Tko le tigre
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The document discusses camera techniques used in the music video "TKO" by Le Tigre. It notes that zoom outs show the full band equally while zoom ins focus only on the lead singer. It also discusses using static cameras from multiple angles to make shots appear moving during editing. The document recommends filming from a fixed tripod and cutting between different shots to achieve this effect. It also suggests using extreme close ups to highlight lyrics being lip synced as done in the "TKO" video.
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Editing Update
Jack Renshaw is editing a music video and describes their approach to different sections of the video. For the opening, they use short clips from each of the 3 scenes in 4 identical parts. For the "fa fa fa" part of the lyrics, they use different color versions of the asylum scene to match each "fa". To emphasize the lyrics in the "run run away" part, they include a long sequence of clips from the chase scene. They have finished editing the French verse but one shot is out of focus. Renshaw is considering filming another scene to use for bits of the video they have not completed editing yet.
Floor plan
This document provides a floor plan and overview of the shots planned for a music video. It will begin with various close-up and long shots of the actor Ryan sitting on the sofa in the living room. Additional shots at Bournemouth beach will focus on Ryan from different angles, along with establishing landscape shots from the pier and hills. Splashdown location shots have not been fully planned but will mainly involve guerrilla filming and close-ups of characters. The final location at Llinford Bottom will feature conceptual shots in the water focused on bikes rather than characters to avoid only lip-synced shots.
Shot List
The document provides a shot list for a music video with 20 shots totalling 3 minutes and 28 seconds. The shots include close-ups and long shots of band members playing, the singer singing and walking around town. Shot information includes camera angles, movement, syncing with music and interactions between the singer and a woman at her door. The long shots of the band playing will include movement to not be bland.
Recce shots
Michael Wells chose several locations to film shots for a music video. The locations included open areas to get great shots, remote places for extra footage in different environments, areas with signs in the shot, roads for shots of the actor walking and being filmed from a vehicle, secluded yet public roads, and a house where the actor would walk into and the band would play. Wells planned to film at each location in different weather conditions to vary the backgrounds while keeping the actor in the same place, and to use various locations to make the video visually impressive while acknowledging the challenge of transporting actors between sites.
Analysis of similar music videos lucas sneddon
The Noel Gallagher's High Flying Birds music video shows the artist walking through a run-down area while being followed by someone. Various shots show the perspective from both the artist and the follower. The artist then enters a warehouse and performs with a band.
The Catfish and the Bottlemen video consists of handheld camera footage that gives a behind-the-scenes look at the band. Scenes show band members smoking, one playing guitar and viewing their album on a computer, all of them recording in a studio, and performing on an empty stage. The black and white footage aims to show the band's daily life.
3. research final
This video documentary traces the origins and evolution of jungle music from its roots in Jamaican soundsystem culture through hardcore and ragga in the UK to becoming a mainstream genre. It discusses early influential artists who incorporated Jamaican influences like ragga into UK breakbeat music in the late 80s/early 90s. Footage of oldschool raves from this era is shown. The documentary then explains how certain classic tracks like "Incredible" and "Original Nuttah" helped jungle break into the mainstream charts in the mid-90s despite some negative media portrayals. It concludes by discussing how jungle continues to live on today with new artists carrying on the tradition.
3. research updated
This document analyzes and summarizes techniques used in existing underground subculture videos that could be applied to a documentary project. It discusses several videos that focus on graffiti artists, UK music genres like jungle, and interviews. Key techniques highlighted include using wide shots and close-ups to capture graffiti missions, introducing subjects through amusing anecdotes, incorporating title screens over contextual clips to convey personality, and asking questions over b-roll footage to provide information efficiently. The analysis finds the research extremely useful for learning a variety of approaches to apply to narrating sections on different subjects while adhering to time constraints.
3. research (1)
This video documentary traces the origins and evolution of jungle music from its roots in hardcore, hip hop, and Jamaican soundsystem culture in the 1950s-1980s to its rise in popularity in the UK rave scene in the early 1990s. The documentary discusses early jungle artists who incorporated ragga influences like Rebel MC and Ragga Twins. It profiles many classic early jungle tracks and artists. It also addresses negative media portrayals of jungle music and how the genre achieved mainstream success with hits like General Levy's "Incredible" and Shy FX's "Original Nuttah." The documentary concludes by discussing how jungle music continues to live on today.
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Editing Update
Jack Renshaw is editing a music video and describes their approach to different sections of the video. For the opening, they use short clips from each of the 3 scenes in 4 identical parts. For the "fa fa fa" part of the lyrics, they use different color versions of the asylum scene to match each "fa". To emphasize the lyrics in the "run run away" part, they include a long sequence of clips from the chase scene. They have finished editing the French verse but one shot is out of focus. Renshaw is considering filming another scene to use for bits of the video they have not completed editing yet.
Floor plan
This document provides a floor plan and overview of the shots planned for a music video. It will begin with various close-up and long shots of the actor Ryan sitting on the sofa in the living room. Additional shots at Bournemouth beach will focus on Ryan from different angles, along with establishing landscape shots from the pier and hills. Splashdown location shots have not been fully planned but will mainly involve guerrilla filming and close-ups of characters. The final location at Llinford Bottom will feature conceptual shots in the water focused on bikes rather than characters to avoid only lip-synced shots.
Shot List
The document provides a shot list for a music video with 20 shots totalling 3 minutes and 28 seconds. The shots include close-ups and long shots of band members playing, the singer singing and walking around town. Shot information includes camera angles, movement, syncing with music and interactions between the singer and a woman at her door. The long shots of the band playing will include movement to not be bland.
Recce shots
Michael Wells chose several locations to film shots for a music video. The locations included open areas to get great shots, remote places for extra footage in different environments, areas with signs in the shot, roads for shots of the actor walking and being filmed from a vehicle, secluded yet public roads, and a house where the actor would walk into and the band would play. Wells planned to film at each location in different weather conditions to vary the backgrounds while keeping the actor in the same place, and to use various locations to make the video visually impressive while acknowledging the challenge of transporting actors between sites.
Analysis of similar music videos lucas sneddon
The Noel Gallagher's High Flying Birds music video shows the artist walking through a run-down area while being followed by someone. Various shots show the perspective from both the artist and the follower. The artist then enters a warehouse and performs with a band.
The Catfish and the Bottlemen video consists of handheld camera footage that gives a behind-the-scenes look at the band. Scenes show band members smoking, one playing guitar and viewing their album on a computer, all of them recording in a studio, and performing on an empty stage. The black and white footage aims to show the band's daily life.
3. research final
This video documentary traces the origins and evolution of jungle music from its roots in Jamaican soundsystem culture through hardcore and ragga in the UK to becoming a mainstream genre. It discusses early influential artists who incorporated Jamaican influences like ragga into UK breakbeat music in the late 80s/early 90s. Footage of oldschool raves from this era is shown. The documentary then explains how certain classic tracks like "Incredible" and "Original Nuttah" helped jungle break into the mainstream charts in the mid-90s despite some negative media portrayals. It concludes by discussing how jungle continues to live on today with new artists carrying on the tradition.
3. research updated
This document analyzes and summarizes techniques used in existing underground subculture videos that could be applied to a documentary project. It discusses several videos that focus on graffiti artists, UK music genres like jungle, and interviews. Key techniques highlighted include using wide shots and close-ups to capture graffiti missions, introducing subjects through amusing anecdotes, incorporating title screens over contextual clips to convey personality, and asking questions over b-roll footage to provide information efficiently. The analysis finds the research extremely useful for learning a variety of approaches to apply to narrating sections on different subjects while adhering to time constraints.
3. research (1)
This video documentary traces the origins and evolution of jungle music from its roots in hardcore, hip hop, and Jamaican soundsystem culture in the 1950s-1980s to its rise in popularity in the UK rave scene in the early 1990s. The documentary discusses early jungle artists who incorporated ragga influences like Rebel MC and Ragga Twins. It profiles many classic early jungle tracks and artists. It also addresses negative media portrayals of jungle music and how the genre achieved mainstream success with hits like General Levy's "Incredible" and Shy FX's "Original Nuttah." The documentary concludes by discussing how jungle music continues to live on today.
Recce
This document outlines various shots that will be taken for a film scene. It describes shots of a character moving along a path which will be significant, shots of the full path to help with camera setups, and additional shots of the path including characters passing each other. Further shots include a traffic light to fit with a monologue, a college scene with two characters, and multiple shots of a scene while following the 180 degree rule. The final shot will show both characters' expressions.
Presentation2
This document discusses the first shooting of a music video. It took place at two main locations - a graffiti wall and St. George's park. The film crew took various camera shots at each location to have a variety of footage and avoid repetitiveness for the final music video. They were able to capture all needed shots at the graffiti wall during this filming session.
Location research
The document discusses various location options for filming a music video that will show an actor's transition from urban to rural environments. Woodthorpe woods and laybys will be used to film rural shots where the actor becomes calm. Lendal Bridge steps and York Minster will be used for urban shots at the beginning to show the actor starting in the city. Further locations like Hob Moor will provide additional rural settings to demonstrate the journey from urban to rural places.
Performance Shot List
This performance shot list outlines 7 shots for a music video production titled "Space Bound." The shots include various close-ups, medium shots, and long shots of the rapper lip-syncing to the song on location from different camera angles, movements, and distances using a steadycam or zoom. The director and cinematographer is Avinash Navani.
Stage 9 uploaded
The document outlines three filming locations for a music video: Bournemouth beaches for close-ups, lip syncing shots, and concepts; Linford Bottom for conceptual shots to fill gaps in lyrics; and Splashdown for more conceptual shots when no singing occurs. Traveling shots from a car will also be taken to connect the different locations without seeming random.
Video idea weeknd -Amad Islam
The video would have a dark, desaturated look to create a depressing mood. Scenes would include long shots of the artists standing alone on dark roads, then close-ups of their bloody faces as they sing. The camera would track them as they walk and sing. It would also show one artist arguing with a woman, then pan to the other artist with the same woman, implying disloyalty. Throughout, the camera work would transition between the artists in different locations to tell the story through their perspectives and movements as they sing the dark lyrics.
Music video idea
The video would have a dark, desaturated style to create a depressing mood. It would show the two artists standing alone on different dark roads, with the camera panning in for close-ups of their bloody faces as they sing. The camera would do 360 pans between the roads, revealing the artists arguing with the same woman or walking alone down the roads, with extreme close-ups emphasizing their frustration and singing of the lyrics. Ultimately, the roads would converge, with the woman at their intersection.
Mood board
The document discusses mood boards and video examples that inspired the creator's ideas for their own music video. They liked elements of mystery from You Me At Six and Don Broco music videos, using restricted shots and smoke. Scenes from 1975 used dark silhouetted shots. Documentary styles from Vincent Kudrna and Ryan Williams used establishing shots effectively, like a time lapse from night to day. Animation was also used cleverly in Vincent Kudrna's video to label parts without needing explanation. Overall the creator found techniques and shots from the various examples that they wanted to emulate in their own music video.
Location recce for filming
Jack Rogers went on a location scout to find suitable outdoor areas for filming his major project video. He took photos of woodland areas with bike paths, dirt paths, walkways, hills and other natural settings. One photo showed a dirt pathway that could be used to film two scenes. Another high-angle shot provided multiple potential filming points along a path next to a pond. Additional wide shots of the pond and surrounding dirt track confirmed these areas were well-suited for filming nature scenes as required. Further photos along the dirt track showed it was ideal and secluded amongst trees for shooting the final two scenes of the major project.
Blog post 9
The blog post discusses how locations were used effectively in a music video to establish different artists. Each artist was shown in a distinct location, such as a cemetery or therapist's office. An interesting edit occurred during the lyrics "the other side", panning left to a new scene. The chorus was also filmed with a bridge known as "suicide bridge" visible, providing profound imagery relating to the theme of passing to the other side.
Annotated Stills
This document provides 4 still images from the location where the filmmakers shot a chase scene and the majority of their media piece. The stills capture different angles of the path and area used for filming the chase scene and main sections of the film.
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Conventions
The document discusses conventions of the horror genre that will be utilized in a zombie film trailer. It notes that the storyline of a group surviving a zombie apocalypse is very conventional. Camerawork with a variety of shot types will be used to build tension, as seen in films like Dawn of the Dead. Typical horror film sounds like tense music, ambient screams and zombie noises will be included, as well as changes in music for different scenes. Mise-en-scene elements like low key lighting, abandoned rural locations, and dirty costumes will further conventions of the genre.
Planning lighting
The music video plan involves shooting in various locations around a school. It will begin with Hannah emerging from a lift into a foyer where she meets other girls. Various scenes will be shot in a drama studio and outside using different lighting effects. Additional shots are proposed on a sports pitch and in reverse. The filming will require 3 cameras and tripods and take place after school.
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Opening Sequences
Opening credits traditionally include the production company, producers, director, and top billed actors. The credits are usually displayed as text superimposed on a static image or action sequence, and are often accompanied by music. Sometimes a brief scene or cinematic sequence follows the credits to build anticipation and set the mood for the film through themes established by cinematography, sound, and music.
Micro elements in film opening
The document discusses how different camera shots are used in opening sequences to create meaning and tension. An extreme close-up of a zombie's eyes shows blood and desperation. A close-up from a POV perspective shows the scariness and expression of a zombie about to eat someone. A medium shot clearly shows a man running from a zombie, showing his movement and pace. The long shots show the location and zombies attacking, with an extreme long shot establishing the living area setting.
Bruno mars website
Bruno Mars' website has a video playing in the background instead of a static image like most artists, which is a unique design choice. The website prominently features his new album release on the front page. The document discusses copying this idea of highlighting a new album release on the front page for an OT website redesign.
Storyboard with chosen fonts
This document outlines 15 shots for a music video. Shot 1 would be an unsteady handheld shot showing the artist's experience and song title. Shots 2-6 would show various instruments being played by anonymous musicians, including drums, marimba, and keyboard. Shots 7-11 would focus on the singer using the microphone and interacting with it while getting into the performance. Shots 12-13 would show the drummer from different angles. The final shots would be a close up of the singer's lips ending the song and a 2-3 second credit for the recording company.
Analysis of camera shots
The document analyzes the camera shots used in three music videos:
1) James Bay's "Best Fake Smile" uses close-ups and tracking shots to focus on the main character's expressions and movements. Shots are at eye-level or lower to show importance or relatability.
2) George Ezra's "Budapest" uses bird's eye view shots of crowds to show equality, then mid shots and close-ups to highlight performances and personalities.
3) Major Lazer and DJ Snake's "Lean On" focuses on symmetry through rule of thirds, establishing shots, and panning/tracking of the artists dancing to show importance and entertainment. High and low angles present locations and
Music video analysis
The document analyzes the music videos "You and I" by One Direction and "True Love" by Coldplay. It discusses the camera angles and shots, mise-en-scene, and editing techniques used in both videos. For "You and I", it examines the close-up shots showing character emotions, high and low angle shots involving the viewer, and over-the-shoulder shots. Mise-en-scene elements like beach backgrounds, innocent clothing, and props are also discussed. Editing techniques like character transitions and duplicate positions are highlighted. The analysis of "True Love" similarly looks at establishing shots, extreme close-ups, overhead shots, and how lighting and props are used to match the music
Music Video Analysis
The document analyzes and compares two music videos, "You and I" by One Direction and "True Love" by Coldplay. It discusses the camera angles and shots used in each video, including close-ups, low and high angles, and long shots. It also examines the mise-en-scene elements like clothing, lighting, and props. Finally, it looks at the editing techniques used to transition between scenes. The goal is to understand how these technical elements are used to convey meaning and tell the story through visuals in each music video.
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Recce
This document outlines various shots that will be taken for a film scene. It describes shots of a character moving along a path which will be significant, shots of the full path to help with camera setups, and additional shots of the path including characters passing each other. Further shots include a traffic light to fit with a monologue, a college scene with two characters, and multiple shots of a scene while following the 180 degree rule. The final shot will show both characters' expressions.
Presentation2
This document discusses the first shooting of a music video. It took place at two main locations - a graffiti wall and St. George's park. The film crew took various camera shots at each location to have a variety of footage and avoid repetitiveness for the final music video. They were able to capture all needed shots at the graffiti wall during this filming session.
Location research
The document discusses various location options for filming a music video that will show an actor's transition from urban to rural environments. Woodthorpe woods and laybys will be used to film rural shots where the actor becomes calm. Lendal Bridge steps and York Minster will be used for urban shots at the beginning to show the actor starting in the city. Further locations like Hob Moor will provide additional rural settings to demonstrate the journey from urban to rural places.
Performance Shot List
This performance shot list outlines 7 shots for a music video production titled "Space Bound." The shots include various close-ups, medium shots, and long shots of the rapper lip-syncing to the song on location from different camera angles, movements, and distances using a steadycam or zoom. The director and cinematographer is Avinash Navani.
Stage 9 uploaded
The document outlines three filming locations for a music video: Bournemouth beaches for close-ups, lip syncing shots, and concepts; Linford Bottom for conceptual shots to fill gaps in lyrics; and Splashdown for more conceptual shots when no singing occurs. Traveling shots from a car will also be taken to connect the different locations without seeming random.
Video idea weeknd -Amad Islam
The video would have a dark, desaturated look to create a depressing mood. Scenes would include long shots of the artists standing alone on dark roads, then close-ups of their bloody faces as they sing. The camera would track them as they walk and sing. It would also show one artist arguing with a woman, then pan to the other artist with the same woman, implying disloyalty. Throughout, the camera work would transition between the artists in different locations to tell the story through their perspectives and movements as they sing the dark lyrics.
Music video idea
The video would have a dark, desaturated style to create a depressing mood. It would show the two artists standing alone on different dark roads, with the camera panning in for close-ups of their bloody faces as they sing. The camera would do 360 pans between the roads, revealing the artists arguing with the same woman or walking alone down the roads, with extreme close-ups emphasizing their frustration and singing of the lyrics. Ultimately, the roads would converge, with the woman at their intersection.
Mood board
The document discusses mood boards and video examples that inspired the creator's ideas for their own music video. They liked elements of mystery from You Me At Six and Don Broco music videos, using restricted shots and smoke. Scenes from 1975 used dark silhouetted shots. Documentary styles from Vincent Kudrna and Ryan Williams used establishing shots effectively, like a time lapse from night to day. Animation was also used cleverly in Vincent Kudrna's video to label parts without needing explanation. Overall the creator found techniques and shots from the various examples that they wanted to emulate in their own music video.
Location recce for filming
Jack Rogers went on a location scout to find suitable outdoor areas for filming his major project video. He took photos of woodland areas with bike paths, dirt paths, walkways, hills and other natural settings. One photo showed a dirt pathway that could be used to film two scenes. Another high-angle shot provided multiple potential filming points along a path next to a pond. Additional wide shots of the pond and surrounding dirt track confirmed these areas were well-suited for filming nature scenes as required. Further photos along the dirt track showed it was ideal and secluded amongst trees for shooting the final two scenes of the major project.
Blog post 9
The blog post discusses how locations were used effectively in a music video to establish different artists. Each artist was shown in a distinct location, such as a cemetery or therapist's office. An interesting edit occurred during the lyrics "the other side", panning left to a new scene. The chorus was also filmed with a bridge known as "suicide bridge" visible, providing profound imagery relating to the theme of passing to the other side.
Annotated Stills
This document provides 4 still images from the location where the filmmakers shot a chase scene and the majority of their media piece. The stills capture different angles of the path and area used for filming the chase scene and main sections of the film.
Photo story 101
The document provides step-by-step instructions for creating a PhotoStory using PhotoStory 3 software, including importing pictures, adding text, recording voiceovers, customizing motion and transitions, adding music, and saving the finished PhotoStory. Hints are included throughout to help with tasks like highlighting photos and recording voiceovers. The finished PhotoStory and project file are automatically saved unless specified otherwise.
Conventions
The document discusses conventions of the horror genre that will be utilized in a zombie film trailer. It notes that the storyline of a group surviving a zombie apocalypse is very conventional. Camerawork with a variety of shot types will be used to build tension, as seen in films like Dawn of the Dead. Typical horror film sounds like tense music, ambient screams and zombie noises will be included, as well as changes in music for different scenes. Mise-en-scene elements like low key lighting, abandoned rural locations, and dirty costumes will further conventions of the genre.
Planning lighting
The music video plan involves shooting in various locations around a school. It will begin with Hannah emerging from a lift into a foyer where she meets other girls. Various scenes will be shot in a drama studio and outside using different lighting effects. Additional shots are proposed on a sports pitch and in reverse. The filming will require 3 cameras and tripods and take place after school.
Evaluation question 13
This document discusses the film techniques of mise en scene and editing through analyzing seven films that all relate to the concept of seven steps. It examines elements like lighting, camera shots, and editing choices across movies like The Soloist, Seven Pounds, and Robin Hood to convey themes of social realism and pursuit of happiness.
Opening Sequences
Opening credits traditionally include the production company, producers, director, and top billed actors. The credits are usually displayed as text superimposed on a static image or action sequence, and are often accompanied by music. Sometimes a brief scene or cinematic sequence follows the credits to build anticipation and set the mood for the film through themes established by cinematography, sound, and music.
Micro elements in film opening
The document discusses how different camera shots are used in opening sequences to create meaning and tension. An extreme close-up of a zombie's eyes shows blood and desperation. A close-up from a POV perspective shows the scariness and expression of a zombie about to eat someone. A medium shot clearly shows a man running from a zombie, showing his movement and pace. The long shots show the location and zombies attacking, with an extreme long shot establishing the living area setting.
Bruno mars website
Bruno Mars' website has a video playing in the background instead of a static image like most artists, which is a unique design choice. The website prominently features his new album release on the front page. The document discusses copying this idea of highlighting a new album release on the front page for an OT website redesign.
Storyboard with chosen fonts
This document outlines 15 shots for a music video. Shot 1 would be an unsteady handheld shot showing the artist's experience and song title. Shots 2-6 would show various instruments being played by anonymous musicians, including drums, marimba, and keyboard. Shots 7-11 would focus on the singer using the microphone and interacting with it while getting into the performance. Shots 12-13 would show the drummer from different angles. The final shots would be a close up of the singer's lips ending the song and a 2-3 second credit for the recording company.
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Analysis of camera shots
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2) George Ezra's "Budapest" uses bird's eye view shots of crowds to show equality, then mid shots and close-ups to highlight performances and personalities.
3) Major Lazer and DJ Snake's "Lean On" focuses on symmetry through rule of thirds, establishing shots, and panning/tracking of the artists dancing to show importance and entertainment. High and low angles present locations and
Music video analysis
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Music Video Analysis
The document analyzes and compares two music videos, "You and I" by One Direction and "True Love" by Coldplay. It discusses the camera angles and shots used in each video, including close-ups, low and high angles, and long shots. It also examines the mise-en-scene elements like clothing, lighting, and props. Finally, it looks at the editing techniques used to transition between scenes. The goal is to understand how these technical elements are used to convey meaning and tell the story through visuals in each music video.
In what ways does your media product use, develop or challenge forms and con...
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Filming techniques and inspiration
This document discusses filming techniques and inspiration for a music video. It describes various shot types, like long shots of the full band, close-ups of band members and their instruments, and medium shots from different angles. These shots will be used and cut together to match the timing and lyrics of the song. Inspiration is drawn from the video techniques in an All Time Low video, such as close-ups that focus on individual band members and draw in audiences. These shot types and techniques will be applied to the author's own music video filming.
Performance Plan
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Presentation on conventions
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Textual Analysis of Best Day of My Life
1) The video analyzes the cinematography, mise-en-scene, editing, and sound used in the music video for the song "Best Day of My Life" by American Authors.
2) Shots establish connections between the protagonist and other characters while reflecting his gloomy mood at the beginning through framing and lighting.
3) Settings like the street and bar are used to portray the band and protagonist as ordinary while also conveying typical imagery like in a strip club scene.
Shot analyse
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
Music Video Shot's
This document summarizes and analyzes three shots from a music video. The first shot is a medium shot that tracks left to right, showing the whole band playing in a dull, abandoned building to set the mood. The second shot is from the actor's point of view, panning to show the surroundings and contrasting with the first indoor location. The third shot again shows the band from different angles, circulating the vocalist to make the audience feel like they are there.
Third analysis!!!
The video analyzes the music video for the Foo Fighters song "The Pretender". It discusses the mise-en-scene including the props, clothing, lighting, and setting of the warehouse. It also covers the camerawork using different shots and angles. The sound is diegetic from the band playing. Editing uses cuts between shots and pacing to match the music. The video depicts a confrontation between the band and riot police authorities.
Similar music videos
The document compares two music videos that are similar in style and narrative to the video the author plans to create. Both videos primarily feature solo performances by the artist as they walk or sit alone, putting focus on their reflective facial expressions. Shots include close-ups, long shots, and medium shots in a way that tells the story of a lonely character. The Maverick Sabre video also uses a slow, downbeat tempo and minimal effects like slow motion, similar to the style planned for the author's video.
Third analysis!!!
The document analyzes the music video for the Foo Fighters song "The Pretender" using techniques of mise-en-scene, camerawork, sound, and editing. It describes the warehouse setting, costumes portraying rebels and authorities, use of lighting and camera angles to depict conflict. Instrumental music plays diegetically as the band performs amid cutting between shots that match the song's pace.
Shot list
The document provides a shot list for a music video, describing the camera shots that will be used for each lyric or musical element. It includes various shots like close-ups of the drummer, singer, and guitarist, as well as mid-shots of characters burning a picture and lying on train tracks. Wide shots are listed to show the full band performing during the choruses. Point-of-view shots from customers and band members in a shop are also specified. The shot list coordinates the camera shots and angles with the lyrics, music, and storyline depicted in the video.
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In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
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Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Saga
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Tko le tigre
- 1. Editing Le Tigre TKO Shot Analysis!
- 3. I like the use of the zoom out used more than the zoom in, as it shows the 3 singers in the band instead of just the lead singer. To me it symbolises that they’re equal as you can see them altogether whereas when zooming in it gives the impression that the lead singer is the only one with star image.
- 5. Static Camera(slide 2): I can take inspiration form this for my music video as will be able to film the whole of the chorus from a fixed point when the camera is on a tripod, I can repeat this from another angle and then during the edit, I will be able to cut different shots from each piece of footage to make it appear as the camera is moving. In this particular video the angle of the camera is to the main performer’s right and our left and to the front of her. An angle I would quite like to try out would be from the performers feet. Extreme Close up: The extreme close up is something I would like to incorporate into my music video as the way it is used in the TKO video is to highlight the lyrics that the performer is lip syncing to.
- 6. Static Camera(slide 2): I can take inspiration form this for my music video as will be able to film the whole of the chorus from a fixed point when the camera is on a tripod, I can repeat this from another angle and then during the edit, I will be able to cut different shots from each piece of footage to make it appear as the camera is moving. In this particular video the angle of the camera is to the main performer’s right and our left and to the front of her. An angle I would quite like to try out would be from the performers feet. Extreme Close up: The extreme close up is something I would like to incorporate into my music video as the way it is used in the TKO video is to highlight the lyrics that the performer is lip syncing to.