The document discusses potential ways to develop and improve various shots for a music video. It analyzes each shot and provides suggestions to make the shots more emotionally impactful and better convey the song's narrative and message. Suggestions include adding point-of-view shots, changing camera angles to communicate vulnerability or fear, including implicit meanings through facial expressions and settings, and linking visuals like locations or actions to specific song lyrics. The goal is to create a video that tells a clear story but also allows audience interpretation, as focus groups said the original video's plot was unclear.

1. 01:07
We could develop this long shot by
possibly having the camera pan around
the performer. It could move quite
slowly to add to the eerie atmosphere of
the setting. The lyrics to this shot could
be “come morning light, you and I’ll be
safe and sound,” and therefore, this part
of the video could be enhanced by
adding a point of view shot, showing the
sunrise from her point of view. From our
focus group, we got the response that
the song made them feel quite ‘relaxed,’
and watching the sunrise could be quite
peaceful, which would contrast with
some of the frantic moments of the
video that we have planned more our
music video. We have also planned for
the characters costume to get worn and
dirty during this part of this shot, we
could include an insert shot of her dress
skimming the water.

2. 01:22
This mid shot of the performer appearing from
behind a tree, does not really communicate an
emotion to the audience. This could be adapted
by shooting this action from a high angle to
communicate the performers vulnerability. An
extreme close up on her face could
communicate a scared expression and possibly
tears in her eyes to explicitly tell the audience
that she is scared and hiding from something.
This shot could show the character looking
around her surroundings to check that she is
safe before she appears fully from the tree. The
tree could imply that there has been a conflict
of some sort in this area. This shot could come
straight after the lyric, “but all that’s dead and
gone and passed tonight,” because this shot
could suggest that she is reluctantly coming out
from where she is hiding because the danger
has passed. Our focus group said how the story
of the original music video didn’t really make a
lot of sense, so we could possibly shoot a
shadow or make what she is scared and running
from clear.

3. 01:42
This wide shot show the setting that the
performer is in, and we could develop this shot
by adding narrative elements. For example, the
girl could be paddling through the water or there
could be a high angle shot showing her reflection
and her facial expressions. In the shot, she could
have an upset facial expression because tears
could be a connotation of water, and therefore
we would be creating an implicit meaning which
encourages the audience to think about the
narrative, rather than it being obvious to them
which is a generic convention of a pop video.
Because our video and song is not light-hearted
as you would expect a pop music video to be, we
want to have both implicit and explicit meanings
in our video, however, from watching the initial
video, our focus group said how they didn’t
really enjoy the video because they didn't’t
understand the storyline, so we do not want to
make it too complicated so that our target
audience won’t understand it.

4. 0:27
This wide shot of passers-by in a busy
centre is currently sped up to emphasise
how busy it is. This shot can be developed
by having passer-by’s in the background
out of focus and by adding the performer
in the centre of the screen, not only are
we creating the star image by making her
the key focus, by having the background
blurred and moving at a past pace, in
contrast to the performer who could be
moving slowly or standing still, be are
creating another implicit meaning, and
allowing the audience to interpret their
own ideas about what is happening at this
point in the video, which could be that
everything going on in the performers life
is a blur, and she doesn’t even know what
is happening. The lyrics that could go with
this shot could be, “no one can hurt you
now,” because she is exposed in a busy
environment, but the people around her
may not be what is a threat to her.

5. 1:06
This high angle shot could be developed by
possibly, if it was safe enough, having the
performer in the space in middle of the cars
coming from both ways. The shot could be at
an even higher anger to imply her
vulnerability, because she is so alone is a busy
place and she possibly doesn’t feel safe with
all of these people around her. These shots
contrast the setting in the first storyboard,
which was quite secluded. This gives us an
opportunity to possibly include both settings
in our video, one being where the girl feels
safe and one where she does not. A response
from one person in our focus group was that
our video could be set in a busy city. Although
this is shot is not it the city centre, it shows
that we are considering helpful ideas that our
focus group have offered us. The lyrics for
this shot could be “all those shadows almost
killed your light,” because we will be going
against a convention of a pop music video,
that involved visuals and lyrics linking, as the
visuals would contrast the lyrics. However,
this again allow the audience to interpret the
video and our intentions in their own way.

6. 0:31
This long shot is effective because it shows a
different time of day. Our focus group said that one
of the most memorable lyric from the song was
“come morning light you and I’ll be safe and
sound.” As this shot has extremely low key
lighting, and looks mysterious, this could be the
setting where the performer is the most scared.
And as pitch black is a such a contrast from
morning light where the song claims is where they
will be the most safe and sound, we could develop
this shot by showing the performer walking down
this path, towards the trees which are blowing in
the wind, adding mystery to the setting. The
audience do not know what is happening and
neither does the performer, therefore, this creates
inclusivity between both the audience and the
performers. As we want the performers costume
to be fairly bright, the colour of her dress will
contrast the setting, explicitly showing the
audience that she does not belong here.

7. 1:11
This low angle shot could be developed into a mid
shot to see to performers face and expression more
clearly. However, I like the concept of the audience
being on the outside looking in because I think that
it could create either a feeling of superiority for the
audience as the performer is trying to get out, or it
could make the audience feel excluded. Therefore, I
think that we should definitely include this shot in
our video because I feel that if it is shot at the right
angle, (it could also possibly be shot at a low angle
to show superiority of the character is this is her
safe place or at a high angle to show inferiority if
she is trying to get out.) The lyrics for this shot
could be “don’t you dare look out your window, little
darling everything’s on fire,” because this is a clear
link between visuals and lyrics because the
performer is looking out her window, when she
shouldn’t be. This also gives us the opportunity to
possibly add a point of view shot to give her
something to look at. This object/person could be
what she is scared of. There does not necessarily
have to be fire outside of her window, but the
connotations to fire is danger, so therefore she
could be looking at something/someone that is
putting her in danger.