1. Bass Cannon – Flux Pavilion
Set: In Hurtwood House. (TV
Studio, Private Study, Cafeteria, Football Pitch & Path down from theatre)
Star Image: The music video
should appeal to the teenage/young adult age range. The main ideologies
represented in the video are sexual appeal, rebellion against (school) order,
wanting to get out and be free of stress and work.
Scene 1 – The Classroom
The video will start with a
close up of a clock ticking, slowly zooming into the shot from a slow angle
perspective. It will then cut to a close up of a schoolgirl taken from a high
angled perspective looking up at the clock longingly. We see an extreme close
up of the teacher looking over his glasses with a vile expression across his
eyes and lower mouth, taken from his eye line.
The cuts between these three
shots become quicker and quicker until the drop of the song comes in. As the
edits quicken the teacher’s eye starts to twitch and the schoolgirl begins to
breathe more heavily and look more anxious. A few smaller shots are added of
‘bitchy’ looking girls and ‘gawping’ boys, staring in the direction of the
schoolgirl.
Props for scene: White
school shirts and red ties, back jeans for boys and black skirts for girls with
long white socks & high heels. A pencil with a rubber on the end for the
schoolgirl to be chewing on.
Scene 2 – The Walk
A slow motion shot of the schoolgirl walking out the
classroom door with a tight fit black dress on. Behind her follows hundreds of
pieces of flying paper either being thrown or catapulted out from the dark room
behind her. The shot will be edited at a normal pace at first but then will
slow down as the paper starts to fly out of the door.
Next we see an extreme close up shot of the schoolgirl
walking down the theatre path as she strokes her hand through her hair, taken
from the side on.
A close up shot of the end of her dress is provided
from the level where the fabric ends on her legs. As she walks towards the
camera we see her hands gently pull down the fabric to cover herself up a
little more in slow motions.
The next shot shows the schoolgirls face with a cheeky
smile as she walks towards the camera again in slow motion. The shot will be a
close up.
The next cut takes us to the football pitch with a
couple of handheld close ups of the boys playing football as the music breaks
into the verse again. They all seem to be concentrating hard on their training.
A medium shot down the touchline shows the schoolgirl
walking away from the camera down the pitch, looking over towards the boys
once.
A wide shot shows all the boys suddenly stop
concentrating, stand still and turn to face the schoolgirl.
A medium long shot shows ‘the coach’ and another man
talking in the corner of the field. The coach turns around having being alerted
by the other man that the boys had stopped playing. The coach turns around at
starts running towards the boys.
A reverse shot is taken from behind the coach as he
runs towards the boys.
A worms eye view shot shows the boys running
frantically, pushing each other out the way to get to the schoolgirl in slow
motion in a long shot.
A medium long shot is used to show two boys carrying a
big crate of water running up behind the coach as he shouts at the boys. They
pour the water over him and as it splashes on his head and shoulders, the beat
drops again and the shot is put into slow motion.
Props for scene: Tight
fit black dress and accessories, football kits, boots ball etc., big water jug.
Scene 4 – Dance & Cafeteria
A variety of close up and wide shots will be used to
film 3 – 5 of the dancing girls in the studio. Behind them will be a set of
strobe lights flashing to create a dizzying but awesome effect. The girls will
be dancing in sync to the music with each other, emphasizing the sexual
undertone to the music video. The dance will be a rave/hip-hop genre.
We see the schoolgirl walk into the ‘club’ in a close
up shot.
We see all the boys behind her in school uniform in a
still shot as they look into the club with a still motionless expression. The
camera will then move across them into their eye line on the tracks.
In the next shot we see the ‘bitchy’ girls from her
school standing, facing each other looking over their shoulder into the lights
where the schoolgirl is standing.
The shots are juxtaposed with those from the cafeteria
at school where the schoolgirl is pictured again in her school uniform as she
walks past all the boys as they’re eating, stroking her hand along their backs.
We then see a few extreme close ups of the boys
reactions through staring eyes, twitching fingers and shifting bums.
In a few close up shots we see the hands of the boys
and bitchy girls stop being held by one another and the reaction of the girls
faces as all the boys stand up and stand behind the schoolgirl.
An extreme close up tilt shot shows the schoolgirls
hand pull down the leaver for the ice cream machine. The tilt leads our eyes
down to the ice cream coming out.
Next we see the boys’ reactions from a birds eye view
shot taken from on top of the ice cream machine. The first boy will be leaning
on the table, the second on the window, in this continuous pattern to the back
of the line.
Another close up of the girl holding the ice cream
close to her face is shown as she smiles cheekily. A shot of a boy’s reaction
is then seen in an extreme close up.
A wide shot of the teachers table is then shown as
they look disgustingly at the girl as she walks past, some of the teachers have
to turn around because they’re facing the wrong way.
A reverse shot is provided as the schoolgirl looks
over her shoulder in a medium close up taken from her eye level.
In a medium long shot, we see one teach stand up and
start to shout at the girl.
Here, an animation of an angry schoolteacher will be
inserted into the video, sort of like this one that I found on YouTube. http://www.youtube.com/watch?v=bwMEQkCdeGM
We cut back to the ‘club scene’ where we are provided
with medium long shots of the schoolgirl flicking her hair backwards in super
slow motion with the strobe lights still flashing in the background.
A variety of (extreme) close ups are provided of
different types of alcoholic drink, the boys and girls faces in the club.
We then see a worm’s eye view of the girl at night,
outside, spray painting on a wall. A wide shot shows her spraying the words “…”
Props for scene: Spray paint, black
hoodie, ice cream machine, strobe lights, alcohol bottles, school uniforms,
table wear, dancing clothing for girls, mist machines and red filters for
lighting.
Scene 3 – Wake Up
The teacher from the classroom at the beginning of the
video is seen clenching his ears to stop the sound of penetrating too loudly, as
blood starts to come out of his nose and he collapses on the desk. Taken from a
bird’s eye view.
When the chorus stops we cut to a shot of the
schoolgirl sleeping on the desk, shot from her eye level in a wide angled
perspective. She is woken up by the teacher and told to get on with her work,
as all the other boys and girls along with thw teacher have gone.
Fade to black…
2. The
Finish Line – Snow Patrol
This music video will feature a ‘James Blunt’
lookalike and possibly a partner for parts of the video. The video will consist
of shots of our character in the woods, parts of our school and possibly
Cranleigh. The shots during the day should be made as dark as possible to
emphasize the loneliness of the character, or be put into black & white
when editing. I would like to have a little movement in as many of the shots as
possible, however for scenes where the character is moving (e.g. washing his
face with water or walking down the street) they should be put into slow
motion. The shots that are put together may not make sense when put together.
However, I am hoping that the final outcome is one of visual nature.
Scene 1: Studio
Shot 1: In the studio, a beam of white light opens up
from the ceiling down onto a white, dirty bathtub where we see the man’s head
resting on the edge, taken from the height of the bathtub with a wide angled
perspective. Smoke can be seen around the feet of the bath.
Shot 2: A high angled shot, from the tap end of the
bath shows the man covered completely with red roses. His arms are rested on
either edge of the bath as he stares blindly into space with a faint smile on
his face. Taken as a medium long shot, the lighting remains consistent.
(Clothing: The man’s clothing will be ‘indie’ e.g.
tight jeans, pointy shoes, rag scarf, low cut v neck shirt & denim jacket.
Accessories: Rings, earrings, long ropey necklaces.)
Shot 3: A close up of the petals, the lighting of this
shot will be edited to provide a strong contrasted tone, there is also a large
depth of field in the shot.
Shot 4: An extreme close up of the rings on his
fingers, also with a strong contrasted tone.
Shot 5: A close up of the face from a high angled
perspective (using the crane) so his focus is just below the camera, as his
smile still slightly shows on his face.
Scene 2: Football Pitch Bench
Shot 1: A close up, over the (left) shoulder at eye
level shot is taken of the man with a strong light coming over his right
shoulder across his face to highlight his hair and features is taken. The smile
on his face is broad but shy, as he sings; “the
earth is warm, next to my ear”.
Shot 2: An extreme wide shot, taken from a low angle
shows the man sitting on the bench. The shot, taken from the football field
looking up at the man, will silhouette him against the sky and background. “insects noise, is all that I hear”
Shot 3: A medium close up, taken from a low angle
shows the man and a girl sitting on the bench, heads close together, looking at
each other. The lighting is strong so that the expression is clear on their
faces.
Cross Fade.
Shot 4: A shot reverse shot sequence shows the couple
for a split second however; as they move into each other, the girl fades away
(editing). The shot is taken from the height of the top of the bench with a
strong depth of field. “a magic trick,
makes the world disappear”
Scene 3: Top Car Park – All shots use daylight.
Shot 1: We can see a car pulling into the car park,
but the driver’s identity cannot be seen. The medium wide angled perspective in
which we can see the upper half of the man’s body and the car pulling in,
allows us to see (in slow motion) that the man is waiting for someone. As the
shot goes on, we see the man start to run towards the car rapidly. There is a
pull focus from the man to the car as he moves towards it. “A distant motorcade and suddenly there’s joy.”
Shot 2: We are provided with a medium shot of a random
man getting out of the vehicle, closing the door and look awkwardly at him. The
random man begins to walk away into the building.
Shot 3: A close up from eye level of our man shows a
lost, and dejected expression on his face as his eyes move slowly from side to
side once.
The shot then pans around to the door, pulling out and
into focus between the two subjects to show this time, the girl walking into
the building, but looking expressionlessly over her shoulder. “The snow and ticker tape blurs all my
senses numb.”
Shot 4: Medium close up of man sitting on wall of huts
at the top car park, looking directly into the camera as it slowly zooms into
his face from just below eye level as he sings; “It’s like the finish line where everything just ends. The crack of
radio seems close enough to touch.”
Scene 4: Staff bathroom, path behind the tennis courts
& a boarding room.
Shot 1: We see
a slow motion close up shot, from the side of the man washing his face in the
water coming out the tap. As he moves his hands away we see his eyes slowly
open. The lighting is extremely powerful from the other side of his face,
silhouetting him strongly. “Cold water,
cleaning my wounds.”
Shot 2: A medium shot from behind him to the left
shows him take in one, long, deep breathe. We see this action in the mirror and
the lighting must remain consistent.
Shot 3: A wide angled shot from behind the man on the
forest path shows him holding a single red balloon, standing all on his own, it
floats silently beside him, filled with helium.
Shot 4: A short close up of his hand, with a wedding
ring.
Shot 5: In a boarding room, we see the man sitting on
the edge of ‘his’ bed. It is a medium shot, where at first we see his upper
body from eye level. The camera then tilts downwards towards his hands, which
rest on his lap holding a knife to one wrist, steadily tapping it against the
veins. On the floor we can see pictures of him and the girl surrounding his
feet. “I’m done with this, I’m counting
to ten.”
Shot 6: We see a door in a normal shot, the man goes
to up knock on it but clearly can’t sustain the courage to rap on the wood. We
see his head drop and arm lower slightly.
Shot 7: From an inside window we can see the girl
watching the man with a pondering expression. In a one-man shot, we see her
peer through the window, knees tucked into her chest and arms wrapped around
them to keep them tight.
Scene 5: Studio, forest
Shot 1: Extremely low angle shot of man singing into a
microphone with a white beam of light on him, along with smoke rolling around
his ankles. In the shot we can see his whole body, head to toe as the camera
moves on the tracks from right to left. He we sing; “I feel like I am watching everything from space, and in a minute I’ll
hear my name and I’ll wake…”
Shot 2: Medium close up of the couple in the forest
holding each other closely and they both sing; “I think the finish line’s a good place we could start. Take a deep
breath, take in all that you could want.”
Shot 3: Consists of all shots where the man had been
alone now including the girl. These shots will take place as the music begins
to fade out.
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