The document provides guidance for a music video assignment, including sections on idea generation, research, pre-production assessment, visual planning, and storyboarding. The student's proposed music video would interpret the song "Kool Thing" by Sonic Youth. It would depict two people watching a static-filled TV in an abandoned location before getting into a fight with security guards. The video then cuts to a skateboarding montage before ending with the characters watching a skate video while eating.

1. MUSIC VIDEO
ASSIGNMENT 2
YOUR GROUP NAME
HERE

2. GUIDANCE
This template PowerPoint presentation includes all the
relevant elements you need to cover in your Music Video
Assignment
It is suggested you save this PP in a different name and
share it with your group so you always have a copy – some
sections require you to delete the information on the slide
and replace with your own work
Add more pages to each section where necessary [you
should be doing this!]
Add visuals as you see necessary
This document will be added to as you progress through the
pre-production phase.
Delete this slide when complete

3. TASK 1 Idea Generation and
Research

4. 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

5. COSMIC THRILL SEEKING
FOREVER
•Narrative- of what's happening in the lyrics
• “Dear heart, my vehicle
I will teach you how to fly”
-in space, driving spaceship
•“Notice the moon”
-driving to earth see moon
• “A fireplace and a small dog
Maybe some dark green and dark purple walls
- settle down on Earth
•“But it's not safe to think about forever”
-stargazing then zoom into starry sky

6. COSMIC THRILL SEEKING
FOREVER
•Parody- parody of classic romance films
–love at first sight
-happy together,
-conflict,
-then realising they're wrong
-then back together

7. COSMIC THRILL SEEKING
FOREVER
•Trippy-like animal collective
-bright colours
- vague but significant to the song imagery

8. 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
Hint!
You’ve already done this in
your case study, so you can
summarise that here where
relevant

9. DROP NINETEENS-WINONA
•slow motion
•Lip sync
•Handheld camera swaying
•Doing childish things like playing
with food, climbing around in car,
throwing instruments, running
•Relaxed laidback look

10. WINONA
• Throwing guitar
• Playing on the roof
• Pretending to play the
song
• Eating food
calmly
• Grabbing food
and playing
with it
• Shows the band
is young

11. DROP NINETEENS-LIMP
•Playing the song for a party
•Cutting between them now and older versions of
themselves
•Cutting in dictionary pages
young old

12. LIMP
• Cuts to zoom in of
dictionary pages
• Not random
• limp- name of song
• weed- associated with
teens and young people
• rascal- childish
• geriatrics- old
• Seems live or planned
• Zooms out to look like
they’re playing at a
party

13. PLACEBO- NANCY BOY
•Crazy colours
•Outfits
•Stage
•Silhouettes of band playing colours
behind
•Out of focus blurry
•Double exposure
• weird models
•distortion
•Song about drugs, sex and gender confusion

14. NANCY BOY
• Colours used are associated
with being feminine colours
• Helps explore gender
• Double exposure
shows there are 2
sides of what’s
happening and what
they’re feeling
• Silhouettes represent
unknowingness and
mystery

15. NANCY BOY
• Use of blurriness and
distortion promoting ideas
of gender confusion
• makeup on guys to show
gender confusion
• Weird outfits and props to
show they feel trapped
• Guys wearing feminine
outfits

16. SONIC YOUTH- KOOL THING
•Song inspired by a 1989
interview done by Kim
Gordon (sonic youth lead
singer) with LL Cool J in
which Gordon struggles to
connect him with the
counterculture she identifies
with
•Mocking LL Cool J’s ego and
her own
•Colours- black and white,
bright
•Cat- LL Cool J album with a
panther
•Close ups, handheld
•70s outfit for playing

17. KOOL THING
•Black and white
represents the old
outdated views that
men have all the
authority
•Colour represent the
present and sonic
youth’s subculture
•The mixture of the
colours represents the
clashing of the two
things like LL Cool J
and Sonic Youth

18. THE CHATS- PUB FEED
•In pub playing
•Going to pub
•Eating
•Simple
•Low budget
•Outside and pub

19. POTENTIAL SONGS
•Suburban Home- Descendents
•Teen Age Riot- Sonic Youth
•Anemone- Brian Jonestown Massacre
•These Shadows- Wooden Shjips
•Kick the tragedy- Drop Nineteens
•When You Sleep- My Bloody Valentine
•The Only One- The Dolly Rocker Movement
•You Say I'm Scum- D.R.I.

20. POTENTIAL TECHNIQUES
•Colours- trippy, over exposed/bright
•Mirror effect
•Slow transitions

21. CONVENTIONS YOU PLAN TO
USE
•A narrative or concept video
•Mise en scene
-In nature
-hippie, grunge, punk looking
Natural lighjting

22. MIND MAP OF IDEAS
[SUMMARY OF IDEAS]

23. SUMMARY
5 opportunities of your ideas
Try techniques out
See what does and doesn’t work
Develop camera skills
Develop editing skills

24. SUMMARY
5 restrictions to your ideas
Social distancing
Group of 6 people only
Budget
Limited time
Limited equipment

25. FINAL IDEA –
ARTIST/TITLE/INFO
Broc Ched / Prince Daddy & The Hyena
Prince Daddy & The Hyena are an American post
hardcore and indie rock band from Albany, New York
Frontman Kory Gregory cites The Strokes, Jeff
Rosenstock, and Green Day as major influences on the
sound
Post-hardcore is a punk rock music genre that maintains
the aggression and intensity of hardcore punk but
emphasizes a greater degree of creative expression
initially inspired by post-punk and noise rock
Post-hardcore is a punk rock music genre that maintains
the aggression and intensity of hardcore punk but
emphasizes a greater degree of creative expression
initially inspired by post-punk and noise rock

26. FINAL IDEA – TRACK
SUMMARY
Summary/analysis of track [consider meaning, content,
duration, pace and style of the song]
2:12
Punk, Pop Punk, Summertime Emo
Fast

27. FINAL IDEA – YOUR IDEA
Your creative concept/video synopsis [describe your
interpretation, use of imagery or narrative, genre
conventions, etc]
•9 beats at start close up on eyes last one blinks
•Somewhere old, dark and abandoned 2 people watching tv
only static. Very exhausted
•Security tells them to leave don’t move
•Tries using remote on tv security takes them out
•Tries to break free from security then has a fight scene
•Skate montage
•Ends with all of them watching skate video eating grill
cheese and bakery treats

28. TASK 2 Pre-production
Assessment

29. 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

30. TITLE OF
PRODUCTION/PRODUCTION
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]

31. LOCATIONS
You need to identify locations and plan a recce.
What are the limitations and risks, eg distance, access,
cost, weather? How will you manage this?
•Fields
•Woods
•Quiet roads
1. Check the weather
2. Use shelter

32. EQUIPMENT
•High quality film camera like a dslr for the start of the
video- £100- £2000
•Lower quality camera to make the video seem older and
more psychedelic- £15-£100

33. FACILITIES
College
Premiere pro
After effects

34. PERSONNEL
CREW: Me, always available
CAST:external performers.
• Evenings on weekdays and all day at the weekends.
•Bring drinks.
•Do it locally

35. PROPS/COSTUME/ETC
•Laidback look for start
•Old tv playing static
•Security guards
•car

36. TASK 3.1 Visual Planning

37. 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

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

39. CONCEPT BOARD SCENE 1

40. CONCEPT BOARD OUTFITS

41. LOCATIONS

42. PROPS

43. RIP-O-MATIC
These shadows- Wooden Shjips

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. 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!

46. 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.

47. TASK 3.2 Organisational
Planning

48. PRODUCTION GROUP INFO
Include names, contact info, and defined roles at
difference stages of production, using a table is
suggested

49. 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

50. LOCATIONS
Fields
DIY
Quiet roads

51. 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

52. RISK ASSESSMENT
Hazard Who is at risk? Severity of
injury
chanc
e of
risk
controls
Falling
from a
height
Camera
operator,
actors
serious mediu
m
Aware of
surroundin
gs
Falling
equipment
camera serious low Stay by the
camera
DIY
Unstabl
e
ground
Camera, camera
operator, actors
medium low Find flat
ground
Rain Camera, camera
operator, actors
medium 50/50 check the
weather
beforehan
d
Fields

53. CONTINGENCY PLANNING
Things go wrong
Your contingency plan is there to give you a backup or to
minimise the effect on production
You should consider the following areas: Technical,
Location, Personnel and Organisational areas [about 5
potential issues for each]
Use the form in pre-production folder on Blackboard

54. CONTINGENCY PLAN
problem solution
Someone gets hurt Replace them

55. PRODUCTION SCHEDULE
Your schedule should budget a total of 10 hours for
production, that is for the filming and editing of your
project.
You should plan when you’re filming and how you intend
to use the in class days on your timetable/class schedule

56. SCHEDULE

57. 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