My Pre stuff before Production

1. Stage 4:
Music Video
Planning and
Pre-Production
By
Joe Duffy

2. Visual Planning

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

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

5. Pre-Visualization
I want my video to look "organic" to keep the aesthetic that it's about a
small family, instead of an insane production. Plus, due to the amount
of time we have to film, the weather will determine the lighting as I
don't have the knowledge on how I can change the lighting manually.
This however will link to the subject of this capabilities a small family
would have. Of course to link to the source material the mise-en-scene
will naturally be parts of the house that link into the scene like an
ironing board or pan. By taking pictures of the city's houses, I can grow
a relatable style as there could be people who recognize these
buildings that look like their own homes. This will also show that the
song could talk about any house so people feel an even deeper
connection to the lyrics. The camera angle will sometimes change to
personify the way the scene is described, with a faster motion used on
more energized parts.

6. Structural breakdown
• Breakdown your track into it basic sections [e.g. intro, verse, chorus,
verse, etc] and apply broad visual ideas to each section
• You can use this as the master template for your production, then
add more shots to each section when you develop your full visual
plan

7. Structural breakdown – 1/2

8. Structural breakdown – 2/2

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

15. Shot List
• Your shot list should contain the sequential breakdown of what you
need to shoot for your video – it is both a creative tool for planning
and practical tool for filming
• It should work in partnership with your storyboard
• It will be your working document when you film
• It should contain the shot number, scene number, shot description,
framing and action you will see
• It should also have information on performers in the scene and other
props, etc
• Shot list template is on Blackboard in the pre-production folder.

16. First-person camera shot from top of bridge to front door. Could change speed (depends on
length of shot).
Dad in cycle gear, cycling up drive. Cuts in between travel with beat. Set directly behind bike.
Mum laying on the sofa, with dramatic swoon. “Could” transition to next segment with shot
coming out OR pan away as she moves.
I kick a ball around a room while Mum looks on in dismay. More sporadic camera movement
to link with energetic scene. Perhaps change scene with sift motion that follows through into
the next.
Isobel (Sister) on Skype. Track to us mimicking “ah” segment.
I blow-dry my hair in the mirror, in a hurry (check watch). Hair is all over the place/wonky
bow-tie.
Pictures of houses cutting with beat of the song. Might have us moving in between the shots.
Stop-Motion of random LEGO characters moving around. Camera is set is one spot while the
pieces move for continuity.
Shot pulls back from Mum telling us to clean (hands me gloves to wash and dust-pan and
brush to Dad), then jogs outside leaving us confused.

17. To correlate with backing vocals, either a cut tracking shot or images going from the highest
point of the house to the gate. Last few frames change perspective to door looking toward
gate and me.
Dad holds shirt in dismay (wearing PJ’s?) towards Mum. Shot tracks to Mum wagging her
finger. If time allows, add speech bubble “Do it yourself”.
School pictures of us growing up with the beat/Mum smooches me on the kiss while I “ah” in
a sort of pain. Close up shot.
Crayon children’s drawing that adds an image of a Mum in the middle of two kids with the
beat.
Various shots of houses within York, with our walking in streets being cut with the beat.
Maybe use ukulele and fake brass instrument in some shots with a moving camera pointed up
towards players. Try Tracking Mask?
Images of housing cut with the beat. With each cut I could walk further through the frame.
Old Birthday photos/Stop-Motion of a party?
I play my video game while the camera, in a first-person perspective closes in. I turn and in
annoyance block the camera as a transition to the next scene.

18. Mum and Dad on sofa, with camera on tripod directly in the centre of them. I walk from
behind the frame and sit in between them. The look at each other in frustration while I am
oblivious.
The identical shots to the former, may be slightly changed with different takes of the same
shot. First line has Dad cycling back towards the camera, end with thumb up.
With the first three lines, a person is edited into the shot. Me, to Dad, to Mum and we look at
the person who just “appeared”. The last line we look straight forward.
Use a cutting tracking shot of Clifford’s Tower, perhaps with us in them.
More housing perhaps slowly tracking out from our house.
Carry on the shot where I sit in between the parents but I am sleeping while they sigh.
The former tracking shot continues to show the full house. If possible, have us waving,
depends on how to move camera.
FADE OUT

19. Task 3.2
Organizational Planning

20. Cast
Joe Duffy acting as the Son
Phone: 07526 217172
Louise Duffy acting as the Mother
Phone: +44 7591 518812
Steven Duffy acting as the Father
Phone: +44 7547 654903
Isobel Duffy (Cameo) acting as Sister
Phone: +44 7380 145645
All of the above could act as camera operator at any given time,
depending on shot.
The cast can play more “generic” characters based on the lyric given.
Given that they’re all my closest family an I live with them, hopefully
wrangling them together shouldn’t be difficult.

21. Within and outside my house
Along my street and closest bridge
Buildings inside of Town
The Shambles
Clifford’s Tower
Tadcaster Road
Locations