Research & Planning - Creativity Concepts

Creativity is a large aspect to this project. Although the pitch feedback told us our idea was unoriginal, that was near unavoidable due to the song covering three genres. When creating our idea the thought was to make a standard line video, entwining performance with spectacle elements, but do it in such a way to make it interesting. The twists I added focused mainly around the seamless head rotation cuts, the through door cuts and the introductions silent scenes. These are things that might not be expected within a basic video and show creativity to the storyline. 

Sir Ken Robinson claimed creativity is based on failing challenges, making mistakes or just doing things wrong. This was elaborated to explaining how children are unafraid of being incorrect and making errors, and through education we are made to be scared of failing or approaching challenges differently, thus stunting our creativity.

Our Pitch

To view our presentation please click on "Our Pitch"

The general feedback we got from our presentation was extremely positive and had few drawbacks. The only things we were questioned on was the sheer size of the project in terms of the extra introduction scenes we proposed, in addition to the fact locations were simple therefore filming and editing had to be done in such a way that it looked professional and not home made.

The downside to our plan was seen to be that the idea isn't original and sticks to a very redundant line, although this has been done before and proven both successful and popular. This was backed up with the feedback that it was in fact very suitable for our target audience and song/genre.

Overall it was said to be a good idea, with impressive technical aspects that will be highly achievable with enough attention to detail and effort.

Story Plan, Props, Actors & Locations

Establishing shot of room, with all characters (all talking, but scene is mute, Pre song)

Ross walks into shot, throws Rich a Carling and sits down. Rich begins to open can.

Close up, Match on action

Rich opens the can, camera follows the can to him taking a drink. He then takes can away from mouth and begins to put it back resting on chair arm. Only shows up to nose bridge.

Mid shot, Match on action

Shows rich putting can back into resting position on chair arm. Talking to Alex who is sitting on the sofa arm to his left, camera’s right. Focus is maintained on Rich.

Pan to Alex, Mid shot

Alex is sat on the sofa arm talking as everyone else is too. He checks his watch and signals to Ross on his left, camera’s right.

Pan to Ross, Mid shot

Ross is lying across the sofa, he acknowledges Alex’s gesture indicated by previous scene. He takes a drink from his Carling, shows it to be empty by greatly angled drink, and throws the empty can on the floor. He then swings his legs to get off the sofa, sits up, taps singer’s shoulder who is sat on the floor resting against the sofa, indicating its time to go, then gets up. Singer turns to acknowledge him.

Pan and Zoom/Mid shot

As Ross gets up, the camera moves with the singers head as she looks back at the screen. Camera focuses and positions to look at the singer, she flicks through the channels with the TV remote.

Cut, Close Focus/Focus Pull

Camera focuses on the Carling can Ross threw on the floor, focus then is pulled to a pill bottle in the foreground with “Scarlet Pills” written on it in permanent marker. In the background, Ross, Rich and Alex can be seen opening and walking through the door (in this order). As soon as Ross has gone through the door on camera left, actor left, camera cuts.

Cut to Music Shop Scene

Camera is placed on actors left on the counter, actors enter on camera’s right. Ross, followed by Rich then Alex walk into shop.

Cut, Mid close up

Ross walks up to a customer playing a bass guitar (Bob)

Cut, Mid shot, Match on action

Focus is on customer, Ross takes guitar off customer playing it (Bob). Customer shouts in confusion and annoyance at Ross. The scenes are still in mute. 

Cut

Rich is looking through the guitars and picks one up, then begins to walk out of the shop.

Pan

Camera follows Rich and Ross to the shop door and they leave, 2 drum sticks can be seen on the counter. Alex walks to the counter and goes to pick them up.

Cut, close up, Match on action

Camera focuses on the drum sticks, Alex picks them up, under the sticks there is masking tape stuck to the counter, it reads “Directed and Edited by Robert Lloyd & Beth Vickers”. Camera pauses on that for a few seconds then cuts.

Cut Mid Close up

Camera angled over shop keepers shoulder, Alex gives a lazy salute with the drum sticks, smiles, and goes to leave shop.

Cut, Match on action

Alex leaves shop, shop keeper can be seen shouting in surprise and anger.

Cut to Rich, Ross and Alex entering performance area. Still mute, track still hasn’t begun

Rich, Ross and Alex enter on camera right, camera arks in pursuit as they go to their amps/drum kit. They are all still talking but there is no sound.

Cut, close up

Ross puts his bass strap over his shoulders.

Cut, close up

Rich plugs a jack lead into his guitar.

Cut, close up

Alex sits down at his drum kit and adjusts a symbol.

Cut, close up

Ross turns his amp on. As soon as he does so there is a humming sound, nothing else.

Cut, close up

Ross plugs his guitar into his amp, suddenly the conversations they are having can be heard.

Cut, close up

Rich is tuning his guitar, conversations still going but faces cannot be seen. Focus is kept on the instruments and hands. This means in editing we can cut suddenly between members, and still keep a smooth flow of conversation.

Cut, close up

Alex spins a drum stick in his fingers, there is an acetate film on the drum with “Headlights - 2010 release” written on in permanent marker. The acetate is to make it seem it is written on the drum skin. Camera focuses on this for a second. One person can be heard to say “So shall we play Headlights then?”

0/10 sec - Cut back to living room, Track begins, ambient police sounds begin

Singer is still sat on the floor against the sofa looking lonely. Camera pans around the empty room, briefly focuses on the singer then goes towards and focuses on the TV.

10/20 sec - Cut to band, guitars begin

Band begin to play the song with an energetic performance. High movement, various misc cuts and pans to increase energy and interest

20/24 sec - Cut to living room

Camera pans back from the TV to the singer, and circles around her head anticlockwise. Singer looks sad/mournful. Seamless cut takes place when the screen is totally darkened by the back of her head.

24/44.5 sec - Cut to street

By 25 seconds in the seamless anticlockwise rotation cut around the singer should be complete, this will join the location change. From here till 44.5seconds in the camera will follow the singer, walking down a road/street miming the lyrics using small, appropriate yet slightly vague actions to symbolise the lyrics. The camera will continue to change angle and pan around her while following her, to maintain interest.

44.5/50 sec - Cut to over shoulder shot

Camera is placed over the singers shoulder, a male figure can be seen lying on the ground.

50/1:04 - Cut to male perspective

Camera is placed on the ground to represent male figures point of view. Poor/blurry focus to signify confusion, but the singer can be made out. She is walking over, gets down and crouches beside him while miming the lyrics. From 1:02/1:05 “Headlights” can be seen emerging behind the singer. This could be a car getting closer or drowning the screen with white light.

1:04/1:09 - Chorus start, wide shot

White light fades out quickly, wide shot used to see singer crouching over the male figure, while medics also tend to him. This is acted, not mimed.

1:09/1:12 - Side shot of singer

Camera looks from the left hand side at Singer and male figure, she mimes the line to him “Breathe slow count to ten”. Blue flashing light in the background to signify an ambulance.

1:12/1:14 - Cut to band playing OR singer is pulled away by the medics

A) Cuts to band playing to keep up the energy and remind audience of the performance element, used in a series of quick shots displaying a lot of movement :OR:

B) Still using the wide shot the singer is pulled away by medics as they try and save him.

1:14/1:18.5 - Cut to males perspective

Camera is again in the males perspective, low down with soft focus. The singer can be seen miming the line “the ambulance is screaming for you to stay” while she is being pulled away by medics.

1:18.5/1:24 - Cut mid close up

Singer is upset but medic holds her back. Male figure can be seen with medic over him.

1:24/1:53.5 - Cut to band

To maintain connection and interest with the band, the video now focuses on them. A series of high energy shots contrasted with grungy deep shots create an appropriate atmosphere with the lyrics. At various points the camera should focus on the microphone with the members in soft focus in the background, to show the singer is not there. At the end of this scene, the camera will focus on the lead guitar and the light will reflect off the paint, this will increase until everything is whitened out, again symbolising headlights and tying in with the lyrics “his life is rushing like a beam”

1:53.5/1:57.5 - Chorus start, wide shot

White light fades out quickly, wide shot used to see singer again crouching over the male figure, while medics also tend to him. This is acted, not mimed.

1:57.5/2:01.5 - Side shot of singer

Camera looks from the left hand side at Singer and now medic with hands on her shoulders, he mimes the line to her “Breathe slow count to ten”. Blue flashing light in the background to signify an ambulance.

2:01.5/2:03.5 - Cut to band playing OR singer is pulled away by the medics

A) Cuts to band playing to keep up the energy and remind audience of the performance element, used in a series of quick shots displaying a lot of movement :OR:

B) Still using the wide shot the singer is pulled away by medics as they try and save him.

2:03.5/2:13 - Cut to males perspective

Camera is again in the males perspective, low down with soft focus. The singer breaks free of the medics and can be seen miming the line “The ambulance is screaming for you to stay”. While the final chorus line is being mimed to him, the screen fades to black (from 2:08/2:13)

2:13/2:32.5 - Cut to singer in bedroom

Cut straight from black to camera in bedroom in time with guitar/drum beat. Camera is at a high angle watching Singer lying in bed. She acts out the lyrics in a mournful way. 

2:32.5/3:13 - Variation of cuts and locations

The camera cuts to a close up of the singer, from here on it is a mixture of high energy cuts of the singer throwing things around the room in a destructive and distressed manner, and the band performing in a high energy way, accompanying the tempo and feel of the music. By 3:13 the singer will have collapsed, lying sad on the floor.

3:13/3:27.5 - Cut to band 

Band standing mournful, this will involve a series of slow pans and high camera angles.

3:27.5/3:33 - Cut to bedroom

Singer is now propped against the side of the bed, face half covered by left hand. Camera goes towards her and begins another seamless anticlockwise rotation cut.

3:33/3:40.5 - Cut to living room

The seamless anticlockwise rotation cut should be complete, vocals begin again but she does not mime, she simply gets up and walks through the door. During this scene jump cuts or flashbacks to the spectacle may be added to introduce surrealism and enforce the singers distressed mindset. 

3:40.5/3:42.5 - Cut to band

The singer enters the room through the door and goes to takes place at the microphone.

3:42.5/4:02.5 - Variation of cuts/shots

Here the band is finally united and play the last chorus. Focus remains on the singer, but there are also quick shots of the other band members from varying angles and at various speeds. There is a lot of movement and high energy.

4:02.5/4:06.5 - Band

Focus in this section is purely on the band playing, still in high energy and quick movements.

4:06.5/4:09.5 - Singer

These final few seconds are spent on the singer moving while holding the microphone, the final shot is of her looking at the camera and closing her eyes in time with the end of the song. At this, the entire screen will go black.

Equipment/Props;

Epiphone Les Paul (Prophecy/Black Beauty)

Cruiser Fender Jazz Bass Copy

x2 Guitar Straps and leads

Black Pearl Drum Kit & Sticks

Marshall dfx100 (x2 if needed)

Marshall  mb4210

Phoenix PA system

Standard Microphones (stage mic?)

1 full Carling can

1 empty Carling can

Pill Bottle

Masking tape (directed & edited by)

Acetate circle (song title)

x2 fluorescent medic jackets

Medic props

Car

Lighting kit

Tripod

Camera

Actors;

Vocals/Stacy - Hannah Furey

Bass/Nick - Ross Day 

Guitar/Dim - Rich Platt

Drums/Tim - Alex Nott

Spectacle main - 

Medic - 

Medic - 

Shop Keeper - Shop Keeper

Customer - Robert Lloyd

Locations;

Living room - Andy Harris's House

Bedroom - ???

Performance (garage, stage, studio (door access)) - ???

Roadside/street (near house for lighting kit) - Beside Gareth Davies's house

Music shop - Music 47 Worcester

Research & Planning - Breaking the Boundaries

In this video, there will be various obstacles to overcome, connecting with the target audience and making the video's style appropriate. From looking at previous coursework music videos, low budget videos such as the one we are undertaking will often seem amateur, this sometimes accompanies the audio suitably as most indie bands can be associated with amateur videos due to the revolutions in video making. Unfortunately I do not see an amateur/indie style video suiting this track due to its genre, style and how much they currently sound like the famous and successful band "Paramore".

To connect with the target audience I will include elements from my mood boards and audience profile into the video, such as clothing and drink/food preferences. The video will also be set in locations appropriate to the audience while still maintaining a relationship with the music and video theme. The current boundaries set are the lyrics, although these will be written with the audience in mind, we must then transfer those words and metaphors into something visual, captivating and appropriate for the audience as well as the song itself. This could result in a mixture of subtle entropy and redundancy.
To prevent this video looking amateur I will begin by structuring a solid and professional story board plan. This will help me avoid simple mistakes and make me think about the video in great detail. Using a specific selection of camera shots and cutting methods will probably also help my video appear professional, with this in mind I will try and incorporate various complex and seamless cutting methods with the camera. To improve the overall quality, I will edit the video's contrast levels and brightness among other things in post production, this will give it another professional aspect over amateur videos. 

Research & Planning - Female Representation

An important, controversial yet evolving aspect to this project theme, is the representation of the female role. Stereotypically, women are viewed as sex objects in media often portrayed through the male gaze, especially within mainstream performance. Within our genre of punk/rock though, it is far different. While the female roles are partially used in a sex appeal manner, they act much more rebellious and use less sleazy methods, retaining dignity.

As can be seen in these two album covers from mainstream artists, the female role is very much used in a sexually provocative way. This could be considered sexist but is common within the mainstream industry, as it attracts a wide audience of men and you aspiring women. It is also unlikely in the industry to see album covers of men in similar poses and amounts of clothing on, although this may attract a female audience, it does not attract a male audience and is almost seen as unacceptable. 

This video, "Situations" by Escape the Fate, uses this portrayal of women, in contrast with their punk metal music to almost mock the mainstream ideals and perceptions. Within this video, the women are predictably dressed in very little, or suggestive clothing and act in equally suggestive manners. 

In this video though (click here) of Misery Business by Paramore, the two different female media ideals collide. On one side, we have the stereotypical sluttish woman who uses her sex appeal in obvious ways, against the more rebellious punk rock girl who is attractive for those reasons and so without wearing revealing clothes. At the end of this video, the two portrayals meet, and to satisfy the audience, the mainstream stereotype is degraded and put in her place. 

An upcoming element of the female role and representation within media is inside the punk/rock genre, where women don't raise appeal through mainstream conventions, but through being rebellious and perhaps more boy like. This can especially be see in Paramore's lead singer and front woman Hayley Williams, a punk/rock female icon. Her style, like most women in this genre consists of a rebellious attitude, punk style and colour hair, while maintaining an attractive figure beneath the rebellious clothing and a musical style/taste that wouldn't usually be associated with girls.  

Despire this, Laura Mulvey, a theorist in the field of the female representation wrote a piece which was published in the British Film Theory Journal. According to Mulvey: “...The male gaze projects its fantasy on to the female figure which is styled accordingly….women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness”. This may be associated initially with the stereotypical imagery of a half naked woman, but also applies to the punk/rock genre, where perhaps the male gaze and ideals change, to a more rebellious girl. This  should be taken into account when creating my music video and print work, to make the female role suitable for our genre/target audience.