£100
Camera hire: £128 + £220 = £348
Studio hire: £60
Edit suite: £720
Props/costumes: £80
Contingency (10%): £308
Total budget: £1616
This budget is within my £2000 target and allows for a 10% contingency. The main costs are the camera hire and edit suite. I have kept other costs such as assistant and props/costumes low by using my own resources where possible. This budget will allow me to produce my music video as planned.
Here is the evalustion of my Final products I have created which includes a magazine advertisement,a Music Video and a C.D cover and back. Moreso, in this evaluation I have answered relevent questions in order to explain and evaluate the process of creating such products.
Here is the evalustion of my Final products I have created which includes a magazine advertisement,a Music Video and a C.D cover and back. Moreso, in this evaluation I have answered relevent questions in order to explain and evaluate the process of creating such products.
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Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
3. RESEARCH & IDEA
GENERATION
Select a song/track that you like [or don’t like!]
Generate three ideas for music videos employing styles,
techniques and conventions that we have looked at in
previous sessions. Explore how you could interpret the
song differently using different methods
You can add any extra info you think is relevant, images,
mind maps, etc
For quick mind maps you could use bubbl.us to generate
these
4. RESEARCH
Watch a selection of videos to get your ideas started,
make note of a minimum of 5 – add extra slides,
screenshot the video and in bullet point note down info
in terms of camera, editing, art design, performance, etc
and how this might link to your production
5. VIDEO 1
• Beyoncé – Countdown
https://www.youtube.com
/watch?v=2XY3AvVgDns
• Camera is facing
straight for a majority
of the video.
• Variety of close ups,
medium shots and long
shots.
• Use of collage is used
frequently. I enjoy this
style a it is more
interesting to the
viewers eye.
• A lot of the video is
captured on a solid
coloured background.
• Performance is very
6. VIDEO 2
• Rihanna - We Found
Love ft. Calvin Harris
https://www.youtube.com
/watch?v=tg00YEETFzg
• This music video
contains a storyline.
• Love story between two
people.
• Camera shots are a
variety of long, medium
and close up shots.
• The use of light is used
carefully, reflections
include colours to
reflect the mood.
• The editing is both cut
to the beat of the and
also cut freely to the
• Performance is acted in the storyline. A
lot of dramatic scenes such as break
ups. Areas of the song are featured in a
run down house/ room.
• A lot of the settings/ locations in the
music video reflect the situation and
the problems the characters are facing.
• Unlike ‘Video 1’, this video is set in real
locations rather than a studio.
7. VIDEO 3
• Lady Gaga - Born This
Way
https://www.youtube.com
/watch?v=wV1FrqwZyKw
• This music video has
more abstract and
unique aspects to it, as
Lady Gaga is famous
for.
• Costumes, makeup and
setting is unique.
• Mostly set in a studio.
• Lighting is used to
create a strong contrast
in shadowing and
highlighting.
• Green screen effects are
used.
• Performance is both acted through as
small storyline in the introduction to
the video, and also a lot of
choreography through the dances.
• Variety of long, medium and close up
camera shots.
• Has a message, teaching viewers its
okay to be who you are. The artist is
trying to inspire her young fans by
giving the video a purpose.
8. VIDEO 4
• Stevie Wonder - Faith
ft. Ariana Grande
https://www.youtube.com
/watch?v=hNMMN46uFCc
• Variety of long, medium
and close up shots.
• This song was written
for a film, therefore
includes animation of
the characters from the
film.
• Video includes
animation incorporated
within the live action.
• No choreography within
the video, artists simply
walk through the street
and sit at a piano.
• Colour scheme includes bright and
vibrant colours on the costumes and
backgrounds, however also dark and
spotlight effective lighting within a
studio.
9. VIDEO 5
• Highly Suspect – Lydia
https://www.youtube.com
/watch?v=ev-bR9ii7Gs
• This video is captured
entirely in one
continuous shot.
• Filmed underwater
which is something I
could not do for my
production without
professional
equipment.
• Underwater gives the
impression of slow
motion.
• Slow motion creates
drama and intensity
with this similar
situation.
• Because this is captured in one
continuous shot, the camera tracks in
and out to and from the character to
give a variety of long, medium and
close up shots.
• The character does not move large
amounts through a majority of this
video leaving almost all the movement
to the camera.
10. SONGS
Shania Twain - Black Eyes, Blue Tears
Lady Gaga - Million Reasons
Sia - Angel By The Wings
Gladys Knight & The Pips - If I Were Your Woman
11. TECHNIQUES
In my music video I am going to use some techniques
from some of the music videos I looked at for my
research. I am going to use a variety of long, medium
and close up shots throughout and I am going to use
lighting to create effect.
I am going to take the technique of using collage within
the video, just like Beyoncé “Countdown”, to show two
different things happening at once.
I like the technique of slow motion, which I am taking
from the “Lydia” video by Highly Suspect, as it creates a
softer rhythm and a more dramatic effect to certain
situations. I can take the technique of slow motion and
expand it by reversing footage in my music video.
14. SUMMARY
• The use of not filming on a public or private location will
restrict the regulation to need permission. If filming on my own
location or in a college studio I can film by my own will. The
only restriction will be booking at studio at the specific times I
desire.
• Using a studio to film my music video will benefit the time it
takes to film. Filming in a studio will take my 1 – 2 days and
things I need such as costumes, lighting and backgrounds can
be left overnight. Therefore filming will be done much quicker
than if filming on location.
• Not lip syncing in my video will allow me to film all my footage
without playing music and therefore I can edit my footage to
the song. This also allows me to play with the speed of my
shots and experiment with slow motion or speeding them up.
• Using my own resources for costumes, props and makeup etc.
will result in a very cheap production. Nothing more will have
to be paid for and the cast and crew can use what resources I
possess.
• The song I have chosen has a simple time signature which will
15. SUMMARY
• One limitation the production to my music video is that I need
to find someone to help me film close ups of myself in the
studio. This may be an issue as I will require someone to come
into college on their day off and be around for up to 3 hours.
• Another limitation to my production is I will require two
cameras to film with when in the studio. One camera will be
continuously filming therefore I will need another camera to
film the close ups.
• Transporting my personal resources for filming may be an
issue. If I am to bring costumes, props and makeup of my own I
am going to have to find somebody to drive me as it will be too
much to bring on the bus alone.
16. FINAL IDEA –
ARTIST/TITLE/INFO
Angel by the Wings/ Sia
Sia is a Grammy award winning pop singer from Adelaide
Australia. She is 41 years of age and starting singing in
the mid 1990s in an Acid Jazz band in Australia.
The songs produced by Sia are mostly pop mixed with
her own unusual style. Sia has written music for big
artists such as Rihanna, Christina Aguilera, Jessie J,
Britney Spears, Katy Perry and many more.
17. FINAL IDEA – TRACK
SUMMARY
The track I am using is called “Angel by the Wings” by
Sia. This song was written for the ending credits for a
film called ‘The Eagle Huntress’ directed by Otto Bell.
This song has a very clear message, which are the lyrics
to the chorus stating “You can do anything”. This song
was written uplift those who listen to it and allow people
to go after their dreams and be who they want to be.
This is very fitting to my music video as my video is
going to consist of the theme of gender stereotypes. In
this video there will be two characters who are doing
things that are associated with the other gender.
18. FINAL IDEA – YOUR IDEA
My video is going to cut away between the two characters
throughout the entire video. One character is the boy
applying makeup and the other character is the girl who
is playing football and rejecting stereotypical female
interests.
In the beginning of the video, the female characters
storyline will be in black and white. The lack of colour and
brightness will infer her emotions towards what she feels
she has to be like. Further on in the video the black and
white frames will fade into colour showing she is being
who she wants to be.
The male characters storyline is going to be entirely set in
a studio where he is applying his makeup. The use of a
plain white background and no surrounding suggests that
he is focussed on himself. Also I want the audience to be
focussed on him and nothing else.
19. FINAL IDEA – YOUR IDEA
My video is going to be edited to the rhythm of the music.
This will be something easy for my to do during
production as my video will not consist of lip syncing
therefore footage can be sped up or slowed down to fit
the rhythm of the song.
My video will consists of a large range of camera shots
and angles. From long, medium and close up shots to
camera tracking, panning and zooming my video will be
extremely diverse involving the camera and composition/
blocking of the characters.
21. GUIDANCE:
PRE-PRODUCTION
ASSESSMENT
You need to assess the viability of your production and
investigate what is required to enable you to make your
music video
Much of this task is hypothetical, which means you will
need to investigate standard costings for such a
production and apply these to your planned production
considering which equipment you would need and
resources, etc
Resources to support this are in the Pre-production
assessment folder on Blackboard
Delete the questions on each slide and insert your
responses
22. GUIDANCE:
BUDGET TARGET
You have provisionally given an outline target of £2000
to make your music video
This target should include a 10% contingency [that
means your budget should allow for £200 pounds within
the budget – so realistically you aim lower than £1800]
Your budget should account for everything, except your
own time and input
Consider more than one option to solve a requirement –
you may be able to balance your budget later, there will
have to be a compromise somewhere
23. GUIDANCE:
TIME
You will need to plan a schedule for the pre-
production/production/post-production
Nominally you should work on 2 weeks pre-production,
1 week filming [2 college days – Mon./Tues first week
after half term] and 2 weeks edit/post-production
Who is going to do what? How will you split the time?
When can you film? What is the availability of the
equipment/resources/locations/personnel?
What problems can you foresee? How will you overcome
them?
24. TITLE OF
PRODUCTION/PRODUCTI
ON OUTLINE
Summary of intended production
Detail here what you are going to make and the intended
outcome
Detailed breakdown of the music track chosen and your
interpretation of it [remember the questions in the
workbook, e.g. pace/mood/tone/structure]
Specific outline your intended technical/equipment
requirements
Include any details that you think [you could use material
from your pitch]
25. LOCATIONS
York:
I am not filming any specific places in york that I am
going to need permission. However I do want footage of
everyday people therefore I will need their consent to be
on camera therefore this is a limitation as some people
might not give consent. When it comes to filming outside
in the city there is no knowing what the weather will be
like. It could be sunny and warm or it could be wet and
gloomy. Going into york is not far away therefore
wouldn’t be a hassle, however money for parking will be
needed and parking in the city centre is not cheap. It
would be difficult to plan a recce as on the day of
production there is no knowing who will be in town and
what there will be for me to film, however to make sure I
do plan a recce I can travel into york before production
and select several location I like and want to film at.
26. EQUIPMENT
Camera:
Canon EOS 5D MkIII – to hire/ rent this camera costs £64.00 per
day. I want to rent this equipment for 2 days. This will result in
a charge of £128.00 for the camera.
Canon EOS C300 – to hire/ rent this cameras day rate is £110. If
I am filming for two days the cost for this camera is going to be
£220.
A basic Manfrotto Fluid Tripod has a day rate of only £8.00. A
tripod will be needed for camera stability.
Prices for both cameras and tripod were found on:
https://www.hireacamera.com/en-gb/products/HAC00-00403-
canon-eos-5d-mkiii/
27. FACILITIES
Studio:
York Photography Studio -
http://yorkphotostudio.co.uk/hire.htm
A half day in the studio costs £60.00. This
includes lighting, backdrops such as green
screen and plain white etc. and all other
facilities.
Editorial Suite:
Digital Snowball Editorial Suite is based in
London. The day rate for this suite is
£180. After two days of filming I will need
four days of editing resulting in the cost
being £720. For this I receive two desktop
computers contains Adobe Creative Cloud
with Final Cut Pro 7 and Final Cut Pro X.
http://www.digitalsnowball.com/video-
edit-suite-hire-london/
28. PERSONNEL
My project is going to be very independent and my video will
be produced almost entirely by myself however I am going to
require one member of cast to travel to the hired studio and
control one of the cameras in use. To make sure that my extra
crew member and I are available on the same day production
will most likely take place on a weekend where college study
will not become something to get in the way. I need to take
into consideration whether I am going to pay my crew member
or if I am going to pay for her travel and food for on the day.
I am not going to have any HIRED cast in my music video,
however I want footage of regular people on the streets of york.
When shooting this I am going to need consent from whom I
am filming that they are okay with being on camera. This will
not effect my budget.
29. PROPS/COSTUME/ETC
I am going to need a wig, makeup and female clothes for
my music video. I am going to have to buy the wig and
the clothes as I have a specific look I am going to want
for the video so it all fits in.
A basic wig from an online store such as eBay or Amazon
is going to cost around £20 - £60 depending of aspects
such as style, colour and texture.
30. GUIDANCE:
COSTS –
RESOURCES/SOURCES
Basic Guide to costs
http://www.justfilm.co.uk/video-production-costs.html
Rates TV
https://www.bectu.org.uk/advice-resources/rates/television-factual-
rates
Rates all media
https://www.bectu.org.uk/advice-resources/rates
Research local production spaces for edit and post
production costs
Local equipment hire companies have costs for camera,
lenses and kit [tripod, dolly, steadicam rigs, etc]
Travel by vehicle can be nominally charged at 40p per mile –
so you need to know how far you location is from where you
are!
31. CODES OF PRACTICE
AND REGULATIONS
Do you need clearance for copyrighted materials? [you
will need to contact Mechanical Copyright Protection
Society-Performing Rights Society Alliance (MCPS-PRS)]
Do you have performers external to your group
performing? They will need release forms that declare
you can use footage of them in the production. This
needs to be planned for.
Do you have any actors under the age of 18? You will
need parental permission forms.
Are you filming on private property? You will need
written consent PRIOR to filming. Plan in advance. This
needs to be considered.
Consider where you may need specific risk assessments
and health and safety documentation
32. CODES OF PRACTICE
AND REGULATION
If you have anyone under the age of 18 starring in your
music video you must get parental consent for them to be
in the video as it is a professional production.
When wanting to work on location you need a location
release so they are aware where you are filming, what you
are filming and what time you are filming.
33. FINANCE/PRODUCTION
COSTS
Using industry rates cards and researched costs of
equipment [cameras], cast, crew, props and facilities
[locations, edit rooms, etc] calculate the likely cost of
your production
Outline details of financial considerations of project, this
could be cost of props/costume/travel/food/etc
Explain what your overall budget is [if applicable] and
how this is to be met
How will you deal with any extra costs? Contingency
fund? What percentage of your budget should this be?
[hint: add 10% on to the final cost, this should cover it!]
Do you foresee any problems? How will you manage
this/over come them?
34. OPTION 1
My Budget - £2000.
Areas I am going to spend my
budget:
1. Costume: £0
2. Studio - £60
3. Editorial Suite - £180
4. Equipment (Camera) - £60
5. Equipment (Tripod) - £15
6. Location - £0
7. Cast and Crew - £0
8. Cast and Crew (Food) - £20
35. OPTION 2
My Budget - £2000.
Areas I am going to spend my
budget:
1. Costume: £0
2. Studio - £60
3. Editorial Suite - £770
4. Equipment (Camera) - £220
5. Equipment (Tripod) - £8
6. Location - £0
7. Cast and Crew - £10 per
person
8. Cast and Crew (Food) - £30
36. FINAL BUDGET
BREAKDOWN
Product Cost
Costumes £0
Studio £60
Editorial Suite £770
Camera £220 per day
Tripod £8 per day
Location £0
Cast and Crew £10 per person
Cast and Crew (Food) £30
37. BUDGET EXPLANATION
AND JUSTIFICATION
I will not need to pay any money for my costumes or
location. This is because the cast can where their own
casual clothes for the video and I have chosen to go into
the city of York where I do not need to pay to film, I only
need permission. My most expensive products in my
budget are the Editorial suite and the Camera. This is
because I want the best quality resources as possible to
make my music video successful.
39. PRE-PRODUCTION:
VISUAL PLANNING
This section is concerned with the visual planning of your
music video
You should use this section to develop the sequencing or
your video, establish the relationship between the visuals
and the track itself and create a structure for you to
follow when filming
It is important that you ‘pre-visualise’ the video before
you make it; it will make filming and production a more
streamlined process
The following tasks are part of your visual planning
Pre-visualisation and concept boards
Storyboarding
Shot list
40. PRE-
VISUALISATION/CONCEP
T BOARDS
Tool for exploring the direction and visuals
Provides inspiration and information for the “look & feel”
Presents key moments in your video
A means to sketch/plan ideas
Information on colour/lighting
Defining the “mise-en-scene”
Include as much here as you like, but keep it relevant to the
production, the following slides have been left blank for you
to approach in your own way, add more as you need to
Extension suggestion: edit a short sequence of clips that
have inspired or influenced your video [similar to this:
http://io9.com/5941145/this-directors-video-pitch-for-
hunger-games-might-be-better-than-the-real-movie]
41.
42. In my mood board I have contained images that represent what
I want either in my music video or what I want my music video
to look like. As you can see there are both black and white and
coloured images. In my music video I am going to have, in a
way, two storylines being presented at once. One about a girl
who does not want to be feminine but she wants to be more
masculine, and one about a boy who is transforming himself
into becoming feminine. This represents ‘gender stereotypes’
and how they can effect people. The girls storyline is going to
be in black and white as she is being held back, this is going to
include many shots of her in her bedroom, the photos I have
chosen are very artistic. The lighting I want for the girls
storyline is very dark and gloomy, words representing her
stereotype will be projected on her face. However the images I
have chosen for the boys storyline are very colourful,
glamorous and show a positive and healthy image on the
subject area of gender. I am also going to contain shots both
male and female interests such as shoes and hobbies etc. I
have shown the locations I am going to collect footage from,
these locations are York city and in a photography studio. The
colour schemes I have chosen represent each storyline, the
coloured colour scheme contains pinks and reds to show the
positivity and the femininity of the boys storyline. However the
black and white colour scheme shows the dull emotions of the
43. RIP-O-MATIC
You should also construct a 15-20second Rip-o-matic
test reel using existing footage to convey the type of
video you want to make
44. STRUCTURAL
BREAKDOWN
Breakdown your track into it basic sections [e.g. intro,
verse, chorus, verse, etc] and apply broad visual ideas to
each section
You can use this as the master template for your
production, then add more shots to each section when
you develop your full visual plan
You should create a slide showing all the sections of the
song, then add a slide for each section with timings,
lyrics, what happens and details on specific shots
You could storyboard and shot list each section as you
go, to break up the process.
45. Intro
Oh so, your wounds they show. I know you have never felt so alone. But hold on,
head up, be strong. Oh hold on, hold on until you hear them come. Here they
come, oh.
0:00 – 0:55
Take an angel by the wings. Beg her now for anything. Beg her now for one more
day. Take an angel by the wings. Time to tell her everything. Ask her for the
strength to stay.
0:56 – 1:12
46. Chorus
Ooh, ooh, ooh, ooh. Ooh, ooh, ooh, ooh.
1:14 – 1:49
You can, you can do anything, anything. You can do anything. You can, you can
do anything, anything. You can do anything. You can, you can do anything,
anything. You can do anything. You can, you can do anything, anything. You can
do anything.
1:50 – 2:27
47. Verse 2
Look up, call to the sky Oh, look up and don't ask why, oh. Just take an angel by
the wings. Beg her now for anything. Beg her now for one more day. Take an
angel by the wings. Time to tell her everything. Ask her for the strength to stay.
Ooh, ooh, ooh, ooh. Ooh, ooh, ooh, ooh.
2:28 – 3:40
You can, you can do anything, anything. You can do anything. You can, you can
do anything, anything. You can do anything. You can, you can do anything,
anything. You can do anything. You can, you can do anything, anything. You can
do anything.
3:41 – 4:00
48. STORYBOARDING
Your storyboard should bring your idea to life
Provide an idea of the sequencing of you video
Provides a basis for production
Suggested online storyboard creators are:
https://www.storyboardthat.com
http://www.pixton.com [very complicated]
http://www.storyjumper.com [allows you to insert your own images]
Alternatively, hand draw or photograph your storyboard and
scan or copy to insert it onto your slides
There are lots of tips collected together on Blackboard!
49.
50.
51.
52. SHOT LIST
Your shot list should contain the sequential breakdown
of what you need to shoot for your video
It should work in partnership with your storyboard
It will be your working document when you film
It should contain the shot number, scene number, shot
description, framing and action you will see
It should also have information on performers in the
scene and other props, etc
Shot list template is on Blackboard in the pre-production
folder.
53. Shot
No.
Shot
Type
Time
Code
Description/notes (e.g. camera
movement, specific directions for
performers, etc)
1 Close Up 0:00 – 0:05 Close up of first (male) character wearing a face of
makeup. This sets the theme of gender
stereotyping as the first thing seen is a man with
makeup on.
2 Medium
Long shot
0:05 – 0:10 Shot of the second (female) character sat in an
empty room. This shot is in black and white and
shadow cast of a window is cast across her face.
This shot shows emotion.
3 Medium
Shot
0:10 – 0:20 Shot of the male character doing makeup. This shot
is to be edited in slow motion and reversed so it
gives the illusion the makeup is being removed
instead of applied.
4 Close Up 0:20 – 0:30 Female character is painting her nails. This shot is a
close up of her hands. The black and white effect
will be used on this shot and will be in slow motion.
However the speed will be faster than the previous
shot.
5 Medium
Shot
0:30 – 0:40 This shot cuts back to the male character doing
makeup continuing from when shot 3 left. This
shot is still in slow motion and reversed.
6 Long Shot 0:40 – 0:50 The female character is destroying all the feminine
aspects in her bedroom as she doesn’t want to be a
feminine girl. This shot will be in black and white
54. Shot
No.
Shot
Type
Time
Code
Description/notes (e.g. camera
movement, specific directions for
performers, etc)
8 Long Shot 1:00 – 1:10 This shot is of the female character sat on her bed
in a piles of mess and broken things emotional as
she isn’t who she wants to be. This shot will be in
black and white.
9 Close Up 1:10 – 1:15 This shot is a close up of two pairs of shoes. One
pair is a pair of men’s trainers and a pair of
woman’s high heels. This shot is to contrast
between the two genders and how they are
supposed to look. This shot is also in lack and
white.
10 Extreme
Close Up
1:15 – 1:20 Extreme close up of the female characters face. She
is crying. This shot is in black and white however
this shot is in normal speed.
11 Medium
Shot
1:20 – 1:30 Shot of male character doing makeup. Shot is still
in slow motion and in reverse.
12 Medium
Shot
1:30 – 1:35 Shot of male character doing makeup. Shot is still
in slow motion and in reverse.
13 Long Shot 1:35 – 1:45 Shot of the female character’s trashed bedroom. In
this shot the frame transforms from black and
white to colour as she has decided to become who
she wants to be.
55. Shot
No.
Shot
Type
Time
Code
Description/notes (e.g. camera
movement, specific directions for
performers, etc)
15 Long Shot 1:50 – 2:00 The female character runs away from her home and
from where she is trapped. She wears football boots
and her boy clothes and is happy. This shot is in
slow motion.
16 Close Up 2:00 – 2:20 Slow motion close up of the female character
running and smiling.
17 Close Up 2:20 – 2:30 Close up slow motion shot of her feet as she drops
a football and plays football happily.
18 Medium
Shot
2:30 – 2:35 Shot of male character doing makeup. Shot is still
in slow motion and in reverse.
19 Medium
Shot
2:35 – 2:45 Shot of male character doing makeup. Shot is still
in slow motion and in reverse.
20 Medium
Shot
2:45 – 3:00 The final shot is of both the boy and the girl sat
together in the studio. The girl being her authentic
self and the boy being his authentic self. This
delivers the message of gender stereotyping is
something not to be used. The two characters are
happy.
This shot fades out into black while the final few
57. PRODUCTION GROUP
INFO
Role Person assigned What they need to
do
Director Ethan Payne Direct and produce
music video.
Editor Ethan Payne Edit footage in
premiere pro.
Actor 1 Ethan Payne Acting in one
storyline (studio)
Actor 2 Natalie Lynch Acting in the
seconds storyline
(location)
Camera Ethan Payne and
Natalie Lynch
58. LOCATION INFORMATION
Information and images of your location[s] for filming
You should have address details, clearance/premissions
for filming, recce photos and floorplans [including
camera, equipment and cast/crew layouts]
Where possible, have a plan B fallback location option
Assess each location for any issues and suggest
solutions
59. LOCATIONS
ADDRESS:
Rosemary Garth
Villa Farm Way
Appleton
Roebuck
York
YO23 7AZ
I will be filming the parts of my music video that
are on location at my home. This is because the
female characters storyline is based in her
bedroom and in many fields. I am going to use a
bedroom in my house that is spacious enough for
lighting, camera equipment and space for the
actor to move around.
I am also going to be filming in the garden of my
home which consists of many fields. This is for
when the female character is playing football and
the video is in colour instead of black and white.
All of the footage filmed on location will be on my
own private land.
This is a very basic floor plan of the room I am
going to film in, the dashed line represents the
line I will not pass while filming, the white shape
is the bed, the blue shape is the actor and the
C
60. RISK ASSESSMENT
Risk Assess each separate filming location using the
table in the camera H&S PP on Bb as a staring point
Completing a generic filming assessment would be a
start, then you can add specialist/site specific risks as
you progress your production
Remember, a Risk Assessment is an ongoing document,
you should evaluate if anything changes in production
and when you put control measures in place
You should add the table to each call sheet for each
location
61. RISK ASSESSMENT
Risk Issue it will cause How I will overcome
this
Wires Tripping hazard. Ensure all wires are
tucked away in the
corners of the room.
Lighting Blubs can get hot. Make sure the lights
are out of arm length.
Backdrop The backdrop could
break or fall onto the
cast and crew.
Ensure the backdrop is
securely set up.
Computers and
Cameras
May fall from desks or
tripods and shatter.
STUDIO
62. RISK ASSESSMENT
Risk Issue it will cause How I will overcome
this
Stairs When carrying
equipment such as
cameras etc. you
could fall down the
stairs.
Make more than one
trip for equipment
and take care when
walking up or down
the stairs.
LOCATION (HOUSE)
65. PRODUCTION
SCHEDULE
Provide an outline of what you will do on which days
during production
You should broadly plan to the following structure:
- 2 weeks pre-production
- 1 week filming [plan for up to 2 days]
- 2 weeks editing [essentially 2 days for every day you
filmed]
66. SCHEDULE
PRE-PRODUCTION:
• Started pre-production on
Week 3.
FILMING On Location:
• Friday the 24th of March.
• Film from 1:00 – 4:00.
FILMING In Studio:
• Wednesday the 29th of
March.
• Film from 12:00 – 3:00.
EDITING:
• 2 days of editing for location
footage.
• 2 days of editing for studio
footage.
•Edit the week of Monday 27th
March – Friday 31st March.
67. CLEARANCE AND
PERMISSIONS
Any place you film and anyone you use in the filming of
your video must have a completed form
Blank forms are on Blackboard for you to complete and
insert here
69. PRODUCTION
RECORD/LOG
Keep track your filming and production work with the
camera here
You could add stills of your work with annotations
You should include any specific details about how your
filming went and what you did on set to enable you to
complete the work
You should include Call Sheets and relevant production
documents here