This document provides details on 31 shots to film a music video for the song "Mr. Brightside" by The Killers. Each shot is described in terms of camera angle, movement, scene setting, lighting, color, and characters' costumes. The shots alternate between scenes of a band performing the song and scenes telling a narrative of relationship drama between characters Guy A, Lauren, and Guy B that mirrors the song's lyrics. The shots are planned to seamlessly transition between the band and narrative scenes to fully synchronize the visuals with the music.
The document provides editing notes and instructions for shooting a music video set to the song "Mr. Brightside" by The Killers. It describes 10 shots, including establishing shots of the band performing, flashback scenes showing characters' backstories, and shots advancing the narrative between the song's lyrics. The shots are to be filmed in both indoor and outdoor locations, incorporating changes in lighting, camera angles, and color effects to distinguish flashbacks from the present. The document aims to seamlessly edit the shots together to visualize the song's lyrics and story.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both close-ups and long shots of the band performing, as well as shots showing a narrative of a boy watching his girlfriend with another guy.
3. The shots are described in detail with information on camera angles, lighting, color effects, settings, costumes, and how each shot relates to and advances the lyrics of the song.
The document provides details for 9 shots of a music video set to the song "Mr. Brightside" by The Killers. Shot 1 is an establishing shot of the stage with a dolly zoom. Shot 2 is a long shot of the band performing for 2 lines of lyrics. Shot 3 shows the character Guy A standing in a field, introducing the narrative. The following shots alternate between scenes of the band performing and scenes showing the story of Guy A's relationship.
The document provides details on 34 shots for a music video adaptation of the song "Mr. Brightside" by The Killers. The shots include both performance shots of the band playing in a music practice room and storyline shots following characters Lauren and two guys (Guy A and Guy B) to depict the song's lyrics. The shots vary from close-ups to mid and long shots, include notes on camera angles, lighting, location, and costumes. Precise editing notes are provided to seamlessly connect the shots and sync them to the song.
The shooting schedule outlines 49 shots to film a music video narrative and band performance. The narrative follows a protagonist who wakes with a hangover after a night of partying. He sees the aftermath of the party around his home before leaving after an argument with his mother. Interspersed are shots of the band lip syncing and playing instruments. Towards the end, the protagonist attends another party at a friend's house. The video comes full circle when another person wakes with a hangover, implying the cycle will continue.
This shooting schedule outlines 57 shots for a music studio recording session, a domestic dispute scene, and a night out drinking with friends. The shots include various angles, close-ups, and movements to capture the key actions and emphasize important details. Locations include a recording studio outfitted with instruments, a stereotypical family home, and a public house. Characters are portrayed through their costumes, facial expressions, and interactions with others. The schedule provides technical direction to help visualize and film the intended scenes.
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.
The document outlines 54 shots for a film or music video. It describes the shot type, action, mise-en-scene, and lighting for each shot. The shots cover both performance and narrative sections, with various angles, movements, close-ups, and long shots. Locations include outdoors in woodlands and a performance space indoors lit with fairy lights. Costumes change appropriately between scenes.
The document provides editing notes and instructions for shooting a music video set to the song "Mr. Brightside" by The Killers. It describes 10 shots, including establishing shots of the band performing, flashback scenes showing characters' backstories, and shots advancing the narrative between the song's lyrics. The shots are to be filmed in both indoor and outdoor locations, incorporating changes in lighting, camera angles, and color effects to distinguish flashbacks from the present. The document aims to seamlessly edit the shots together to visualize the song's lyrics and story.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both close-ups and long shots of the band performing, as well as shots showing a narrative of a boy watching his girlfriend with another guy.
3. The shots are described in detail with information on camera angles, lighting, color effects, settings, costumes, and how each shot relates to and advances the lyrics of the song.
The document provides details for 9 shots of a music video set to the song "Mr. Brightside" by The Killers. Shot 1 is an establishing shot of the stage with a dolly zoom. Shot 2 is a long shot of the band performing for 2 lines of lyrics. Shot 3 shows the character Guy A standing in a field, introducing the narrative. The following shots alternate between scenes of the band performing and scenes showing the story of Guy A's relationship.
The document provides details on 34 shots for a music video adaptation of the song "Mr. Brightside" by The Killers. The shots include both performance shots of the band playing in a music practice room and storyline shots following characters Lauren and two guys (Guy A and Guy B) to depict the song's lyrics. The shots vary from close-ups to mid and long shots, include notes on camera angles, lighting, location, and costumes. Precise editing notes are provided to seamlessly connect the shots and sync them to the song.
The shooting schedule outlines 49 shots to film a music video narrative and band performance. The narrative follows a protagonist who wakes with a hangover after a night of partying. He sees the aftermath of the party around his home before leaving after an argument with his mother. Interspersed are shots of the band lip syncing and playing instruments. Towards the end, the protagonist attends another party at a friend's house. The video comes full circle when another person wakes with a hangover, implying the cycle will continue.
This shooting schedule outlines 57 shots for a music studio recording session, a domestic dispute scene, and a night out drinking with friends. The shots include various angles, close-ups, and movements to capture the key actions and emphasize important details. Locations include a recording studio outfitted with instruments, a stereotypical family home, and a public house. Characters are portrayed through their costumes, facial expressions, and interactions with others. The schedule provides technical direction to help visualize and film the intended scenes.
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.
The document outlines 54 shots for a film or music video. It describes the shot type, action, mise-en-scene, and lighting for each shot. The shots cover both performance and narrative sections, with various angles, movements, close-ups, and long shots. Locations include outdoors in woodlands and a performance space indoors lit with fairy lights. Costumes change appropriately between scenes.
This document provides a textual analysis of the music video for "Haim - My Song 5" in four paragraphs. It summarizes the cinematography, mise-en-scene, editing, and sound of the video. For the cinematography section, it describes the different shots used including medium close-ups, handheld camera movements, and tracking shots. It also notes how shots are used to emphasize performances and establish relationships. The mise-en-scene section describes the costumes worn by the performers and setting of the talk show. The editing section lists the various cuts, slow motion, and pace editing used. Finally, it distinguishes between diegetic and non-diegetic sounds in the video.
The music video for Alt J's "Breezeblocks" depicts a story of domestic violence between a couple in reverse. It shows the events that lead to a woman's death in a bathtub, with a breezeblock on top of her. The video fits conventions of alternative music videos by using its visuals to represent the song's meaning in a dark, artistic way. It effectively uses camerawork like close-ups and editing techniques like varying shot speeds and a reverse narrative to immerse the viewer in the unsettling story.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
9 Frame Analysis: Alt-j - Breezeblocks Laura Davies
1. The music video for "Breezeblocks" by Alt-J tells a story in reverse. It begins with a man looking distraught and ends with him leaving an apartment where he has been abusing his girlfriend.
2. Scenes show the couple fighting violently, with the woman throwing a bottle at him and them struggling over a stone block. He is also seen applying tape to her mouth, suggesting he has kept her trapped.
3. Intercut with these scenes are extreme close-ups of the distressed woman crying, emphasizing how terrified she is. The video ultimately reveals that after the abuse, the man fills a bathtub and drowns her.
Music Video Analysis - Hunger of the Pine - Alt-J (∆)Benjamin Price
This music video analysis summarizes key shots and elements from the music video for the song "Hunger of the Pine" by Alt-J. It begins with an establishing shot of a forest from above. Subsequent shots show a man running through the forest as arrows shoot around him. Later shots provide different perspectives of the man running across an open field and through a landscape as the music discusses themes of love, loss, and longing. The analysis concludes by noting a change in tone at the end of the video as the man stops fighting and admits defeat to the "hunger" he has been experiencing.
Media language beyonce music video megan presentationmeganlsx
Media language refers to the conventions, formats, symbols and narrative structures used in media to convey meaning to audiences. It can be divided into four sections: camera, editing, mise-en-scene, and sound. The music video for Beyoncé's "If I Were a Boy" uses role reversal through its imagery and narrative to explore gender stereotypes. Shots of Beyoncé in masculine roles are juxtaposed with those of her boyfriend in feminine roles. Editing reinforces this theme by cutting between the stereotypical depictions. Camera angles like close-ups are used to highlight the characters' emotions and intensify their interactions, drawing the audience further into analyzing social expectations of men and women
The document provides an analysis of three post-hardcore music videos: "If You Can't Hang" by Sleeping with Sirens, "Perspectives" by Violet, and "Your Guardian Angels" by The Red Jumpsuit Apparatus. Each video depicts the band aggressively playing their instruments in dark settings while portraying emotions like anger, addiction, and depression relating to the song's themes of relationships and loss. Common shots include close-ups of band members' faces and tattoos to appeal to stereotypes of the genre's fans.
The video introduces Sam Beeton as a musician and discusses his music career. It provides samples of his songs and footage of him performing to give viewers a sense of his sound. It also interviews Sam about starting his own record label and releasing a song monthly to subscribers through his Record Club. Sam discusses particular songs and videos, including one for Burberry that increased his profile. The video utilizes various shots of Sam playing, performing, and being interviewed to both discuss his music and give live samples throughout. It aims to provide essential biographical context and samples to introduce Sam Beeton as an artist.
Music video analysis of alt j breezeblocksdanielr1007
1) The music video analyzes Alt-J's "Breezeblocks" and uses close-ups and mid shots to emphasize the intensity of the fight between the main male and female characters.
2) It is filmed in reverse, adding an interesting twist as viewers see events like water flowing up a drain instead of down.
3) The video tells a story of an escalating fight that ends in the apparent murder of the female character with a breezeblock, mirroring the song's title.
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
The music video for Beyoncé's "If I Were a Boy" portrays the artist and her boyfriend in reversed gender roles. Through editing, camera shots, and sound, the video follows a day in their life together with Beyoncé taking on stereotypically masculine roles like a police officer and her boyfriend taking on feminine roles like cooking. This reinforces the theme of role reversal explored in the song's lyrics about understanding each other's perspectives. Close-up shots are used to highlight the emotions of the characters and increase tension between Beyoncé and other people. The video suggests men cannot keep their eyes off the artist and portrays her in an objectified manner for the male gaze.
The document discusses how the student's media product uses, develops, or challenges conventions of real music videos. It includes a 9-frame storyboard for a music video and an analysis of how it follows conventions. For each shot, the student explains stylistic choices and how they relate to conventions in other music videos in genres like pop-rock. The student also compares their fictional album packaging and magazine advertisement to real examples, highlighting conventions like track listings, images of the artist, and release information.
This document discusses different types of music video genres:
- Performance videos focus on showing the artist/band performing throughout the song, often in unusual locations. They feature the artist lip syncing and dancing.
- Narrative videos tell a story similar to a short film, with the artist sometimes acting instead of just performing. They are constructed like short films and mimic different genres. The story keeps viewers engaged until a resolution at the end.
- The example of "How Do You Sleep?" by Sam Smith analyzes it as a performance video based on Smith being featured throughout dancing and lip syncing in various settings.
The document discusses the student's nine frame music video project. It provides descriptions of each shot in the grid, explaining how they demonstrate techniques like showing the relationship between music and visuals, representing the artist in a way the record company would want, using lighting, camerawork, and intertextual references. It also analyzes how the video follows conventions of the pop-rock genre and music video theory. The student compares their work to other music videos to show how it applies concepts and techniques from those examples.
The film pitch proposes an action/historical genre film about a man who cannot die and has lived through many wars throughout history from swords to modern guns. The opening sequence would show the character fighting in different wars from the past through present day to introduce his immortality and lonely existence through war. It would have a sad tone through dark lighting, sad music, and a voiceover explaining the character's experiences to engage audiences with the drama of his sad life defined by endless war and isolation. The goal is to appeal to both younger audiences with action and older audiences with plot twists through the drama.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
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.
Questionnaire results – young adults (18 30 years)Bekah3000
The document summarizes the results of a questionnaire about music video preferences for young adults aged 18-30. It finds that this age group prefers rock music and watching videos on Kerrang! TV. They also prefer bands that are mixed gender and seen in a professional concert environment performing, rather than videos with complex narratives. However, the conclusion is that this age group is not the target audience for a music video being made for an all-male pop band.
A survey was conducted of older adults over 50 years old about their music video preferences. Most respondents preferred the Spice Girls "Wannabe" music video and did not think music videos impacted their decision to buy a song. The majority watched music videos on Vintage TV and preferred pop or classical genres that featured the band performing to a crowd over narratives with other actors. Most also preferred watching music videos on social media like YouTube rather than TV. In conclusion, this older demographic was not the target audience for the band based on their music and genre preferences.
This document summarizes the results of a survey about music video preferences. It finds that most adult respondents between 30-50 prefer rock music, watching music videos on TV rather than online, and videos with a narrative over just showing the band. They also generally prefer bands with a mixed gender and professional/concert environment over a rebellious school setting. The conclusion is that this age group would not be the target audience for a pop band aimed at teenagers.
School uniform, jeans and a t-shirt, and instruments were among the most popular costume and prop choices from the options provided. The main stage, recording studio, music centre, and field were the preferred location selections. The document analyzed results to determine the most commonly selected costumes, locations, and props that could be incorporated into a music video based on the given options.
The document summarizes costume, location, and prop choices for a video based on survey results. School uniforms, jeans and t-shirts were the top costume choices. Main stage, recording studio, music center, and field received the most votes for locations. Instruments, cigarettes, and mobile phones were selected as the preferred props.
This document provides a textual analysis of the music video for "Haim - My Song 5" in four paragraphs. It summarizes the cinematography, mise-en-scene, editing, and sound of the video. For the cinematography section, it describes the different shots used including medium close-ups, handheld camera movements, and tracking shots. It also notes how shots are used to emphasize performances and establish relationships. The mise-en-scene section describes the costumes worn by the performers and setting of the talk show. The editing section lists the various cuts, slow motion, and pace editing used. Finally, it distinguishes between diegetic and non-diegetic sounds in the video.
The music video for Alt J's "Breezeblocks" depicts a story of domestic violence between a couple in reverse. It shows the events that lead to a woman's death in a bathtub, with a breezeblock on top of her. The video fits conventions of alternative music videos by using its visuals to represent the song's meaning in a dark, artistic way. It effectively uses camerawork like close-ups and editing techniques like varying shot speeds and a reverse narrative to immerse the viewer in the unsettling story.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
9 Frame Analysis: Alt-j - Breezeblocks Laura Davies
1. The music video for "Breezeblocks" by Alt-J tells a story in reverse. It begins with a man looking distraught and ends with him leaving an apartment where he has been abusing his girlfriend.
2. Scenes show the couple fighting violently, with the woman throwing a bottle at him and them struggling over a stone block. He is also seen applying tape to her mouth, suggesting he has kept her trapped.
3. Intercut with these scenes are extreme close-ups of the distressed woman crying, emphasizing how terrified she is. The video ultimately reveals that after the abuse, the man fills a bathtub and drowns her.
Music Video Analysis - Hunger of the Pine - Alt-J (∆)Benjamin Price
This music video analysis summarizes key shots and elements from the music video for the song "Hunger of the Pine" by Alt-J. It begins with an establishing shot of a forest from above. Subsequent shots show a man running through the forest as arrows shoot around him. Later shots provide different perspectives of the man running across an open field and through a landscape as the music discusses themes of love, loss, and longing. The analysis concludes by noting a change in tone at the end of the video as the man stops fighting and admits defeat to the "hunger" he has been experiencing.
Media language beyonce music video megan presentationmeganlsx
Media language refers to the conventions, formats, symbols and narrative structures used in media to convey meaning to audiences. It can be divided into four sections: camera, editing, mise-en-scene, and sound. The music video for Beyoncé's "If I Were a Boy" uses role reversal through its imagery and narrative to explore gender stereotypes. Shots of Beyoncé in masculine roles are juxtaposed with those of her boyfriend in feminine roles. Editing reinforces this theme by cutting between the stereotypical depictions. Camera angles like close-ups are used to highlight the characters' emotions and intensify their interactions, drawing the audience further into analyzing social expectations of men and women
The document provides an analysis of three post-hardcore music videos: "If You Can't Hang" by Sleeping with Sirens, "Perspectives" by Violet, and "Your Guardian Angels" by The Red Jumpsuit Apparatus. Each video depicts the band aggressively playing their instruments in dark settings while portraying emotions like anger, addiction, and depression relating to the song's themes of relationships and loss. Common shots include close-ups of band members' faces and tattoos to appeal to stereotypes of the genre's fans.
The video introduces Sam Beeton as a musician and discusses his music career. It provides samples of his songs and footage of him performing to give viewers a sense of his sound. It also interviews Sam about starting his own record label and releasing a song monthly to subscribers through his Record Club. Sam discusses particular songs and videos, including one for Burberry that increased his profile. The video utilizes various shots of Sam playing, performing, and being interviewed to both discuss his music and give live samples throughout. It aims to provide essential biographical context and samples to introduce Sam Beeton as an artist.
Music video analysis of alt j breezeblocksdanielr1007
1) The music video analyzes Alt-J's "Breezeblocks" and uses close-ups and mid shots to emphasize the intensity of the fight between the main male and female characters.
2) It is filmed in reverse, adding an interesting twist as viewers see events like water flowing up a drain instead of down.
3) The video tells a story of an escalating fight that ends in the apparent murder of the female character with a breezeblock, mirroring the song's title.
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
The music video for Beyoncé's "If I Were a Boy" portrays the artist and her boyfriend in reversed gender roles. Through editing, camera shots, and sound, the video follows a day in their life together with Beyoncé taking on stereotypically masculine roles like a police officer and her boyfriend taking on feminine roles like cooking. This reinforces the theme of role reversal explored in the song's lyrics about understanding each other's perspectives. Close-up shots are used to highlight the emotions of the characters and increase tension between Beyoncé and other people. The video suggests men cannot keep their eyes off the artist and portrays her in an objectified manner for the male gaze.
The document discusses how the student's media product uses, develops, or challenges conventions of real music videos. It includes a 9-frame storyboard for a music video and an analysis of how it follows conventions. For each shot, the student explains stylistic choices and how they relate to conventions in other music videos in genres like pop-rock. The student also compares their fictional album packaging and magazine advertisement to real examples, highlighting conventions like track listings, images of the artist, and release information.
This document discusses different types of music video genres:
- Performance videos focus on showing the artist/band performing throughout the song, often in unusual locations. They feature the artist lip syncing and dancing.
- Narrative videos tell a story similar to a short film, with the artist sometimes acting instead of just performing. They are constructed like short films and mimic different genres. The story keeps viewers engaged until a resolution at the end.
- The example of "How Do You Sleep?" by Sam Smith analyzes it as a performance video based on Smith being featured throughout dancing and lip syncing in various settings.
The document discusses the student's nine frame music video project. It provides descriptions of each shot in the grid, explaining how they demonstrate techniques like showing the relationship between music and visuals, representing the artist in a way the record company would want, using lighting, camerawork, and intertextual references. It also analyzes how the video follows conventions of the pop-rock genre and music video theory. The student compares their work to other music videos to show how it applies concepts and techniques from those examples.
The film pitch proposes an action/historical genre film about a man who cannot die and has lived through many wars throughout history from swords to modern guns. The opening sequence would show the character fighting in different wars from the past through present day to introduce his immortality and lonely existence through war. It would have a sad tone through dark lighting, sad music, and a voiceover explaining the character's experiences to engage audiences with the drama of his sad life defined by endless war and isolation. The goal is to appeal to both younger audiences with action and older audiences with plot twists through the drama.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
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.
Questionnaire results – young adults (18 30 years)Bekah3000
The document summarizes the results of a questionnaire about music video preferences for young adults aged 18-30. It finds that this age group prefers rock music and watching videos on Kerrang! TV. They also prefer bands that are mixed gender and seen in a professional concert environment performing, rather than videos with complex narratives. However, the conclusion is that this age group is not the target audience for a music video being made for an all-male pop band.
A survey was conducted of older adults over 50 years old about their music video preferences. Most respondents preferred the Spice Girls "Wannabe" music video and did not think music videos impacted their decision to buy a song. The majority watched music videos on Vintage TV and preferred pop or classical genres that featured the band performing to a crowd over narratives with other actors. Most also preferred watching music videos on social media like YouTube rather than TV. In conclusion, this older demographic was not the target audience for the band based on their music and genre preferences.
This document summarizes the results of a survey about music video preferences. It finds that most adult respondents between 30-50 prefer rock music, watching music videos on TV rather than online, and videos with a narrative over just showing the band. They also generally prefer bands with a mixed gender and professional/concert environment over a rebellious school setting. The conclusion is that this age group would not be the target audience for a pop band aimed at teenagers.
School uniform, jeans and a t-shirt, and instruments were among the most popular costume and prop choices from the options provided. The main stage, recording studio, music centre, and field were the preferred location selections. The document analyzed results to determine the most commonly selected costumes, locations, and props that could be incorporated into a music video based on the given options.
The document summarizes costume, location, and prop choices for a video based on survey results. School uniforms, jeans and t-shirts were the top costume choices. Main stage, recording studio, music center, and field received the most votes for locations. Instruments, cigarettes, and mobile phones were selected as the preferred props.
The document outlines a pitch for a music video for the song "Mr. Brightside" by the band JAR Productions. It will tell the story of a rocky relationship through narrative scenes with actors interspersed with performances by the band. The band members and their roles are identified. Locations like a field, music room, and main stage are listed. Costume details are provided for both the band and actors. Themes of love, betrayal, and lies from the song will be reflected. The target audience is identified as teenage males and females aged 13-17, and the video aims to appeal to them through age-appropriate actors, locations like a school, and a rebellious school band theme.
The document contains the results of a survey about music video preferences. It shows:
- Pop music videos are most popular, especially those by bands like McFly and One Direction.
- Teenagers prefer watching music videos online through sites like YouTube rather than TV.
- They prefer bands made up of male members portrayed in a rebellious style, like in a school setting.
- The survey results indicate teenagers are the target audience for music videos. Using another McFly song would appeal to them based on the data.
Questionnaire results – young adults (18 30 years)Bekah3000
The document summarizes the results of a questionnaire given to young adults aged 18-30 about their music video preferences. It finds that this age group prefers rock music and watches the Kerrang! TV channel most. They prefer bands with mixed gender that are portrayed professionally in a concert setting. Respondents also indicated a preference for performance-focused music videos rather than narratives. The conclusion is that this demographic is not the target audience for a video about an all-male pop band.
- Audience feedback is important to determine if a product is suitable for consumers and their preferences rather than just the creator's preferences.
- The document's target audience was determined to be teenagers aged 13-17 through questionnaires showing they prefer pop music.
- Feedback was gathered from the target audience on elements of music videos and products to ensure they were appealing and appropriate.
- Feedback revealed issues with the narrative of a first draft music video, allowing it to be improved for clarity.
- Seeing the final products' positive reception from the target audience confirmed they were successful in meeting expectations.
This document provides a detailed shot-by-shot breakdown and analysis of a music video. It describes each shot in terms of camera angles, movements, transitions, subjects, and how they relate to the overall story and message. The video follows a girl who feels like an outsider and discovers she connects with the band's music. It uses techniques like green screen, different locations, and color/black-and-white to illustrate her journey from not fitting in to finding acceptance through the band's performance.
Music videos have evolved significantly since the late 19th century. Early music videos in the 1890s were still images projected with live songs, while videos in the 1920s and 1930s featured dancers and singers in short musical films and films incorporating music and song. In the 1960s, the Beatles pioneered the concept of promotional music videos. The launch of MTV in 1981 brought music videos to mass audiences and transformed the industry. Music video budgets and production values increased greatly in subsequent decades, with some major artists spending over $1 million per video by the 1990s. New technologies in the 2000s like YouTube democratized music video sharing but also contributed to their decline on television.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both establishing shots of the band performing on stage as well as close-ups of the singer, and cut between the narrative of a love triangle and shots of the band.
3. The shots are also described in terms of camera angles, movements, lighting, color effects, and mise-en-scene to depict the story and sync with lyrics from the song.
The video for "Mr. Brightside" by The Killers depicts a burlesque show setting with voyeuristic overtones. The lead singer feels jealousy as his love interest pays attention to another wealthy man. Various shots are used including close-ups of the singer and love interest. Jump cuts between the performance and narrative depict the story of the love triangle through the song's lyrics.
The music video uses medium shots and close ups to tell a narrative about a man's relationship with a woman represented as "icebox" or cold heart. Black and white colors and a recurring clock motif symbolize time running out in his efforts to understand the woman, who is portrayed as the source of his problems rather than the solution. The video ends where it begins, continuing the circular theme.
The document provides analyses of various music videos, a CD cover, and magazine advertisements. For the music videos, it summarizes the key elements, themes, and narrative portrayed in videos for songs by Damien Rice, Ryan Adams, and Jamie Lidell. It also analyzes visual elements, symbols, and techniques used in the videos. For the CD cover and magazine advertisements, it examines design elements like layout, imagery, fonts, and information provided to promote the music.
This document contains an analysis of music videos and album covers, as well as a treatment for a proposed music video. The analysis covers elements like mise-en-scene, editing, camerawork, and narrative. The treatment outlines a concept for a music video for The Prodigy's "Take Me to the Hospital" involving an escalating fight and a dream sequence. Research was also done on digipak design conventions.
This document analyzes 7 shots from the music video for "Can't Help Falling in Love" by 21 Pilots. Each shot is analyzed for its location, composition, costuming, lighting, and how it adheres to conventions of indie music videos. The video was shot across various simple, low-budget locations and keeps to conventions like showing the artists' talents, using natural lighting, and portraying a homemade, DIY aesthetic through consistent costuming and narrative structure.
The document outlines details for 30 shots in a film sequence. Shots 1-6 feature a character playing piano in a theater with high key lighting and darkness surrounding him. Shots 7-8 show another character laying in a bed, with shot 8 being a medium shot of him from the waist up. The remaining shots are not described beyond listing the shot number and categories of sound, editing, mise-en-scene, and cinematography techniques.
The music video starts with close-up shots of the lead singer to establish him as the main performer. Low key lighting and short cuts that sync with the music's beat are used to set the mood of an alternative/rock genre video. At 0:14, a long shot shows all band members performing in desaturated black and white. Close-ups of instruments amplify the music. At 0:33, a close-up of a girl signals the start of a narrative storyline. Her movements sync with the lyrics to illustrate the song. Simplistic costumes and lighting maintain consistency throughout the performance-based video.
The document contains a storyboard for a 21-shot music video. It describes the cinematography, editing, mise-en-scene, and sound for each shot. The shots include various angles of the subject Annie as she lip syncs and dances to the song. Special effects and transitions are planned to be added in editing. Locations include a green room, corridors, and outdoors at a college to convey the theme of moving on from relationships at a young age.
The document provides analysis of the video techniques used in 5 music videos:
1. Metallica - One uses blacked out band members, western stock footage, and an abandoned warehouse setting to reflect the dark tone of the song. Close-ups and angles emphasize the importance of the music and drumming. Stock footage is cut with the music.
2. Michael Jackson - Thriller uses horror film-inspired settings, costumes, and camera techniques to portray a movie-like feel. Close-ups show transformation and screaming details. Shots establish settings and conversation-like tracking.
3. Bring Me The Horizon - Sleepwalking uses locations and subtle, handheld shots to portray the fragile nature of sleepwalking. Cross
The video begins with a long shot of an empty room with the performer in the center, establishing the simplicity of the indie/rock genre. Various shots are used throughout - long shots, close ups, and aerial shots - to tell the story and connect with the lyrics about loneliness, loss, and finding freedom. The lighting and minimal props enhance the empty, melancholy feelings. Toward the end, the shots become more positive with bright lighting and wide landscape shots, implying the performer has found happiness again.
A2 Media Task 2 – Conventions Of A Music VideoParasko
The document analyzes the conventions used in several music videos including Rizzle Kicks, Ed Sheeran, Olly Murs, and Wretch 32. It discusses the mise-en-scene, editing, and camera work in the videos. Natural lighting is used in many of the videos to give a casual feel. The settings, costumes, and props relate to the lyrics of the songs. The editing cuts between shots are timed to the rhythm of the music to engage the audience. A variety of shot types like mid shots and close ups are used to show expressions and focus on certain elements.
The video uses a narrative structure to portray the band's frustration with Hollywood's expectations for music videos. It begins by showing the band planning a video with their manager, then cuts between what the band envisions and what Hollywood expects, using various conventions like product placement, sex appeal, and stealing other artists' ideas. By the end, the band appears exhausted by the Hollywood process. The video critiques Hollywood conventions through its exploitation of them for comedic and narrative purposes.
The document provides an analysis of several music album covers and music videos, summarizing the visual elements, themes, and story being conveyed in each. Key details analyzed include backgrounds, costumes, camera shots, colors, symbols and how they relate to the music. The analyses provide insights into how the visuals help represent the music and engage the audience.
This document provides summaries of several music album covers and music videos:
- A summary of a music album cover analysis discusses computer generated graphics, prominent fonts, beach backgrounds, and colorful costumes representing different personalities.
- A summary of the music video for "The Pretender" by Foo Fighters describes its setting in an ice hockey rink with lighting representing violence and riot police confronting the band.
- A summary of the music video for "Fight for This Love" by Cheryl Cole depicts her wearing outfits like tiger print and military uniforms representing overcoming insecurity through fighting.
- A summary of the music video for "Where Is the Love" by Black Eyed Peas shows them questioning
The music video for "Safe & Sound" by Taylor Swift and The Civil Wars uses lighting, settings, costumes, camera angles, and props to symbolically represent the song's themes of death and loss. The video begins in a cabin at night and shows the artist walking alone through dark fields and forests. Darker lighting creates a somber mood, while brighter lighting suggests hope. Isolated natural settings like fields and forests portray the artist's loneliness. Her white nightgown and the male singer's dark clothing further symbolize themes of innocence, death, and loss. Camera angles are used to show the artist's emotions and make the audience feel like they are experiencing the story. A key prop, a metal brooch pin
The document summarizes and analyzes three music videos:
1) Jamie T's "If You Got The Money" takes place in a club with dark backgrounds and red lighting on the singer. It uses shots of unhappy girls and a singing man to tell a storyline.
2) Kings of Leon's "Use Somebody" switches between scenes of a city and a concert, using dark colors and fast editing between long shots and close ups. It focuses mainly on men and sexualizes the few women shown.
3) The Fray's "How To Save A Life" shows close ups of faces and objects in a white room setting. Using words and neutral colors, it depicts different peoples' pain through continuity editing at
Peter Andre's music video for "Unconditional" tells a personal narrative through faded film in the background and shots of Andre alone in a cinema. The video uses close-ups of Andre to show emotion and subtle camera movements. Scenes of a faded film depicting Andre's life, as well as shots of him matching lyrics, help illustrate the song's message. While keeping a simple, lonely aesthetic, the video reveals the personal nature of the song through its storytelling and inclusion of Andre's step-son at the end.
This document contains summaries of 3 music album covers and 3 music videos. For the album covers, it analyzes the imagery, colors, and intended audiences. For the music videos, it discusses the narrative, settings, camera techniques, and messages conveyed. Key details are highlighted about the artists Akon, Leona Lewis, Foo Fighters, Jay-Z, and Kings of Leon to analyze the imagery and storytelling of the album covers and music videos.
The music video depicts a man expressing his feelings for a girl through dance and rhyme. It shows his struggles and efforts to get the girl, from singing alone in his home to dancing with her at the end. Various camera techniques like close-ups and changing angles are used. The lighting remains dim throughout to set the mood. The video serves as an example of techniques used in R&B music videos.
Enchancing adoption of Open Source Libraries. A case study on Albumentations.AIVladimir Iglovikov, Ph.D.
Presented by Vladimir Iglovikov:
- https://www.linkedin.com/in/iglovikov/
- https://x.com/viglovikov
- https://www.instagram.com/ternaus/
This presentation delves into the journey of Albumentations.ai, a highly successful open-source library for data augmentation.
Created out of a necessity for superior performance in Kaggle competitions, Albumentations has grown to become a widely used tool among data scientists and machine learning practitioners.
This case study covers various aspects, including:
People: The contributors and community that have supported Albumentations.
Metrics: The success indicators such as downloads, daily active users, GitHub stars, and financial contributions.
Challenges: The hurdles in monetizing open-source projects and measuring user engagement.
Development Practices: Best practices for creating, maintaining, and scaling open-source libraries, including code hygiene, CI/CD, and fast iteration.
Community Building: Strategies for making adoption easy, iterating quickly, and fostering a vibrant, engaged community.
Marketing: Both online and offline marketing tactics, focusing on real, impactful interactions and collaborations.
Mental Health: Maintaining balance and not feeling pressured by user demands.
Key insights include the importance of automation, making the adoption process seamless, and leveraging offline interactions for marketing. The presentation also emphasizes the need for continuous small improvements and building a friendly, inclusive community that contributes to the project's growth.
Vladimir Iglovikov brings his extensive experience as a Kaggle Grandmaster, ex-Staff ML Engineer at Lyft, sharing valuable lessons and practical advice for anyone looking to enhance the adoption of their open-source projects.
Explore more about Albumentations and join the community at:
GitHub: https://github.com/albumentations-team/albumentations
Website: https://albumentations.ai/
LinkedIn: https://www.linkedin.com/company/100504475
Twitter: https://x.com/albumentations
Unlocking Productivity: Leveraging the Potential of Copilot in Microsoft 365, a presentation by Christoforos Vlachos, Senior Solutions Manager – Modern Workplace, Uni Systems
GraphSummit Singapore | The Art of the Possible with Graph - Q2 2024Neo4j
Neha Bajwa, Vice President of Product Marketing, Neo4j
Join us as we explore breakthrough innovations enabled by interconnected data and AI. Discover firsthand how organizations use relationships in data to uncover contextual insights and solve our most pressing challenges – from optimizing supply chains, detecting fraud, and improving customer experiences to accelerating drug discoveries.
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
Maruthi Prithivirajan, Head of ASEAN & IN Solution Architecture, Neo4j
Get an inside look at the latest Neo4j innovations that enable relationship-driven intelligence at scale. Learn more about the newest cloud integrations and product enhancements that make Neo4j an essential choice for developers building apps with interconnected data and generative AI.
Generative AI Deep Dive: Advancing from Proof of Concept to ProductionAggregage
Join Maher Hanafi, VP of Engineering at Betterworks, in this new session where he'll share a practical framework to transform Gen AI prototypes into impactful products! He'll delve into the complexities of data collection and management, model selection and optimization, and ensuring security, scalability, and responsible use.
Dr. Sean Tan, Head of Data Science, Changi Airport Group
Discover how Changi Airport Group (CAG) leverages graph technologies and generative AI to revolutionize their search capabilities. This session delves into the unique search needs of CAG’s diverse passengers and customers, showcasing how graph data structures enhance the accuracy and relevance of AI-generated search results, mitigating the risk of “hallucinations” and improving the overall customer journey.
A tale of scale & speed: How the US Navy is enabling software delivery from l...sonjaschweigert1
Rapid and secure feature delivery is a goal across every application team and every branch of the DoD. The Navy’s DevSecOps platform, Party Barge, has achieved:
- Reduction in onboarding time from 5 weeks to 1 day
- Improved developer experience and productivity through actionable findings and reduction of false positives
- Maintenance of superior security standards and inherent policy enforcement with Authorization to Operate (ATO)
Development teams can ship efficiently and ensure applications are cyber ready for Navy Authorizing Officials (AOs). In this webinar, Sigma Defense and Anchore will give attendees a look behind the scenes and demo secure pipeline automation and security artifacts that speed up application ATO and time to production.
We will cover:
- How to remove silos in DevSecOps
- How to build efficient development pipeline roles and component templates
- How to deliver security artifacts that matter for ATO’s (SBOMs, vulnerability reports, and policy evidence)
- How to streamline operations with automated policy checks on container images
Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slackshyamraj55
Discover the seamless integration of RPA (Robotic Process Automation), COMPOSER, and APM with AWS IDP enhanced with Slack notifications. Explore how these technologies converge to streamline workflows, optimize performance, and ensure secure access, all while leveraging the power of AWS IDP and real-time communication via Slack notifications.
Climate Impact of Software Testing at Nordic Testing DaysKari Kakkonen
My slides at Nordic Testing Days 6.6.2024
Climate impact / sustainability of software testing discussed on the talk. ICT and testing must carry their part of global responsibility to help with the climat warming. We can minimize the carbon footprint but we can also have a carbon handprint, a positive impact on the climate. Quality characteristics can be added with sustainability, and then measured continuously. Test environments can be used less, and in smaller scale and on demand. Test techniques can be used in optimizing or minimizing number of tests. Test automation can be used to speed up testing.
1. Shot
No. 1
Type of shot, movement
and angle.
Establishing shot – set the
scene, which leads into a
dolly zoom onto the
stage.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside. The
beginning of the song is an instrumental which is just
a guitar playing. The lighting will be artificial light.
Stage.
6
seconds
Black and white effect Lyric: Introduction
Shot
No. 2
Type of shot, movement
and angle.
Long shot of the stage
with the band performing
the song for 2 lines.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
The lyrics would have started by now. The Mise-en-
scene for this part the band will be wearing a shirt and
tie, the band members will be wearing a black tie but
the lead singer will be wearing a red tie to link up with
the narrative. The lighting will be artificial light.
3
seconds
Editing notes Lyrics: Coming out of my cage
And I’ve been doing just fine
2. Shot
No. 3
Type of shot, movement
and angle.
Long shot of Guy A
standing on the field.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
The narrative begins and this introduces Guy A with
him being on the field. The Mise-en-scene for this shot
will have Guy A wearing stereotypical geeky clothes.
The lighting will be natural light as its outdoors.
1.5
seconds
Editing notes Lyric: Gottagotta be down
Shot
No. 4
Type of shot, movement
and angle.
Point of view shot of him
looking at the picture.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
The lighting will be natural light.
This shot will show the geeky boy standing on the field
looking at a picture of the girl.
1.5
seconds
Editing notes Lyric: Because I want it all
3. Shot
No. 5
Type of shot, movement
and angle.
Close up of the lead
singers face to show
emotion whilst singing on
the stage.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
The lead singer will be wearing a shirt and tie and
singing into the Mic. The lighting will be artificial light.
3
seconds
Black and white effect to show that it’s a flash back Lyric: It started out with a kiss
How did it end up like this?
Shot
No. 6
Type of shot, movement
and angle.
Two shot to show both
Guy A and his girlfriend
on his first date (this is
past tense)
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
This will be based at the park as it is where Guy and
the Girl first meet.
The mise-en-scene in this shot will show the girl
wearing casual clothes and the boy wearing a shirt
tucked into his trousers and braces attached to his
trousers to give the stereotypical “geek” look.
1.5
seconds
Black and white effect to show that it’s a flash back Lyric: It was only a kiss
4. Shot
No. 7
Type of shot, movement
and angle.
Another close up of the
lead singer to show
frustration on his face
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
This shot the colour will be artificial light, the blurred
out background will be black and we will have a spot
light on the lead singer, so all the focus is on him. The
mise-en-scene on this clip will still be the shirt and tie
but as it’s a close up the most we will see will be the
collar of his shirt.
1.5
seconds
Shallow focus will be used so all concentration is on the
lead singer who will be located in the centre of the screen
Lyric: It was only a kiss
Shot
No. 8
Type of shot, movement
and angle.
The shot used here will
be a long shot to show
the natural surroundings.
It’s also used so we can
show the band walking
past the narrative.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
In this part of the song its where the narrative and the
band clash; Boy A and the girl will be walking down
the road and the band will come from the opposite
direction where they will walk past, nobody in the
shot will take notice of each other so it’s more natural.
The lighting on this part of the song will be natural
lighting.
The band members will be wearing T-Shirt and Jeans
to show they are “cool”.
3
seconds
Editing notes Lyric: : Now I’m falling asleep
And she’s calling a cab
5. Shot
No. 9
Type of shot, movement
and angle.
The shot used here will
be another long shot to
show the similarity from
the shot before to this
shot, however this one
will be based at the park
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
This part of the song is very similar to the shot before
where the narrative and the band will clash, however
this is when we are introduced to Guy B. we have
based this in the park because she meets Guy B in the
same place she first met Guy A. in this shot as the
band members will walk by again.
The mise-en-scene in this shot will show the girl
wearing the same clothes from when she met Guy A
and the Guy wearing casual clothes (polo and skinny
jeans).
1.5
seconds
Editing notes Lyric: While he’s having a smoke
Shot
No. 10
Type of shot, movement
and angle.
A mid shot to show the
rest of the band not
taking any notice and
carrying on but the lead
singer will stop and turn
as he has noticed.
Dialogue. Sound. Setting. Colour. Lighting. Mise-en-
scene.
The sound playing will be the song; Mr Brightside.
This shot shows the rest of the band members carry
on walking but the band member stopped with his
head turned looking at the narrative.
The lighting will be natural.
The band members will be wearing the same clothes
as the shot before
1.5
seconds
Shallow focus, so the background is blurred so the lead
singer stands out more but we can still see that the other
members haven’t noticed.
Lyric:And she’s taking the drag
6. Shot No.
11
Mid shot of the band
playing in the MPR,
main focus is Matt with
perhaps the rest of the
band seen in the
background.
Straight on.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
5 sec
Editing notes
Cut to next shot.
A ‘Now they’re going to bed / And my stomach is sick’
Shot No.
12
Close-up of Matt
pointing at his head to
signify the lyrics in a
straight on angle.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
4 sec
Editing notes
Make sure that the two lines ‘And it’s all in my head / but
she’s touching his’ and the next shot of ‘chest now’ flow
seamlessly.
A ‘And it’s all in my head / but she’s touching his’
7. Shot
No.
13
Close up / P.O.V shot of
Lauren placing her hand
on guy B. Straight on
angle.
Mr Bright side playing in the background. Location is
Codsall Park. Natural lighting – daylight.Lauren
wearing casual clothes with the colour red
incorporated somehow. Guy B in casual everyday
clothes.
Frame
duration
0.5 sec
Editing notes AB ‘Chest’
Shot
No.
14
Close up of Lauren
looking up at guy B
although he is not seen,
so it’s somewhat his
P.O.V. High angle so that
it’s like he’s looking
down at her.
Mr Bright side playing in the background. Location is
Codsall Park. Natural lighting – daylight. Lauren
wearing casual clothes with the colour red
incorporated somehow. Guy B in casual everyday
clothes.
Frame
duration
2
Editing notes AB ‘Now / He takes off her’
8. Shot
No.
15
Long shot of Jordan
playing guitar in time to
the song, Movement of
his head in time to the
beat.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
0.5 sec
Editing notes AB ‘dress now’
Shot
No.
16
Close-up of singer
looking straight into the
camera to signify the
lyrics in a straight on
angle.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
3 sec
Editing notes AB ‘Let me go’
9. Shot
No.
17
Mid shot of Lauren dancing
with a crowd smiling. She
brings out her phone and
holds it up as if she is
recording the band’s
performance.
Mr Brightside will be playing in the background.
Location is in the crowd. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. Lauren will be wearing a red
dress or to that effect.
Frame
duration
7 sec
Editing notes
Match on action
Short instrumental break
Shot
No.
18
Mid shot of Lauren from
behind with her arms in
the air so we can see that
she is filming the band. The
band is seen on stage
performing.
Mr Brightside will be playing in the background.
Location is in the crowd. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. Lauren will be wearing a red
dress or to that effect. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Frame
duration
2 sec
Editing notes
Match on action
AAB ‘Cause I just can’t look’
10. Shot
No.
19
Close – up of the singer in a
straight on angle, looking
down the lens.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen. The band will be
wearing black trousers, white shirt and red or black
tie with instruments so that it looks realistic.
Frame
duration
5 sec
Editing notes AB ‘It’s killing me’
Shot
No.
20
Mid shot of the band
playing the song.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen. The band will be
wearing black trousers, white shirt and red or black
tie with instruments so that it looks realistic.
Frame
duration
7 sec
Editing notes AB ‘And taking control
11. Shot
No.
21
2-shot of Lauren and guy A
hugging
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
Frame
duration
2 sec
Editing notes
Match on action
B ‘Jealousy’
Shot
No.
22
Close-up of guy A still
hugging her, but looking
upset and annoyed
because he know she
cheated.
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
Frame
duration
4 sec
Editing notes – Match on Action B ‘Turning saints into the sea’
12. Shot
No.
23
Mid shot of the band
playing in the MPR with the
band playing along to the
song.
Straight on.
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Frame
duration
4 sec
Editing notes B ‘Swimming through sick lullabies’
Shot
No.
24
2-shot of Lauren and
guy A hugging, but guy
A pushes her away in
time with the word
‘Alibis’
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
Frame
duration
5 sec
Editing notes
Links back to the shot earlier.
B ‘Choking on your alibis’
13. Shot
No.
25
Long shot of the band
playing on the stage,
straight on angle. Singer
brings up his hand as if
pointing to himself.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright
as the band on stage. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Frame
duration
3 sec
Editing notes
Match on action of singer bringing up his hand to point to
himself.
B ‘But it’s just the price’
Shot
No.
26
Mid shot of singer
looking down the lens in
a straight on angle, with
Joe to the right of him.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright
as the band on stage. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Frame
duration
2 sec
Editing notes – Match on action B ‘I pay’
14. Shot
No.
27
Long shot of the band
playing in the MPR,
straight on angle.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
4 sec
Editing notes B ‘Destiny is calling me’
Shot
No.
28
Long shot of Lauren and
Guy B holding hands and
looking into each other’s
eyes, Guy A comes
around the corner and
pushes Guy B away in
anger. He then storms of
camera.
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when she
met up with the other guy B. Guy A will be dressed
casually.
Frame
duration
5 sec
Editing notes B ‘Open up my eager eyes’
15. Shot
No.
29
Close-up of Matt playing
in the MPR, straight on
angle with him looking
down the lens.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
4 sec
Editing notes B ‘Cause I’m Mr Brightside’
Shot
No.
30
Mid shot of Guy A and
Lauren arguing.
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime, perhaps
darker than the other shots. Lauren will be wearing
the same clothes as before (casual attire, not the
dress). Guy A will be dressed casually.
Frame
duration
1 sec
Editing notes Instrumental
16. Shot
No.
31
Mid shot of Alistair
playing drums.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
1 sec
Editing notes Instrumental
Shot
No.
32
Mid shot of Joe playing
bass guitar with Matt
dancing/moving next to
him.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
2 sec
Editing notes Instrumental
17. Shot
No.
33
Mid shot of Jordan
playing guitar.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Frame
duration
1 sec
Editing notes Instrumental
Shot
No.
34
Mid shot of Guy A
stalking Lauren. Looking
at pictures of Lauren
whilst on the field.
Mr Brightside will be playing in the background. Field
for location to show his loneliness and solitary. Bright,
daylight. Guy A will be wearing casual attire.
Frame
duration
3 sec
Editing notes Instrumental
18. Shot
No.
35
Close-up of Guy A’s facial
expression looking pained
and upset. Low angle so
the audience look up at
him.
Mr Brightside will be playing in the background. Field
for location to show his loneliness and solitary. Bright,
daylight. Guy A will be wearing casual attire.
Frame
duration
3 sec
Editing notes
This field shot will be constantly referred to throughout
the narrative.
Instrumental
Shot
No.
36
Long shot of the band
playing on the stage,
straight on angle.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. The band will be wearing black
trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Frame
duration
3 sec
Editing notes Instrumental
19. Shot
No.
37
Long shot of the band
playing on the field,
straight on angle.
Mr Brightside will be playing in the
background. Field for location as the band
play. The lighting will be natural daylight.
They will be wearing black trousers, white
shirt and red or black tie with instruments so
that it looks realistic.
Frame duration
4 sec
Editing notes A ‘Coming out of my cage/ and’
Shot
No.
38
Mid shot of the band
playing on the field,
straight on angle.
Mr Brightside will be playing in the
background. Field for location as the band
play. The lighting will be natural daylight.
They will be wearing black trousers, white
shirt and red or black tie with instruments so
that it looks realistic.
Frame duration
3 sec
Editing notes A ‘I’ve been doing just fine’
20. Shot
No.
39
Mid shot of Lauren and
Guy A arguing about her
cheating.
Mr Brightside will be playing in the background.
Indoor, secluded location as they act. The lighting will
be indoor lighting. They will be wearing the casual
clothes.
Frame
duration
2 sec
Editing notes A ‘Gottagotta be down’
Shot
No.
40
Long shot of Lauren
storming away from guy
A, but he pulls her back
and then lets her go
again. Links in with the
lyrics.
Mr Brightside will be playing in the background.
Indoor, secluded location as they act. The lighting will
be indoor lighting. They will be wearing the casual
clothes.
Frame
duration
3 sec
Editing notes A ‘Because I want it all’
21. hot
No.
41
Wide shot of the band
playing their instruments,
the angle will be straight
and there will be no
movement in the camera.
The sound playing will be the song: Mr Brightside.
This shot will be set on a field, the same place guy A
was standing earlier. The shot will have no colour
effects on it. There will be no artificial lighting on the
shot because it is set outside and will be natural. The
band will be wearing their first costume change of the
suit and tie.
Frame
duration
6
Editing notes A Lyric: It started out with a kiss
How did it end up like this?
It was only a kiss.
Shot
No.
42
Mid shot of Guy A in
foreground and girl in
background, Guy A
doesn’t look back and
walks away. Normal
Angle and no camera
movement. Girl mimes
the lyrics.
The sound playing will be the song: Mr Brightside.
This will be set in a quiet place somewhere like
outside a house. This will be in standard colour.
Lighting will be natural. Narrative costume will be
used here- red dress. Guy A- casual clothes.
Frame
duration
2
Editing notes A Lyric: It was only a kiss
22. Shot
No.
43
Two shot of Guy B and
girl watching video filmed
earlier on phone. Girl is
reluctant to do so, and is
upset knowing she has
done wrong.
The sound playing will be the song: Mr Brightside.
This shot will be set outside on a bench somewhere.
The shot will have no colour effects on it. There will be
no artificial lighting on the shot because it is set
outside and will be natural. Girl is wearing a red dress,
and guy in casual clothes.
Frame
duration
5
Editing notes A Lyric: Now I’m falling asleep and she’s calling a cab.
Shot
No.
44
Long shot of Guy A on
field beginning to ignite
the picture in his hand.
No movement and
normal angle. Throws
picture on floor and then
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
3
Editing notes A Lyric: While he’s having a smoke
23. Shot
No.
45
Wide shot of the band.
No movement and
normal angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
3
Editing notes A Lyric: and she’s taking the drag.
Shot
No.
46
This shot will be a long
shot as the Girl and Guy B
walk away from the
camera, guy B tries to put
his arm around girl but
she shakes it off and
walks away in another
direction. Guy A will be
then seen alone on a
bench somewhere else.
The sound playing will be the song: Mr Brightside.
Setting will be in a quiet place, like a park- same area
where bench was. Lighting will be natural, Colour will
be standard. Narrative costume worn.
Frame
duration
5
Editing notes A Lyric: Now they’re going to bed
And my stomach is sick.
24. Shot
No.
47
Wide shot of the band.
No movement and
normal angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
6
Editing notes A
AB
Lyric: And it’s all in my head
But she’s touching his chest now.
Shot
No.
48
Mid shot of the band.
Dolly shot/track across
the band in a straight on
angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
7
Editing notes AB Lyric: He takes off her dress now let me go
25. Shot
No.
49
Close up of the
instruments being played
in a straight on angle –
guitar.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
4
Editing notes Lyric: INSTRUMENTAL
Shot
No.
50
Close up of the
instruments being played
in a straight on angle –
drum kit.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
5
Editing notes Lyric: INSTRUMENTAL
26. Shot
No.
51
Long shot of the band
playing in a straight on
angle. Slight zoom in.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting. The band will be wearing black trousers,
white shirt and red or black tie with instruments so
that it looks realistic.
Frame
duration
8
Editing notes AB Lyric: ‘Cos I just can’t look It’s killing me
Shot
No.
52
Mid shot of Matt and Joe
singing together/looking
at each other. Straight on
angle.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting. The band will be wearing black trousers,
white shirt and red or black tie with instruments so
that it looks realistic.
Frame
duration
6
Editing notes AB Lyric: and Taking Control
27. Shot
No.
53
Wide shot of band
playing on field.
Throughout chorus will
be a montage of shots.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties.
Frame
duration
6
Editing notes B Lyric: Jealousy, turning saints into the sea
Shot
No.
54
Close up of guitar playing
to the song. Straight
angle and no movement.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
2
Editing notes B Lyric: Swimming through
28. Shot
No.
55
Close up of drums playing
to the song. Straight
angle and no movement.
The sound playing will be the song: Mr Brightside.
Setting will be on the stage. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties
Frame
duration
3
Editing notes B Lyric: Sick lullabies
Shot
No.
56
Wide shot of band
straight angle and no
movement.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Frame
duration
5
Editing notes B Lyric: Choking on your alibies
29. Shot
No.
57
Wide shot of band
playing on the field, no
movement and straight
angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties.
Frame
duration
4
Editing notes
Cut to next shot.
B Lyric: But it’s just the price I pay
Shot
No.
58
Guy A stands with the
burning photo and
throws it to the ground.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Guy A will wear casual
clothes.
Frame
duration
4
Editing notes Lyric: Destiny is calling me
30. Shot
No.
59
Wide shot of band with
straight angle and no
movement from camera.
The sound playing will be the song: Mr Brightside.
Setting will be in the stage. Colour will be standard.
Lighting will be artificial. Band will wear suit and tie.
Frame
duration
7
Editing notes B Lyric: Open up my eager eyes
Shot
No.
60
Close Up of Guy A on
stage singing the lyrics.
Straight Angle no
movement.
The sound playing will be the song: Mr Brightside.
Setting will be in the stage. Colour will be standard.
Lighting will be artificial. Guy A will wear casual
clothes. Guy A will look into camera sing.
Frame
duration
4
Cut to next shot B Lyric: Cause I’m Mr Brightside
31. Shot
No.
61
Close up of Girl lifting her
head up to look directly
down the lens. Her face is
distressed and upset.
Straight on angle.
The sound will be the song: Mr Brightside. Setting
will be somewhere internal with dark lighting. Colour
is standard. Dim lighting. Girl wearing casual clothes.
Frame
duration
2
Editing notes Lyric: INSTRUMENTAL
Shot
No.
62
Close up of Guy B lifting
his head up to look
directly down the lens.
Straight on angle.
The sound will be the song: Mr Brightside. Setting
will be somewhere internal with dark lighting. Colour
is standard. Dim lighting. Guy B wearing casual
clothes.
Frame
duration
2
Editing notes Lyric: INSTRUMENTAL
32. Shot
No.
63
Close up of Guy A lifting
his head up to look
directly down the lens.
Straight on angle.
The sound will be the song: Mr Brightside. Setting
will be somewhere internal with dark lighting. Colour
is standard. Dim lighting. Guy A wearing casual
clothes.
Frame
duration
2
Editing notes Lyric: INSTRUMENTAL
Shot
No.
64
Close up of Alistair
playing drums in a
straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
3
Editing notes Lyric: INSTRUMENTAL
33. Shot
No.
65
Close up of Jordan
playing guitar in a
straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
2
Editing notes Lyric: INSTRUMENTAL
Shot
No.
66
Close up of Joe playing
bass in a straight on
angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
3
Editing notes Lyric: INSTRUMENTAL
34. Shot
No.
67
Close up of Joe singing in
a straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
8
Editing notes B Lyric: But I never
Shot
No.
68
Mid shot of Matt singing
in a straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
9
Editing notes A Lyric: I never
35. Shot
No.
69
Long shot of the band
playing in a straight on
angle as we cut back and
forth between the
narrative and
performance.
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Frame
duration
9
Editing notes B Lyric: I never
Shot
No.
70
Mid shot of Matt singing
the last ‘I never’ and the
rest of the band doing
the final note on their
instruments.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and ties
Frame
duration
9
Editing notes B Lyric: I never
36. Shot
No.
71
Guy A throws the
photograph to the floor
as it is alight in a long
shot. Straight on angle.
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
4
Editing notes Lyric: END OF SONG
Shot
No.
72
Guy A throws the
photograph to the floor
as it is alight. He walks
away.
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
4
Editing notes Lyric: END OF SONG
37. Shot
No.
73
Close up and straight on
angle as we see the
photograph burning on
the ground.
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
4
Editing notes
FADE TO BLACK.
Lyric: Outro