The first shot shows Macklemore surrounded by fans. The mise en scene in the video is effective as it does not conform to rap video stereotypes but matches Macklemore's persona. Elements like an old boat break rap video stereotypes.
This document discusses examples of shots from two music videos and how they can be applied to the creator's own music video. It analyzes various shots including long shots, mid shots, and close ups. It notes how elements like head space, rule of thirds, scenery, and camera angles were used effectively in the example videos. The creator intends to apply these techniques and styles of shots but may rearrange the order or change specific details for their own video. Analyzing example music videos provides a visual plan and guidance on how to construct intentional and professionally-made shots.
The video features Tinie Tempah and Labrinth as lovers searching for women represented as fighters. It shows them initially alone on the coast and walking towards a bull ring where they encounter two women in sports cars. This sets up a narrative of opposites between the male lovers and female fighters. Throughout the video, the men are dressed in high fashion while the women are portrayed as aggressive in short provocative clothing. By the end, the opposites are resolved as the groups begin to interact and find the love they were seeking.
The document discusses various location options for filming a music video that will show an actor's transition from urban to rural environments. Woodthorpe woods and laybys will be used to film rural shots where the actor becomes calm. Lendal Bridge steps and York Minster will be used for urban shots at the beginning to show the actor starting in the city. Further locations like Hob Moor will provide additional rural settings to demonstrate the journey from urban to rural places.
The document summarizes key scenes and elements from the music video for the Muse song "Uprising". It notes that the video features dark lighting and flames throughout, with abandoned buildings and graffiti showing rebellion. Instead of showing real people rebelling, it uses toy figures to represent struggles like alcoholism. Shots of the band playing continue the usual rock music video convention. The narrative remains unclear as rebellion and chaos are depicted, linking to common rock genre themes.
The document is a shooting schedule for a music video containing two scenes to be filmed over two days. Scene 1 on Tuesday involves panning up from a guitar to reveal the singer Henry holding the guitar inside a daytime flat using a guitar, tripod and camera. Scenes 4, 5 and 6 on Sunday involve various shots of Henry and a love interest outside during the day, including mid shots, close-ups and long shots, using a camera and tripod to capture the couple before Henry walks away.
The document describes a music video that alternates between scenes of an artist miming song lyrics and a storyline depicting a relationship breaking up through a series of shots that increase in closeness. It cuts between long shots and close ups of the artist miming lyrics and shots of two characters interacting where there is no miming of lyrics. The shots show the characters looking at each other and pulling away, indicating the relationship is ending.
The document describes a music video that alternates between scenes of an artist miming song lyrics and a storyline depicting a relationship between two characters. Shots include tracking shots, close-ups, two-shots, and long shots showing the artist miming lyrics or the characters interacting in the storyline without miming. The cuts between scenes show the progression of the storyline depicting the characters growing closer together then breaking up.
The document compares two music videos that are similar in style and narrative to the video the author plans to create. Both videos primarily feature solo performances by the artist as they walk or sit alone, putting focus on their reflective facial expressions. Shots include close-ups, long shots, and medium shots in a way that tells the story of a lonely character. The Maverick Sabre video also uses a slow, downbeat tempo and minimal effects like slow motion, similar to the style planned for the author's video.
The storyboard depicts Sam Smith exiting his house and walking down the road lip syncing to his song "Stay With Me" in a single continuous shot tracked by the camera keeping him in focus. It then shows him from a side view putting his head down during a pause in the song before lifting his head to look at the camera. The final scene tracks diagonally across a bed while Sam's singing can be heard in the background.
The storyboard outlines a music video following a protagonist from behind and in front of him as he walks up a street, with the camera alternating between third-person and first-person perspectives, until he reaches his destination and pans the camera onto the door.
The document outlines the planned shots and scenes for a music video. It will begin with two master shots of the singer Waseem, one in a club setting and one against a blank background. Additional scenes will include a silhouette of the featured woman illuminated from behind, close-up shots of her face and body posed against a white backdrop, and shots of people dancing in the club. The camera work will aim to make the scenes look realistic and highlight the attractiveness of the singer and woman. Inspiration comes from several existing music videos.
Tom Barnes is a photographer who took a studio photograph of the band Bring Me The Horizon against a fence with barbed wire. The low camera angle and vignetting were used to make the band look more intimidating for their metalcore style of music. The photograph has a symmetrical composition that is aesthetically pleasing, and the band members have an emotionless expression.
The document provides a shot list for a music video, describing the camera shots that will be used for each lyric or musical element. It includes various shots like close-ups of the drummer, singer, and guitarist, as well as mid-shots of characters burning a picture and lying on train tracks. Wide shots are listed to show the full band performing during the choruses. Point-of-view shots from customers and band members in a shop are also specified. The shot list coordinates the camera shots and angles with the lyrics, music, and storyline depicted in the video.
The film starts silently with opening titles for fourteen seconds. The first characters shown are an elderly Muslim man in traditional clothes and a young Muslim man in Western clothes, showing a contrast between old and young cultures. Rustic graffiti is shown indicating the film will address racism in the Muslim community. Throughout the opening, Arabic singing plays parallel to slow, relaxed scenes. An establishing shot shows the run-down community setting the scene for the characters' living conditions. A woman is seen changing secretly from traditional to Western clothes, showing cultural conflict and raising questions.
The film starts silently with opening titles for fourteen seconds. The first characters shown are an elderly Muslim man in traditional clothes and a young Muslim man in Western clothes, showing a contrast between old and young cultures. Rustic graffiti is shown indicating the film will address racism in the Muslim community. Throughout the opening, Arabic singing plays parallel to slow, relaxed scenes. An establishing shot shows the run-down community setting the scene for the characters' living conditions. A woman is seen changing secretly from traditional to Western clothes, showing cultural conflict and raising questions.
This document outlines various codes and conventions used in newspaper articles, such as headlines that reference popular songs or movies to grab readers' attention. It explains elements like stand firsts that summarize the topic to engage readers, bylines that credit writers and photographers, images related to the subject that set the tone, drop caps to highlight paragraphs, quotes from subjects as inserts, and captions to explain pictures. The document provides examples of these different elements and how they are used to effectively communicate information to readers.
This document contains the filming and editing schedules for a music video. The filming schedule is from October 12th to March 1st across several London locations and lists the scenes and dates they will be shot. The editing schedule then details that the editing process will occur from October 13th to March 8th, breaking the footage into sections to be edited on specific dates culminating in final edits on March 8th.
This document provides a summary of 14 shots in a music video. Shot 1 is a low angle close up that tilts up a guitar. Shot 2 focuses on the guitar then pans to the singer. Shot 3 shows the full band playing. Shot 4 provides a close up of a band member that fades out during a lyric. Shot 5 shows two band members that fade out during a lyric. Shot 6 reveals just the singer after the fades. Shots 7-9 showcase the singer looking through a photo album and photos of him with the band and a love interest. Shots 10-11 highlight intimacy between a live action couple. Shots 12-13 show the singer performing and standing outside the woman's house. Shot
The storyboard depicts Sam Smith exiting his house and walking down the road lip syncing to his song "Stay With Me" in a single continuous shot tracked by the camera keeping him in focus. It then shows him from a side view putting his head down during a pause in the song before lifting his head to look at the camera. The final scene tracks diagonally across a bed while Sam's singing can be heard in the background.
The storyboard outlines a music video following a protagonist from behind and in front of him as he walks up a street, with the camera alternating between third-person and first-person perspectives, until he reaches his destination and pans the camera onto the door.
The document outlines the planned shots and scenes for a music video. It will begin with two master shots of the singer Waseem, one in a club setting and one against a blank background. Additional scenes will include a silhouette of the featured woman illuminated from behind, close-up shots of her face and body posed against a white backdrop, and shots of people dancing in the club. The camera work will aim to make the scenes look realistic and highlight the attractiveness of the singer and woman. Inspiration comes from several existing music videos.
Tom Barnes is a photographer who took a studio photograph of the band Bring Me The Horizon against a fence with barbed wire. The low camera angle and vignetting were used to make the band look more intimidating for their metalcore style of music. The photograph has a symmetrical composition that is aesthetically pleasing, and the band members have an emotionless expression.
The document provides a shot list for a music video, describing the camera shots that will be used for each lyric or musical element. It includes various shots like close-ups of the drummer, singer, and guitarist, as well as mid-shots of characters burning a picture and lying on train tracks. Wide shots are listed to show the full band performing during the choruses. Point-of-view shots from customers and band members in a shop are also specified. The shot list coordinates the camera shots and angles with the lyrics, music, and storyline depicted in the video.
The film starts silently with opening titles for fourteen seconds. The first characters shown are an elderly Muslim man in traditional clothes and a young Muslim man in Western clothes, showing a contrast between old and young cultures. Rustic graffiti is shown indicating the film will address racism in the Muslim community. Throughout the opening, Arabic singing plays parallel to slow, relaxed scenes. An establishing shot shows the run-down community setting the scene for the characters' living conditions. A woman is seen changing secretly from traditional to Western clothes, showing cultural conflict and raising questions.
The film starts silently with opening titles for fourteen seconds. The first characters shown are an elderly Muslim man in traditional clothes and a young Muslim man in Western clothes, showing a contrast between old and young cultures. Rustic graffiti is shown indicating the film will address racism in the Muslim community. Throughout the opening, Arabic singing plays parallel to slow, relaxed scenes. An establishing shot shows the run-down community setting the scene for the characters' living conditions. A woman is seen changing secretly from traditional to Western clothes, showing cultural conflict and raising questions.
This document outlines various codes and conventions used in newspaper articles, such as headlines that reference popular songs or movies to grab readers' attention. It explains elements like stand firsts that summarize the topic to engage readers, bylines that credit writers and photographers, images related to the subject that set the tone, drop caps to highlight paragraphs, quotes from subjects as inserts, and captions to explain pictures. The document provides examples of these different elements and how they are used to effectively communicate information to readers.
This document contains the filming and editing schedules for a music video. The filming schedule is from October 12th to March 1st across several London locations and lists the scenes and dates they will be shot. The editing schedule then details that the editing process will occur from October 13th to March 8th, breaking the footage into sections to be edited on specific dates culminating in final edits on March 8th.
This document provides a summary of 14 shots in a music video. Shot 1 is a low angle close up that tilts up a guitar. Shot 2 focuses on the guitar then pans to the singer. Shot 3 shows the full band playing. Shot 4 provides a close up of a band member that fades out during a lyric. Shot 5 shows two band members that fade out during a lyric. Shot 6 reveals just the singer after the fades. Shots 7-9 showcase the singer looking through a photo album and photos of him with the band and a love interest. Shots 10-11 highlight intimacy between a live action couple. Shots 12-13 show the singer performing and standing outside the woman's house. Shot
1. The first show used when the song
starts is a wide shot of the artist
‘Macklemore’ surrounded by a group
of his fans.
The mise en scene used in
this video is effective as it
does not conform to the
stereotype of the genre but
conforms to the type of
person Macklemore is. Some
of the mise en scene used
such as the old styled boat
breaks the stereotype of rap
videos