This document outlines 31 shots for a music video narrative depicting a relationship that breaks down. The shots begin by introducing the main characters and showing them interacting closely at his home before an argument occurs. Following the argument, shots show the girl leaving upset while he remains alone, regretful. Later shots depict the girl cheering up with friends by a campfire in contrast to him remaining isolated and upset. The variety of shots including close-ups, mid-shots, long-shots and point-of-view are intended to advance the story and enhance the visual experience.

1. Shot one: For thisshotwe chose to use a pointof view midshotusinga go pro,creatinga
handheldfeel.Thisistoshowthe female protagonistwalkingdownthe streettowardsher
boyfriend’shouse.We feltthatapointof view shotwouldbe more visuallyinterestingandwould
initiallygraspthe viewers’attentionasitbuildsupenigmaasto whothe character is.We also felt
that usinga go pro wouldaddto the shot as itwouldcreate some shakymoments,makingthe point
of viewshotmuchmore effective(asif the viewerwasthe personactuallywalking).Alongwiththis
shotwe thoughtitwouldbe a goodideato add insome diegeticsoundbeforethe musicbegan –for
example,footsteps,carspassingetc.
Shot two: The secondshotwill be a mid-shotof thischaracterwalkinguptoher boyfriend’s
door.This shotwill onlylastfora short amountof time as it issimplytoshow herabout to enterthe
house.Thismid-shotwill introduce the characterforthe firsttime and allow the viewerstosee what
type of personshe is due to herclothing/facialexpressions/movementetc.

2. Shot three: Thisshot showsthe girl’shandknockingatthe door. We will use a close upshotfor
thisas we want to accentuate the braceletshe iswearingaspart of the narrative. We also thought
that itwouldbe effectivetoreplace the soundof the ‘knock’at the doorwiththe beginningof the
song,as thiswouldmatchthe actionon screentothe sound,makingthe startof the songhave more
of an impact.
Shot four: Shot fourwill be a mid-shotof the boycharacteropeningthe doorto the otheractor.
We have useda mid-shotinordertointroduce thisnew,male characterandreveal his
costume/movementsetc.Thisshotwill onlylastaveryshortamountof time as the twocharacters
are simplygreetingone another.

3. Shot five: In thisshot we wantthe two characters to be centrallyframedwithinalongshotas
theywalktowardsa door (withtheirbackstowardsthe camera).Thisframingwill hopefullymake
the hallwayappearelongatedandwillalsoshow the twocharactersto be close to eachother,
physicallyandfiguratively,atthispoint. We chose touse a longshotas we could thenaccentuate
the characters’ closeness atthistime –thiswouldthencreate a greatercontrast whentheylater
argue.
Shot six: For thisshot we chose to have a mid-shotof a sofa,andduringthisshot the two
characters will jumpdownonthe sofafromeach side of the camera andbecome centrallyframed.
Again,thisshotwill accentuate how close the twocharactersare at thispointinthe narrative,in
orderto create a greaterhurt forthe two whentheyfall out.

4. Shot seven: We chose to use an overthe shoulder mid-shottoshow the boywalkingintothe
kitchen.Thisallowsthe audience tofollow the characterandalsosee where he’sgoingatthe same
time. Thisshotwill be veryshortas itwill act as a cross cut betweenthe boy’sactionsandthe girl’s
actions.
Shot eight: Shoteightcuts backto the mid-shotof the girl onthe sofa (froma differentangle as
before). We thoughtwe woulduse amid-shotaswe usedthaton the previouscrosscut and we
wantedthemtomatch up withone another.Thisshotshowsthe character reachingforher phone –
anotherreasonto use a mid-shot(inordertomake it clearto the viewerswhatshe isdoing.)

5. Shot nine: Fromhere we cut to a close upof the boyfillingaglassinthe kitchen.Thisagainacts
as part of the cross cut seriescuttingfromthe kitchentothe livingroomarea,focusingonthe two
characters.We alsothoughtthat we couldpotentiallyputthisshotinslow motiontocreate an
interestingvisual effectof the water.
Shot ten: Thisshotthencuts back to the girl inthe livingroomas we have a close upof her
phone (thismatchesthe close upof the glassof waterpreviously.) We thensee herunlockher
phone andher home screenshowsapicture of her and herboyfriend. Thisimage will givethe
audience more of anideaabout theirrelationshipandthe close upshotwill allow themtosee the
image muchmore clearly.
Shot eleven: This shotis againwithinthe crosscuts betweenthe twosettings.We will cutto
an extreme close upof the glassas the boyputs ice intoit.Again,thiscouldbe editedintoslow
motioninthe laterstagesto vary the pace of each shot.
Shot twelve: Shottwelve cutsto anotherextreme closeupof the female protagonist’sphone.
The textsread“Hey, how’sitgoing?”“He’sok..for now”.Thisthenrevealstothe viewersthattheir
relationshipisn’tperhapsascomfortableasitappears.Thisismade evenmore obviouslaterinthe
narrative.Asthe character typesthismessage,we thoughtthatwe couldinclude the soundof typing
overthe top of the musicinorder to addmore diegeticsoundandmakingthe videomore
interesting.

6. Shot thirteen: Thisiswhere the cross cuttingwill stopand we see the boyre-enterthe room
withdrinksforthe two.We have useda mid-shotinorderto breakthe patternof the cross cutting
and alsomake it visibletothe audience the twopositionsof the characters.We didn’twantto use a
longshotwithinthisscene aswhenthe boyre-enterswe wanthimtonotice heron herphone and
become slightlyangry –we feltthatif we useda longshot,the viewerswouldn’tbe able tosee his
facial expressionsasclearlyandthiswouldhave anegative effectonthe scene.

7. Shot fourteen: Withinthisshot,we will have aclose upshot of the characters’ handspassing
one anotherthe drink.We have useda close upshotin orderto accentuate the twocharacter’s
matchingbracelets.Thisagainwill make how close theyare verycleartothe audience,creating
more of an impactwhenthe twofall out.We alsofeltthatthisshot wouldbe more effective asa
handheldshotat itwouldforeshadowtheirshakyrelationship.

8. Shot fifteen: In thissectionwe have chosentouse a mid-shotwhichfocusesonthe two
characters’legson the sofa.Thisshot will allow the viewersto see whenthe girl knocksherdrink
over.Thisshot couldalsobe put into slow motioninorderto make itmore visuallyinteresting.This
wouldalsoaccentuate andforeshadowthe eventual downfall of theirrelationship.
Shot sixteen: Thisshot will be amid-shottoshow themarguingwithone another.The boywill
grab the girl and shake her,grabbingherarm. Using a mid-shotforthiswill be effective asyouwill
be able to see the physicalitybetweenthe twocharacters,aswell asfocusingontheirfacial
expressionsalso.

9. Shot seventeen: Thisshot isone of ourmore unique shotswhichwe thinkaddtothe visual
aspectsof the videoasa whole.Thisisa pointof view shotfromthe girl’sperspectiveandshowsthe
boyyellinginherface andshakingher.To make thisshot appeareffective,we will use ahandheld
close upshot. Thiswill meanthatthe boywill be able tophysicallyshake the camera, makingthe
shotmuch more believable.Thiswill hopefullymake the viewersfeelmuchmore importantand
involvedwithinthe videoastheyare actingas one of the characters withinthisshot.

10. Shot eighteen: We will thencutback to a mid-shotof the twoarguing.Thisis similartoshot
sixteen.
Shot nineteen: This,again,is similartothe previousshotasit continuouslyshowsthe
argumentbetweenthe twocharacters.However,withinthiswe willuse alow angle shot.We feel
that thiswill make the musicvideomore visuallyinterestingandalsoaccentuate the characters’
anger. Withinthisshot,the boywill alsograbholdof the girl’sarm – we feel thatthislow angle shot
will make itclearto the audience the levelof violence withintheirrelationship.
Shot twenty: we will thencutto an overthe shoulder midshotof the girl leavingthe house.
Withinthisshotwe will alsoinclude the diegeticsoundof the doorslammingtoagain,accentuate
heranger and frustration.The overthe shouldershot,we feel,alsoexaggeratesthe twocharacters’
isolation,asthe boyisbeingleftbehind,alone.

11. Shot twenty-one: In thisshot we will againbe usingaclose up handheldshotof the girls
face as she walksdownthe street.This isjust afterleavingherboyfriend’shouse sowe feelshe
wouldbe fairlyupsetandperhapscrying.We feel thatusingaclose up shotwouldshow her
emotionsclearlytothe viewers,butalsothe factthat we will be usingahandheldshot will
accentuate herinstabilityandhurtfromwhathas previouslyhappened.
Shot twenty-two: Withinthisshotwe cut back to a mid-shotof the boysittingonhissofa
alone.Thisshotwill onlylastashort amountof time and issimplythere toreveal hiscurrent
isolationandregret.
Shot twenty-three: Shot twenty-three isaclose upshot of the boy’sbraceletonhiswrist.
Thisis to make the audience feelmore emotionallyinvolvedwithinthe piece andtoheightenthe
twocharacters’ separationfromone another.

12. Shot twenty-four: Thisshotis a longshot of the sky.We are goingto use thisas a time lapse,
filmingfrommiddayuntilitgetsdark.Thisis toshow that time ispassingto leadonto the nextpart
of the narrative.

13. Shot twenty-five: Thisis a longshot of the maingirl walkinguptoher friendsatthe
campfire.Withinthisshotwe will use afocuspull fromthe girl walkingintothe seeingherfriends
callingherover.Thiswill create amore entertainingvisualaspectforthisshot,ratherthansimply
watchingherwalkfromone pointto another.
Shot twenty-six: Thisis where we will include anotherclose uppointof view shot of her
friendsgreetingher.Thiswill be fromthe perspectiveof the girl andwill include herfriendshugging
and smilingatthe camera,as if greetingtheirfriend.
Shot twenty-seven: Thisshot will show the girlsaround the campfire,talkingandgiggling.
To do that we will use apanningshotaroundthe campfire.We feel thatthiswill make thisscene
more visuallyinterestingandwill alsoallow ustoshow eachcharacter withinthe shotclearly.

14. Shot twenty-eight: Withinthisshotwe will crossfade to a mid-shotof the boystill sittingon
hissofawithhisheadin hishands.Ashe isverymuch alone inthisshot,comparedto hisex-
girlfriendwithall of herfriends.Thisdepictshisisolationatthismomentandaccentuateshisregret
for hurtingher.

15. Shot twenty-nine: Withinthisshotwe shall thendissolve toamid-shotof the girlsaround
the campfire,talkingandlaughing.Thiscontrastsfromthe previousshotwhere the male characteris
upsetandangry.
Shot thirty: Withinthisshotwe will thenagaincut back to the boy.However,thiswill be aclose
up of himsurroundedbydarkness,focusingthe lightontohisface.We alsofeltthatputtingthisshot
intoslowmotionafterwardscouldbe effective,despitehislackof muchmovement.
Shot thirty-one: We will thenfade backtothe campfire scene.Thiswill be amid-shotof the
girlsat the campfire playingwithsparklers.Again,we feel thatwe couldplayaroundwiththe pace
of thisshotwheneditingafterwardsasitwouldcreate a more visuallyinterestingscene.
Shot thirty-two: This shotwill be anextreme close upof the top of a sparklerburningout.
We thinkthatputtingthisintoslowmotioncouldbe effective asyouwill see manydifferentcolours
mixingwithone another.We couldalsooverlaysome filtersontothisshottomake itmore special
and memorable.

16. Shot thirty-three: Thisshot isanotherpointof view longshotfromthe leadgirl’s
perspective.Itshowsherfriendinahuddle andwe are goingto addin some diegeticsoundof them
shoutingover“Are youcoming?!”to the mainactress.We feel thatthe handheldshotwill create a
more realistictone tothe shot,as well asaddinginthe diegeticsound.
Shot thirty-four: This shotshowsthe girl lookingdownandfiddlingwiththe bracelether
boyfriendhadgivenher.Thisclose upallowsthe audience tosee herrippingthe braceletoff her
wrist,symbolisingherbeingcompletelydone withherlastrelationship.We alsothought thatwe
couldlaterput thisintoslowmotiontosee if that ismore effective thanreal time.
Shot thirty-five: The final shotisa close up of the girl’sbraceletwhichshe hasthrowninto
the fire.We thoughtwe couldperhapszoomin ontothishowever, wouldn’twantthe shottoappear
tacky so will filmastill shotaswell.We feel thisisaneffectivefinal shotasitsymbolisesthe lead
girl’snewfoundhappinessatthe endof her abusive relationship.