments being played, yet again the illusion of
performance. [rock]
- Close ups to show the icon or face of the music (the artist) or to
express emotion through facial expression. Close ups also focus the
attention on one person.
- High angle shots to establish the setting and build atmosphere.
[alternative]
- Lots of facial expressions, way of conveying emotion. [rock]
- Showing the ‘artist’ in different scenarios, allows for the music video
to remain interesting.
- The editing keeping with the tempo, jump cut pace will correspond
with the pace of the music. This is so the music video is more immersive.
- Abnormal settings. [alternative rock]
- Long shots, can get context of where an artist is.
- Editing speed and camera movement also matches the narrative,
someone being sad the editing and camera movement is slow/still for
example.

20. IDEAS MIND MAP

21. SUMMARY
5 opportunities of your ideas:
- Access to a drone with a camera for high angles
- Lots of areas/locations near where I live to record at
- Can learn how to use Premiere Pro
- I have my friend that I can record for my music video
- I have the ability to use a variety of shots
5 restrictions to your ideas:
- Reliant on people for recording
- Will need a good light source if recording at night
- Need a tripod when recording preferably
- Lots of locations to record at
- Lip syncing will require the person I’m recording to know the words
to the song

22. FINAL IDEA – ARTIST/TITLE/INFO
Song: Technology is a Dead Bird (Johnny K Reprise) / Mars Argo
Brief biographical background: ‘Brittany Alexandria Sheets, known
professionally as Mars Argo, is an American singer, songwriter, actress,
photographer, and Internet personality. She is prominently known for
her portrayal of fictionalized stage personas of herself on YouTube.
She is also known as the lead singer of the band Mars Argo, named
after her main stage persona.’
- https://en.wikipedia.org/wiki/Mars_Argo
Links to other artists: Charly Bliss, Cranes, Cults, Grimes
Genre info: Indie Rock, Rock, Alternative, Pop, Electronic

23. FINAL IDEA – TRACK SUMMARY
Summary/analysis of track [consider meaning, content, duration, pace and
style of the song]: My chosen track is quite slow and melancholy as the lyrics
talk about technology. The idea is that the ‘dead bird’ is technology, birds are
representative of freedom within media therefore a dead bird is supposed to
show the lack of freedom or imprisonment. Despite this this the dead bird is ‘in
your hands’, suggesting that we voluntarily give in to the imprisonment that is
technology. One of the lyrics read ‘We could live in a dream’, exploring that
there is constructive and possible uses for technology or that we could enjoy
life without it. However the next lyric reads ‘This isn’t any time or place to
be/Where is my liberty?’ showing the desire to be free from technology's
imprisonment. Another idea explored is how technology isn’t a representation
of how we know someone, we know them differently in person: ‘Simulation,
Computation, This is not a representation, This is how I know you, Your glow
reflects upon my skin, You are the key that lets me in’. The main idea of this
song is to explore how technology might restrain us more so than it helps us. I
believe the style of song itself matches this idea as it sounds melancholy yet
remains beaty.

24. FINAL IDEA – YOUR IDEA
Your creative concept/video synopsis [describe your interpretation,
use of imagery or narrative, genre conventions, etc]: With the way
I’ve interpreted the song, I want to match the lyrics meaning and show
the imprisonment of technology in my music video. I’d like the narrative
to follow a girl becoming aware of the restraints technology gives and
slowly finding her liberty or freedom from it: finding happiness away
from technology. I’ll use different locations and colouring to represent
freedom, such as areas filled with nature for example. I also want to
show this girl in a city or town, so following alternative conventions, I’ll
use high angled shots to establish a setting alongside dynamic shots.
I’ll also show the use of technology a lot in my music video, showing its
grasp on the modern persons life. I feel like a narrative like this will
stick to the songs original meaning. I will also include lots of close ups
of the ‘artist’ singing to follow convention.

25. TASK 2 Pre-production Assessment

26. GUIDANCE:
PRE-PRODUCTION ASSESSMENT
You need to assess the viability of your production and investigate
what is required to enable you to make your music video
Much of this task is hypothetical, which means you will need to
investigate standard costings for such a production and apply these to
your planned production considering which equipment you would need
and resources, etc
Resources to support this are in the Pre-production assessment folder
on Blackboard
Delete the questions on each slide and insert your responses

27. TITLE OF PRODUCTION/PRODUCTION
OUTLINE
Song: Technology is a dead bird – Mars Argo (Johnny K Reprise)
Summary: Explore the idea of the imprisonment of technology in the
modern world, sticking to the artists original intentions. Will follow a
form of narrative though however.
Equipment: Phone to record, tripod, bright light source like a large
torch, drone

28. BREAKDOWN OF TRACK PACE/MOOD/TONE/STRUCTURE
0:00 – 0:27 Small/quiet instrumental intro build up
0:27 – 0:40 More beaty instrumental build up
0:40 – 1:21 Humming/singing can be heard, still
instrumental
1:21 – 1:35 Build up dies down, quiet singing
Verse 1, tone shifts
I took you to a prison cell
You were afraid and I could tell
1:35 – 1:49 A little more beaty, Mars Argo starts
singing also
And on a train we met a friend
Who showed us that we should pretend
1:49 – 2:02 Pre-Chorus, Mars Argo singing alone
now, build up to chorus
We could pretend
You could be my best friend
2:02 – 2:45 Chorus, pace increases and the tone
shifts
Technology is a dead bird in your hands
Technology is a dead bird in your hands
Simulation, computation
This is not a representation
This is how I know you
2:45 – 3:17 Verse 2 and Pre-Chorus: same as
1:35 – 2:02
Your glow reflects upon my skin
You are the key that lets me in
We could pretend
You could be my best friend
3:17 – 3:58 Chorus, pace increases and the tone shifts
Technology is a dead bird in your hands
Technology is a dead bird in your hands
Simulation, computation
This is not a representation
This is how I know you
3:58 – 4:22 Tone shifts completely, dreamy feeling to
the vocals and backing, still melancholy however [Verse
3]
We could live in a dream (This isn't any time or place to be)
Where is my liberty? (This isn't any time or place to be)
Buried under a tree (This isn't any time or place to..)

29. LOCATIONS
You need to identify locations and plan a recce.
What are the limitations and risks, eg distance, access, cost, weather?
How will you manage this?
Locations:
- My house: no possible issues
- Street: weather cloudy, risks of cars
- Different areas around town: weather cloudy
- The train station: could be denied permission to record
- The park: dark weather, crowded with people
- Meadow: sunny weather, quite far but still walking distance
Everything is local and within walking distance alongside being easily
accessible. A lot of the recording will take place outside and will need
certain weather requirements (as stated above) however it shouldn’t be
too much of an issue. I can plan my recording around the weather.

30. EQUIPMENT
What do you need? E.g. equipment, resources? Mostly from
college, but who do you need to speak to get this kit? What is
available? When?
- Drone, can access this from a family member
- An LED or light source if any recording will take place at night, can
access this from a family member
- My phone
- Maybe a tripod, can get one from college

31. FACILITIES
Where will you edit your video? Do you need any other specialist
facilities…?
- College and home if required

32. PERSONNEL
CREW: What is you team? Who is in it? What are each team
members strengths/weaknesses? When are they available?
- Me, will be directing and recording.
CAST: Do you need any external performers? When are they
available? Cost implications? Will you have to feed them?
Transport them?
- My friend Yasmine (lives around the corner, should be easy to
organize recording), will be the main actor within my music video.
Other personnel? Is anyone else helping you?
- My brother, helping if I need an extra pair of hands. (eg holding up
an LED)
- My dad, piloting the drone if I use it for some shots.

33. PROPS/COSTUME/ETC
Costume:
- Different casual outfits, dark colours, jeans and hoodie
- For meadow, a green dress that fits the surroundings well, can have
bright colours (has to feel different from the casual clothing prior)
Props:
- Phone
- Bag

34. TASK 3.1 Visual Planning

35. PRE-PRODUCTION: VISUAL PLANNING
This section is concerned with the visual planning of your music video
You should use this section to develop the sequencing or your video,
establish the relationship between the visuals and the track itself and
create a structure for you to follow when filming
It is important that you ‘pre-visualise’ the video before you make it; it
will make filming and production a more streamlined process
The following tasks are part of your visual planning
­ Pre-visualisation and concept boards
­ Storyboarding
­ Shot list

36. PRE-VISUALISATION/CONCEPT BOARDS
Tool for exploring the direction and visuals
Provides inspiration and information for the “look & feel”
Presents key moments in your video
A means to sketch/plan ideas
Information on colour/lighting
Defining the “mise-en-scene”
Include as much here as you like, but keep it relevant to the production,
the following slides have been left blank for you to approach in your own
way, add more as you need to
Extension suggestion: edit a short sequence of clips that have inspired or
influenced your video [similar to this: http://io9.com/5941145/this-
directors-video-pitch-for-hunger-games-might-be-better-than-the-real-
movie]

37. Imprisonment of technology
Dark and gloomy
colouring
Cloudy weather Melancholy
Freedom/liberty
Overcoming the
restraints of
technology
Still camera
Warm colouring
Sunny
Lots of camera
movement and
action
Concept
Board
Night representing the
darker side of
technology or truth
Lighting creates a mood
VHS effect
A lot of camera
movement, panic

38. RIP-O-MATIC
You should also construct a 15-20second Rip-o-matic test reel using
existing footage to convey the type of video you want to make
https://www.youtube.com/watch?v=Fop6WzSbh7k&feature=youtu.b
e

39. STRUCTURAL BREAKDOWN
Breakdown your track into it basic sections [e.g. intro, verse, chorus,
verse, etc] and apply broad visual ideas to each section
You can use this as the master template for your production, then add
more shots to each section when you develop your full visual plan
You should create a slide showing all the sections of the song, then
add a slide for each section with timings, lyrics, what happens and
details on specific shots
You could storyboard and shot list each section as you go, to break up
the process.

40. STORYBOARDING
Your storyboard should bring your idea to life
Provide an idea of the sequencing of you video
Provides a basis for production
Suggested online storyboard creators are:
­ https://www.storyboardthat.com
­ http://www.pixton.com [very complicated]
­ http://www.storyjumper.com [allows you to insert your own images]
Alternatively, hand draw or photograph your storyboard and scan or
copy to insert it onto your slides
There are lots of tips collected together on Blackboard!

41. DIFFERENT PARTS
[Pre-Chorus: Mars Argo]
We could pretend
You could be my best friend
[Chorus: Mars Argo & Titanic Sinclair]
Technology is a dead bird in your hands
Technology is a dead bird in your hands
Simulation, computation
This is not a representation
This is how I know
[Verse 3: Titanic Sinclair (Mars Argo)]
We could live in a dream (This isn't any time or place to
be)
Where is my liberty? (This isn't any time or place to be)
Buried under a tree (This isn't any time or place to..)
[Instrumental Intro]
[Verse 1: Mars Argo & Titanic Sinclair]
I took you to a prison cell
You were afraid and I could tell
And on a train we met a friend
Who showed us that we should pretend
[Pre-Chorus: Mars Argo]
We could pretend
You could be my best friend
[Chorus: Mars Argo & Titanic Sinclair]
Technology is a dead bird in your hands
Technology is a dead bird in your hands
Simulation, computation
This is not a representation
This is how I know you
[Verse 2: Mars Argo & Titanic Sinclair]
Your glow reflects upon my skin
You are the key that lets me in

42. INSTRUMENTAL INTRO
Instrumental Pt 1(27 Seconds)
- Complete black
- Birds eye view of the town with the song name and artist
Instrumental Pt 2 (14 Seconds)
- Yasmine in the park swinging, dynamic shots in the park
- Showing Yasmine on the street in the dark, builds a gloomy setting
- Other birds eye view shots from different areas
Instrumental Pt 3 (27 Seconds)
- Start to introduce artist humming
- Cutting to more dynamic shots, building setting
- Similar to prior shots
Instrumental Pt 4 (14 Seconds)
- More shots of Yasmine humming, fades to black

44. VERSE 1
Lyrics:
I took you to a prison cell
You were afraid and I could tell
- Lip syncing on the sofa, dark green lighting
And on a train we met a friend
- At train station, singing along slightly
Who showed us that we should pretend
- Side angle at train station, singing along slightly again
- Different angles, on phone, gets up from seat and starts walking

46. PRE-CHORUS
Lyrics:
We could pretend
- Walking and lip syncing on phone
- Angle from behing of walking
You could be my best friend
- Lip Syncing, going on phone
- Zoom out jump cuts to the beat

48. CHORUS
Lyrics:
Technology is a dead bird in your hands
- Artist singing, walking down street
- Side angle
- Cuts to night (”hands”), light source ahead of them (side angle), stops lip
syncing, glitchy effects
Technology is a dead bird in your hands
- Cuts back to day
- Lip syncing street scene
- Close up, straight ahead
- Walking angle from behind
Simulation, computation
- Lip syncing scene again, expression
This is not a representation
- Lip syncing cuts to dark or night scene looking disturbed
This is how I know you
- Walking in the dark, flashing then cuts to black

50. VERSE 2 AND PRE CHORUS
Lyrics:
Downtime
- Working at desk
- Different angles on face
- Close ups of fingers typing
Your glow reflects upon my skin
- Lip syncing on sofa scene again
- Close ups of fingers typing
- ‘Absorbed by the screen’
You are the key that lets me in
- Clicking mouse
- Staring at screen, straight ahead
We could pretend
- Lip syncing on street
- Typing on computer
You could be my best friend
- Lip syncing on sofa

52. CHORUS
Lyrics:
Technology is a dead bird in your hands
- Lip syncing street
- Train station close up then wide shot
- Close up on phone, hands
- Mid shot
Technology is a dead bird in your hands
- Rushing through market place side angle – camera movement
- Lip syncing street
- Rushing through close up/mid shot forward angle – camera
movement
Simulation, computation
- Side angle street, front angle
This is not a representation
- Putting phone down
- Cutting to lip syncing on street
This is how I know you
- Cutting between lip syncing and Yaz walking away

54. VERSE 3
Lyrics:
We could live in a dream
- Glow in, Yaz spinning in meadow, slow velocity
(This isn't any time or place to be)
- Back angle, Yaz running, slow velocity
Where is my liberty?
- Laid down in the grass, birds eye view
(This isn't any time or place to be)
- Side angle, Yaz running, slow velocity
Buried under a tree
- Yaz leant against tree, close up to wide shot
(This isn't any time or place to..)
- Running forward angle
- Eyes closing, screen cuts to black

56. SHOT LIST
Your shot list should contain the sequential breakdown of what you
need to shoot for your video
It should work in partnership with your storyboard
It will be your working document when you film
It should contain the shot number, scene number, shot description,
framing and action you will see
It should also have information on performers in the scene and other
props, etc
Shot list template is on Blackboard in the pre-production folder.

57. SCENE 1 : HOUSE
- On PC
- Shot of typing and mouse clicking
- Close up eyes
- Shot of her face as she works
- Side shot lip syncing

58. SCENE 2 : STREET
- Walking and lip syncing
- Side angle lip syncing
- Close up of walking
- Zoom out
- Phone on ground
(night)
- Side angle of walking
- Mid shot of walking
- Sat on the ground staring at light
- Humming close up
- Stood still
- Laying on ground

59. SCENE 3 : TRAIN STATION
- Wide shot sat down
- Side angle, close up
- Close up/mid shot sat
- Side shot of getting up
- Walking away on phone with zoom out
- Train leaving
- Lip syncs to some of the other lyrics also, close up and mid shot

60. SCENE 4 : MEADOW
- Mid shot spinning in the meadow
- Leaning against a tree (close up and wide shot)
- Walking, mid shot angle from behind
- Birds eye view of her laying down
- Close ups of face, smiling/euphoric
- Atmospheric shots, trees, clouds, grass

61. SCENE 5 : MARKET PLACE
- Mid shot walking down marketplace
- Side angle, Yaz rushing, camera movement matching
- Close up of walking
- Sat on bench at the top of the marketplace
- Close up of her on her phone

62. SCENE 6 : THE PARK
- Swings
- Swinging, mid shot
- Swinging, wide shot
- Other angles and shot types (feet, face etc)
- Swing swinging with nobody on it

63. SCENE : MISC
- Birds eye view of town (eastgate, marketplace, roundabout)
- Cars passing (eastgate)
- Shot of bird
- Leaf blowing
- Tree rustling

64. TASK 3.2 Organisational Planning

65. PRODUCTION GROUP INFO
Include names, contact info, and defined roles at difference stages
of production, using a table is suggested
Name Role Contact
Yasmine Main Performer Via Social
Media
Jake Assistant (Live in the same
household)

66. LOCATION INFORMATION
Information and images of your location[s] for filming
You should have address details, clearance/premissions for filming,
recce photos and floorplans [including camera, equipment and
cast/crew layouts]
Where possible, have a plan B fallback location option
Assess each location for any issues and suggest solutions

67. LOCATIONS
My House: J
Street: J
Train Station: L
backup: Bus Stop
Meadow: J
Market Place: L
backup: Eastgate
The Park: J
Misc: J

68. RISK ASSESSMENT
Risk Assess each separate filming location using the table in the
camera H&S PP on Bb as a staring point
Completing a generic filming assessment would be a start, then you
can add specialist/site specific risks as you progress your production
Remember, a Risk Assessment is an ongoing document, you should
evaluate if anything changes in production and when you put control
measures in place
You should add the table to each call sheet for each location

69. RISK ASSESSMENT
Risk Location High/Low Action
Getting hit by a train Train station Low Stay away from the edge
of the platform
Getting hit by a car Street Low Make sure when recording
to be aware of cars
It could be busy, could
bump into someone
when recording
(COVID 19)
Market Place Medium Be aware of surroundings
when recording or choose
an alternate location
Can get stung by a
nettle
Meadow High Make sure to check for
nettles before recording in
a certain area
Risk of tripping House Medium Make sure nothing is
laying around on the floor
Next to road, could be
hit by a car (or bus) if
not careful
Bus Stop Low Stay away from the road
when recording

70. CONTINGENCY PLANNING
Things go wrong
Your contingency plan is there to give you a backup or to minimise the
effect on production
You should consider the following areas: Technical, Location, Personnel
and Organisational areas [about 5 potential issues for each]
Use the form in pre-production folder on Blackboard

71. CONTINGENCY PLAN
Problem Effect on Production Solution/Control
My phone could
break/get lost
Won't be able to record Borrow a family members
phone or use my old phone
Drone could break, or not
be used
Can't get birds eye
atmosphere shots
Get different shots to
replace them
Can't get access to a large
light source
Night shots can't be taken Either don't take those
shots or find an alternative
light source (streetlamp!)
Friend is unavailable Won't be able to record
the shots needed
Work around her schedule
and when she is free get
as much shots as possible,
can fill in missing shots with
filler
Weather isn't right for
recording
Certain weather is needed
for some shots
Reorganise another time
but get the shots I can with
the current weather
I have work Might be too busy to do
work on top of recording
and case study work
Tell my work that I can't
work on certain days or
work less shifts

72. CONTINGENCY PLAN
Problem Effect on Production Solution/Control
Don't get access to a
tripod
Won't be able to leave
phone recording at a
good angle
My brother can record for
me
Not allowed to record at
the train station
Can't get the shots I need Can use an alternative
location: the bus stop
Too many people around
the marketplace
Will make it difficult to
record
Can use an alternative
location: another street
such as Eastgate
My friend shows
symptoms (COVID 19)
I won't be able to go
record as they will have to
socially isolate
Record my stepsister as a
backup

73. PRODUCTION SCHEDULE
Your schedule should budget a total of 10 hours for production, that is
for the filming and editing of your project.
You should plan when you’re filming and how you intend to use the in
class days on your timetable/class schedule

74. SCHEDULE
Day Shots/ Locations Kit Crew
Thu 8th Street - Phone Yasmine
Me
Fri 9th Misc - Drone Phil
Mon 12th
(evening)
-
Wed 14th
(evening)
Street
Market Place
Park
House
- Phone
- Tripod
- LED
Yasmine
Me
Jake (for street)
Thu 15th
-
Sun 18th
Meadow
Train Station
- Phone
- Tripod
Yasmine
Me

75. CLEARANCE AND PERMISSIONS
Any place you film and anyone you use in the filming of your video
must have a completed form
Blank forms are on Blackboard for you to complete and insert here
(The areas I will record in are public)