The document provides details for 9 shots of a music video set to the song "Mr. Brightside" by The Killers. Shot 1 is an establishing shot of the stage with a dolly zoom. Shot 2 is a long shot of the band performing for 2 lines of lyrics. Shot 3 shows the character Guy A standing in a field, introducing the narrative. The following shots alternate between scenes of the band performing and scenes showing the story of Guy A's relationship.
The document provides editing notes and instructions for shooting a music video set to the song "Mr. Brightside" by The Killers. It describes 10 shots, including establishing shots of the band performing, flashback scenes showing characters' backstories, and shots advancing the narrative between the song's lyrics. The shots are to be filmed in both indoor and outdoor locations, incorporating changes in lighting, camera angles, and color effects to distinguish flashbacks from the present. The document aims to seamlessly edit the shots together to visualize the song's lyrics and story.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both close-ups and long shots of the band performing, as well as shots showing a narrative of a boy watching his girlfriend with another guy.
3. The shots are described in detail with information on camera angles, lighting, color effects, settings, costumes, and how each shot relates to and advances the lyrics of the song.
This document provides details on 31 shots to film a music video for the song "Mr. Brightside" by The Killers. Each shot is described in terms of camera angle, movement, scene setting, lighting, color, and characters' costumes. The shots alternate between scenes of a band performing the song and scenes telling a narrative of relationship drama between characters Guy A, Lauren, and Guy B that mirrors the song's lyrics. The shots are planned to seamlessly transition between the band and narrative scenes to fully synchronize the visuals with the music.
The document provides details on 34 shots for a music video adaptation of the song "Mr. Brightside" by The Killers. The shots include both performance shots of the band playing in a music practice room and storyline shots following characters Lauren and two guys (Guy A and Guy B) to depict the song's lyrics. The shots vary from close-ups to mid and long shots, include notes on camera angles, lighting, location, and costumes. Precise editing notes are provided to seamlessly connect the shots and sync them to the song.
The shooting schedule outlines 49 shots to film a music video narrative and band performance. The narrative follows a protagonist who wakes with a hangover after a night of partying. He sees the aftermath of the party around his home before leaving after an argument with his mother. Interspersed are shots of the band lip syncing and playing instruments. Towards the end, the protagonist attends another party at a friend's house. The video comes full circle when another person wakes with a hangover, implying the cycle will continue.
The document provides planning details for a music video production, including:
- Visual concepts exploring a relationship that turns sinister
- Storyboards and shot lists breaking down the song into scenes
- Use of lighting and location to distinguish between the relationship and horror elements
- Organizational information like crew roles, locations, and contingencies for weather or permissions
The document provides descriptions for 74 shots in a music video. The shots include various angles of the band members performing and getting ready, fans reacting, and landscape shots of cities and nature. Many shots focus on the lead singer and emphasize the band's identity through their clothing, hair color, and symbols. The lighting is typically dark to draw attention to the performers and fans are often shown screaming lyrics.
This document provides a textual analysis of the music video for "Haim - My Song 5" in four paragraphs. It summarizes the cinematography, mise-en-scene, editing, and sound of the video. For the cinematography section, it describes the different shots used including medium close-ups, handheld camera movements, and tracking shots. It also notes how shots are used to emphasize performances and establish relationships. The mise-en-scene section describes the costumes worn by the performers and setting of the talk show. The editing section lists the various cuts, slow motion, and pace editing used. Finally, it distinguishes between diegetic and non-diegetic sounds in the video.
The document provides editing notes and instructions for shooting a music video set to the song "Mr. Brightside" by The Killers. It describes 10 shots, including establishing shots of the band performing, flashback scenes showing characters' backstories, and shots advancing the narrative between the song's lyrics. The shots are to be filmed in both indoor and outdoor locations, incorporating changes in lighting, camera angles, and color effects to distinguish flashbacks from the present. The document aims to seamlessly edit the shots together to visualize the song's lyrics and story.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both close-ups and long shots of the band performing, as well as shots showing a narrative of a boy watching his girlfriend with another guy.
3. The shots are described in detail with information on camera angles, lighting, color effects, settings, costumes, and how each shot relates to and advances the lyrics of the song.
This document provides details on 31 shots to film a music video for the song "Mr. Brightside" by The Killers. Each shot is described in terms of camera angle, movement, scene setting, lighting, color, and characters' costumes. The shots alternate between scenes of a band performing the song and scenes telling a narrative of relationship drama between characters Guy A, Lauren, and Guy B that mirrors the song's lyrics. The shots are planned to seamlessly transition between the band and narrative scenes to fully synchronize the visuals with the music.
The document provides details on 34 shots for a music video adaptation of the song "Mr. Brightside" by The Killers. The shots include both performance shots of the band playing in a music practice room and storyline shots following characters Lauren and two guys (Guy A and Guy B) to depict the song's lyrics. The shots vary from close-ups to mid and long shots, include notes on camera angles, lighting, location, and costumes. Precise editing notes are provided to seamlessly connect the shots and sync them to the song.
The shooting schedule outlines 49 shots to film a music video narrative and band performance. The narrative follows a protagonist who wakes with a hangover after a night of partying. He sees the aftermath of the party around his home before leaving after an argument with his mother. Interspersed are shots of the band lip syncing and playing instruments. Towards the end, the protagonist attends another party at a friend's house. The video comes full circle when another person wakes with a hangover, implying the cycle will continue.
The document provides planning details for a music video production, including:
- Visual concepts exploring a relationship that turns sinister
- Storyboards and shot lists breaking down the song into scenes
- Use of lighting and location to distinguish between the relationship and horror elements
- Organizational information like crew roles, locations, and contingencies for weather or permissions
The document provides descriptions for 74 shots in a music video. The shots include various angles of the band members performing and getting ready, fans reacting, and landscape shots of cities and nature. Many shots focus on the lead singer and emphasize the band's identity through their clothing, hair color, and symbols. The lighting is typically dark to draw attention to the performers and fans are often shown screaming lyrics.
This document provides a textual analysis of the music video for "Haim - My Song 5" in four paragraphs. It summarizes the cinematography, mise-en-scene, editing, and sound of the video. For the cinematography section, it describes the different shots used including medium close-ups, handheld camera movements, and tracking shots. It also notes how shots are used to emphasize performances and establish relationships. The mise-en-scene section describes the costumes worn by the performers and setting of the talk show. The editing section lists the various cuts, slow motion, and pace editing used. Finally, it distinguishes between diegetic and non-diegetic sounds in the video.
This shooting schedule outlines 57 shots for a music studio recording session, a domestic dispute scene, and a night out drinking with friends. The shots include various angles, close-ups, and movements to capture the key actions and emphasize important details. Locations include a recording studio outfitted with instruments, a stereotypical family home, and a public house. Characters are portrayed through their costumes, facial expressions, and interactions with others. The schedule provides technical direction to help visualize and film the intended scenes.
The document provides an analysis of three post-hardcore music videos: "If You Can't Hang" by Sleeping with Sirens, "Perspectives" by Violet, and "Your Guardian Angels" by The Red Jumpsuit Apparatus. Each video depicts the band aggressively playing their instruments in dark settings while portraying emotions like anger, addiction, and depression relating to the song's themes of relationships and loss. Common shots include close-ups of band members' faces and tattoos to appeal to stereotypes of the genre's fans.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
This document provides guidance on filming techniques for a music video. It includes screenshots of different camera shots from a sample music video, including close-ups, mid shots, and long shots. The analysis section discusses how the sample video tells a story of perseverance and inspiration through cuts between scenes of the artists singing and scenes showing the daily lives of different characters. It aims to allow the audience to relate their own lives to the message of "never giving up". Tips are provided on incorporating a storyline, connecting scenes back to the artists, and using positive acting to bring across the intended message.
The video introduces Sam Beeton as a musician and discusses his music career. It provides samples of his songs and footage of him performing to give viewers a sense of his sound. It also interviews Sam about starting his own record label and releasing a song monthly to subscribers through his Record Club. Sam discusses particular songs and videos, including one for Burberry that increased his profile. The video utilizes various shots of Sam playing, performing, and being interviewed to both discuss his music and give live samples throughout. It aims to provide essential biographical context and samples to introduce Sam Beeton as an artist.
Media language beyonce music video megan presentationmeganlsx
Media language refers to the conventions, formats, symbols and narrative structures used in media to convey meaning to audiences. It can be divided into four sections: camera, editing, mise-en-scene, and sound. The music video for Beyoncé's "If I Were a Boy" uses role reversal through its imagery and narrative to explore gender stereotypes. Shots of Beyoncé in masculine roles are juxtaposed with those of her boyfriend in feminine roles. Editing reinforces this theme by cutting between the stereotypical depictions. Camera angles like close-ups are used to highlight the characters' emotions and intensify their interactions, drawing the audience further into analyzing social expectations of men and women
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
The music video for Beyoncé's "If I Were a Boy" portrays the artist and her boyfriend in reversed gender roles. Through editing, camera shots, and sound, the video follows a day in their life together with Beyoncé taking on stereotypically masculine roles like a police officer and her boyfriend taking on feminine roles like cooking. This reinforces the theme of role reversal explored in the song's lyrics about understanding each other's perspectives. Close-up shots are used to highlight the emotions of the characters and increase tension between Beyoncé and other people. The video suggests men cannot keep their eyes off the artist and portrays her in an objectified manner for the male gaze.
The document discusses several music videos and their visual styles. It describes Jessie Reyez's "Figures" video as her sitting in a chair singing to the camera with lighting that changes with the music's pace. It also discusses stripped down acoustic videos, videos that tell a story through cuts matching the song's beats, and videos with constant transitions between characters and scenes connected to the lyrics. Billie Eilish's "COPYCAT" acoustic video is also mentioned as being filmed in a dark barn setting while still showing her style.
This document contains an analysis of music videos and album covers, as well as a treatment for a proposed music video. The analysis covers elements like mise-en-scene, editing, camerawork, and narrative. The treatment outlines a concept for a music video for The Prodigy's "Take Me to the Hospital" involving an escalating fight and a dream sequence. Research was also done on digipak design conventions.
The music video treatment is for the song "Figure.09" by Linkin Park. It will tell the story of a teenage protagonist who encounters a supernatural figure. Throughout the night, the figure stalks the man in his bedroom and around his neighborhood. The man tries to escape by running into a nearby woodland area. During the climax of the song, the man is able to overcome the figure's possession and banish it, though it remains unclear if the threat is truly gone. The video will feature gritty scenes of the band performing in a garage as well as locations showing the man's paranoia and encounters with the figure.
The document summarizes the key elements of a music video for the artist "Blaze" including:
1) Costuming represents the urban/R&B genre through a hooded jacket and hoop earrings.
2) Locations include the subway and a house to create tension and show Blaze's emotions.
3) Narrative elements show Blaze as vulnerable facing a dominant male character in a game of Russian roulette.
4) Genre conventions like costuming, props, and locations identify the video as R&B/hip-hop.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
The document discusses the student's nine frame music video project. It provides descriptions of each shot in the grid, explaining how they demonstrate techniques like showing the relationship between music and visuals, representing the artist in a way the record company would want, using lighting, camerawork, and intertextual references. It also analyzes how the video follows conventions of the pop-rock genre and music video theory. The student compares their work to other music videos to show how it applies concepts and techniques from those examples.
The document provides analyses of various music videos, a CD cover, and magazine advertisements. For the music videos, it summarizes the key elements, themes, and narrative portrayed in videos for songs by Damien Rice, Ryan Adams, and Jamie Lidell. It also analyzes visual elements, symbols, and techniques used in the videos. For the CD cover and magazine advertisements, it examines design elements like layout, imagery, fonts, and information provided to promote the music.
The document discusses how the student's media product uses, develops, or challenges conventions of real music videos. It includes a 9-frame storyboard for a music video and an analysis of how it follows conventions. For each shot, the student explains stylistic choices and how they relate to conventions in other music videos in genres like pop-rock. The student also compares their fictional album packaging and magazine advertisement to real examples, highlighting conventions like track listings, images of the artist, and release information.
This document analyzes the music video for "This Is Gospel" by Panic! At The Disco based on several theorists' perspectives. It summarizes the narrative structure, characters, symbols, and relationship between the lyrics, music, and visuals. The video follows Todorov's narrative structure, with the equilibrium being the artist alive and the disruption being his attempt to escape the doctors representing addiction. It also uses symbols like a coffin and needle to represent addiction and the struggle to overcome it.
This document is a script for a music video. It provides 35 scenes with descriptions of shots that will make up the music video. The video will tell the story of a relationship from meeting to breaking up through these scenes. It begins with the couple meeting in a cafe and showing happy memories together. It then shows the relationship deteriorating as they argue. Scenes show the girl alone and upset after the breakup. Shots include the couple being happy together in a park and cafe, arguing, and the girl crying over a photo of the two of them after the breakup. The video uses these shots to depict the relationship from beginning to end through the story of the song.
This document defines various accounting and finance terms related to costs, including direct costs, indirect manufacturing costs, depreciation, provisions, and costing methods. It explains key statements like the statement of income and balance sheet. Production-related terms are also defined, such as production orders, materials requests, and time cards which track raw materials, labor, and other costs. Historical and pre-determined costs are compared, and forms like collection sheets and returns of materials are outlined.
This document discusses various options and considerations for migrating from Domino to another platform. It recommends starting with auditing applications to understand complexity and priorities, then categorizing applications based on urgency and importance to determine the best migration option per application. Common options discussed include mothballing, archiving, reskinning, starting fresh, and full application or data migration. It also evaluates database technologies like SQL, NoSQL, and the document store LDC Via which is optimized for Domino migrations. The document emphasizes properly planning the migration as a project by engaging stakeholders and taking a phased approach.
Our band originally had an image that made them seem like a school band, but we wanted a more mature look. We decided to model our image after bands like McFly and Panic at the Disco that have a similar sound to our music and wear smart casual clothing like white tees, dark jeans, shirts and ties. Our brand color is red, a popular color among pop bands. This new image suits our target audience because it presents the band as more than just a boy band, showing they care about the music rather than just their appearance.
This shooting schedule outlines 57 shots for a music studio recording session, a domestic dispute scene, and a night out drinking with friends. The shots include various angles, close-ups, and movements to capture the key actions and emphasize important details. Locations include a recording studio outfitted with instruments, a stereotypical family home, and a public house. Characters are portrayed through their costumes, facial expressions, and interactions with others. The schedule provides technical direction to help visualize and film the intended scenes.
The document provides an analysis of three post-hardcore music videos: "If You Can't Hang" by Sleeping with Sirens, "Perspectives" by Violet, and "Your Guardian Angels" by The Red Jumpsuit Apparatus. Each video depicts the band aggressively playing their instruments in dark settings while portraying emotions like anger, addiction, and depression relating to the song's themes of relationships and loss. Common shots include close-ups of band members' faces and tattoos to appeal to stereotypes of the genre's fans.
The document discusses several conventions of music videos, including narrative/performance, sound, camera techniques, editing, lighting/colors, and performance shot types. It analyzes the music videos for "Airplanes" by B.O.B. featuring Hayley Williams and "Love the Way You Lie" by Rihanna featuring Eminem. Key elements like locations, props, costumes, and editing are described and related to conveying mood. Performance shots focus on emotion through close-ups while maintaining a balance between male and female artists.
This document provides guidance on filming techniques for a music video. It includes screenshots of different camera shots from a sample music video, including close-ups, mid shots, and long shots. The analysis section discusses how the sample video tells a story of perseverance and inspiration through cuts between scenes of the artists singing and scenes showing the daily lives of different characters. It aims to allow the audience to relate their own lives to the message of "never giving up". Tips are provided on incorporating a storyline, connecting scenes back to the artists, and using positive acting to bring across the intended message.
The video introduces Sam Beeton as a musician and discusses his music career. It provides samples of his songs and footage of him performing to give viewers a sense of his sound. It also interviews Sam about starting his own record label and releasing a song monthly to subscribers through his Record Club. Sam discusses particular songs and videos, including one for Burberry that increased his profile. The video utilizes various shots of Sam playing, performing, and being interviewed to both discuss his music and give live samples throughout. It aims to provide essential biographical context and samples to introduce Sam Beeton as an artist.
Media language beyonce music video megan presentationmeganlsx
Media language refers to the conventions, formats, symbols and narrative structures used in media to convey meaning to audiences. It can be divided into four sections: camera, editing, mise-en-scene, and sound. The music video for Beyoncé's "If I Were a Boy" uses role reversal through its imagery and narrative to explore gender stereotypes. Shots of Beyoncé in masculine roles are juxtaposed with those of her boyfriend in feminine roles. Editing reinforces this theme by cutting between the stereotypical depictions. Camera angles like close-ups are used to highlight the characters' emotions and intensify their interactions, drawing the audience further into analyzing social expectations of men and women
The document provides an analysis of the music video for "Misery" by the band The Maine. It summarizes the key aspects of the video, including:
1) The video challenges conventions of the rock genre by not including live performances and keeping the band members separated throughout.
2) The visuals in the video are closely related to the lyrics and music, with actions matching the beat. As the song progresses and lyrics mention darker themes, the visuals and music take a darker turn as well.
3) As the lead singer, John is the main focus of the narrative and there are many close-ups of him, developing his restraint as a motif. This meets record label demands for focusing on
The music video for Beyoncé's "If I Were a Boy" portrays the artist and her boyfriend in reversed gender roles. Through editing, camera shots, and sound, the video follows a day in their life together with Beyoncé taking on stereotypically masculine roles like a police officer and her boyfriend taking on feminine roles like cooking. This reinforces the theme of role reversal explored in the song's lyrics about understanding each other's perspectives. Close-up shots are used to highlight the emotions of the characters and increase tension between Beyoncé and other people. The video suggests men cannot keep their eyes off the artist and portrays her in an objectified manner for the male gaze.
The document discusses several music videos and their visual styles. It describes Jessie Reyez's "Figures" video as her sitting in a chair singing to the camera with lighting that changes with the music's pace. It also discusses stripped down acoustic videos, videos that tell a story through cuts matching the song's beats, and videos with constant transitions between characters and scenes connected to the lyrics. Billie Eilish's "COPYCAT" acoustic video is also mentioned as being filmed in a dark barn setting while still showing her style.
This document contains an analysis of music videos and album covers, as well as a treatment for a proposed music video. The analysis covers elements like mise-en-scene, editing, camerawork, and narrative. The treatment outlines a concept for a music video for The Prodigy's "Take Me to the Hospital" involving an escalating fight and a dream sequence. Research was also done on digipak design conventions.
The music video treatment is for the song "Figure.09" by Linkin Park. It will tell the story of a teenage protagonist who encounters a supernatural figure. Throughout the night, the figure stalks the man in his bedroom and around his neighborhood. The man tries to escape by running into a nearby woodland area. During the climax of the song, the man is able to overcome the figure's possession and banish it, though it remains unclear if the threat is truly gone. The video will feature gritty scenes of the band performing in a garage as well as locations showing the man's paranoia and encounters with the figure.
The document summarizes the key elements of a music video for the artist "Blaze" including:
1) Costuming represents the urban/R&B genre through a hooded jacket and hoop earrings.
2) Locations include the subway and a house to create tension and show Blaze's emotions.
3) Narrative elements show Blaze as vulnerable facing a dominant male character in a game of Russian roulette.
4) Genre conventions like costuming, props, and locations identify the video as R&B/hip-hop.
This document provides a summary and analysis of the music video for Foo Fighters' song "My Hero". The video tells a narrative of a man rescuing people from a house fire, including babies. It contrasts shots of the band casually performing with the dramatic rescue scenes. The video is shot in a single take to heighten the sense of urgency and match the song. It effectively uses the fire as a backdrop for the band's performance without making them the central focus.
The document discusses the student's nine frame music video project. It provides descriptions of each shot in the grid, explaining how they demonstrate techniques like showing the relationship between music and visuals, representing the artist in a way the record company would want, using lighting, camerawork, and intertextual references. It also analyzes how the video follows conventions of the pop-rock genre and music video theory. The student compares their work to other music videos to show how it applies concepts and techniques from those examples.
The document provides analyses of various music videos, a CD cover, and magazine advertisements. For the music videos, it summarizes the key elements, themes, and narrative portrayed in videos for songs by Damien Rice, Ryan Adams, and Jamie Lidell. It also analyzes visual elements, symbols, and techniques used in the videos. For the CD cover and magazine advertisements, it examines design elements like layout, imagery, fonts, and information provided to promote the music.
The document discusses how the student's media product uses, develops, or challenges conventions of real music videos. It includes a 9-frame storyboard for a music video and an analysis of how it follows conventions. For each shot, the student explains stylistic choices and how they relate to conventions in other music videos in genres like pop-rock. The student also compares their fictional album packaging and magazine advertisement to real examples, highlighting conventions like track listings, images of the artist, and release information.
This document analyzes the music video for "This Is Gospel" by Panic! At The Disco based on several theorists' perspectives. It summarizes the narrative structure, characters, symbols, and relationship between the lyrics, music, and visuals. The video follows Todorov's narrative structure, with the equilibrium being the artist alive and the disruption being his attempt to escape the doctors representing addiction. It also uses symbols like a coffin and needle to represent addiction and the struggle to overcome it.
This document is a script for a music video. It provides 35 scenes with descriptions of shots that will make up the music video. The video will tell the story of a relationship from meeting to breaking up through these scenes. It begins with the couple meeting in a cafe and showing happy memories together. It then shows the relationship deteriorating as they argue. Scenes show the girl alone and upset after the breakup. Shots include the couple being happy together in a park and cafe, arguing, and the girl crying over a photo of the two of them after the breakup. The video uses these shots to depict the relationship from beginning to end through the story of the song.
This document defines various accounting and finance terms related to costs, including direct costs, indirect manufacturing costs, depreciation, provisions, and costing methods. It explains key statements like the statement of income and balance sheet. Production-related terms are also defined, such as production orders, materials requests, and time cards which track raw materials, labor, and other costs. Historical and pre-determined costs are compared, and forms like collection sheets and returns of materials are outlined.
This document discusses various options and considerations for migrating from Domino to another platform. It recommends starting with auditing applications to understand complexity and priorities, then categorizing applications based on urgency and importance to determine the best migration option per application. Common options discussed include mothballing, archiving, reskinning, starting fresh, and full application or data migration. It also evaluates database technologies like SQL, NoSQL, and the document store LDC Via which is optimized for Domino migrations. The document emphasizes properly planning the migration as a project by engaging stakeholders and taking a phased approach.
Our band originally had an image that made them seem like a school band, but we wanted a more mature look. We decided to model our image after bands like McFly and Panic at the Disco that have a similar sound to our music and wear smart casual clothing like white tees, dark jeans, shirts and ties. Our brand color is red, a popular color among pop bands. This new image suits our target audience because it presents the band as more than just a boy band, showing they care about the music rather than just their appearance.
eRMS your business partner for time & attendance, payroll, human resource management, identity and access control, guard patrol and monitoring and visitor management.
This document defines key terms related to marketing, sales, and customer service. It includes definitions for concepts like service management, differentiation, innovation, development, supply chain management, personal selling, promotions, products, and negotiation. The document provides definitions for 25 important marketing, sales, and customer service vocabulary terms.
Blogibarometri on viestintätoimisto Manifeston vuosittain toteuttama tutkimus, jossa kartoitetaan suomalaista blogimaailmaa. Blogibarometrissa tutkitaan bloggaajia seuraavista kategorioista: muoti, kauneus, ruoka, sisustus, käsityöt, hyvinvointi, äitiys ja teknologia.
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Blog Barometer is a survey that studies the Finnish blog scene and it's done by PR Agency Manifesto. Blog Barometer studies the blogs in following categories: fashion, beauty, food, interior design, DIY, sports, maternity and technology.
Este documento discute la política social y el envejecimiento en México. Explica que la estructura de edad de una población debe ser el marco de referencia para la política social, pero que en México los arreglos institucionales originalmente se enfocaron en niños y mujeres embarazadas para promover el crecimiento de la población en lugar de atender a los ancianos. Recientemente se han implementado más programas para abordar las necesidades de la creciente población de edad avanzada y su vulnerabilidad. Finalmente, describe algunos programas
Mentoria Startup Farm / Ahead Visa - Go to Market e CanaisRodrigo Dantas
O documento discute canais de marketing e estratégias de entrada no mercado ("Go to Market"). Ele destaca a importância de estudar o comprador-alvo, menciona canais como site, Facebook e anúncios, e discute aquisição de clientes, custos e retenção em diferentes canais.
1. The document provides editing notes and descriptions for 18 shots to film a music video for the song "Mr. Brightside" by The Killers.
2. The shots include both establishing shots of the band performing on stage as well as close-ups of the singer, and cut between the narrative of a love triangle and shots of the band.
3. The shots are also described in terms of camera angles, movements, lighting, color effects, and mise-en-scene to depict the story and sync with lyrics from the song.
The video for "Mr. Brightside" by The Killers depicts a burlesque show setting with voyeuristic overtones. The lead singer feels jealousy as his love interest pays attention to another wealthy man. Various shots are used including close-ups of the singer and love interest. Jump cuts between the performance and narrative depict the story of the love triangle through the song's lyrics.
The document outlines details for 30 shots in a film sequence. Shots 1-6 feature a character playing piano in a theater with high key lighting and darkness surrounding him. Shots 7-8 show another character laying in a bed, with shot 8 being a medium shot of him from the waist up. The remaining shots are not described beyond listing the shot number and categories of sound, editing, mise-en-scene, and cinematography techniques.
The document contains a storyboard for a 21-shot music video. It describes the cinematography, editing, mise-en-scene, and sound for each shot. The shots include various angles of the subject Annie as she lip syncs and dances to the song. Special effects and transitions are planned to be added in editing. Locations include a green room, corridors, and outdoors at a college to convey the theme of moving on from relationships at a young age.
The music video starts with close-up shots of the lead singer to establish him as the main performer. Low key lighting and short cuts that sync with the music's beat are used to set the mood of an alternative/rock genre video. At 0:14, a long shot shows all band members performing in desaturated black and white. Close-ups of instruments amplify the music. At 0:33, a close-up of a girl signals the start of a narrative storyline. Her movements sync with the lyrics to illustrate the song. Simplistic costumes and lighting maintain consistency throughout the performance-based video.
The music video uses medium shots and close ups to tell a narrative about a man's relationship with a woman represented as "icebox" or cold heart. Black and white colors and a recurring clock motif symbolize time running out in his efforts to understand the woman, who is portrayed as the source of his problems rather than the solution. The video ends where it begins, continuing the circular theme.
L&L Productions proposes to create a music video for the song "He Loves You" by The Pretty Reckless. The video will include both live performance scenes of the band as well as narrative scenes portraying the story of betrayal told in the song lyrics. It will be fast-paced and edited to match the energy of the upbeat rock track. Traditional rock costumes, makeup, and a simple dark background will be used to showcase the performers. Possible locations include the drama studio, a bedroom, and Wandlebury Woods.
L&L Productions proposes to create a music video for the song "He Loves You" by The Pretty Reckless. The video will include both live performance scenes of the band as well as narrative elements depicting the story of betrayal told in the song's lyrics. Scenes will be filmed at locations like the drama studio and outdoors. Technical elements like editing, lighting, costumes, and camera work will all be designed to maintain the energy and pace of the upbeat, rock/pop track. The goal is to produce an entertaining music video that fully captures the sound and message of the song.
The document provides analysis of the video techniques used in 5 music videos:
1. Metallica - One uses blacked out band members, western stock footage, and an abandoned warehouse setting to reflect the dark tone of the song. Close-ups and angles emphasize the importance of the music and drumming. Stock footage is cut with the music.
2. Michael Jackson - Thriller uses horror film-inspired settings, costumes, and camera techniques to portray a movie-like feel. Close-ups show transformation and screaming details. Shots establish settings and conversation-like tracking.
3. Bring Me The Horizon - Sleepwalking uses locations and subtle, handheld shots to portray the fragile nature of sleepwalking. Cross
The document outlines 54 shots for a film or music video. It describes the shot type, action, mise-en-scene, and lighting for each shot. The shots cover both performance and narrative sections, with various angles, movements, close-ups, and long shots. Locations include outdoors in woodlands and a performance space indoors lit with fairy lights. Costumes change appropriately between scenes.
Peter Andre's music video for "Unconditional" tells a personal narrative through faded film in the background and shots of Andre alone in a cinema. The video uses close-ups of Andre to show emotion and subtle camera movements. Scenes of a faded film depicting Andre's life, as well as shots of him matching lyrics, help illustrate the song's message. While keeping a simple, lonely aesthetic, the video reveals the personal nature of the song through its storytelling and inclusion of Andre's step-son at the end.
The document summarizes and analyzes three music videos:
1) Jamie T's "If You Got The Money" takes place in a club with dark backgrounds and red lighting on the singer. It uses shots of unhappy girls and a singing man to tell a storyline.
2) Kings of Leon's "Use Somebody" switches between scenes of a city and a concert, using dark colors and fast editing between long shots and close ups. It focuses mainly on men and sexualizes the few women shown.
3) The Fray's "How To Save A Life" shows close ups of faces and objects in a white room setting. Using words and neutral colors, it depicts different peoples' pain through continuity editing at
The video begins with a long shot of an empty room with the performer in the center, establishing the simplicity of the indie/rock genre. Various shots are used throughout - long shots, close ups, and aerial shots - to tell the story and connect with the lyrics about loneliness, loss, and finding freedom. The lighting and minimal props enhance the empty, melancholy feelings. Toward the end, the shots become more positive with bright lighting and wide landscape shots, implying the performer has found happiness again.
The music video for "Safe & Sound" by Taylor Swift and The Civil Wars uses lighting, settings, costumes, camera angles, and props to symbolically represent the song's themes of death and loss. The video begins in a cabin at night and shows the artist walking alone through dark fields and forests. Darker lighting creates a somber mood, while brighter lighting suggests hope. Isolated natural settings like fields and forests portray the artist's loneliness. Her white nightgown and the male singer's dark clothing further symbolize themes of innocence, death, and loss. Camera angles are used to show the artist's emotions and make the audience feel like they are experiencing the story. A key prop, a metal brooch pin
This document analyzes 7 shots from the music video for "Can't Help Falling in Love" by 21 Pilots. Each shot is analyzed for its location, composition, costuming, lighting, and how it adheres to conventions of indie music videos. The video was shot across various simple, low-budget locations and keeps to conventions like showing the artists' talents, using natural lighting, and portraying a homemade, DIY aesthetic through consistent costuming and narrative structure.
The document provides details about the music video being produced for the song "Keep On Walking" by the band Scouting For Girls. The 3-4 minute video will tell the story of the main singer waiting for his girlfriend to return home through a variety of shots filmed on location. It will include scenes of the singer at home and with band members, looking out the window for his girlfriend, and lip syncing the lyrics while walking in different outfits to show how the situation affects him.
The document provides details about the music video being produced for the song "Keep On Walking" by the band Scouting For Girls. The 3-4 minute video will tell the story of the main singer waiting for his girlfriend to return home through a variety of shots filmed on location. It will include scenes of the singer at home and with band members, looking out the window for his girlfriend, and lip syncing the lyrics while walking in different outfits to show how the situation affects him.
The document outlines 32 shots for a music video, including camera angles, movements, settings, lighting, and editing notes for each shot. The shots will tell a narrative of a woman who cheats on her boyfriend, feels regret, and reconciles with him. Each shot will be in a hazy, low light filter to set a moody tone. The shots will cut between the woman getting ready, having an affair, showing her regret, and finally reuniting with her boyfriend.
This document summarizes the influences and conventions the student drew from in creating a music video and magazine advertisement (CD digipak). For the music video, the student analyzed many existing music videos and drew specific shots, lighting, costumes, and narrative elements to develop their own video. They incorporated elements from videos by Kendrick Lamar, The Shoes, The Strays, Blur, and more. For the CD digipak, the student created a storyboard exploring design influences from films, video games, and existing album covers to develop their hooded character concept and layout.
The video uses a narrative structure to portray the band's frustration with Hollywood's expectations for music videos. It begins by showing the band planning a video with their manager, then cuts between what the band envisions and what Hollywood expects, using various conventions like product placement, sex appeal, and stealing other artists' ideas. By the end, the band appears exhausted by the Hollywood process. The video critiques Hollywood conventions through its exploitation of them for comedic and narrative purposes.
- Audience feedback is important to determine if a product is suitable for consumers and their preferences rather than just the creator's preferences.
- The document's target audience was determined to be teenagers aged 13-17 through questionnaires showing they prefer pop music.
- Feedback was gathered from the target audience on elements of music videos and products to ensure they were appealing and appropriate.
- Feedback revealed issues with the narrative of a first draft music video, allowing it to be improved for clarity.
- Seeing the final products' positive reception from the target audience confirmed they were successful in meeting expectations.
School uniform, jeans and a t-shirt, and instruments were among the most popular costume and prop choices from the options provided. The main stage, recording studio, music centre, and field were the preferred location selections. The document analyzed results to determine the most commonly selected costumes, locations, and props that could be incorporated into a music video based on the given options.
This risk assessment checklist summarizes the health and safety procedures for a student film shoot at Codsall High School. It confirms that contact details have been obtained, fire exits are clearly marked and clear, electrical equipment has been PAT tested, and liquids are kept away from devices. Potential hazards of falling from the stage, tripping, or falling lights are identified as unlikely but potentially major risks. Preventative methods such as using mats, watching footsteps, and securing lights are outlined. The plan is to check for injuries and seek assistance if an accident occurs.
This risk assessment checklist summarizes the risks and safety procedures for a film shoot at Codsall High School field. It identifies slipping on wet grass, tripping, and weather issues like rain as potential hazards. Preventative methods include choosing a dry area to film, being careful while filming, and stopping if it rains. The checklist confirms first aid locations and that equipment has been safety tested. Contact details for participants are also on file.
This risk assessment checklist summarizes the risks and safety procedures for filming a music video at Codsall High School park. It identifies falling, objects from trees, animal attacks, and electrocution from rain as potential hazards and rates them as unlikely but possibly major risks. Preventative methods include being careful, avoiding trees with loose objects, keeping animals away, and monitoring weather. The response plan is to check for injuries and provide first aid as needed.
The document outlines a pitch for a music video for the song "Mr. Brightside" by the band JAR Productions. It will tell the story of a rocky relationship through narrative scenes with actors interspersed with performances by the band. The band members and their roles are identified. Locations like a field, music room, and main stage are listed. Costume details are provided for both the band and actors. Themes of love, betrayal, and lies from the song will be reflected. The target audience is identified as teenage males and females aged 13-17, and the video aims to appeal to them through age-appropriate actors, locations like a school, and a rebellious school band theme.
This document provides a detailed shot-by-shot breakdown and analysis of a music video. It describes each shot in terms of camera angles, movements, transitions, subjects, and how they relate to the overall story and message. The video follows a girl who feels like an outsider and discovers she connects with the band's music. It uses techniques like green screen, different locations, and color/black-and-white to illustrate her journey from not fitting in to finding acceptance through the band's performance.
Music videos have evolved significantly since the late 19th century. Early music videos in the 1890s were still images projected with live songs, while videos in the 1920s and 1930s featured dancers and singers in short musical films and films incorporating music and song. In the 1960s, the Beatles pioneered the concept of promotional music videos. The launch of MTV in 1981 brought music videos to mass audiences and transformed the industry. Music video budgets and production values increased greatly in subsequent decades, with some major artists spending over $1 million per video by the 1990s. New technologies in the 2000s like YouTube democratized music video sharing but also contributed to their decline on television.
The document summarizes costume, location, and prop choices for a video based on survey results. School uniforms, jeans and t-shirts were the top costume choices. Main stage, recording studio, music center, and field received the most votes for locations. Instruments, cigarettes, and mobile phones were selected as the preferred props.
Questionnaire results – young adults (18 30 years)Bekah3000
The document summarizes the results of a questionnaire given to young adults aged 18-30 about their music video preferences. It finds that this age group prefers rock music and watches the Kerrang! TV channel most. They prefer bands with mixed gender that are portrayed professionally in a concert setting. Respondents also indicated a preference for performance-focused music videos rather than narratives. The conclusion is that this demographic is not the target audience for a video about an all-male pop band.
The document contains the results of a survey about music video preferences. It shows:
- Pop music videos are most popular, especially those by bands like McFly and One Direction.
- Teenagers prefer watching music videos online through sites like YouTube rather than TV.
- They prefer bands made up of male members portrayed in a rebellious style, like in a school setting.
- The survey results indicate teenagers are the target audience for music videos. Using another McFly song would appeal to them based on the data.
Questionnaire results – young adults (18 30 years)Bekah3000
The document summarizes the results of a questionnaire about music video preferences for young adults aged 18-30. It finds that this age group prefers rock music and watching videos on Kerrang! TV. They also prefer bands that are mixed gender and seen in a professional concert environment performing, rather than videos with complex narratives. However, the conclusion is that this age group is not the target audience for a music video being made for an all-male pop band.
A survey was conducted of older adults over 50 years old about their music video preferences. Most respondents preferred the Spice Girls "Wannabe" music video and did not think music videos impacted their decision to buy a song. The majority watched music videos on Vintage TV and preferred pop or classical genres that featured the band performing to a crowd over narratives with other actors. Most also preferred watching music videos on social media like YouTube rather than TV. In conclusion, this older demographic was not the target audience for the band based on their music and genre preferences.
This document summarizes the results of a survey about music video preferences. It finds that most adult respondents between 30-50 prefer rock music, watching music videos on TV rather than online, and videos with a narrative over just showing the band. They also generally prefer bands with a mixed gender and professional/concert environment over a rebellious school setting. The conclusion is that this age group would not be the target audience for a pop band aimed at teenagers.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/building-and-scaling-ai-applications-with-the-nx-ai-manager-a-presentation-from-network-optix/
Robin van Emden, Senior Director of Data Science at Network Optix, presents the “Building and Scaling AI Applications with the Nx AI Manager,” tutorial at the May 2024 Embedded Vision Summit.
In this presentation, van Emden covers the basics of scaling edge AI solutions using the Nx tool kit. He emphasizes the process of developing AI models and deploying them globally. He also showcases the conversion of AI models and the creation of effective edge AI pipelines, with a focus on pre-processing, model conversion, selecting the appropriate inference engine for the target hardware and post-processing.
van Emden shows how Nx can simplify the developer’s life and facilitate a rapid transition from concept to production-ready applications.He provides valuable insights into developing scalable and efficient edge AI solutions, with a strong focus on practical implementation.
Securing your Kubernetes cluster_ a step-by-step guide to success !KatiaHIMEUR1
Today, after several years of existence, an extremely active community and an ultra-dynamic ecosystem, Kubernetes has established itself as the de facto standard in container orchestration. Thanks to a wide range of managed services, it has never been so easy to set up a ready-to-use Kubernetes cluster.
However, this ease of use means that the subject of security in Kubernetes is often left for later, or even neglected. This exposes companies to significant risks.
In this talk, I'll show you step-by-step how to secure your Kubernetes cluster for greater peace of mind and reliability.
Generative AI Deep Dive: Advancing from Proof of Concept to ProductionAggregage
Join Maher Hanafi, VP of Engineering at Betterworks, in this new session where he'll share a practical framework to transform Gen AI prototypes into impactful products! He'll delve into the complexities of data collection and management, model selection and optimization, and ensuring security, scalability, and responsible use.
Observability Concepts EVERY Developer Should Know -- DeveloperWeek Europe.pdfPaige Cruz
Monitoring and observability aren’t traditionally found in software curriculums and many of us cobble this knowledge together from whatever vendor or ecosystem we were first introduced to and whatever is a part of your current company’s observability stack.
While the dev and ops silo continues to crumble….many organizations still relegate monitoring & observability as the purview of ops, infra and SRE teams. This is a mistake - achieving a highly observable system requires collaboration up and down the stack.
I, a former op, would like to extend an invitation to all application developers to join the observability party will share these foundational concepts to build on:
Goodbye Windows 11: Make Way for Nitrux Linux 3.5.0!SOFTTECHHUB
As the digital landscape continually evolves, operating systems play a critical role in shaping user experiences and productivity. The launch of Nitrux Linux 3.5.0 marks a significant milestone, offering a robust alternative to traditional systems such as Windows 11. This article delves into the essence of Nitrux Linux 3.5.0, exploring its unique features, advantages, and how it stands as a compelling choice for both casual users and tech enthusiasts.
How to Get CNIC Information System with Paksim Ga.pptxdanishmna97
Pakdata Cf is a groundbreaking system designed to streamline and facilitate access to CNIC information. This innovative platform leverages advanced technology to provide users with efficient and secure access to their CNIC details.
Climate Impact of Software Testing at Nordic Testing DaysKari Kakkonen
My slides at Nordic Testing Days 6.6.2024
Climate impact / sustainability of software testing discussed on the talk. ICT and testing must carry their part of global responsibility to help with the climat warming. We can minimize the carbon footprint but we can also have a carbon handprint, a positive impact on the climate. Quality characteristics can be added with sustainability, and then measured continuously. Test environments can be used less, and in smaller scale and on demand. Test techniques can be used in optimizing or minimizing number of tests. Test automation can be used to speed up testing.
Removing Uninteresting Bytes in Software FuzzingAftab Hussain
Imagine a world where software fuzzing, the process of mutating bytes in test seeds to uncover hidden and erroneous program behaviors, becomes faster and more effective. A lot depends on the initial seeds, which can significantly dictate the trajectory of a fuzzing campaign, particularly in terms of how long it takes to uncover interesting behaviour in your code. We introduce DIAR, a technique designed to speedup fuzzing campaigns by pinpointing and eliminating those uninteresting bytes in the seeds. Picture this: instead of wasting valuable resources on meaningless mutations in large, bloated seeds, DIAR removes the unnecessary bytes, streamlining the entire process.
In this work, we equipped AFL, a popular fuzzer, with DIAR and examined two critical Linux libraries -- Libxml's xmllint, a tool for parsing xml documents, and Binutil's readelf, an essential debugging and security analysis command-line tool used to display detailed information about ELF (Executable and Linkable Format). Our preliminary results show that AFL+DIAR does not only discover new paths more quickly but also achieves higher coverage overall. This work thus showcases how starting with lean and optimized seeds can lead to faster, more comprehensive fuzzing campaigns -- and DIAR helps you find such seeds.
- These are slides of the talk given at IEEE International Conference on Software Testing Verification and Validation Workshop, ICSTW 2022.
Pushing the limits of ePRTC: 100ns holdover for 100 daysAdtran
At WSTS 2024, Alon Stern explored the topic of parametric holdover and explained how recent research findings can be implemented in real-world PNT networks to achieve 100 nanoseconds of accuracy for up to 100 days.
Enchancing adoption of Open Source Libraries. A case study on Albumentations.AIVladimir Iglovikov, Ph.D.
Presented by Vladimir Iglovikov:
- https://www.linkedin.com/in/iglovikov/
- https://x.com/viglovikov
- https://www.instagram.com/ternaus/
This presentation delves into the journey of Albumentations.ai, a highly successful open-source library for data augmentation.
Created out of a necessity for superior performance in Kaggle competitions, Albumentations has grown to become a widely used tool among data scientists and machine learning practitioners.
This case study covers various aspects, including:
People: The contributors and community that have supported Albumentations.
Metrics: The success indicators such as downloads, daily active users, GitHub stars, and financial contributions.
Challenges: The hurdles in monetizing open-source projects and measuring user engagement.
Development Practices: Best practices for creating, maintaining, and scaling open-source libraries, including code hygiene, CI/CD, and fast iteration.
Community Building: Strategies for making adoption easy, iterating quickly, and fostering a vibrant, engaged community.
Marketing: Both online and offline marketing tactics, focusing on real, impactful interactions and collaborations.
Mental Health: Maintaining balance and not feeling pressured by user demands.
Key insights include the importance of automation, making the adoption process seamless, and leveraging offline interactions for marketing. The presentation also emphasizes the need for continuous small improvements and building a friendly, inclusive community that contributes to the project's growth.
Vladimir Iglovikov brings his extensive experience as a Kaggle Grandmaster, ex-Staff ML Engineer at Lyft, sharing valuable lessons and practical advice for anyone looking to enhance the adoption of their open-source projects.
Explore more about Albumentations and join the community at:
GitHub: https://github.com/albumentations-team/albumentations
Website: https://albumentations.ai/
LinkedIn: https://www.linkedin.com/company/100504475
Twitter: https://x.com/albumentations
Dr. Sean Tan, Head of Data Science, Changi Airport Group
Discover how Changi Airport Group (CAG) leverages graph technologies and generative AI to revolutionize their search capabilities. This session delves into the unique search needs of CAG’s diverse passengers and customers, showcasing how graph data structures enhance the accuracy and relevance of AI-generated search results, mitigating the risk of “hallucinations” and improving the overall customer journey.
TrustArc Webinar - 2024 Global Privacy SurveyTrustArc
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
This webinar will review:
- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
- Key themes to consider in developing and maintaining your privacy program
In his public lecture, Christian Timmerer provides insights into the fascinating history of video streaming, starting from its humble beginnings before YouTube to the groundbreaking technologies that now dominate platforms like Netflix and ORF ON. Timmerer also presents provocative contributions of his own that have significantly influenced the industry. He concludes by looking at future challenges and invites the audience to join in a discussion.
Sudheer Mechineni, Head of Application Frameworks, Standard Chartered Bank
Discover how Standard Chartered Bank harnessed the power of Neo4j to transform complex data access challenges into a dynamic, scalable graph database solution. This keynote will cover their journey from initial adoption to deploying a fully automated, enterprise-grade causal cluster, highlighting key strategies for modelling organisational changes and ensuring robust disaster recovery. Learn how these innovations have not only enhanced Standard Chartered Bank’s data infrastructure but also positioned them as pioneers in the banking sector’s adoption of graph technology.
1. Shot
No. 1
Type of shot, movement
and angle.
Establishing shot – set the
scene, which leads into a
dolly zoom onto the
stage.
Black and white effect
Shot
No. 2
Type of shot, movement
and angle.
Long shot of the stage
with the band performing
the song for 2 lines.
Editing notes
Cut to next shot
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside. The
beginning of the song is an instrumental which is just
a guitar playing. The lighting will be artificial light.
Stage.
Lyric:
Introduction
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
The lyrics would have started by now. The Mise-enscene for this part the band will be wearing a shirt and
tie, the band members will be wearing a black tie but
the lead singer will be wearing a red tie to link up with
the narrative. The lighting will be artificial light.
Lyrics:
Coming out of my cage
And I’ve been doing just fine
6
seconds
3
seconds
2. Shot
No. 3
Type of shot, movement
and angle.
Long shot of Guy A
standing on the field.
Editing notes
Cut to next shot
Shot
No. 4
Lyric:
Type of shot, movement
and angle.
Point of view shot of him
looking at the picture.
Editing notes
Cut to next shot
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
The narrative begins and this introduces Guy A with
him being on the field. The Mise-en-scene for this shot
will have Guy A wearing stereotypical geeky clothes.
The lighting will be natural light as its outdoors.
Gotta gotta be down
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
The lighting will be natural light.
This shot will show the geeky boy standing on the field
looking at a picture of the girl.
Lyric:
1.5
seconds
Because I want it all
1.5
seconds
3. Shot
No. 5
Type of shot, movement
and angle.
Close up of the lead
singers face to show
emotion whilst singing on
the stage.
Black and white effect to show that it’s a flash back
Shot
No. 6
Lyric:
Type of shot, movement
and angle.
Two shot to show both
Guy A and his girlfriend
on his first date (this is
past tense)
Black and white effect to show that it’s a flash back
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
The lead singer will be wearing a shirt and tie and
singing into the Mic. The lighting will be artificial light.
It started out with a kiss
How did it end up like this?
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
This will be based at the park as it is where Guy and
the Girl first meet.
The mise-en-scene in this shot will show the girl
wearing casual clothes and the boy wearing a shirt
tucked into his trousers and braces attached to his
trousers to give the stereotypical “geek” look.
Lyric:
3
seconds
It was only a kiss
1.5
seconds
4. Shot
No. 7
Type of shot, movement
and angle.
Another close up of the
lead singer to show
frustration on his face
Shallow focus will be used so all concentration is on the
lead singer who will be located in the centre of the screen
Shot
No. 8
Lyric:
Type of shot, movement
and angle.
The shot used here will
be a long shot to show
the natural surroundings.
It’s also used so we can
show the band walking
past the narrative.
Editing notes
Cut to next shot
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
This shot the colour will be artificial light, the blurred
out background will be black and we will have a spot
light on the lead singer, so all the focus is on him. The
mise-en-scene on this clip will still be the shirt and tie
but as it’s a close up the most we will see will be the
collar of his shirt.
1.5
seconds
It was only a kiss
Dialogue. Sound. Setting. Colour. Lighting. Mise-en3
scene.
seconds
The sound playing will be the song; Mr Brightside.
In this part of the song its where the narrative and the
band clash; Boy A and the girl will be walking down
the road and the band will come from the opposite
direction where they will walk past, nobody in the
shot will take notice of each other so it’s more natural.
The lighting on this part of the song will be natural
lighting.
The band members will be wearing T-Shirt and Jeans
to show they are “cool”.
Lyric: : Now I’m falling asleep
And she’s calling a cab
5. Shot
No. 9
Type of shot, movement
and angle.
The shot used here will
be another long shot to
show the similarity from
the shot before to this
shot, however this one
will be based at the park
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
This part of the song is very similar to the shot before
where the narrative and the band will clash, however
this is when we are introduced to Guy B. we have
based this in the park because she meets Guy B in the
same place she first met Guy A. in this shot as the
band members will walk by again.
The mise-en-scene in this shot will show the girl
wearing the same clothes from when she met Guy A
and the Guy wearing casual clothes (polo and skinny
jeans).
Lyric:
While he’s having a smoke
1.5
seconds
Type of shot, movement
and angle.
A mid shot to show the
rest of the band not
taking any notice and
carrying on but the lead
singer will stop and turn
as he has noticed.
Dialogue. Sound. Setting. Colour. Lighting. Mise-enscene.
The sound playing will be the song; Mr Brightside.
This shot shows the rest of the band members carry
on walking but the band member stopped with his
head turned looking at the narrative.
The lighting will be natural.
The band members will be wearing the same clothes
as the shot before
1.5
seconds
Editing notes
Cut to next shot
Shot
No. 10
Shallow focus, so the background is blurred so the lead
singer stands out more but we can still see that the other
members haven’t noticed.
Lyric:And she’s taking the drag
6. Shot No.
Mid shot of the band
playing in the MPR,
main focus is Matt with
perhaps the rest of the
band seen in the
background.
Straight on.
Editing notes
Cut to next shot.
Shot No.
12
Editing notes
Make sure that the two lines ‘And it’s all in my head / but
she’s touching his’ and the next shot of ‘chest now’ flow
seamlessly.
A
‘Now they’re going to bed / And my stomach is sick’
Close-up of Matt
pointing at his head to
signify the lyrics in a
straight on angle.
11
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
A
‘And it’s all in my head / but she’s touching his’
Frame
duration
5 sec
Frame
duration
4 sec
7. Shot
No.
Close up / P.O.V shot of
Lauren placing her hand
on guy B. Straight on
angle.
Editing notes
Cut to next shot
Shot
No.
14
Editing notes - Cut to next shot
AB
‘Chest’
Close up of Lauren
looking up at guy B
although he is not seen,
so it’s somewhat his
P.O.V. High angle so that
it’s like he’s looking
down at her.
13
Mr Bright side playing in the background. Location is
Codsall Park. Natural lighting – daylight. Lauren
wearing casual clothes with the colour red
incorporated somehow. Guy B in casual everyday
clothes.
Mr Bright side playing in the background. Location is
Codsall Park. Natural lighting – daylight. Lauren
wearing casual clothes with the colour red
incorporated somehow. Guy B in casual everyday
clothes.
AB
‘Now / He takes off her’
Frame
duration
0.5 sec
Frame
duration
2
8. Shot
No.
Long shot of Jordan
playing guitar in time to
the song, Movement of
his head in time to the
beat.
Editing notes
Cut to next shot
Shot
No.
16
Editing notes - Cut to next shot
AB
‘dress now’
Close-up of singer
looking straight into the
camera to signify the
lyrics in a straight on
angle.
15
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
Mr Brightside will be playing in the background. Music
Practice room. Standard colour. Bright lighting so that
everyone is seen. Mise-en-scene will be white t-shirt
and dark coloured jeans, with instruments so that it
looks realistic.
AB
‘Let me go’
Frame
duration
0.5 sec
Frame
duration
3 sec
9. Shot
No.
Mid shot of Lauren dancing
with a crowd smiling. She
brings out her phone and
holds it up as if she is
recording the band’s
performance.
17
Editing notes
Match on action
Shot
No.
Mr Brightside will be playing in the background.
Location is in the crowd. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. Lauren will be wearing a red
dress or to that effect.
Short instrumental break
Mid shot of Lauren from
behind with her arms in
the air so we can see that
she is filming the band. The
band is seen on stage
performing.
18
Editing notes
Match on action
Frame
duration
7 sec
Mr Brightside will be playing in the background.
Location is in the crowd. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. Lauren will be wearing a red
dress or to that effect. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
AAB
‘Cause I just can’t look’
Frame
duration
2 sec
10. Shot
No.
Close – up of the singer in a
straight on angle, looking
down the lens.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen. The band will be
wearing black trousers, white shirt and red or black
tie with instruments so that it looks realistic.
AB
‘It’s killing me’
Mid shot of the band
playing the song.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen. The band will be
wearing black trousers, white shirt and red or black
tie with instruments so that it looks realistic.
AB
‘And taking control
19
Editing notes
Cut to next shot
Shot
No.
20
Editing notes
Cut to next shot
Frame
duration
5 sec
Frame
duration
7 sec
11. Shot
No.
2-shot of Lauren and guy A
hugging
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
B
‘Jealousy’
Close-up of guy A still
hugging her, but looking
upset and annoyed
because he know she
cheated.
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
B
‘Turning saints into the sea’
21
Editing notes
Match on action
Shot
No.
22
Editing notes – Match on Action
Frame
duration
2 sec
Frame
duration
4 sec
12. Shot
No.
Mid shot of the band
playing in the MPR with the
band playing along to the
song.
Straight on.
23
Editing notes
Cut to next shot
hot
No.
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
B
‘Swimming through sick lullabies’
2-shot of Lauren and
guy A hugging, but guy
A pushes her away in
time with the word
‘Alibis’
24
Editing notes
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime. Lauren
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
B
‘Choking on your alibis’
Frame
duration
4 sec
Frame
duration
5 sec
13. Links back to the shot earlier.
Shot
No.
25
Editing notesMatch on action of singer bringing up his hand to
point to himself.
Shot
No.
26
Long shot of the band
playing on the stage,
straight on angle. Singer
brings up his hand as if
pointing to himself.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright
as the band on stage. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
B
‘But it’s just the price’
Mid shot of singer
looking down the lens in
a straight on angle, with
Joe to the right of him.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright
as the band on stage. The band will be wearing
black trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Frame
duration
3 sec
Frame
duration
2 sec
14. Editing notes – Match on action
B
Long shot of the band
playing in the MPR,
straight on angle.
‘I pay’
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Editing notes - Cut to next shot
B
Long shot of Lauren and
Guy B holding hands and
looking into each other’s
eyes, Guy A comes
around the corner and
pushes Guy B away in
anger. He then storms of
camera.
‘Destiny is calling me’
Mr Brightside will be playing in the background.
Frame
Location is outside somewhere quiet. Standard
duration
colour. Bright, natural lighting as it’s daytime. Lauren 5 sec
will be wearing the same clothes as before, when
she met up with the other guy B. Guy A will be
dressed casually.
Editing notes
Cut to next shot
B
‘Open up my eager eyes’
Shot
No.
27
Shot
No.
28
Frame
duration
4 sec
15. Shot
No.
Close-up of Matt playing
in the MPR, straight on
angle with him looking
down the lens.
Editing notes - Cut to next shot
Shot
No.
30
Editing notes
Cut to next shot
B
‘Cause I’m Mr Brightside’
Mid shot of Guy A and
Lauren arguing.
29
Mr Brightside will be playing in the background.
Frame
Music Practice room. Standard colour. Bright lighting duration
so that everyone is seen. Mise-en-scene will be
4 sec
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Mr Brightside will be playing in the background.
Location is outside somewhere quiet. Standard
colour. Bright, natural lighting as it’s daytime,
perhaps darker than the other shots. Lauren will be
wearing the same clothes as before (casual attire,
not the dress). Guy A will be dressed casually.
Instrumental
Frame
duration
1 sec
16. Mid shot of Alistair
playing drums.
Shot
No.
31
Editing notes
Cut to next shot
Shot
No.
Instrumental
Mid shot of Joe playing
bass guitar with Matt
dancing/moving next to
him.
32
Editing notes
Cut to next shot
Mr Brightside will be playing in the background.
Frame
Music Practice room. Standard colour. Bright lighting duration
so that everyone is seen. Mise-en-scene will be
1 sec
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Mr Brightside will be playing in the background.
Frame
Music Practice room. Standard colour. Bright lighting duration
so that everyone is seen. Mise-en-scene will be
2 sec
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Instrumental
17. Shot
No.
Mid shot of Jordan
playing guitar.
33
Editing notes
Cut to next shot
Shot
No.
Editing notes - Cut to next shot
Frame
duration
1 sec
Instrumental
Mid shot of Guy A
stalking Lauren. Looking
at pictures of Lauren
whilst on the field.
34
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
Mr Brightside will be playing in the background. Field
for location to show his loneliness and solitary.
Bright, daylight. Guy A will be wearing casual attire.
Instrumental
Frame
duration
3 sec
18. Shot
No.
Close-up of Guy A’s facial
expression looking
pained and upset. Low
angle so the audience
look up at him.
35
Editing notes
This field shot will be constantly referred to throughout the
narrative.
Shot
No.
Editing notes
Cut to next shot
Frame
duration
3 sec
Instrumental
Long shot of the band
playing on the stage,
straight on angle.
36
Mr Brightside will be playing in the background. Field
for location to show his loneliness and solitary.
Bright, daylight. Guy A will be wearing casual attire.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting so that everyone is seen, but not as bright as
the band on stage. The band will be wearing black
trousers, white shirt and red or black tie with
instruments so that it looks realistic.
Instrumental
Frame
duration
3 sec
19. Shot
No.
Long shot of the band
playing on the field,
straight on angle.
Mr Brightside will be playing in the
background. Field for location as the band
play. The lighting will be natural daylight.
They will be wearing black trousers, white
shirt and red or black tie with instruments
so that it looks realistic.
A
‘Coming out of my cage/ and’
Mid shot of the band
playing on the field,
straight on angle.
Mr Brightside will be playing in the
background. Field for location as the band
play. The lighting will be natural daylight.
They will be wearing black trousers, white
shirt and red or black tie with instruments
so that it looks realistic.
A
‘I’ve been doing just fine’
37
Editing notes
Cut to next sho
Shot
No.
38
Editing notes
Cut to next shot
Frame duration
4 sec
Frame duration
3 sec
20. Shot
No.
Mid shot of Lauren and
Guy A arguing about her
cheating.
Mr Brightside will be playing in the background.
Indoor, secluded location as they act. The lighting
will be indoor lighting. They will be wearing the
casual clothes.
A
‘Gotta gotta be down’
Long shot of Lauren
storming away from guy
A, but he pulls her back
and then lets her go
again. Links in with the
lyrics.
Mr Brightside will be playing in the background.
Indoor, secluded location as they act. The lighting
will be indoor lighting. They will be wearing the
casual clothes.
A
‘Because I want it all’
39
Editing notes Cut to next shot
Shot
No.
40
Editing notes - Cut to next shot
Frame
duration
2 sec
Frame
duration
3 sec
21. hot
No.
Wide shot of the band
playing their instruments,
the angle will be straight
and there will be no
movement in the
camera.
41
Editing notes
Cut to next shot
Shot
No.
The sound playing will be the song: Mr Brightside.
This shot will be set on a field, the same place guy A
was standing earlier. The shot will have no colour
effects on it. There will be no artificial lighting on the
shot because it is set outside and will be natural. The
band will be wearing their first costume change of
the suit and tie.
A
Lyric: It started out with a kiss
How did it end up like this?
It was only a kiss.
The sound playing will be the song: Mr Brightside.
This will be set in a quiet place somewhere like
outside a house. This will be in standard colour.
Lighting will be natural. Narrative costume will be
used here- red dress. Guy A- casual clothes.
Mid shot of Guy A in
foreground and girl in
background, Guy A
doesn’t look back and
walks away. Normal
Angle and no camera
movement. Girl mimes
the lyrics.
42
Editing notes - Cut to next shot
A
Lyric: It was only a kiss
Frame
duration
6
Frame
duration
2
22. Shot
No.
Two shot of Guy B and
girl watching video
filmed earlier on phone.
Girl is reluctant to do so,
and is upset knowing she
has done wrong.
43
Editing notes - Cut to next shot
Shot
No.
44
Editing notes - Cut to next shot
The sound playing will be the song: Mr Brightside.
This shot will be set outside on a bench somewhere.
The shot will have no colour effects on it. There will
be no artificial lighting on the shot because it is set
outside and will be natural. Girl is wearing a red
dress, and guy in casual clothes.
A
Long shot of Guy A on
field beginning to ignite
the picture in his hand.
No movement and
normal angle. Throws
picture on floor and then
Lyric: Now I’m falling asleep and she’s calling a cab.
The sound playing will be the song: Mr Brightside.
Set on the field. Colour will be standard. Lighting will
be natural as outside. Guy will wear casual clothing.
A
Lyric: While he’s having a smoke
Frame
duration
5
Frame
duration
3
23. Shot
No.
Wide shot of the band.
No movement and
normal angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
A
Lyric: and she’s taking the drag.
45
Editing notes
Cut to next shot
Shot
No.
This shot will be a long
The sound playing will be the song: Mr Brightside.
shot as the Girl and Guy B Setting will be in a quiet place, like a park- same area
walk away from the
where bench was. Lighting will be natural, Colour will
camera, guy B tries to put be standard. Narrative costume worn.
his arm around girl but
she shakes it off and
walks away in another
direction. Guy A will be
then seen alone on a
bench somewhere else.
46
Editing notes
Cut to next shot
A
Lyric: Now they’re going to bed
And my stomach is sick.
Frame
duration
3
Frame
duration
5
24. Shot
No.
Wide shot of the band.
No movement and
normal angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
A
AB
Mid shot of the band.
Dolly shot/track across
the band in a straight on
angle.
Lyric: And it’s all in my head
But she’s touching his chest now.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
AB
Lyric: He takes off her dress now let me go
47
Editing notes
Cut to next shot
Shot
No.
48
Editing notes
Cut to next shot
Frame
duration
6
Frame
duration
7
25. Shot
No.
Close up of the
instruments being played
in a straight on angle –
guitar.
49
Editing notes - Cut to next shot
Shot
No.
Editing notes - Cut to next shot
Frame
duration
4
Lyric: INSTRUMENTAL
Close up of the
instruments being played
in a straight on angle –
drum kit.
50
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
Lyric: INSTRUMENTAL
Frame
duration
5
26. Shot
No.
Long shot of the band
playing in a straight on
angle. Slight zoom in.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting. The band will be wearing black trousers,
white shirt and red or black tie with instruments so
that it looks realistic.
AB
Lyric: ‘Cos I just can’t look It’s killing me
Mid shot of Matt and Joe
singing together/looking
at each other. Straight on
angle.
Mr Brightside will be playing in the background.
Location is the main stage. Standard colour. Bright
lighting. The band will be wearing black trousers,
white shirt and red or black tie with instruments so
that it looks realistic.
AB
Lyric: and Taking Control
51
Editing notes
Cut to next shot
Shot
No.
52
Editing notes
Cut to next shot
Frame
duration
8
Frame
duration
6
27. Shot
No.
Wide shot of band
playing on field.
Throughout chorus will
be a montage of shots.
Editing notes - Cut to next shot
Shot
No.
B
Lyric: Jealousy, turning saints into the sea
Close up of guitar playing
to the song. Straight
angle and no movement.
53
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
B
Lyric: Swimming through
54
Editing notes
Cut to next shot
Frame
duration
6
Frame
duration
2
28. Shot
No.
Close up of drums playing
to the song. Straight
angle and no movement.
The sound playing will be the song: Mr Brightside.
Setting will be on the stage. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties
B
Lyric: Sick lullabies
Wide shot of band
straight angle and no
movement.
The sound playing will be the song: Mr Brightside.
Setting will be in the music practise room. Colour will
be standard. Lighting will be artificial. Band will wear
tees and black jeans.
B
Lyric: Choking on your alibies
55
Editing notes
Cut to next shot
Shot
No.
56
Editing notes
Cut to next shot
Frame
duration
3
Frame
duration
5
29. Shot
No.
Wide shot of band
playing on the field, no
movement and straight
angle.
Editing notes
Cut to next shot.
Shot
No.
58
Editing notes
Cut to next shot
B
Lyric: But it’s just the price I pay
Guy A stands with the
burning photo and
throws it to the ground.
57
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Band will wear shirts and
ties.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be artificial. Guy A will wear casual
clothes.
Lyric: Destiny is calling me
Frame
duration
4
Frame
duration
4
30. Shot
No.
Wide shot of band with
straight angle and no
movement from camera.
The sound playing will be the song: Mr Brightside.
Setting will be in the stage. Colour will be standard.
Lighting will be artificial. Band will wear suit and tie.
B
Lyric: Open up my eager eyes
Close Up of Guy A on
stage singing the lyrics.
Straight Angle no
movement.
The sound playing will be the song: Mr Brightside.
Setting will be in the stage. Colour will be standard.
Lighting will be artificial. Guy A will wear casual
clothes. Guy A will look into camera sing.
B
Lyric: Cause I’m Mr Brightside
Frame
duration
7
59
Editing notes
Cut to next shot
Shot
No.
60
Cut to next shot
Frame
duration
4
31. Shot
No.
Close up of Girl lifting her The sound will be the song: Mr Brightside. Setting
head up to look directly
will be somewhere internal with dark lighting. Colour
down the lens. Her face is is standard. Dim lighting. Girl wearing casual clothes.
distressed and upset.
Straight on angle.
61
Editing notes
Cut to next shot
Shot
No.
Lyric: INSTRUMENTAL
Close up of Guy B lifting
his head up to look
directly down the lens.
Straight on angle.
62
Editing notes - Cut to next shot
Frame
duration
2
The sound will be the song: Mr Brightside. Setting
will be somewhere internal with dark lighting. Colour
is standard. Dim lighting. Guy B wearing casual
clothes.
Lyric: INSTRUMENTAL
Frame
duration
2
32. Shot
No.
Close up of Guy A lifting
his head up to look
directly down the lens.
Straight on angle.
63
Editing notes
Cut to next shot
Shot
No.
Editing notes
Cut to next shot
Frame
duration
2
Lyric: INSTRUMENTAL
Close up of Alistair
playing drums in a
straight on angle.
64
The sound will be the song: Mr Brightside. Setting
will be somewhere internal with dark lighting. Colour
is standard. Dim lighting. Guy A wearing casual
clothes.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Lyric: INSTRUMENTAL
Frame
duration
3
33. Close up of Jordan
playing guitar in a
straight on angle.
Shot
No.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Frame
duration
2
65
Jordan
Editing notes- Cut to next shot
Shot
No.
Close up of Joe playing
bass in a straight on
angle.
66
Joe
Editing notes
Cut to next shot
Lyric: INSTRUMENTAL
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
Lyric: INSTRUMENTAL
Frame
duration
3
34. Shot
No.
Close up of Joe singing in
a straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
B
Lyric: But I never
Mid shot of Matt singing
in a straight on angle.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and
ties.
A
Lyric: I never
67
Editing notes
Cut to next shot
Shot
No.
68
Editing notes
Frame
duration
8
Frame
duration
9
35. Cut to next shot
Shot
No.
Long shot of the band
playing in a straight on
angle as we cut back and
forth between the
narrative and
performance.
69
Editing notes
Cut to next shot
Shot
No.
70
Mr Brightside will be playing in the background.
Music Practice room. Standard colour. Bright lighting
so that everyone is seen. Mise-en-scene will be
white t-shirt and dark coloured jeans, with
instruments so that it looks realistic.
B
Lyric: I never
Mid shot of Matt singing
the last ‘I never’ and the
rest of the band doing
the final note on their
instruments.
The sound playing will be the song: Mr Brightside.
Setting will be in the field. Colour will be standard.
Lighting will be natural. Band will wear shirts and ties
Frame
duration
9
Frame
duration
9
36. Editing notes
Cut to next shot
Shot
No.
B
Guy A throws the
photograph to the floor
as it is alight in a long
shot. Straight on angle.
71
Editing notes
Cut to next shot
Shot
No.
72
Lyric: I never
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
4
Lyric: END OF SONG
Guy A throws the
photograph to the floor
as it is alight. He walks
away.
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Frame
duration
4
37. Editing notes
Cut to next shot
Shot
No.
Lyric: END OF SONG
Close up and straight on
angle as we see the
photograph burning on
the ground.
73
Editing notes
FADE TO BLACK.
The sound playing will be the song: Mr Brightside. Set
on the field. Colour will be standard. Lighting will be
natural as outside. Guy will wear casual clothing.
Lyric:
Outro
Frame
duration
4