The video depicts One Direction performing their song "One Thing" across various settings in London. It begins with the band on steps, then shows them singing and dancing around playground equipment, on bikes, and on a bus while being cheered on by fans. Later scenes take place in a public performance setting with fans gathered around, and on the bus again with shots of screaming fans outside. The video ends with the band performing on stairs and shots of London as the song concludes.
The document provides a detailed shot-by-shot breakdown and description of a music video by the band One Direction for their song "One Thing." It describes each shot's content, including close-ups of individual band members singing lyrics, shots of the full band dancing and walking together, and crowd shots of fans watching their impromptu performance. The locations shift between outdoor settings like steps, a field, and a city area with water features. Props like a clapperboard, space hoppers, bikes, and a guitar are also noted. Costuming has a retro, "deconstructed fogey" style.
This document contains a shooting script for a music video. It lists 102 shots with descriptions of the camera angle, actor(s) involved, and a brief description of the action in each shot. The shots include close-ups of band members singing and playing instruments, wide shots of the band performing and the crowd reacting, and point-of-view shots from various characters. Intercut with these are shots that tell a story of a "normie sister" who is fired from her job and discovers an underground music scene, eventually joining her sister at a concert.
The document provides details for filming a music video for the song "Somebody Told Me" including:
- The band members and their costumes
- Props needed such as microphones, guitars, and drums
- Three filming locations on a college campus
- A shot list of 43 shots detailing camera angles, timing, and description for filming the full song.
This document analyzes and summarizes several hip hop album covers:
1) The N.W.A album "Straight Outta Compton" shows the group pointing a gun at the camera from a low angle, portraying them as powerful and reinforcing the "gangsta rap" theme.
2) Eminem's "Encore" album depicts him in a dark blue background, suggesting depression and moodiness. The "bang" sign on his gun contrasts with his serious expression, leaving the audience wondering about the intended tone.
3) Eminem's "Encore" advert shows him bowing with a hidden gun, reflecting the album's blue mood. His suited appearance represents changing his
The Script- If You Could See Me Now: AnalysisJadeAndrews
The video uses various filming techniques and filters to connect the visuals to the emotional lyrics of the song. It begins with a "Parental Advisory" warning to subvert expectations of the band being family-friendly. Black and white filters are used for intimate close-up shots to emphasize emotion, while color signifies performance and interaction with fans. Shots of the singer's tattoo directly relate to the lyrics. Throughout, the video conveys the band's vulnerability in dealing with bereavement and finding success through overcoming hardship.
- Eminem, born Marshall Mathers III in 1972 in Missouri, is a famous American rapper known by various nicknames like Slim Shady. He dropped out of high school and worked odd jobs before gaining fame through rap battles and being discovered by Dr. Dre. Some of his most popular albums include The Slim Shady LP, The Marshall Mathers LP, and the 8 Mile soundtrack. His songs often address difficult aspects of his life and upbringing.
1. The document outlines the cinematography, mise-en-scene, sound, and editing techniques used in a music video featuring an artist named Lukatar. It provides descriptions for 60 scenes in the video.
2. The video begins by establishing Lukatar at school, then shows her gaining fame and wealth as a musician. Scenes showcase her dancing, rapping, and flashy outfits against backgrounds like graffiti walls and money.
3. As the video progresses, it depicts Lukatar enjoying the lavish lifestyle that fame provides but also facing negativity from others. She begins drinking heavily and partying excessively in an attempt to cope with the downsides of her celebrity status.
Eminem, born Marshall Mathers III in 1972 in Missouri, is considered one of the most influential rappers of all time. He dropped out of high school and began participating in rap battles in Detroit. After being discovered by Dr. Dre, Eminem went on to release successful solo albums like The Slim Shady LP and The Marshall Mathers LP. Songs like "Stan" and "Lose Yourself" have become classics. Through his honest, controversial lyrics and multi-platinum record sales, Eminem helped establish hip hop as a mainstream genre.
The document provides a detailed shot-by-shot breakdown and description of a music video by the band One Direction for their song "One Thing." It describes each shot's content, including close-ups of individual band members singing lyrics, shots of the full band dancing and walking together, and crowd shots of fans watching their impromptu performance. The locations shift between outdoor settings like steps, a field, and a city area with water features. Props like a clapperboard, space hoppers, bikes, and a guitar are also noted. Costuming has a retro, "deconstructed fogey" style.
This document contains a shooting script for a music video. It lists 102 shots with descriptions of the camera angle, actor(s) involved, and a brief description of the action in each shot. The shots include close-ups of band members singing and playing instruments, wide shots of the band performing and the crowd reacting, and point-of-view shots from various characters. Intercut with these are shots that tell a story of a "normie sister" who is fired from her job and discovers an underground music scene, eventually joining her sister at a concert.
The document provides details for filming a music video for the song "Somebody Told Me" including:
- The band members and their costumes
- Props needed such as microphones, guitars, and drums
- Three filming locations on a college campus
- A shot list of 43 shots detailing camera angles, timing, and description for filming the full song.
This document analyzes and summarizes several hip hop album covers:
1) The N.W.A album "Straight Outta Compton" shows the group pointing a gun at the camera from a low angle, portraying them as powerful and reinforcing the "gangsta rap" theme.
2) Eminem's "Encore" album depicts him in a dark blue background, suggesting depression and moodiness. The "bang" sign on his gun contrasts with his serious expression, leaving the audience wondering about the intended tone.
3) Eminem's "Encore" advert shows him bowing with a hidden gun, reflecting the album's blue mood. His suited appearance represents changing his
The Script- If You Could See Me Now: AnalysisJadeAndrews
The video uses various filming techniques and filters to connect the visuals to the emotional lyrics of the song. It begins with a "Parental Advisory" warning to subvert expectations of the band being family-friendly. Black and white filters are used for intimate close-up shots to emphasize emotion, while color signifies performance and interaction with fans. Shots of the singer's tattoo directly relate to the lyrics. Throughout, the video conveys the band's vulnerability in dealing with bereavement and finding success through overcoming hardship.
- Eminem, born Marshall Mathers III in 1972 in Missouri, is a famous American rapper known by various nicknames like Slim Shady. He dropped out of high school and worked odd jobs before gaining fame through rap battles and being discovered by Dr. Dre. Some of his most popular albums include The Slim Shady LP, The Marshall Mathers LP, and the 8 Mile soundtrack. His songs often address difficult aspects of his life and upbringing.
1. The document outlines the cinematography, mise-en-scene, sound, and editing techniques used in a music video featuring an artist named Lukatar. It provides descriptions for 60 scenes in the video.
2. The video begins by establishing Lukatar at school, then shows her gaining fame and wealth as a musician. Scenes showcase her dancing, rapping, and flashy outfits against backgrounds like graffiti walls and money.
3. As the video progresses, it depicts Lukatar enjoying the lavish lifestyle that fame provides but also facing negativity from others. She begins drinking heavily and partying excessively in an attempt to cope with the downsides of her celebrity status.
Eminem, born Marshall Mathers III in 1972 in Missouri, is considered one of the most influential rappers of all time. He dropped out of high school and began participating in rap battles in Detroit. After being discovered by Dr. Dre, Eminem went on to release successful solo albums like The Slim Shady LP and The Marshall Mathers LP. Songs like "Stan" and "Lose Yourself" have become classics. Through his honest, controversial lyrics and multi-platinum record sales, Eminem helped establish hip hop as a mainstream genre.
1) The document discusses several music video conventions including artistic camerawork, breaking continuity editing rules, use of lighting, close-ups of artists, lip syncing, narrative structure, length of music videos, and use of special effects.
2) It analyzes how the conventions were used or challenged in the author's own music video and provides examples from other artists' music videos to illustrate the conventions.
3) The purpose of using or challenging conventions is discussed as a way to make artists stand out, sell their star image, keep audiences interested, and make music videos easier to produce.
This document discusses several conventions of music video production and how the creators challenged or followed these conventions in their own music video. It analyzes conventions such as artistic camerawork, breaking continuity editing rules, use of lighting, close-ups of artists, lip syncing, narrative structure, length of music videos, and use of special effects. For each convention, it provides examples of how it was used in their own video as well as how other artists have challenged or followed these conventions in their music videos.
This document provides a detailed shot-by-shot summary and analysis of a music video. It describes the various camera shots used, including close-ups of band members, shots of the audience, and effects used to symbolize elements of the song. Special effects are used throughout to create an abstract narrative, including a scene where the drummer transforms into a werewolf and is later exorcised. The video depicts the band performing in a hospital setting for patients dressed in white, and uses lighting and costume changes to contrast the formal band with the patients and develop the narrative.
Shot List for 'Somebody Told Me-The Killers'BenPotter1
The document provides a shot list for a music video of the song "Somebody Told Me" by The Killers. It includes 43 shots ranging from close-ups to long shots of the band members singing and playing their instruments on stage. The shots are broken down by sections of the song, including the intro, verse 1, bridge, chorus, and verse 2. Shot types include close-ups, mid shots, long shots, and aerial shots of the band members to capture the lyrics and instrumentation of the song.
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
This document provides a detailed shot-by-shot breakdown for a music video. It outlines the structure of the song, including an introduction, verses, choruses, bridges, and an outro. For each section of the song, it describes the planned visuals including close-ups, zooms, pans, and locations. It involves filming the band performing and interacting with a crowd of conformists who gradually become inspired to break free.
1. The document contains a shot list for a music video with 96 shots listed along with the shot type, action, and mise-en-scene for each shot.
2. Many of the shots are close-ups of the artist lip syncing and expressing emotion to tell the story of a relationship that has ended and the artist working through the pain and memories.
3. Flashback shots with shaky camera movements are used to depict the tensions and ups and downs of the past relationship, while other shots like a heroic stance suggest the artist has overcome the breakup.
The document provides a detailed time-coded analysis of shots in the first minute of three music videos: "Love the Way You Lie" by Rihanna, "Aeroplanes" by B.o.B., and "Read All About It" by Professor Green. It finds that all three videos begin with a close-up or mid-shot of a performer as the song starts, change shots on average every 1-2 seconds with no shot lasting more than 5 seconds, and contain a roughly equal mix of performance and narrative shots, telling a story through the latter.
This music video tells a narrative story that accompanies the song "Buy U A Drank" by T-Pain featuring Yung Joc. The video begins by introducing T-Pain and Yung Joc in a nightclub setting. It then cuts between the nightclub and a second location, showing the artists singing and partying with women. Towards the end, it is revealed that T-Pain and his crew robbed a safe, providing the money seen throughout the video. The video concludes with T-Pain remaining at the closed nightclub as the others depart. Through its cuts between locations and artists, the video synchronizes with the song while depicting the story of a night out implied by the lyrics.
The document provides a summary of a proposed music video for the song "Hey Brother" by Avicii. It will follow the pop/dance genre. Three characters will be featured - two brothers and a female love interest of one brother. The abusive brother wears dark clothing and hits the female character, while the nice brother wears bright clothing and helps restore equilibrium. The narrative focuses on the nice brother's internal conflict over whether to help his abusive brother or the female character. It will show the disruption and restoration of equilibrium between the characters.
The document provides a summary of a proposed music video for the song "Hey Brother" by Avicii. It will follow the pop/dance genre. Three characters will be featured - two brothers and a female love interest of one brother. The abusive brother wears dark clothing and hits the female character, while the nice brother wears bright clothing and helps restore equilibrium. The narrative focuses on the nice brother's internal conflict over whether to help his abusive brother or the female character. It will show the disruption and restoration of equilibrium over the course of the video.
Love the Way You Lie analyzes the 2010 song by Eminem and Rihanna. The music video depicts the singers acting out an abusive relationship, mirroring the lyrics. Scenes like spitting and wall punching correspond to lines about hatred and restraint. The video progresses from passionate love to flames, representing how the relationship deteriorates into something destructive they cannot leave. Technical elements like lighting, cinematography, and special effects help set a dark, moody tone befitting the toxic relationship depicted in the song and visuals.
The document provides descriptions for 74 shots in a music video. The shots include various angles of the band members performing and getting ready, fans reacting, and landscape shots of cities and nature. Many shots focus on the lead singer and emphasize the band's identity through their clothing, hair color, and symbols. The lighting is typically dark to draw attention to the performers and fans are often shown screaming lyrics.
This document analyzes the music video for "Love the Way You Lie" by Rihanna and Eminem. It summarizes several relationships between the music and visuals in the video. These include scenes that correspond to the lyrics being sung, like Megan Fox burning as the lyrics mention setting a house on fire. Intertextual references are also made, like Megan Fox's appearance promoting her new film. Genre characteristics like tattoos are depicted consistently with rap stereotypes. Symbolism like blocked sunlight and camera glare are interpreted as feeling trapped.
This document analyzes and summarizes the album covers of "Marques Houston Naked" and "Omarion 21". For Marques Houston, a medium close-up image sells his image to female audiences through voyeurism and eye contact. The brown color scheme complements his skin tone. For Omarion 21, the title directly relates to the visual of the confident 21-year old artist. His open shirt and suit reflect maturity and elegance in R&B. Both covers feature basic backgrounds and prominent placement of the artist's name to make them the clear focal point.
1. The scene establishes James walking down a street in Soho at night after leaving a club, stumbling as he struggles to keep his balance while holding a beer and bumping into pedestrians.
2. There is an establishing long shot from the side as James walks down the street followed by a close-up of his face as he looks at his phone, showing his club stamp on his wrist confirming he was at the club.
3. Background noises of cars, talking people, and music from clubs can be heard, reflecting the rowdy atmosphere of people on the streets late at night after a night of clubbing.
1. The scene takes place outdoors in London at night as James walks down the streets of Soho after leaving the club, stumbling around drunk while holding a beer and bumping into pedestrians.
2. The scene consists of establishing shots including a long shot of James walking down the street and a close-up of his face looking at his phone, showing his club stamp to indicate he was at the club.
3. Background noises of cars, talking people, and music from clubs can be heard throughout the shots to set the rowdy atmosphere of people on the streets late at night after a night of clubbing.
This document provides a shot-by-shot description of a music video. It consists of 19 shots showing the duo performing and playing instruments to their song. The shots alternate between close-ups of the drummer's feet and hands playing drums/buttons, and shots of the singer holding a microphone. There is no dialogue and the camera pans between the shots to show the performers in time to the music.
The document discusses key differences between software engineering and software programming. Software engineering involves teams developing complex, long-lasting systems through defined processes, with maintenance accounting for over 60% of costs. It addresses multiple stakeholders and separates roles like architect and developer. Software engineering is concerned with all aspects of production, adopting systematic approaches depending on constraints.
This document discusses specifying use cases at different levels of abstraction. It proposes specifying use cases in the SilabReq domain specific language at various levels, from high-level interaction specifications to lower-level UI details. This allows use cases to promote better communication between stakeholders and more rigorous specification as needed for model-driven engineering. The levels include interaction, behavior, and UI specifications. An example order system is used to illustrate the different abstraction levels.
This document discusses the requirements workflow in software development. It describes capturing and managing requirements to design a user-focused system. The goals are to establish agreement on what the system should do, provide understanding of requirements to developers, define system boundaries, and provide a basis for planning, estimating, and defining the user interface. Requirements include functional requirements specifying system actions and non-functional requirements related to qualities like usability, reliability, performance, and supportability. Requirements come from stakeholders' requests and needs and are expressed as system features.
1) The document discusses several music video conventions including artistic camerawork, breaking continuity editing rules, use of lighting, close-ups of artists, lip syncing, narrative structure, length of music videos, and use of special effects.
2) It analyzes how the conventions were used or challenged in the author's own music video and provides examples from other artists' music videos to illustrate the conventions.
3) The purpose of using or challenging conventions is discussed as a way to make artists stand out, sell their star image, keep audiences interested, and make music videos easier to produce.
This document discusses several conventions of music video production and how the creators challenged or followed these conventions in their own music video. It analyzes conventions such as artistic camerawork, breaking continuity editing rules, use of lighting, close-ups of artists, lip syncing, narrative structure, length of music videos, and use of special effects. For each convention, it provides examples of how it was used in their own video as well as how other artists have challenged or followed these conventions in their music videos.
This document provides a detailed shot-by-shot summary and analysis of a music video. It describes the various camera shots used, including close-ups of band members, shots of the audience, and effects used to symbolize elements of the song. Special effects are used throughout to create an abstract narrative, including a scene where the drummer transforms into a werewolf and is later exorcised. The video depicts the band performing in a hospital setting for patients dressed in white, and uses lighting and costume changes to contrast the formal band with the patients and develop the narrative.
Shot List for 'Somebody Told Me-The Killers'BenPotter1
The document provides a shot list for a music video of the song "Somebody Told Me" by The Killers. It includes 43 shots ranging from close-ups to long shots of the band members singing and playing their instruments on stage. The shots are broken down by sections of the song, including the intro, verse 1, bridge, chorus, and verse 2. Shot types include close-ups, mid shots, long shots, and aerial shots of the band members to capture the lyrics and instrumentation of the song.
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
This document provides a detailed shot-by-shot breakdown for a music video. It outlines the structure of the song, including an introduction, verses, choruses, bridges, and an outro. For each section of the song, it describes the planned visuals including close-ups, zooms, pans, and locations. It involves filming the band performing and interacting with a crowd of conformists who gradually become inspired to break free.
1. The document contains a shot list for a music video with 96 shots listed along with the shot type, action, and mise-en-scene for each shot.
2. Many of the shots are close-ups of the artist lip syncing and expressing emotion to tell the story of a relationship that has ended and the artist working through the pain and memories.
3. Flashback shots with shaky camera movements are used to depict the tensions and ups and downs of the past relationship, while other shots like a heroic stance suggest the artist has overcome the breakup.
The document provides a detailed time-coded analysis of shots in the first minute of three music videos: "Love the Way You Lie" by Rihanna, "Aeroplanes" by B.o.B., and "Read All About It" by Professor Green. It finds that all three videos begin with a close-up or mid-shot of a performer as the song starts, change shots on average every 1-2 seconds with no shot lasting more than 5 seconds, and contain a roughly equal mix of performance and narrative shots, telling a story through the latter.
This music video tells a narrative story that accompanies the song "Buy U A Drank" by T-Pain featuring Yung Joc. The video begins by introducing T-Pain and Yung Joc in a nightclub setting. It then cuts between the nightclub and a second location, showing the artists singing and partying with women. Towards the end, it is revealed that T-Pain and his crew robbed a safe, providing the money seen throughout the video. The video concludes with T-Pain remaining at the closed nightclub as the others depart. Through its cuts between locations and artists, the video synchronizes with the song while depicting the story of a night out implied by the lyrics.
The document provides a summary of a proposed music video for the song "Hey Brother" by Avicii. It will follow the pop/dance genre. Three characters will be featured - two brothers and a female love interest of one brother. The abusive brother wears dark clothing and hits the female character, while the nice brother wears bright clothing and helps restore equilibrium. The narrative focuses on the nice brother's internal conflict over whether to help his abusive brother or the female character. It will show the disruption and restoration of equilibrium between the characters.
The document provides a summary of a proposed music video for the song "Hey Brother" by Avicii. It will follow the pop/dance genre. Three characters will be featured - two brothers and a female love interest of one brother. The abusive brother wears dark clothing and hits the female character, while the nice brother wears bright clothing and helps restore equilibrium. The narrative focuses on the nice brother's internal conflict over whether to help his abusive brother or the female character. It will show the disruption and restoration of equilibrium over the course of the video.
Love the Way You Lie analyzes the 2010 song by Eminem and Rihanna. The music video depicts the singers acting out an abusive relationship, mirroring the lyrics. Scenes like spitting and wall punching correspond to lines about hatred and restraint. The video progresses from passionate love to flames, representing how the relationship deteriorates into something destructive they cannot leave. Technical elements like lighting, cinematography, and special effects help set a dark, moody tone befitting the toxic relationship depicted in the song and visuals.
The document provides descriptions for 74 shots in a music video. The shots include various angles of the band members performing and getting ready, fans reacting, and landscape shots of cities and nature. Many shots focus on the lead singer and emphasize the band's identity through their clothing, hair color, and symbols. The lighting is typically dark to draw attention to the performers and fans are often shown screaming lyrics.
This document analyzes the music video for "Love the Way You Lie" by Rihanna and Eminem. It summarizes several relationships between the music and visuals in the video. These include scenes that correspond to the lyrics being sung, like Megan Fox burning as the lyrics mention setting a house on fire. Intertextual references are also made, like Megan Fox's appearance promoting her new film. Genre characteristics like tattoos are depicted consistently with rap stereotypes. Symbolism like blocked sunlight and camera glare are interpreted as feeling trapped.
This document analyzes and summarizes the album covers of "Marques Houston Naked" and "Omarion 21". For Marques Houston, a medium close-up image sells his image to female audiences through voyeurism and eye contact. The brown color scheme complements his skin tone. For Omarion 21, the title directly relates to the visual of the confident 21-year old artist. His open shirt and suit reflect maturity and elegance in R&B. Both covers feature basic backgrounds and prominent placement of the artist's name to make them the clear focal point.
1. The scene establishes James walking down a street in Soho at night after leaving a club, stumbling as he struggles to keep his balance while holding a beer and bumping into pedestrians.
2. There is an establishing long shot from the side as James walks down the street followed by a close-up of his face as he looks at his phone, showing his club stamp on his wrist confirming he was at the club.
3. Background noises of cars, talking people, and music from clubs can be heard, reflecting the rowdy atmosphere of people on the streets late at night after a night of clubbing.
1. The scene takes place outdoors in London at night as James walks down the streets of Soho after leaving the club, stumbling around drunk while holding a beer and bumping into pedestrians.
2. The scene consists of establishing shots including a long shot of James walking down the street and a close-up of his face looking at his phone, showing his club stamp to indicate he was at the club.
3. Background noises of cars, talking people, and music from clubs can be heard throughout the shots to set the rowdy atmosphere of people on the streets late at night after a night of clubbing.
This document provides a shot-by-shot description of a music video. It consists of 19 shots showing the duo performing and playing instruments to their song. The shots alternate between close-ups of the drummer's feet and hands playing drums/buttons, and shots of the singer holding a microphone. There is no dialogue and the camera pans between the shots to show the performers in time to the music.
The document discusses key differences between software engineering and software programming. Software engineering involves teams developing complex, long-lasting systems through defined processes, with maintenance accounting for over 60% of costs. It addresses multiple stakeholders and separates roles like architect and developer. Software engineering is concerned with all aspects of production, adopting systematic approaches depending on constraints.
This document discusses specifying use cases at different levels of abstraction. It proposes specifying use cases in the SilabReq domain specific language at various levels, from high-level interaction specifications to lower-level UI details. This allows use cases to promote better communication between stakeholders and more rigorous specification as needed for model-driven engineering. The levels include interaction, behavior, and UI specifications. An example order system is used to illustrate the different abstraction levels.
This document discusses the requirements workflow in software development. It describes capturing and managing requirements to design a user-focused system. The goals are to establish agreement on what the system should do, provide understanding of requirements to developers, define system boundaries, and provide a basis for planning, estimating, and defining the user interface. Requirements include functional requirements specifying system actions and non-functional requirements related to qualities like usability, reliability, performance, and supportability. Requirements come from stakeholders' requests and needs and are expressed as system features.
1) The document is a song lyric sheet that provides lyrics, shot descriptions, and casting details for a song about insomnia.
2) It includes lyrics for verses about struggling at night to write, past worries of going mad from stress, and not being able to sleep for weeks despite taking sleep medication.
3) The sheet provides details for three shots, including suggestions for camera movements and close-ups, and indicates lyrics that should be lipsynced for each shot. It also lists props, makeup, and initials for the cast required.
This document discusses how IT can provide competitive advantages if managed properly and with a focus on cost. It argues that while core IT functions are now commodities, value can be added through innovative uses of technologies like mobile, analytics, and cloud computing. The window to gain advantages from IT is brief, so businesses must continually reengineer their IT processes to facilitate new opportunities in areas like the mobile web revolution and utility-supplied cloud computing.
The document discusses the key activities in requirements engineering including inception, elicitation, analysis modeling, negotiation and validation. It describes techniques used in each stage such as use cases, class and state diagrams to model requirements. Quality function deployment and patterns are also discussed as tools to help define and organize requirements.
1) The document is a script for a music video that tells the story of Christopher trying to win back his ex-girlfriend Rihanna after cheating on her.
2) After dropping all of his possessions in a rush to get to Rihanna before she moves away, Christopher has flashbacks of their relationship and pushes himself to keep running to her.
3) Christopher finally reaches Rihanna but is then hit by a car. The story ends with Christopher's death and Rihanna's anguish as she realizes what has happened.
The document is a script for a music video for the song "Blank Space" by Taylor Swift. It provides details on lyrics, locations, shots, transitions, lenses, lighting and more for each section of the song. The script outlines shots of Taylor Swift singing in various ornate locations including a mansion, bedroom and stairs. It also includes shots of a male model interacting with Swift. The script coordinates the shots with the lyrics and beat of the song.
This is the script for our music video: "Hitchhiker" by OMI
This script will help us cover how we are to film our music video e.g. how we will use the various shot types, locations, characters
Christopher desperately tries to win back his ex-girlfriend Rihanna after cheating on her. He runs various errands to try to stop her from moving away to America. In the climax, Christopher runs across the street to stop Rihanna, but is hit by a car. Rihanna finds Christopher dying on the ground as the story ends tragically.
Christopher tries to win back his ex-girlfriend Rihanna after cheating on her. He drops his wallet and oyster card while rushing to catch a train. Flashbacks show their happy memories together. Christopher receives flirty messages from the other woman. He runs desperately through a field to stop Rihanna from moving abroad, but is hit by a car at the final moment. Rihanna finds Christopher dying and cradles in another man's arms in grief.
1. The document describes the shots and camera movements in a music video for the song "Money Trees" by Kendrick Lamar. It includes 24 numbered sections that detail the camera angles, composition, lighting, and transitions between shots.
2. The shots start with a dolly shot introducing the artist in front of a mansion before tracking through the burgled home and out to a suburban street. Shots include the artist rapping in a car driving through poor neighborhoods and on a basketball court.
3. The camerawork aims to contrast affluence and poverty with shots of mansions, dollar bills, and run-down suburban areas. There are close-ups of the artist rapping and transitions between shots
1. The document describes the shots and camera movements in a music video for the song "Money Trees" by Kendrick Lamar. It includes 24 numbered entries that detail the camera shots, angles, movements, lighting, and content within each shot.
2. The shots transition between scenes of the artist rapping in front of a mansion, traveling in a car through suburban neighborhoods, and playing basketball at an outdoor court. Money and dollar bills become a recurring visual motif throughout the video.
3. The camera movements include dolly shots, tracking shots, tilts, pans, zooms, and changes in shot scale and camera angles. Lighting remains mostly high key to keep the tone. The shots juxt
The document is a storyboard for a soap opera titled "The Avenue". It contains 19 scenes showing establishing shots, characters getting ready, people walking to a pub where a party is taking place, a mysterious figure stalking the characters in a dark car, and the figure entering the pub violently while the main character looks shocked. The final scene fades into a voiceover announcing the show details.
The document is a storyboard for a soap opera titled "The Avenue". It contains 19 scenes showing establishing shots, characters getting ready, people walking to a pub where a party is taking place, a mysterious figure stalking the characters in a dark car, and the figure arriving at the pub causing a shocked reaction from one of the characters. The storyboard provides direction for shots including angles, movement, and soundtrack for each scene.
The document is a storyboard for a soap opera titled "The Avenue". It contains 19 scenes showing establishing shots, characters getting ready, people walking to a pub where a party is happening, a mysterious figure stalking in a car outside, and then entering the pub violently. The final scene shows the main female character having a shocked reaction as a red balloon bursts in slow motion.
Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Final timings sheet 1
1. 1D One Thing denotation of original vid (total length 3:18)
ABBREVIATIONS: Band members: HS, LP, ZM, NH, LT: Harry Styles, Liam Payne, Zayn Malik, Niall Horan, Louis
Tomlinson. Frame position: TOP/BOT, R/L/C. Angles: LA/HA/DA. Shots: ELS/LS/MLS/MS/MCU/CU/ ECU.
SHOT
#
sequenc
e
start
time
LYRIC; shot info
LYRICS IN CAPS, shot info on separate line; use MCU, LA
etc for shots; include any cam movement. Add bold to
lyrics actually lipsynched within shot
Mise-en-scene; props/makeup
required
Cast
Initials
only
1 1 0:00
MLS on 3 levels of steps: 4 quick cuts, change position for
each shot. Clapperboard held bottom centre, shoulder of
girl holding it to bot L.
Clapperboard. Bus in background, but
not important.
Clothing is deconstructed fogey: braces,
buttoned up blazers, waistcoat, ties etc.
0:01
As above
0:02
As above
0:03
As above
0:04
[LIAM PAYNE:] I'VE TRIED PLAYING IT COOL
LP is bot centre of steps, rest above him as before.
Clapperboard removed.
0:07
LP: BUT WHEN I'M LOOKING AT YOU I CAN'T EVER
BE BRAVE
CU of LP, to L of frame. The ‘you’ is long: you-uh
Grey waistcoat, black tie (done up
tightly), white shirt
Can just see to TOP R 1 of band air
guitaring
0:10
LP: BUT WHEN I'M LOOKING AT YOU I CAN'T EVER
BE BRAVE
Beatles/Hard Day’s Night shot: ELS of all 5, arms round
shoulders, legs stretched wide, walking towards camera
Field
0:12
LP: BUT WHEN I'M LOOKING AT YOU I CAN'T EVER BE
BRAVE
As above but in MLS
0:14
'CAUSE YOU MAKE MY HEART RACE
Back to CU of LP. Cuts on race.
0:18
[HARRY STYLES:] SHOT ME OUT OF THE SKY
Steps 5-shot MLS again: next 2 shots have members
changing position
0:19
[HARRY STYLES:] SHOT ME OUT OF THE SKY
Steps 5-shot MLS again. HS pulls stupid face: hand over
chin like scratching beard.
0:21
[HARRY STYLES:] SHOT ME OUT OF THE SKY
Steps 5-shot MLS again. HS now BOT C, not lipsynching
until this shot.
0:22
3-shot, ELS back in field, space hopping towards cam Space hoppers
1
2. 1D One Thing denotation of original vid (total length 3:18)
0:23
HS: YOU'RE MY KRYPTONITE
5-shot, HS in kids’ toy car rides off to L, NH runs ahead of
3 on space hoppers
Kids toy car
0:23
YOU'RE MY KRYPTONITE
4-shot, HS entering frame BOT R in toy car, 1 space
hopper rolling towards him (1 guy chasing it), 2 stood TOP
0:24
YOU'RE MY KRYPTONITE
5-shot. HS being pushed by +2, 2 more look on from L,
space hopper at BOT L.
0:25
YOU'RE MY KRYPTONITE
LP running to BOT L, space hopper bounces high TOP R
0:26
HS: YOU KEEP MAKING ME WEAK
MCU of HS lipsynching, 3 more in frame behind. Steps.
0:29
YOU KEEP MAKING ME WEAK
YEAH, FROZEN AND CAN'T BREATHE
LS of 3 going to BOT L on choppers (bikes); we lose 2
from the shot + track just 1 in the lead
Choppers (bikes). Still in field setting.
0:30
YEAH, FROZEN AND CAN'T BREATHE
OTS from BOT L, HS in ELS pulling silly moves on bike
0:31
YEAH, FROZEN AND CAN'T BREATHE
OTS (from R) MCU of 1, not lipsynching
0:32
YEAH, FROZEN AND CAN'T BREATHE
Same as 0:26
0:34
[end of] BREATHE
[ZAYN MALIK:] SOMETHING'S GOTTA GIVE NOW
HS LS on bike drinking, fills frame, bike facing R
Can/bottle of drink
0:35
SOMETHING'S GOTTA GIVE NOW
As with 0:26 etc, only its ZM BOT C + lipsynching
0:36
SOMETHING'S GOTTA GIVE NOW
ZM LS hiding behind playground structure
Playground, or something with
structures to hide behind: head angled,
looking out
0:37
CAUSE I'M DYING JUST TO MAKE YOU SEE
5-shot LS, all running in + out toward camera of the
structure.
0:37
CAUSE I'M DYING JUST TO MAKE YOU SEE
ZM MS (L), HS to R
Water in background
0:38
CAUSE I'M DYING JUST TO MAKE YOU SEE
ZM MS now on L, LP to R playing guitar
Guitar
2
3. 1D One Thing denotation of original vid (total length 3:18)
0:39
CAUSE I'M DYING JUST TO MAKE YOU SEE
Running in + out of structure again, this time they’re close
to cam
0:40
THAT I NEED YOU HERE WITH ME NOW
Back to steps, ZM BOT C MS, rest in LS above him
0:42
THAT I NEED YOU HERE WITH ME NOW
Playing around the structure again, 1 swinging on it
0:42
THAT I NEED YOU HERE WITH ME NOW
5-shot ELS running around in front of park water-feature
Park water-feature
0:43
Same as above, but MS/MLS (closer to cam)
0:44
Getting on bus
0:45
CAUSE YOU'VE GOT THAT ONE THING
Whip pan L-R across MS/MCU of 5 in line, ZM is 4th
along.
Water behind them. ZM moves in to cam, HS turns to look
at him.
0:47-
49
On the bus
0:49
[EVERYONE:] SO GET OUT, GET OUT, GET OUT OF
MY HEAD
On the bus
Although shot on the bus, these shots
are basically about the band being
hailed by the public.
0:52
AND FALL INTO MY ARMS INSTEAD
0:57
I DON'T, I DON'T, DON'T KNOW WHAT IT IS
1:00
BUT I NEED THAT ONE THING
1:03-
1:08
AND YOU'VE GOT THAT ONE THING
1:08-
1:11
Getting off the bus
1:12
[NIALL HORAN:] NOW I'M CLIMBING THE WALLS
Just off the bus, they’re rushing along a busy street; NH
has guitar. They then set up a mic stand. There’s a busker
in shot as they start rushing along.
Guitar
Band are surrounded by public in a
circle, but with space to perform and
dance
1:15
BUT YOU DON'T NOTICE AT ALL
MLS NH singing into mic/stand + playing guitar + other
1Ds around him. Crowd gathered round, some filming on
phones. A wobbly zoom into NH
Crowd, mobiles. Mic + mic stands (2
visible in 1:19)
1:18
Cut away on the ALL: girl (L) holding phone up for photo;
we see the flash
1:19
THAT I'M GOING OUT OF MY MIND
NH dancing MLS, crowd visible, as are mic stands
3
4. 1D One Thing denotation of original vid (total length 3:18)
1:21
MLS of fan getting photo with 1D member
1:22
MS of fan getting photo with 1D member
1:23
ALL DAY AND ALL NIGHT
2 in MS/MCU lipsynching. Share a look with each other +
turn back to cam.
1:25
ELS/LS Band walking in city, water feature behind, fans
around them but not too crowded.
Water feature or sculpture
1:27
LOUIS TOMLINSON & ZAYN MALIK IN BACKGROUND:]
SOMETHINGS' GOTTA GIVE NOW
MS fans (all teen F) waving (seem to be behind a barrier)
1:29
SOMETHINGS' GOTTA GIVE NOW
All 5 back in the performing circle, crowd around – but
shot from BEHIND: LS.
1:30
CAUSE I'M DYING JUST TO KNOW YOUR NAME
2-shot MCU, 2 more at edge of frame
1:32
CAUSE I'M DYING JUST TO KNOW YOUR NAME
1 clapping, MS, turned side on
1.34
AND I NEED YOU HERE WITH ME NOW
Lip syncing straight to the camera. Others messing about
in background.
BUS
1.36
AND I NEED YOU HERE WITH ME NOW
Clapping and performing in crowd of fans.
1.37
CAUSE YOU’VE GOT THAT ONE THING
Showing screaming fans
Fans wearing 1D hoodies etc.
1.40
CAUSE YOU’VE GOT THAT ONE THING
Flashes to bus for less than second. Goes back to crowd
performance. Boys jumping and dancing.
BUS
1.41
SO GET OUT, GET OUT, GET OUT OF MY HEAD
Performing in the crowd.
Guitar needed for Niall.
1.45
AND FALL INTO MY ARMS INSTEAD
Screaming fans behind metal bars.
1.47
AND FALL INTO MY ARMS INSTEAD
Back to performance, Harry dancing with older fan.
1.48
AND FALL INTO MY ARMS INSTEAD
Lip syncing.
BUS
1.49
I DON’T, I DON’T, DON’T KNOW WHAT IT IS
3 different shots of them performing within crowd.
Interacting with them
4
5. 1D One Thing denotation of original vid (total length 3:18)
1.51
I DON’T, I DON’T, DON’T KNOW WHAT IT IS
Lip syncing
BUS
1.52
I DON’T, I DON’T, DON’T KNOW WHAT IT IS
Performing in crowd and screaming fans
1.53
BUT I NEED THAT ONE THING
Screaming fans outside bus and behind bars
1.56
BUT I NEED THAT ONE THING
Lip syncing
BUS
1.57
BUT I NEED THAT ONE THING
Buses perspective of London streets at night
2:00
[EVERYONE:] GET OUT, GET OUT, GET OUT OF MY
MIND
BUS
2:01
AND COME ON, COME INTO MY LIFE I DON'T, I DON'T,
DON'T KNOW WHAT IT IS
BUS
2:02
AND COME ON, COME INTO MY LIFE I DON'T, I DON'T,
DON'T KNOW WHAT IT IS
BUS
2:03
LS 4 female fans running L-R tracking Street at night
2:04
MS line of fans
2:04
MS 5 shot HS has thumbs up,
2:05
CU 2 fans with poster Poster
2:07
On the bus
2:08
MS, LA
3 shot of fans
1D T-shirts
2:10
LS, Crowd Fans – posters, Security guard Poster
2:12
YOU'VE GOT
MS, 5 shot, pointing at camera
St Paul’s Cathedral and Millennium
Bridge in background
2:14
THAT
CU Niall and Liam
2:15
ONE THING
MS, 2 shot fans screaming
2:16
[EVERYONE:] WOAH (CLAPPING)
Panning shot of the band, CU L-R
2:18
(CLAPPING)
MS, 5 shot
2:19 LS, steps, Group band Louis at front Bus in background
5
6. 1D One Thing denotation of original vid (total length 3:18)
Park
2:22
Panning shot BUS
2:24
LS Running to sofa Sofa
2:25
5shot LS jumping from behind the sofa onto the sofa
(centre shot)
Dark ‘friends sofa’ outside. Lamp and
table giving light by the side of sofa.
2:27
YOUVE
5 shot MS. Standing clapping hands to the beat
Outside in the dark with light for the
background. City buildings in the
background. Also tree. And what looks
to be a bridge
2:28
GOT THAT ONE
2 shot MCU NH and HS. Both singing
Background blurred night city.
2:30
THING
LS 5 shot on sofa. 2 laying across the sofa one sitting. LP
and ZM stood up. HS sat On ZM and LT sat down
Outside in the dark with light for the
background. City buildings in the
background. Also tree. And what looks
to be a bridge
2:31
GET OUT GET OUT GET OUT OF MY HEAD
5 shot MS centre framed
Outside in the dark with light for the
background. City buildings in the
background. Also tree. Stood on the
bridge this time
2:34
AND FALL IN TO MY ARMS.
2 shot LP lip syncing and LT smiling and swaying looking
at him
Outside city on bridge in dark. Tree
frame Left
2:37
INSTEAD
5 shot MS centre framed LP lip syncing
Outside in the dark with light for the
background. City buildings in the
background. Also tree. Stood on the
bridge this time
2:38
SO GET OUT
ELS 5 shot surrounded by crowd of girls lip syncing
In front of a building and jump when they
start to sing they lyrics
2:39
GET OUT GET
MS 5 Shot with crowd of girls in background lip syncing
In front of the building still
2:40
OUT OF MY HEAD
Bus shot all lip syncing
Bus Shot
2:41
Eeaaddddd
Mcu ZM and LT both lip syncing
Bus Shot
2:42
AND FALL INTO MY
MCU of a 3 shot of band on stage at concert lip syncing
On a stage singing to the crowd
2:43
ARMS
Bus Shot
Bus Shot
2:44
Tracking MS from behind walking through a town and LP
swinging on a lamp post
6
7. 1D One Thing denotation of original vid (total length 3:18)
3:05
I
Bus shot
3:06
NEED THAT
Bus shot
3:07
ONE
MLS OTS from inside the crowd dancing
guitar
3:08
THING
Camera panning OTS through crowd everyone dancing
having a good time
Fans in casual clothes
3:09
YOU’VE GOT
Bus shot
3:09
THAT
5 shot MS in front of the bridge
3:10
ONE
LS on stairs. BOM [LIAM]
Bus in background
3:11
THI
LS on stairs change of person at front. BOM [HARRY]
3:12
NG
LS on stairs change of person at front [ZANE
3:13
XLS of London
3:18
Fade to black
7