2. 0:00– 2:30
The opening scene begins with a mid-chest-shot taken at a high-angle, making the subject look less powerful which she is as we see in the following shot – the next few shots
show her making her way to a house (Kehlani’s) and falling to the ground in weakness. This shot is again taken at a high-angle to further intensify this – after this we see a mid-
chest shot of Kehlani opening her front door and looking down at the girl on the ground. Kehlani is framed above the woman, thus making Kehlani seem more dominant and in
control than the woman on the ground. The following scene shows Kehlani fixing the woman robot in what appears to be a basement, this is a mid-chest-shot and zooms in
slightly, in addition to this it is shot with a wide lens, allowing the audience to see the machinery and additional props in the background, adding to the sci-fi aesthetic. As Kehlani
is fixing the robot we see a cutaway of Ty Dolla Sign at her door, with a CCTV effect added on top of it – this is done as a way to introduce the other music artist into the video for
the viewers as well as again, adding to the technical side to the video. This shot is a mid and allows the audience to see Kehlani’s tools and equipment in the background subtlety
– this acts as an added metaphor for the video’s narrative. As Ty Dolla Sign enters the room, we see another mid-chest-shot which also acts as a two shot of both artists, they are
framed either side of the frame and are separated by wiring – acting as a metaphor for technology getting in the way of people being together. Kehlani then sees if the robot
woman is going to work, she attaches two gadgets to the robot’s head which is done in a close-up to show what Kehlani’s doing – this shot has been taken with a large aperture
which further focuses the audiences attention on the technical aspects of what Kehlani is doing. Once Kehlani has finished fixing the robot, we see a big-close-up of the two in a
two shot, this is done with a large aperture and they are framed either side of frame. The robot is positioned higher than Kehlani, symbolizing how now that the robot has been
fixed, it's is now superior because of this when at the start it was inferior to Kehlani. After this we see another cutaway which acts as a point-of-view shot in the perspective of
what the robot is seeing – this is effective for the audience to see as we feel as if we are there looking at Kehlani through the eyes of the robot.
The following scene shows the robot in what appears to be a bathroom, this is a mid-chest-shot and we see three versions of the robot due to mirrors – this acts as a metaphor
because the robot is seeing life from multiple perspectives now that she’s fixed, similarly to how the viewer is looking at more than one version of her. Shortly after we see
another mid-chest-shot of Kehlani seated whilst the robot is in the shower, she is framed left of frame and we see the robots legs right of frame, this again creates a barrier
between the two as they are very different. The next scene takes place on a different day, we see the two in a two-shot, this contrasts between the previous scenes as they’re
together without any separation as such, symbolizing to the audience that they are both connecting. We then see another shower scene, however this time round they’re not
separated which again, shows how they are both becoming closer – this is done with a mid-shot with the camera operator zooming into them both showing their closeness in
bond. Later on we see Kehlani driving for a split-second as a cutaway, this is done as a mid-chest shot where she is positioned right of frame by herself, this is done to show her
aloneness despite the connection she’s made. Kehlani looks inside of the robot’s heart and sees herself inside, this shot is another cutaway and shows Kehlani in a low-angle
making her look dominant – suggesting to the audience that Kehlani is the only love the robot has.
3.
4. 2:30 – 4:30
We see the robot take Kehlani from her bedroom to the Livingroom, this s is an
establishing-shot letting the audience know we’re in a different location – in addition to
this, the robot only stays on the left hand side of the frame as she pushes Kehlani on a
wheelchair. Not long after this, we see the robot placing equipment on Kehlani’s fingers
and head indicating to the audience that the robot is up to something bad – this is done
in mid-chest-shots as well as close-ups which allow the viewers to see up close how this
is going to affect Kehlani. The robot transfers herself into Kehlani, thus making Kehlani a
robot – we see another mid-chest-shot of Kehlani in which she’s positioned center
frame making her a focal point to the audience. This is also done with a large aperture,
further intensifying her importance. After this we see a mid-shot taken on the ground
showing Kehlani’s new body dragging the other robot out of frame – this lets the
audience know that the other robot is now officially dead/non-existent, allowing the
audience to create their own metaphors and meanings behind the act. Shortly
afterwards we get a mid-chest-shot of Ty Dolla Sign entering the house, these few shots
are done hand-held which create a shaky visual, this is important as it represents how
he feels when he walks into the house as he doesn’t know what’s happened to Kehlani.
As the scene continues we get a shot which has been taken through a window, we see
the reflection of a fire in the window which allows us to see what he is seeing – this is
done as a mid-chest shot with a large aperture. As he turns around we see Kehlani to
which she kills him, during this action we get an over-the-shoulder shot showing the
audience how she’s killing him. This shot in particular makes Kehlani seem more
dominant even though we as an audience know that it’s the robot controlling her
actions – as Ty Dolla Sign falls to his death, we see a point-of-view shot which is taken
from a low-angle making Kehlani look more powerful.
