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
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