Updated Treatment

1. Updated Treatment for
‘Good to Love’ music video
Prepared by William Owen
13/06/2016

2. DURATION AND LENGTH
The music video will be around four minutes in duration, give or take a few
seconds. We may shorten the song if this proves to be unmanageable. We will be
using stop animation throughout our video, which can be very time consuming in
production, and not translate to a lot of footage in post production. We will also
have cross cuts of normal shots, because a full four minutes of stop animation
would be stressful, and we aim to incorporate other styles and devices into our
music video.
Update:
We are going to shorten our music video down due to our new direction of
following a more abstract path, with more shots and imagery rather than narrative,
like Troye Sivan’s ‘Happy Little Pill’. We are still going to incorporate stop
animation into our film, which will take a long to make.

3. COMMON MUSIC VIDEO CODES / CONVENTIONS
Codes and conventions of music videos are the different techniques used to construct
meaning in them. These techniques are either technical (how meaning is conveyed
using technical equipment eg camera angles, pace of editing) or symbolic (facial
expressions and mise en scene). Performance is common in many mainstream music
videos, for example Beyonce’s Love on Top. Performance is when the artist performs
the song, possibly with back up dancers, and minimal narrative. On the other end of
the spectrum in the narrative convention, seen through Katy Perry’s ‘Thinking of You’.
The music video is a linear narrative, following a story from start to finish. We will use
neither of these music video conventions in our project. We will use a much more
common code, called mixture. Mixture has elements of performance as well as
elements of narrative. Our video will contain hints of both, following a broad and vague
story, making it more relatable for the audience.

4. MUSIC VIDEOS THAT INFLUENCED ME AND WHY
Troye Sivan’s ‘Youth’
We enjoyed the pastel colours used throughout this video, pinks, purples and
blues. Thought beats and quick cut editing we also drew inspiration from. Large
bold font of the artist is strong and demands attention, which also influenced us.
A narrative is also loosely followed, mixed together with close ups on Troye to
create and maintain his star image, as he is still emerging as an artist.
Update:
We have decided to take more inspiration from Troye’s style. We will have a
similar style of music video, sending homage to Happy Little Pill. We will do this
through abstract shots that force the viewer to question the deeper themes that
are hinted at throughout our video. We will also use pastel shades, often used in
Troye’s videos, such as ‘Youth’.

5. MUSIC VIDEOS THAT INFLUENCED ME (CONTINUED)
Nicki Minaj’s ‘Pills and Potions’
This music video is a square, similar to Rihanna’s FourFiveSeconds, instead of
widescreen. Animation is used which is interesting, along with cool backdrops
and the pastel colours.
Sampha’s ‘Too Much’
This music video has a very simple concept, focussing on the piano and singing,
and the changing colours. Lighting is also used effectively in this music video,
which we would like to use in our music video. The simple concept is something
we will replicate in our video, as our song is simplistic, and less is more.

6. MUSIC VIDEOS THAT INFLUENCED ME (CONTINUED)
Gotye’s ‘Somebody That I Used To Know’
This instant classic uses stop animation and performances elements all rolled into
one. Pastel colours with deep shades are also used. The deeper imagery behind
it, for example the girl and boy being different colours, all stemming from a simple
concept and idea influenced us, as we like these ideals. We also want to
somehow incorporate stop animation in our film
Update:
The abstract feel of the music video, with the one continuous shot while still
creating some sort of change from start to end is an effect we wish to create in
our music video. The pastel shades and stop animation are also very cool, and
we wish to somehow put both of these into our music video.

7. ROLES UPDATED
Bianca Will Lewis
Costumes, props and
location
Production Designer
Script
Director
Producer
Cinematographer
Editor
Storyboard
Bianca has incredible natural
talent when it comes to
design, be it logos, costumes
or locations. She also takes
design as a subject, leading
to her appointment as
production designer
I wanted to take more of a
leading role in this task. My
strengths lie in writing and
planning documents rather
than the design side, so I was
appointed producer.
Lewis wanted to have a larger
role in production rather than
post production, leading to
him being cinematographer.
He is also an extremely
proficient editor, leading to his
appointment of editor

8. STYLE
Well lit music video, with positive overarching styles and an overall happy theme,
but still hinting at sadness. Pastel colours. Stop animation cross cut throughout
the video. Vague story telling aspects. Possible performing sections, most likely
closeups on mouths. Diverse actors to hit maximum genders, sexualities, etc.
Update:
We aim to use around 10 different people in order to hit this diverse group of
people we desired to use, that will effectively link into many of our themes and
underlying themes, such as love is not bound, it can affect anyone. Our abstract
style will come out here, as we used varied shots such as close ups and mid
shots, focussing on lips.

9. CAMERA / EDITING / SOUND / TEMPO / LIGHTING
Close ups on faces to shows facial expression, emotions. Close ups also on
different objects to show perspective. Interspersed editing to keep the audience
guessing. Thought beats. Tempo matching the speed of the song ‘Good To Love’.
Slow motion, possibly 60fps. Bright lighting to reiterate themes of positivity. Warm
tint to the music video.
Update:
We aim to use around 10 people, with shots taken from the back, front and sides.
We are also going to take abstract shots and piano closeups.

10. CREDITS / LOGOS
Bold, intense logos like our main AH logo for Andrew already. We could give a
new spin on it to match the video, changing up the colours or gradient to fit in.
Credits will be in the same font, a bold simplistic one, most likely Dolce Vita Heavy
Bold.
MISE EN SCENE / SETTING
Some of the video will be shot in a professional photography studio, as it has
colourful backdrop and great artificial and natural lighting, as well as a green
screen, which gives us many options. We will also shoot the stop animation in the
studio. I’d also like to incorporate some more naturalistic aspects in the music
video, so some cross cutting of outside shots would be optimum.

11. THEMES / MOTIFS
Love
Intensity
Conflict
Joy
Expectation
We aim to do more than just scratch the surface when it comes to themes. We want to hint at deeper
of themes of love and the obsession that comes with it, possibly through close ups on faces. The
intensity that comes with love will be explored through different saturations of colours, and the
vibrancy of them.
Update:
Acceptance
Diversity
Hidden Meaning
Cycles
We are going to explore more themes then previously anticipated. Acceptance will be explored and
examined in our music video through the diverse nature of people we are going to use in our video,
and how all of them, through sexuality, age or ethnicity, are accepted. Diversity is similar. Hidden
meaning will be explored through the different abstract shots. And finally, cycles will be explored
through our stop animation, with the paper aeroplane being built and then deconstructed only to be
built again.

12. UPDATES CONSOLIDATED
We have narrowed down all of our ideas in terms of our music video. We have
decided to go off in a more abstract direction, with shots that hint at other themes
such as love, betrayal vs trust, and more of previously discussed themes. We want
to still incorporate stop animation into our film, possibly in the construction of a
paper plane or origami. This will tie in nicely to our end goal of having an ideology
of simplicity throughout our music video, a relatively low budget music video, while
still maintaining a high degree of professionalism.