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.
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 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.
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 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.
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 distinguish the visual and audio elements.
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.
The document describes 12 scenes from a music video. The first scene shows the artist playing music and walking towards the camera. Scenes 2-4 show the artist stuck in a boring office job and writing song lyrics. Scenes 5-6 depict the artist screwing up the lyrics and throwing them away. Scenes 7-9 cut between the artist singing the same word in different positions to emphasize the beat. Scene 10 shows the artist aggressively throwing paperwork, indicating he is quitting his job to pursue music. Scene 11 cuts between the artist quickly walking out of the office door. The final scene depicts the artist practicing playing on stage, hoping for a music career.
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 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.
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 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.
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 distinguish the visual and audio elements.
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.
The document describes 12 scenes from a music video. The first scene shows the artist playing music and walking towards the camera. Scenes 2-4 show the artist stuck in a boring office job and writing song lyrics. Scenes 5-6 depict the artist screwing up the lyrics and throwing them away. Scenes 7-9 cut between the artist singing the same word in different positions to emphasize the beat. Scene 10 shows the artist aggressively throwing paperwork, indicating he is quitting his job to pursue music. Scene 11 cuts between the artist quickly walking out of the office door. The final scene depicts the artist practicing playing on stage, hoping for a music career.
Both magazines use a single frontal image on the cover looking directly at the viewer. The titles of both magazines are partially obscured by the images, indicating their widespread recognition. They both use red and black colors, but in different ways. The Rolling Stone magazine conveys a brighter, happier feel while Hammer has a darker, grittier tone reflecting their different target audiences. The image on Hammer is more obscured and layered compared to the clearer image and lighting used on Rolling Stone.
The magazine cover uses design elements to draw attention to Miley Cyrus as the exclusive cover story. A large headline proclaims "Miley Cyrus" as the main attraction, while her provocative photo takes up most of the cover space using the rule of thirds. Although the Rolling Stone masthead is blocked by the image, its fame means readers will recognize it without seeing the name. The blurred background and placement of additional text also keeps the focus on Miley Cyrus as the headline star.
The magazine cover uses various design elements to engage its target audience of heavy metal fans aged 17-25. The masthead is obscured by an image of Marilyn Manson, signaling that the magazine is so well known its title does not need to be prominently displayed. Use of metal-associated fonts further hints at the magazine's musical focus. A direct gaze from Manson's main image works to draw viewers in and convey a sense of being watched. Clear cover lines in all capital letters draw attention to featured artists and stories. Layering of fonts, images and cover lines, along with dark color scheme of black, red and white, match the aesthetic expected by the target demographic.
This is a contact sheet which contains all the images i took for my magazinechloewhittle2
This document is a contact sheet containing images taken for a magazine. The photographer took many pink-themed pictures with staged lighting and a camera flash to have good options and keep consistency. They chose warm, relatable images for the magazine, including two serious pictures for the cover and spread, and four happier images to lighten the tone.
This document provides details for an upcoming photography shoot, including:
- The goal is to take professional quality photos relevant to a magazine theme.
- The shoot will take place in the college photography studio between February 25th and March 5th to utilize controlled lighting.
- The model, Chloe Whittle, will wear leather jacket, jeans, and boots to match an artist character.
- A range of shots such as close-ups and medium shots will be used along with different lighting techniques to convey visual messages.
- Health and safety precautions like tripping hazards and electrical safety will be followed.
The document summarizes the design elements of a magazine double page spread. The masthead matches the color of the main image's subject and uses the same title as the front cover. The main image features Olivia looking at the camera and was edited to soften edges and lighten her eyes. A blue-tinted background texture was added. Side images of Olivia were resized and arranged, then overlaid on the spread. Columns and an article about Olivia that references other articles were included to structure the text.
Chloe White is a 19-year-old up-and-coming singer who has found quick fame despite trying to keep a level head amid media attention. She cites Beyoncé, Adele, Miley Cyrus, Dusty Springfield, Chrissie Hynde and Dolly Parton as musical inspirations and hopes to one day inspire others as they have inspired her. She first pursued music in a school talent show girl band in primary school. After uploading songs to YouTube and social media, her career took off and her debut album reached top charts around the world, though the success still feels surreal to her.
This document compares and contrasts two music magazines, Q and Vibe. It summarizes that both magazines use bright red colors and large, recognizable mastheads. Their layouts are clear and easy to read. However, Q focuses on a different music genre than Vibe, uses different gendered images on the covers, and places cover lines and additional elements in different locations on the page. Q also includes a barcode, date, and price while Vibe does not.
The document discusses the layout and design choices for a magazine article interview. It describes using a black and white bold font for the title to match the cover and stand out. A single classmate's photo is used and placed in the bottom right corner with text wrapping around it. The background photo was lightly edited with brightness, contrast and cloning tools to clean it up while keeping a plain theme. The article is clearly organized with white bold questions and black answers to clearly identify the interviewer and interviewee.
The document discusses the layout and design choices for an article about an artist named Chloe White. It describes using a black and white bold title to match the front cover, including one clear image of the subject framed by text, and editing the background slightly for clarity. The questions and answers are organized with bold white font for questions and black for answers to clearly identify the interview format while keeping to the color scheme and avoiding cluttering the page.
1) Aaron Paul promoted the Need for Speed movie globally through appearances on shows like Jimmy Kimmel, Graham Norton, Top Gear, and gaming conventions to attract different audiences.
2) On Graham Norton, Aaron talked about his role in the film and Breaking Bad to attract existing and new fans. On Top Gear, he promoted the film's car racing elements.
3) At E3, Aaron appealed to gamers by discussing the film's connection to the original Need for Speed video game franchise.
REC and Quarantine are horror films released in 2007 and 2008 respectively that were filmed in a documentary style using handheld cameras. The American film Quarantine was a remake of the original Spanish film REC, produced by Screen Gems just one year later. Screen Gems sought to capitalize on the popularity and cult following of REC by quickly releasing the American remake, hoping fans of the original would see both films and increase overall profits through related merchandise, DVD sales, and exploiting trends in the horror genre at the time.
What was it like releasing your first albumchloewhittle2
Olivia Berry has become an overnight sensation after releasing her debut album at a young age. She discusses what it was like releasing her first album, noting it was scary but a good feeling to have it become a success. She identifies her musical style as pop/R&B and cites Dolly Parton and her mother as inspirations. While she receives some negative comments, she does not listen to them and is grateful for her supportive fans.
This document summarizes the creator's process for designing the front cover of their magazine. They were pleased with the final result, which represented music without instruments and was inspired by Miley Cyrus' Rolling Stone cover. Main elements of the cover include a photo of Olivia in the foreground over water, to symbolize clarity. Colors, font, and layout were chosen to look professional and make the photo and text stand out. The creator landed on the title "Record" as it relates to music and looks better than their first idea. They are happy with the professional quality achieved in the final design.
What was it like releasing your first albumchloewhittle2
Olivia Berry has had a breakout year, releasing her debut album which reached number one on iTunes. The album combines pop, R&B, and soul styles. Berry never expected to achieve this level of success and remains grounded, citing her family and fans as inspirations. While she enjoys keeping the meanings behind her songs private, her favorite is "Burgess" for its personal connection. Berry hopes to tour internationally and sees it as a way to boost her confidence while thanking fans for their support through the challenges of creating her album.
Using reception theory, the author interprets films differently based on their messages and how audiences receive them. Reception theory identifies three ways audiences perceive messages: dominant, when they agree with the message; negotiated, when opinions vary; and oppositional, when they disagree. The author's favorite films - Some Like It Hot, Breakfast at Tiffany's, and The Hangover - appeal to them through star power, meaningful messages, and conventions of their genres like humor, romance and drama. Analysis of scenes and stars shows how films aim to attract audiences and are open to different interpretations.
The document discusses Aaron Paul's promotion of the 2014 film Need for Speed. It describes his appearances on shows like Graham Norton, Top Gear, and at the E3 gaming convention to promote the film and attract different audiences. These appearances allowed him to discuss the film's plot and his role, show trailers, and participate in car-related activities. His popularity from Breaking Bad was leveraged to gain interest from existing and new fans.
This document discusses the tools in Reaper that allow importing voiceovers, music tracks, and controlling the pace of advertisements. Reaper allows importing recorded voiceovers and selected music tracks, and provides tools to ensure sound quality and crop sections. The document also notes Reaper's ability to speed up or slow down imported audio to adjust the pace of advertisements.
Olivia Berry used music called "Can Do" from the shared Q drive at her college in her radio advertisement. The music came from the shared drive accessible to the college. It was used without permission in her radio advertisement.
Both magazines use a single frontal image on the cover looking directly at the viewer. The titles of both magazines are partially obscured by the images, indicating their widespread recognition. They both use red and black colors, but in different ways. The Rolling Stone magazine conveys a brighter, happier feel while Hammer has a darker, grittier tone reflecting their different target audiences. The image on Hammer is more obscured and layered compared to the clearer image and lighting used on Rolling Stone.
The magazine cover uses design elements to draw attention to Miley Cyrus as the exclusive cover story. A large headline proclaims "Miley Cyrus" as the main attraction, while her provocative photo takes up most of the cover space using the rule of thirds. Although the Rolling Stone masthead is blocked by the image, its fame means readers will recognize it without seeing the name. The blurred background and placement of additional text also keeps the focus on Miley Cyrus as the headline star.
The magazine cover uses various design elements to engage its target audience of heavy metal fans aged 17-25. The masthead is obscured by an image of Marilyn Manson, signaling that the magazine is so well known its title does not need to be prominently displayed. Use of metal-associated fonts further hints at the magazine's musical focus. A direct gaze from Manson's main image works to draw viewers in and convey a sense of being watched. Clear cover lines in all capital letters draw attention to featured artists and stories. Layering of fonts, images and cover lines, along with dark color scheme of black, red and white, match the aesthetic expected by the target demographic.
This is a contact sheet which contains all the images i took for my magazinechloewhittle2
This document is a contact sheet containing images taken for a magazine. The photographer took many pink-themed pictures with staged lighting and a camera flash to have good options and keep consistency. They chose warm, relatable images for the magazine, including two serious pictures for the cover and spread, and four happier images to lighten the tone.
This document provides details for an upcoming photography shoot, including:
- The goal is to take professional quality photos relevant to a magazine theme.
- The shoot will take place in the college photography studio between February 25th and March 5th to utilize controlled lighting.
- The model, Chloe Whittle, will wear leather jacket, jeans, and boots to match an artist character.
- A range of shots such as close-ups and medium shots will be used along with different lighting techniques to convey visual messages.
- Health and safety precautions like tripping hazards and electrical safety will be followed.
The document summarizes the design elements of a magazine double page spread. The masthead matches the color of the main image's subject and uses the same title as the front cover. The main image features Olivia looking at the camera and was edited to soften edges and lighten her eyes. A blue-tinted background texture was added. Side images of Olivia were resized and arranged, then overlaid on the spread. Columns and an article about Olivia that references other articles were included to structure the text.
Chloe White is a 19-year-old up-and-coming singer who has found quick fame despite trying to keep a level head amid media attention. She cites Beyoncé, Adele, Miley Cyrus, Dusty Springfield, Chrissie Hynde and Dolly Parton as musical inspirations and hopes to one day inspire others as they have inspired her. She first pursued music in a school talent show girl band in primary school. After uploading songs to YouTube and social media, her career took off and her debut album reached top charts around the world, though the success still feels surreal to her.
This document compares and contrasts two music magazines, Q and Vibe. It summarizes that both magazines use bright red colors and large, recognizable mastheads. Their layouts are clear and easy to read. However, Q focuses on a different music genre than Vibe, uses different gendered images on the covers, and places cover lines and additional elements in different locations on the page. Q also includes a barcode, date, and price while Vibe does not.
The document discusses the layout and design choices for a magazine article interview. It describes using a black and white bold font for the title to match the cover and stand out. A single classmate's photo is used and placed in the bottom right corner with text wrapping around it. The background photo was lightly edited with brightness, contrast and cloning tools to clean it up while keeping a plain theme. The article is clearly organized with white bold questions and black answers to clearly identify the interviewer and interviewee.
The document discusses the layout and design choices for an article about an artist named Chloe White. It describes using a black and white bold title to match the front cover, including one clear image of the subject framed by text, and editing the background slightly for clarity. The questions and answers are organized with bold white font for questions and black for answers to clearly identify the interview format while keeping to the color scheme and avoiding cluttering the page.
1) Aaron Paul promoted the Need for Speed movie globally through appearances on shows like Jimmy Kimmel, Graham Norton, Top Gear, and gaming conventions to attract different audiences.
2) On Graham Norton, Aaron talked about his role in the film and Breaking Bad to attract existing and new fans. On Top Gear, he promoted the film's car racing elements.
3) At E3, Aaron appealed to gamers by discussing the film's connection to the original Need for Speed video game franchise.
REC and Quarantine are horror films released in 2007 and 2008 respectively that were filmed in a documentary style using handheld cameras. The American film Quarantine was a remake of the original Spanish film REC, produced by Screen Gems just one year later. Screen Gems sought to capitalize on the popularity and cult following of REC by quickly releasing the American remake, hoping fans of the original would see both films and increase overall profits through related merchandise, DVD sales, and exploiting trends in the horror genre at the time.
What was it like releasing your first albumchloewhittle2
Olivia Berry has become an overnight sensation after releasing her debut album at a young age. She discusses what it was like releasing her first album, noting it was scary but a good feeling to have it become a success. She identifies her musical style as pop/R&B and cites Dolly Parton and her mother as inspirations. While she receives some negative comments, she does not listen to them and is grateful for her supportive fans.
This document summarizes the creator's process for designing the front cover of their magazine. They were pleased with the final result, which represented music without instruments and was inspired by Miley Cyrus' Rolling Stone cover. Main elements of the cover include a photo of Olivia in the foreground over water, to symbolize clarity. Colors, font, and layout were chosen to look professional and make the photo and text stand out. The creator landed on the title "Record" as it relates to music and looks better than their first idea. They are happy with the professional quality achieved in the final design.
What was it like releasing your first albumchloewhittle2
Olivia Berry has had a breakout year, releasing her debut album which reached number one on iTunes. The album combines pop, R&B, and soul styles. Berry never expected to achieve this level of success and remains grounded, citing her family and fans as inspirations. While she enjoys keeping the meanings behind her songs private, her favorite is "Burgess" for its personal connection. Berry hopes to tour internationally and sees it as a way to boost her confidence while thanking fans for their support through the challenges of creating her album.
Using reception theory, the author interprets films differently based on their messages and how audiences receive them. Reception theory identifies three ways audiences perceive messages: dominant, when they agree with the message; negotiated, when opinions vary; and oppositional, when they disagree. The author's favorite films - Some Like It Hot, Breakfast at Tiffany's, and The Hangover - appeal to them through star power, meaningful messages, and conventions of their genres like humor, romance and drama. Analysis of scenes and stars shows how films aim to attract audiences and are open to different interpretations.
The document discusses Aaron Paul's promotion of the 2014 film Need for Speed. It describes his appearances on shows like Graham Norton, Top Gear, and at the E3 gaming convention to promote the film and attract different audiences. These appearances allowed him to discuss the film's plot and his role, show trailers, and participate in car-related activities. His popularity from Breaking Bad was leveraged to gain interest from existing and new fans.
This document discusses the tools in Reaper that allow importing voiceovers, music tracks, and controlling the pace of advertisements. Reaper allows importing recorded voiceovers and selected music tracks, and provides tools to ensure sound quality and crop sections. The document also notes Reaper's ability to speed up or slow down imported audio to adjust the pace of advertisements.
Olivia Berry used music called "Can Do" from the shared Q drive at her college in her radio advertisement. The music came from the shared drive accessible to the college. It was used without permission in her radio advertisement.
2. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
Video Title: Call Me Maybe – Carly Rae Jepsen
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
1. [0:00 – 0:08]CU of two girls I threw a wish in the well,
walking and laughing to one
Don't ask me, I'll never tell, I
another. The camera is tracking
backwards. looked to you as it fell, And
now you're in my way.
2. [0:08 – 0:16]MS of the girls I'd trade my soul for a wish,
sitting down at a table, outside a
Pennies and dimes for a kiss, I
café. A waiter then walks out.
wasn't looking for this, But now
you're in my way
3. [0:16 – 0:21]CU of the waiters face Your stare was holdin', Ripped
staring at both girls then the
jeans, skin was showin', Hot
camera cuts to a close up of both
girls faces staring at the waiter. night, wind was blowin'
4. [0:21 – 0:24] MS on the actor’s Where do you think you're going,
face 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
Second Draft By Chloe Whittle
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 in on 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 It's hard to look right, At you
face up to the waist showing body
baby.
language and facial expression.
4. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
20. [0:43 – 0:45] MS zoom in on 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 And This is crazy
face up to the waist showing body
language and facial expression.
5. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
31. [0:56 – 0:58] MS zoom in on 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 And all the other boys, Try to
face up to the waist showing body
chase me
language and facial expression.
37. [1:05 – 1:07] MS zoom in on 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
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
42. [1:11 – 1:19]CU of Olivia ordering You took your time with the
some food smiling and flirting with
call, I took no time with the
the waiter. The camera then cuts to
a close up of the waiters face fall, You gave me nothing at
smiling at her.
all, But still, you're in my way
43. [1:19 – 1:27]Over the shoulder shot I beg, and borrow and steal,
of Olivia showing Chloe looking at
Have foresight and it's real, I
them through the window looking
angry and jealous. didn't know I would feel it, But
it's in my way
44. [1:27 – 1:35]medium shot of the Your stare was holdin', Ripped
waiter handing Olivia her drink and
jeans, skin was showin', Hot
his number. Long shot used to show
Olivia walking over to the table night, wind was blowin', Where
where Chloe’s sat.
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.
7. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
51. [1:41 – 1:42] CU on actors face, This
looking into the camera. Eye
contact with the camera to draw the
audience in.
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 It's hard to look right, At you
face 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.
8. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
62. [1:56 – 1:57]CU on actors face, Call
looking into the camera. Eye
contact with the camera to draw the
audience in.
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.
9. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
73. [2:08 – 2:09] CU on actors face, Crazy
looking into the camera. Eye
contact with the camera to draw the
audience in.
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 And all the other boys, Try to
face 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.
10. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
84. [2:24 – 2:25] CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
85. [2:25 – 2:33]CU of the waiter Before you came into my life, I
coming over to Chloe and Olivia’s
missed you so bad, And you
table asking Olivia if she gave
Chloe his number. MS of Chloe and should know that, I missed you
the waiter walking off and leaving
so, so bad ‘I missed you so bad’
Olivia
in the background
86. [2:33 – 2:36] MS on the actor’s It's hard to look right, At you
face up to the waist showing body
baby
language and facial expression.
87. [2:36 – 2:38] MS zoom in on 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.
11. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
94. [2:44 – 2:45] CU on actors face, Just
looking into the camera. Eye
contact with the camera to draw the
audience in.
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.
12. Music Video Script
First Draft Script by Luke Taylor
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
105. [2:56 – 2:57] CU on actors face, Maybe?
looking into the camera. Eye
contact with the camera to draw the
audience in.
106. [2:57 – 3:00] MS on the actor’s And all the other boys, Try to
face 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 I missed you so bad
face 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 I missed you so bad
face 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
Second Draft By Chloe Whittle
VIDEO AUDIO
LYRICS / NARRATION / MUSIC / FX
116. [3:14 – 3:16] MS on the actor’s Before you came into my life
face up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.
117. [3:16 – 3:18] MS on the actor’s I missed you so bad
face 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 And you should know that
face 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 So call me maybe?
face up to the waist showing body
language showing exaggeration of
the lyrics and facial expression.