The document is a draft script for a music video set to the song "Call Me Maybe" by Carly Rae Jepsen. The script contains 74 scenes with descriptions of visuals and audio/lyrics for each scene. Each scene focuses on close-up shots of a male actor's face as he sings the lyrics of the song directly to the camera, drawing the audience in. The script is formatted with the video description in one column and audio/lyrics in the other to clearly lay out each element.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and drawing them in by looking at the camera and saying the song's lyrics. Throughout the video, he gives his number to the girls and leaves them wanting more, as the script focuses on drawing the audience in through close-up shots of the actor making eye contact with the camera.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and then directly addressing the camera. In each scene, the actor lip syncs one word of the song's lyrics while making eye contact with the camera to draw the audience in. The script aims to bring the song's story of the actor catching a girl's attention to life through a variety of shots focused on his body language and facial expressions.
This document is a draft script for a music video set to the song "Call Me Maybe" by Carly Rae Jepsen. It contains 73 scenes with descriptions of visuals and lyrics or narration in a table format. Each scene is a close-up shot of an actor's face looking into the camera while singing individual words or phrases from the song's lyrics to draw the audience in. The visuals are meant to depict the story and meaning of the song through facial expressions and body language of the actor.
This document is a draft script for a music video set to the song "Call Me Maybe" by Carly Rae Jepsen. It contains 73 scenes with descriptions of visuals and lyrics or narration for each scene. Most scenes involve a close-up of an actor's face looking into the camera while singing song lyrics to draw the audience in. The script is formatted with video and audio columns to storyboard visual and audio elements for each scene.
Second drart music video script by matthew rogeroMattRogero
The music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 77 scenes showing an actor delivering the song's lyrics to the camera. In each scene, there is a close-up shot of the actor's face as they mouth the words while maintaining eye contact with the camera. The script aims to draw the audience in by keeping the focus tightly on the actor's facial expressions. Interspersed are some mid-shots showing the actor's body language as they deliver suggestive lyrics to the viewer. The script maintains this simple format throughout to build intimacy and convey the song's romantic theme of inviting a potential love interest to call.
This document contains a two-draft script for the music video of the song "Call Me Maybe" by Carly Rae Jepsen. The script includes 78 scenes with descriptions of shots, corresponding lyrics, and actions. It shows the actor delivering the song's lyrics to the camera in a call and response style over the course of the song.
This document provides a detailed shot-by-shot breakdown of the cinematography, editing, mise-en-scene, and sound elements of a music video over its 2 minute runtime. The video primarily features shots of a band performing in an empty airplane hangar, with some cutaways to close-ups of individual band members and brief scenes outside the hangar. There is little dialogue and the focus is on the musical performance, with consistent cinematography, editing, costumes, and locations throughout.
The document provides a timing breakdown and lyrics for a song along with descriptions of corresponding visuals. It outlines shots that will show the artist looking over a bridge and at traffic from 0-12 seconds. From 13-25 seconds, mid-shots will show the artist singing lyrics while looking at the camera and a girl winking. The chorus from 40 seconds to 1 minute and 7 seconds will feature long shots and close-ups of the band members playing. Towards the end, from 2:30-3:12 minutes, a close-up of the main artist slowly singing the last lines with a serious expression will be the main focus.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and drawing them in by looking at the camera and saying the song's lyrics. Throughout the video, he gives his number to the girls and leaves them wanting more, as the script focuses on drawing the audience in through close-up shots of the actor making eye contact with the camera.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and then directly addressing the camera. In each scene, the actor lip syncs one word of the song's lyrics while making eye contact with the camera to draw the audience in. The script aims to bring the song's story of the actor catching a girl's attention to life through a variety of shots focused on his body language and facial expressions.
This document is a draft script for a music video set to the song "Call Me Maybe" by Carly Rae Jepsen. It contains 73 scenes with descriptions of visuals and lyrics or narration in a table format. Each scene is a close-up shot of an actor's face looking into the camera while singing individual words or phrases from the song's lyrics to draw the audience in. The visuals are meant to depict the story and meaning of the song through facial expressions and body language of the actor.
This document is a draft script for a music video set to the song "Call Me Maybe" by Carly Rae Jepsen. It contains 73 scenes with descriptions of visuals and lyrics or narration for each scene. Most scenes involve a close-up of an actor's face looking into the camera while singing song lyrics to draw the audience in. The script is formatted with video and audio columns to storyboard visual and audio elements for each scene.
Second drart music video script by matthew rogeroMattRogero
The music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 77 scenes showing an actor delivering the song's lyrics to the camera. In each scene, there is a close-up shot of the actor's face as they mouth the words while maintaining eye contact with the camera. The script aims to draw the audience in by keeping the focus tightly on the actor's facial expressions. Interspersed are some mid-shots showing the actor's body language as they deliver suggestive lyrics to the viewer. The script maintains this simple format throughout to build intimacy and convey the song's romantic theme of inviting a potential love interest to call.
This document contains a two-draft script for the music video of the song "Call Me Maybe" by Carly Rae Jepsen. The script includes 78 scenes with descriptions of shots, corresponding lyrics, and actions. It shows the actor delivering the song's lyrics to the camera in a call and response style over the course of the song.
This document provides a detailed shot-by-shot breakdown of the cinematography, editing, mise-en-scene, and sound elements of a music video over its 2 minute runtime. The video primarily features shots of a band performing in an empty airplane hangar, with some cutaways to close-ups of individual band members and brief scenes outside the hangar. There is little dialogue and the focus is on the musical performance, with consistent cinematography, editing, costumes, and locations throughout.
The document provides a timing breakdown and lyrics for a song along with descriptions of corresponding visuals. It outlines shots that will show the artist looking over a bridge and at traffic from 0-12 seconds. From 13-25 seconds, mid-shots will show the artist singing lyrics while looking at the camera and a girl winking. The chorus from 40 seconds to 1 minute and 7 seconds will feature long shots and close-ups of the band members playing. Towards the end, from 2:30-3:12 minutes, a close-up of the main artist slowly singing the last lines with a serious expression will be the main focus.
The document provides a detailed analysis of camera techniques, lighting, editing, and sound used in different shots of a music video. It examines close-ups, medium shots, long shots, angles, lighting, cuts between shots, and use of non-diegetic sound. Shots include a woman disappearing and reappearing in different locations, a couple dancing in a dimly lit bar, mysterious close-ups of people's eyes during a strange experiment, and a man watching a train from a field at sunset.
Music video evaluation - Jake Bugg 'Two Fingers'Molly Turner
The music video tells a narrative story of the artist Jake Bugg's life. It shows him hanging out with friends, then scenes of conflict at home with his mother and her boyfriend drinking and fighting. Shots show Bugg packing up and leaving home, represented by a shot of him at the airport with friends. The video contrasts scenes of his difficult home life with shots of him performing music, suggesting he uses his artistry as an escape from his problems at home.
Music video Evaluation - The Lumineers 'Cleopatra' Molly Turner
The music video for "Cleopatra" by The Lumineers tells the narrative story of a lonely taxi driver. She picks up various passengers throughout the video, including a pregnant woman and later her son from a picture in the taxi. The director uses stylistic techniques like square framing and close-up shots of the characters' faces to tell the emotional story and develop the relationship between the driver and her passengers. In the end, the driver is seen regretfully driving away after dropping off her son, suggesting she remains isolated despite experiencing human connections through her work.
The proposed music video treatment aims to tell the story of an isolated old man who has lost his wife through a narrative storyline and performance by the artist. Shots of the man alone in his dark, empty home would contrast with warmly lit scenes to show his changing emotions. Pictures of the man and his wife would establish her absence. The artist's performance would introduce a parallel storyline. Edited close-ups of the men's hands and faces would draw parallels between their experiences with loss. Scenes of the man in his garden suggest finding freedom and peace while thinking of his late wife. The video aims to interpret the song through both characters' stories of lost love.
Music video evaluation loyle carner ~ sun of jeanMolly Turner
The music video for 'Sun of Jean' by Loyle Carner uses a narrative structure and stylistic elements to tell the story of family and motherhood. Through a series of shots featuring women in domestic settings accompanied by their children, the video explores the relationships between mothers and sons. The grainy, dimly lit footage shot on square formats evokes a nostalgic, comforting atmosphere. By zooming the camera inward, the director draws the audience into the intimate scenes before coming full circle back to the artist at his mother's home.
1) The video uses camera effects, lighting, locations, and editing to portray memories being looked back on from the perspective of a male character.
2) Scenes cut between the male viewing old videos/photos of him and his ex-partner and flashbacks to their relationship. The flashbacks become increasingly tense over time.
3) By the end, the male has let go of the memories and camera representing his ex. The final scene shows him alone and unhappy in the present day compared to the happier memories from the past.
The document provides lyrics and descriptions of shots for a music video over a 3 minute and 19 second period. It follows an artist singing about a former romantic partner who was silver-tongued and caused the relationship to crumble. Shots include close-ups of the artist singing, mid-shots of a girl, and long shots of the full band playing. Towards the end, the artist sings the last lines looking up with a serious expression before walking away, possibly ending with a shallow focus shot.
This document analyzes shots from the opening credits of a 1960s musical. Shot 1 establishes the production company with no context of the film's genre. Shot 2 introduces the director but still provides little information. Shot 3 shows characters dancing on a TV show set, indicating choreography and dancing will be central. Subsequent shots provide more details about the TV show setting, characters, and era through costumes, dialogue, and music to build intrigue around the musical's story and themes.
The opening sequence for the movie "Bad Teacher" is 2 minutes and 10 seconds long. It shows flashbacks of schools with cursive writing over it. The purpose is to give more feeling to the title and show clips related to schools. The credits are shown with the actors, crew, producers, writers, and director's names in different colors and the same font over a black background.
The video uses various camera shots like close-ups, wide shots, and over-the-shoulder shots to depict the artist's emotions and move the storyline forward. It shows the artist playing piano, arguing with her boyfriend, and crying to convey heartbreak. The locations include a music room, dance studio, and house. Editing uses dissolves and jump cuts between shots to sync with the music. The CD and poster designs feature close-up images of the distressed artist to reflect her feelings of insecurity and promote the album. They use simple, white text on a black background for a clean, sophisticated look consistent with the artist's brand.
This document provides a shooting schedule for a music video with 79 shots planned between 0 and 1.58 minutes. The shots include various angles, framings, and effects to depict the breakdown of a relationship through a paint fight sequence and then show the female protagonist overcoming her sadness. Close-ups, medium shots, and montages will be used to advance the narrative and lyrics, with paint and UV effects to represent emotions. The schedule provides timing, shot type, description, and reasoning for each shot in the production.
The music video for Bruno Mars' "24K Magic" portrays the artist as wealthy and powerful through various visual cues. Shots of expensive cars, jewelry, and mansions establish Bruno's lavish lifestyle. Fast cuts and energetic dance routines create excitement and align with conventions of the pop genre. Throughout, the camera lingers on displays of wealth and sexuality to present Bruno as desirable and encourage audience aspiration to his lifestyle.
This music video tells a narrative story that accompanies the song "Buy U A Drank" by T-Pain featuring Yung Joc. The video begins by introducing T-Pain and Yung Joc in a nightclub setting. It then cuts between the nightclub and a second location, showing the artists singing and partying with women. Towards the end, it is revealed that T-Pain and his crew robbed a safe, providing the money seen throughout the video. The video concludes with T-Pain remaining at the closed nightclub as the others depart. Through its cuts between locations and artists, the video synchronizes with the song while depicting the story of a night out implied by the lyrics.
This document provides a detailed timeline and description of visuals to accompany song lyrics for a music video. It is broken into sections for the introduction, verses, chorus, and outlines matching shots including close-ups, long shots, and tracking shots of the artist and other individuals that correspond to the lyrics and story being told at each point in the song.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and then directly addressing the camera. In each scene, the actor lip syncs one word of the song's lyrics while making eye contact with the camera to draw the audience in. The script aims to bring the song's narrative to life through a combination of shots following the actor and group of girls as well as close-ups of the actor singing the lyrics to the camera.
This document provides a script for a music video featuring 5 band members (Matthew, Kiel, Ethan, Oliver, Ken) lip syncing and acting out the song "Live While We're Young" by One Direction. The script includes 30 scenes ranging from 0:00-3:14 detailing shots that will be used, what the band members will be doing in each scene, and the corresponding lyrics. The overall plot has the band members playing and messing around outside, jumping in a pool, and acting like they are having fun at a celebration.
The document provides a detailed breakdown and description of shots for a music video for the song "All About Tonight". It outlines shots for each verse and chorus section that show the actress getting ready, arriving at and enjoying a party, and dancing with others. The shots include close-ups, medium shots, and long shots of the actress and aspects of the party from different locations to keep a fast pace and match the lyrics and beat of the song.
Lyrics Breakdown-Lies We Lead by Speaking In ShadowsAlex Hooks
The document provides details on how music video shots would visualize the lyrics of a song. Scenes would show a band performing, people wearing clothes with lies written on them, and a protagonist with a masked slowly making her way through the crowd. Shots would focus on singing, dancing, and the removal of masks and white clothes to symbolize shedding lies and embracing truth. The video aims to portray overcoming hardship and living freely through the power of music.
1. The document outlines the cinematography, mise-en-scene, sound, and editing techniques used in a music video featuring an artist named Lukatar. It provides descriptions for 60 scenes in the video.
2. The video begins by establishing Lukatar at school, then shows her gaining fame and wealth as a musician. Scenes showcase her dancing, rapping, and flashy outfits against backgrounds like graffiti walls and money.
3. As the video progresses, it depicts Lukatar enjoying the lavish lifestyle that fame provides but also facing negativity from others. She begins drinking heavily and partying excessively in an attempt to cope with the downsides of her celebrity status.
The document describes the opening title sequence of a film and lists the times at which various credits are shown, including: the name of the actor who plays the main character; the name of the novel and author it was based on; the names of actors and stunt doubles; the name of the actress who plays M; the names of the associate producer and production executive; and the names of various crew members like the camera operator, sound recordist, visual effects supervisor, editor, director of photography, production designer, composer, executive producers, screenwriters, and producers. It concludes by showing the director's name at the end of the opening sequence.
This document is a music video script for the song "Red Lights" by Tiësto. It consists of 35 scenes describing shots of two actors, a male actor and a female actress. The script shows the actors as students who skip their classes to spend time together at the beach and later go to a party. They decide to leave the party early and go back to the male actor's home to watch a movie, where they fall asleep leaning on each other on the couch. The script provides direction for camera shots and transitions between each short scene to tell the visual story of the song.
The document provides a detailed analysis of camera techniques, lighting, editing, and sound used in different shots of a music video. It examines close-ups, medium shots, long shots, angles, lighting, cuts between shots, and use of non-diegetic sound. Shots include a woman disappearing and reappearing in different locations, a couple dancing in a dimly lit bar, mysterious close-ups of people's eyes during a strange experiment, and a man watching a train from a field at sunset.
Music video evaluation - Jake Bugg 'Two Fingers'Molly Turner
The music video tells a narrative story of the artist Jake Bugg's life. It shows him hanging out with friends, then scenes of conflict at home with his mother and her boyfriend drinking and fighting. Shots show Bugg packing up and leaving home, represented by a shot of him at the airport with friends. The video contrasts scenes of his difficult home life with shots of him performing music, suggesting he uses his artistry as an escape from his problems at home.
Music video Evaluation - The Lumineers 'Cleopatra' Molly Turner
The music video for "Cleopatra" by The Lumineers tells the narrative story of a lonely taxi driver. She picks up various passengers throughout the video, including a pregnant woman and later her son from a picture in the taxi. The director uses stylistic techniques like square framing and close-up shots of the characters' faces to tell the emotional story and develop the relationship between the driver and her passengers. In the end, the driver is seen regretfully driving away after dropping off her son, suggesting she remains isolated despite experiencing human connections through her work.
The proposed music video treatment aims to tell the story of an isolated old man who has lost his wife through a narrative storyline and performance by the artist. Shots of the man alone in his dark, empty home would contrast with warmly lit scenes to show his changing emotions. Pictures of the man and his wife would establish her absence. The artist's performance would introduce a parallel storyline. Edited close-ups of the men's hands and faces would draw parallels between their experiences with loss. Scenes of the man in his garden suggest finding freedom and peace while thinking of his late wife. The video aims to interpret the song through both characters' stories of lost love.
Music video evaluation loyle carner ~ sun of jeanMolly Turner
The music video for 'Sun of Jean' by Loyle Carner uses a narrative structure and stylistic elements to tell the story of family and motherhood. Through a series of shots featuring women in domestic settings accompanied by their children, the video explores the relationships between mothers and sons. The grainy, dimly lit footage shot on square formats evokes a nostalgic, comforting atmosphere. By zooming the camera inward, the director draws the audience into the intimate scenes before coming full circle back to the artist at his mother's home.
1) The video uses camera effects, lighting, locations, and editing to portray memories being looked back on from the perspective of a male character.
2) Scenes cut between the male viewing old videos/photos of him and his ex-partner and flashbacks to their relationship. The flashbacks become increasingly tense over time.
3) By the end, the male has let go of the memories and camera representing his ex. The final scene shows him alone and unhappy in the present day compared to the happier memories from the past.
The document provides lyrics and descriptions of shots for a music video over a 3 minute and 19 second period. It follows an artist singing about a former romantic partner who was silver-tongued and caused the relationship to crumble. Shots include close-ups of the artist singing, mid-shots of a girl, and long shots of the full band playing. Towards the end, the artist sings the last lines looking up with a serious expression before walking away, possibly ending with a shallow focus shot.
This document analyzes shots from the opening credits of a 1960s musical. Shot 1 establishes the production company with no context of the film's genre. Shot 2 introduces the director but still provides little information. Shot 3 shows characters dancing on a TV show set, indicating choreography and dancing will be central. Subsequent shots provide more details about the TV show setting, characters, and era through costumes, dialogue, and music to build intrigue around the musical's story and themes.
The opening sequence for the movie "Bad Teacher" is 2 minutes and 10 seconds long. It shows flashbacks of schools with cursive writing over it. The purpose is to give more feeling to the title and show clips related to schools. The credits are shown with the actors, crew, producers, writers, and director's names in different colors and the same font over a black background.
The video uses various camera shots like close-ups, wide shots, and over-the-shoulder shots to depict the artist's emotions and move the storyline forward. It shows the artist playing piano, arguing with her boyfriend, and crying to convey heartbreak. The locations include a music room, dance studio, and house. Editing uses dissolves and jump cuts between shots to sync with the music. The CD and poster designs feature close-up images of the distressed artist to reflect her feelings of insecurity and promote the album. They use simple, white text on a black background for a clean, sophisticated look consistent with the artist's brand.
This document provides a shooting schedule for a music video with 79 shots planned between 0 and 1.58 minutes. The shots include various angles, framings, and effects to depict the breakdown of a relationship through a paint fight sequence and then show the female protagonist overcoming her sadness. Close-ups, medium shots, and montages will be used to advance the narrative and lyrics, with paint and UV effects to represent emotions. The schedule provides timing, shot type, description, and reasoning for each shot in the production.
The music video for Bruno Mars' "24K Magic" portrays the artist as wealthy and powerful through various visual cues. Shots of expensive cars, jewelry, and mansions establish Bruno's lavish lifestyle. Fast cuts and energetic dance routines create excitement and align with conventions of the pop genre. Throughout, the camera lingers on displays of wealth and sexuality to present Bruno as desirable and encourage audience aspiration to his lifestyle.
This music video tells a narrative story that accompanies the song "Buy U A Drank" by T-Pain featuring Yung Joc. The video begins by introducing T-Pain and Yung Joc in a nightclub setting. It then cuts between the nightclub and a second location, showing the artists singing and partying with women. Towards the end, it is revealed that T-Pain and his crew robbed a safe, providing the money seen throughout the video. The video concludes with T-Pain remaining at the closed nightclub as the others depart. Through its cuts between locations and artists, the video synchronizes with the song while depicting the story of a night out implied by the lyrics.
This document provides a detailed timeline and description of visuals to accompany song lyrics for a music video. It is broken into sections for the introduction, verses, chorus, and outlines matching shots including close-ups, long shots, and tracking shots of the artist and other individuals that correspond to the lyrics and story being told at each point in the song.
This music video script is for the song "Call Me Maybe" by Carly Rae Jepsen. It consists of 78 scenes showing an actor interacting with a group of girls and then directly addressing the camera. In each scene, the actor lip syncs one word of the song's lyrics while making eye contact with the camera to draw the audience in. The script aims to bring the song's narrative to life through a combination of shots following the actor and group of girls as well as close-ups of the actor singing the lyrics to the camera.
This document provides a script for a music video featuring 5 band members (Matthew, Kiel, Ethan, Oliver, Ken) lip syncing and acting out the song "Live While We're Young" by One Direction. The script includes 30 scenes ranging from 0:00-3:14 detailing shots that will be used, what the band members will be doing in each scene, and the corresponding lyrics. The overall plot has the band members playing and messing around outside, jumping in a pool, and acting like they are having fun at a celebration.
The document provides a detailed breakdown and description of shots for a music video for the song "All About Tonight". It outlines shots for each verse and chorus section that show the actress getting ready, arriving at and enjoying a party, and dancing with others. The shots include close-ups, medium shots, and long shots of the actress and aspects of the party from different locations to keep a fast pace and match the lyrics and beat of the song.
Lyrics Breakdown-Lies We Lead by Speaking In ShadowsAlex Hooks
The document provides details on how music video shots would visualize the lyrics of a song. Scenes would show a band performing, people wearing clothes with lies written on them, and a protagonist with a masked slowly making her way through the crowd. Shots would focus on singing, dancing, and the removal of masks and white clothes to symbolize shedding lies and embracing truth. The video aims to portray overcoming hardship and living freely through the power of music.
1. The document outlines the cinematography, mise-en-scene, sound, and editing techniques used in a music video featuring an artist named Lukatar. It provides descriptions for 60 scenes in the video.
2. The video begins by establishing Lukatar at school, then shows her gaining fame and wealth as a musician. Scenes showcase her dancing, rapping, and flashy outfits against backgrounds like graffiti walls and money.
3. As the video progresses, it depicts Lukatar enjoying the lavish lifestyle that fame provides but also facing negativity from others. She begins drinking heavily and partying excessively in an attempt to cope with the downsides of her celebrity status.
The document describes the opening title sequence of a film and lists the times at which various credits are shown, including: the name of the actor who plays the main character; the name of the novel and author it was based on; the names of actors and stunt doubles; the name of the actress who plays M; the names of the associate producer and production executive; and the names of various crew members like the camera operator, sound recordist, visual effects supervisor, editor, director of photography, production designer, composer, executive producers, screenwriters, and producers. It concludes by showing the director's name at the end of the opening sequence.
This document is a music video script for the song "Red Lights" by Tiësto. It consists of 35 scenes describing shots of two actors, a male actor and a female actress. The script shows the actors as students who skip their classes to spend time together at the beach and later go to a party. They decide to leave the party early and go back to the male actor's home to watch a movie, where they fall asleep leaning on each other on the couch. The script provides direction for camera shots and transitions between each short scene to tell the visual story of the song.
Similar to Music video script_template luke taylor (8)
The document summarizes Matthew Rogero's process for creating a double page spread for a magazine. He captured a variety of good images of his subject, Olivia, but lacked time to take more photos. He found producing the article text more challenging than taking the photos. Editing the two selected images, including adjusting brightness and color, took significant experimentation. Overall, he hit the targets he had set for simple design elements. The main challenge was time management between this project and other assignments.
1. The document describes the process of creating a double page magazine spread in Adobe Photoshop, including interviewing someone named Olivia to write a 1,000+ word article.
2. The text was copied from Microsoft Word and pasted into Photoshop to be formatted and positioned across two pages like a magazine article. Images and vinyl textures were added and layered properly.
3. The final spread uses the font Euphemia at 10pt size, with the headline in a bold green color to look professional like real magazines.
The document summarizes the process of creating a magazine cover for a teenage girl magazine called Melody. Photos were taken of a model, Olivia, in a pink shirt among flowers. One photo was selected for the cover due to the colors complementing each other. Different text designs were explored for the masthead before selecting one that was soft and easy to read. Photo editing tools were used to enhance the selected cover photo, giving it a natural look. The completed cover features the model photo, masthead, and additional design elements like colored bubbles to make it visually appealing for its teenage girl target audience.
The document summarizes Matthew Rogero's process for creating a double page spread magazine article. It discusses that he had limited time to capture images but managed to get good shots of Olivia with expressive facial expressions. The writing process took more time than shooting. Editing the selected images required experimenting with brightness and color to enhance them. If doing the project again, Rogero would focus on better time management to avoid rushing due to other concurrent tasks. Overall, the process prepared him for similar future projects.
Olivia Berry realized she could sing at age 8 when her family listened to her sing "Silent Night" during a Christmas video. She began seriously pursuing singing at age 11-12 by making YouTube videos of herself singing that gained millions of views. Though she did not expect to become so successful, being famous at a young age was difficult as she was homeschooled and unable to have a normal social life or day out with paparazzi following her. Her proudest achievement so far was breaking the sales record for an album in a single day. She is looking forward to collaborating with other artists, traveling the world, and living in America. Her mother, who has the best voice Olivia has heard and
The document discusses the marketing process for the Hollywood blockbuster film "Need for Speed." It identifies the target audience as male car enthusiasts between ages 15-35 based on the popularity of the video game franchise. Extensive market research including audience surveys and focus groups would have been used to develop the marketing campaign. The campaign utilizes iconic posters showing fast cars and attractive women to anchor meaning and attract the target demographic. Synergy with the existing video game franchise helps drive interest in the film from that existing fan base.
Olivia Berry realized she could sing at age 8 when her family listened to her sing "Silent Night" during a Christmas video recording. She began seriously pursuing singing around ages 11-12 by making YouTube videos of herself singing that gained millions of views. Though she did not expect to become so successful, it has been a dream come true. Growing up famous from ages 13-14 was difficult, as she was homeschooled and constantly surrounded by paparazzi, but singing helped her cope. Her proudest achievement so far was breaking the record for most album sales in a single day. Her advice for young artists is to work hard but also have fun making music.
The document summarizes Matthew Rogero's process for creating a double page spread magazine article. It discusses that he had limited time to capture images but managed to get good shots of Olivia with expressive facial expressions. The writing process took more time than shooting. Editing the selected images required experimenting with brightness and color to enhance them. If doing the project again, Rogero would focus on better time management to avoid rushing due to other concurrent tasks. Overall, the process prepared him for similar future projects.
The document summarizes Matthew Rogero's process for creating a double page spread magazine article. It discusses that he had limited time to capture images but managed to get good shots of Olivia with expressive facial expressions. The writing process took more time than shooting. Editing the selected images required experimenting with brightness and color to enhance them. If doing the project again, Rogero would focus on better time management to avoid rushing due to other concurrent tasks. Overall, the process prepared him for similar future projects.
This document describes the process for creating a double page magazine article spread. First, the author writes the article in Microsoft Word to check for errors. Then they copy and paste the text into Photoshop to properly position it. Finally, the author places vinyl overlays on the Photoshop document and lowers the opacity to complete the double page magazine spread.
This document analyzes and compares the front covers of two magazines - Vibe and Blender. For Vibe, the main points made are that the title is simple and bold in blue, the masthead is big and bold, and the main image is of rapper Kanye West. For Blender, the points are that the title is big and bold in black, the masthead uses pink and black colors, and the main image is of singer Katy Perry. Overall, it finds that Vibe has a darker, edgier style while Blender has a softer, brighter style more aimed at women. Recommendations for a new magazine cover include using bright colors, simple text, and catchy designs.
Matthew Rogero created a football magazine for women called 'Extra Time' for his final project. He researched similar magazines for inspiration and used Adobe Photoshop to design page layouts and a masthead. He chose fonts from dafont.com and took photos of models on a football pitch to include in the magazine. Feedback praised the layout but noted the front cover lacked text. Overall, Matthew was pleased with his first magazine project.
Aaron Paul promoted the film Need for Speed through appearances on Top Gear and WWE Raw. On Top Gear, an automotive television show, he discussed his passion for cars and his role in the new film. His appearance on WWE Raw, a wrestling show with audiences of various ages, involved driving one of the film's cars into the ring. These promotional appearances aimed to attract different audience demographics and increase awareness of the racing film. Overall, appearances on talk shows like Top Gear were deemed most effective at both promoting the car-focused film and appealing to fans of the main actor, Aaron Paul.
The document discusses using the patch tool in Photoshop to edit magazine cover photos. It explains that the patch tool allows removing freckles and other imperfections from models' faces to make the front cover images perfect. It demonstrates how the tool was used to remove a freckle from the upper left lip and sharpen the background. The summary shows before and after images, with the freckles removed and background creases edited out in the finished image.
Reaper is simple editing software that allows manipulating audio footage by dragging clips onto a timeline and trimming them to start at specific times. The software also lets editors adjust volume levels over time, such as lowering background music to emphasize a voiceover.
Two voice over artists, Damen Bramwell and Ngunan Adamu, were booked for a voice over session on May 15, 2014 from 2pm to 4pm. Both voice over artists, one male and one female, were scheduled for the same 2 hour session running concurrently from 2pm to 4pm on May 15, 2014.
Netflix provides thousands of movies and TV shows that can be streamed for only £6 per month. A woman tells her friend on the phone that she is watching Netflix when he asks what she is doing. When he says he has never heard of Netflix, she explains that it streams the best movies and shows with thousands to choose from. The man replies that with thousands of options, it sounds like she will have a busy night of viewing ahead.
This document contains the production diary and progress updates for a student working on their final major project to create a football magazine as part of their BTEC Extended Diploma in Creative Media Production. Over the course of several months, the student conducted market research, created designs for the magazine masthead and layouts, gathered and edited images, and compiled article information. They updated their plan each week with the work completed and goals for the following week, with the ultimate goal of having a finished final copy of the magazine uploaded to their blog by mid-April to receive feedback from their tutor.
Wayne Rooney is holding one football in the photo angle envisioned, and the photographer will consider having another player slightly behind and to the side. The document also discusses aiming for high image quality like that shown, with flash glare making the photo attractive, and emotion on a player's face making the magazine more eye-catching. Additionally, action shots like one of David Beckham kneeing a ball are considered for the photo shoot preparation.
1. Music Video Script
First Draft Script by Luke Taylor
Instructions
On the following page is a blank table in script format. The rows number
themselves automatically, so you can insert or delete rows as the project
requires by selecting a row or rows then right-clicking within the
selection and clicking on “insert rows or “delete rows”. You can also move
rows by dragging
The Video column is for descriptions of visuals and should include camera
directions, transition descriptions and anything else visually important.
You can also insert graphics to better illustrate or storyboard the script.
The Audio column is for narration, and music and audio f/x descriptions and
direction. The narration should be clearly distinguished from the audio
notes (usually the narration in each scene begins with NARR: and the other
audio notes are in parentheses or italics, or a different color). The
point is to make the narration easy enough to spot that the narration can
be read without requiring the reader to search through confusing text. The
Audio column is also set to 1.5 spacing – this leaves room for notes.
Save this document under a new name and delete these first three pages to
create a script using our template.
2. Music Video Script
First Draft Script by Luke Taylor
Video Title: Call Me Maybe – Carly Rae Jepsen
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
1. [0:00 – 0:08]LS of a group of girls I threw a wish in the well,
walking around a shopping
Don't ask me, I'll never tell, I
centre/town and seeing a male actor
who catches their attention. looked to you as it fell, And
now you're in my way.
2. [0:08 – 0:16]MS the group of girls I'd trade my soul for a wish,
all talking to each other, laughing
Pennies and dimes for a kiss, I
and joking about the male who has
just talked past wasn't looking for this, But now
you're in my way
3. [0:16 – 0:21] LS slip screen of Your stare was holdin', Ripped
male walking and the group of girl,
jeans, skin was showin', Hot
the main girl is in the center of
the group to show the main night, wind was blowin'
character.
4. [0:21 – 0:24]MS on the actor‟s face Where do you think you're going,
up to the waist showing body
baby?
language and facial expression.
5. [0:24 – 0:25] CU on actors face, Hey
looking into the camera. Eye
contact with the camera to draw the
audience in.
6. [0:25 – 0:26] CU on actors face, I
looking into the camera. Eye
contact with the camera to draw the
audience in.
7. [0:27 – 0:28] CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
8. [0:28 – 0:29] CU on actors face, Met
looking into the camera. Eye
contact with the camera to draw the
audience in.
3. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
9. [0:29 – 0:30] CU on actors face, You
looking into the camera. Eye
contact with the camera to draw the
audience in.
10. [0:30 – 0:31] CU on actors face, And
looking into the camera. Eye
contact with the camera to draw the
audience in.
11. [0:31 – 0:32] CU on actors face, This
looking into the camera. Eye
contact with the camera to draw the
audience in.
12. [0:32 – 0:33] CU on actors face, Is
looking into the camera. Eye
contact with the camera to draw the
audience in.
13. [0:33 – 0:34] CU on actors face, Crazy
looking into the camera. Eye
contact with the camera to draw the
audience in.
14. [0:34 – 0:36]MS zoom inon the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
15. [0:36 – 0:37] CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
16. [0:37 – 0:38] CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
17. [0:38 – 0:39] CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
18. [0:39 – 0:40] CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
19. [0:40 – 0:43]MS on the actor‟s face It's hard to look right, At you
up to the waist showing body
baby.
language and facial expression.
4. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
20. [0:43 – 0:45]MS zoom inon the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
21. [0:45 – O:46] CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
22. [0:46 – 0:47] CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
23. [0:47 – 0:48] CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
24. [0:48 – 0:49] CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
25. [0:49 – 0:50] CU on actors face, Hey
looking into the camera. Eye
contact with the camera to draw the
audience in.
26. [0:50 – 0:51] CU on actors face, I
looking into the camera. Eye
contact with the camera to draw the
audience in.
27. [0:51 – 0:52] CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
28. [0:52 – 0:53] CU on actors face, Met
looking into the camera. Eye
contact with the camera to draw the
audience in.
29. [0:53 – 0:54] CU on actors face, You
looking into the camera. Eye
contact with the camera to draw the
audience in.
30. [0:54 – 0:56]MS on the actor‟s face And This is crazy
up to the waist showing body
language and facial expression.
5. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
31. [0:56 – 0:58]MS zoom inon the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
32. [0:58 – 0:59] CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
33. [0:59 – 1:00] CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
34. [1:00 – 1:01] CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
35. [1:01 – 1:02] CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
36. [1:02 – 1:05]MS on the actor‟s face And all the other boys, Try to
up to the waist showing body
chase me
language and facial expression.
37. [1:05 – 1:07]MS zoom inon the But here's my number
actor‟s face up to the waist
showing body language and facial
expression.
38. [1:07 – 1:08] CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
39. [1:08 – 1:09] CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
40. [1:09 – 1:10] CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
41. [1:10 – 1:11]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
6. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
42. [1:11 – 1:19]LS slow motion of the You took your time with the
group of girls chasing after the
call, I took no time with the
male walking.
fall, You gave me nothing at
all, But still, you're in my way
43. [1:19 – 1:27]MLS girls catch up to I beg, and borrow and steal,
the male are begin to talk to him
Have foresight and it's real, I
and laughing.
didn't know I would feel it, But
it's in my way
44. [1:27 – 1:35]LS slip screen of the Your stare was holdin', Ripped
guy and girl walking separate ways
jeans, skin was showin', Hot
after they meet.
night, wind was blowin', Where
you think you're going, baby?
45. [1:35 – 1:36]CU on actors face, Hey
looking into the camera. Eye
contact with the camera to draw the
audience in.
46. [1:36 – 1:37]CU on actors face, I
looking into the camera. Eye
contact with the camera to draw the
audience in.
47. [1:37 – 1:38]CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
48. [1:38 – 1:39] CU on actors face, Met
looking into the camera. Eye
contact with the camera to draw the
audience in.
49. [1:39 – 1:40]CU on actors face, You
looking into the camera. Eye
contact with the camera to draw the
audience in.
50. [1:40 – 1:41]CU on actors face, And
looking into the camera. Eye
contact with the camera to draw the
audience in.
51. [1:41 – 1:42]CU on actors face, This
looking into the camera. Eye
contact with the camera to draw the
audience in.
7. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
52. [1:42 – 1:43]CU on actors face, Is
looking into the camera. Eye
contact with the camera to draw the
audience in.
53. [1:43 – 1:44]CU on actors face, Crazy
looking into the camera. Eye
contact with the camera to draw the
audience in.
54. [1:44 – 1:46]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
55. [1:46 – 1:47]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
56. [1:47 – 1:48]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
57. [1:48 – 1:49]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
58. [1:49 – 1:50]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
59. [1:50 – 1:53]MS on the actor‟s face It's hard to look right, At you
up to the waist showing body
baby
language and facial expression.
60. [1:53 – 1:55]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
61. [1:55 – 1:56]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
62. [1:56 – 1:57]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
8. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
63. [1:58 – 1:59]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
64. [1:59 – 2:00]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
65. [2:00 – 2:01]CU on actors face, Hey
looking into the camera. Eye
contact with the camera to draw the
audience in.
66. [2:01 – 2:02]CU on actors face, I
looking into the camera. Eye
contact with the camera to draw the
audience in.
67. [2:02 – 2:03]CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
68. [2:03 – 2:04]CU on actors face, Met
looking into the camera. Eye
contact with the camera to draw the
audience in.
69. [2:04 – 2:05]CU on actors face, You
looking into the camera. Eye
contact with the camera to draw the
audience in.
70. [2:05 – 2:06]CU on actors face, And
looking into the camera. Eye
contact with the camera to draw the
audience in.
71. [2:06 – 2:07]CU on actors face, This
looking into the camera. Eye
contact with the camera to draw the
audience in.
72. [2:07 – 2:08]CU on actors face, Is
looking into the camera. Eye
contact with the camera to draw the
audience in.
73. [2:08 – 2:09]CU on actors face, Crazy
looking into the camera. Eye
contact with the camera to draw the
audience in.
9. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
74. [2:10 – 2:12]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
75. [2:12 – 2:13]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
76. [2:13 – 2:14]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
77. [2:14 – 2:15]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
78. [2:15 – 2:16]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
79. [2:16 – 2:19]MS on the actor‟s face And all the other boys, Try to
up to the waist showing body
chase me
language and facial expression.
80. [2:19 – 2:21]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
81. [2:21 – 2:22]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
82. [2:22 – 2:23]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
83. [2:23 – 2:24]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
84. [2:24 – 2:25]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
10. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
85. [2:25 – 2:33]LS the male and girls Before you came into my life, I
meet again and the girl builds up
missed you so bad, And you
the courage to go up to the guy and
hands him, her mobile number. should know that, I missed you
so, so bad „I missed you so bad‟
in the background
86. [2:33 – 2:36]MS on the actor‟s face It's hard to look right, At you
up to the waist showing body
baby
language and facial expression.
87. [2:36 – 2:38]MS zoom inon the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
88. [2:38 – 2:39]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
89. [2:39 – 2:40]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
90. [2:40 – 2:41]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
91. [2:41 – 2:42]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
92. [2:42 – 2:43]CU on actors face, Hey
looking into the camera. Eye
contact with the camera to draw the
audience in.
93. [2:43 – 2:44]CU on actors face, I
looking into the camera. Eye
contact with the camera to draw the
audience in.
94. [2:44 – 2:45]CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
11. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
95. [2:45 – 2:46]CU on actors face, Met
looking into the camera. Eye
contact with the camera to draw the
audience in.
96. [2:46 – 2:47]CU on actors face, You
looking into the camera. Eye
contact with the camera to draw the
audience in.
97. [2:47 – 2:48]CU on actors face, And
looking into the camera. Eye
contact with the camera to draw the
audience in.
98. [2:48 – 2:49]CU on actors face, This
looking into the camera. Eye
contact with the camera to draw the
audience in.
99. [2:49 – 2:50]CU on actors face, Is
looking into the camera. Eye
contact with the camera to draw the
audience in.
100. [2:50 – 2:51]CU on actors face, Crazy
looking into the camera. Eye
contact with the camera to draw the
audience in.
101. [2:51 – 2:53]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
102. [2:53 – 2:54]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
103. [2:54 – 2:55]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
104. [2:55 – 2:56]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
105. [2:56 – 2:57]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
12. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
106. [2:57 – 3:00]MS on the actor‟s face And all the other boys, Try to
up to the waist showing body
chase me
language and facial expression.
107. [3:00 – 3:02]MS zoom in on the But here‟s my number
actor‟s face up to the waist
showing body language and facial
expression.
108. [3:02 – 3:03]CU on actors face, So
looking into the camera. Eye
contact with the camera to draw the
audience in.
109. [3:03 – 3:04]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
110. [3:04 – 3:05]CU on actors face, Me
looking into the camera. Eye
contact with the camera to draw the
audience in.
111. [3:05 – 3:06]CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
112. [3:06 – 3:08]MS on the actor‟s face Before you came into my life
up to the waist showing body
language and facial expression.
113. [3:08 – 3:10]MS on the actor‟s face I missed you so bad
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
114. [3:10 – 3:12]MS on the actor‟s face I missed you so bad
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
115. [3:12 – 3:14]MS on the actor‟s face I missed you so bad
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
116. [3:14 – 3:16]MS on the actor‟s face Before you came into my life
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
13. Music Video Script
First Draft Script by Luke Taylor
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
117. [3:16 – 3:18]MS on the actor‟s face I missed you so bad
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
118. [3:18 – 3:20]MS on the actor‟s face And you should know that
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
119. [3:20 – 3:22]MS on the actor‟s face So call me maybe?
up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.