UPDATED: Shooting Schedule- BEN RODWELL

ROLES OF THE GROUP:

When we are not in the scene as extras or main actors, me, Ruth and Anton will uptake different roles to ensure a smooth, productive shoot.

Ruth- Makeup, Costumes, Lighting
Ben- Composition of shots, Camerawork, Camera Angles, Positioning of Actors
Anton- Shot schedule (ensuring all shots are filmed and in correct, logical order)
Tom- Although in almost every shot, Tom will help with the composition of shots                          and camera work

For four of the main scenes which included multiple camera shots and camera movements we drew up rough shooting maps/floor plans to help us on the day of the shoot. These included numbered cameras telling us in what order to film specific shots, placement of actors and rough diagrams depicting the camera and actor movement. As well as helping us on the day, these diagrams helped us ensure that we didn't break the 180 degree rule as we could clearly see the position of each of our cameras.

This is the scene where the hero is tied to the tree being intimidated by the villain. As this scene effectively occurs twice (at the beginning and end) lots of shots are needed hence why there are 5 camera angles. Camera 3 will move back and forth capturing the action via a moving shot.

 This is scene during the first verse. Because we are filming inside in a specific space, we knew the area we were working with well. We could therefore effectively plan where cameras should be placed to achieve the shots we wanted. Camera 3 breaks the 180 degree rule. However this is not an issue as camera 3 will be showing the audience the villains perspective.

 This floor plan is a very rough guide to depict how we want the handheld, lip sync shots to happen. We'll film the scene once with Tom (playing the villain) walking and miming toward the camera and then once again where he is walking backwards away from the camera.









This is the floorplan for the scene where the villain fights with the anorak man. To help with seamless, continuous editing, this scene will have 3 camera shots which will be cut between. This helps the audience see al aspects of the fight and is far more effective than a single camera.

UPDATED: Case Study: How are narrative techniques used in Cold Play's video for 'The Scientist'- BEN RODWELL

"Some videos give you thrills, some chills and some are just eye candy. Coldplay's clip for "The Scientist" is the kind that makes you wonder, "What the hell?"" -MTV. Coldplay are a British rock band led by vocalist and pianist Chris Martin. Forming in 1996 under the name Pectoralz, Coldplay have since gone on to have 7 number 1 albums, 2 number 1 singles, have world tours and sell out venues such as Wembley Stadium. 'The Scientist' is the second single from Coldplay's second album 'A Rush Of Blood To The Head". Released in 2002, the track reached number 10 in the UK singles charts and number 13 in the US single charts. Upon it's release the song received critical acclaim: "The fantastic piano ballad 'The Scientist' has a cataclysmic falsetto finale that could raise every hair on the back of your neck" -Rob Sheffiled, Rolling Stone. With a piano part that "chimes through [and captures] perfectly, the warm depression of each individual key" (Nick Southall of Stylus magazine) 'The Scientist' was placed by NME as number 37 on its list of the '150 Best Tracks of the Past 15 Years' in 2011. The music video for 'The Scientist' has received similar critical acclaim as a result of its innovative and well-constructed reversed narrative structure. In 2003 MTV awarded the video with the multiple awards including  Best Group Video, Best Direction, and Breakthrough Video. Additionally It was also nominated at the 2004 Grammy Awards for Best Short Form Music Video. Directed by James Thraves, the video took inspiration from Spike Jonze's 1996 music video for The Pharcyde's "Drop" and Scottish band Danny Wilson's 1989 video for the song "The Second Summer of Love" both of which employed a reverse narrative.

figure 1

The key aspect of Coldplay's video for 'The Scientist' is the use of a reversed narrative structure: the video starts at the end and footage is played in reverse throughout. Immediately a link is created between the lyrics of the chorus and the narrative structure and visuals of the music video. The chorus of the song ends with the lyrics "take me back to the start". This links with the reversed visuals of the video. Andrew Goodwin states in his music video theories that "there is a succinct relationship between music and visuals be it illustrative, amplifying or contradictive". By using a reversed narrative this both illustrates and amplifies the lyrics of the chorus. Furthermore the video supports and enhances the impact of the music and lyrics to the audience. The video starts with a close up of the lead singer Chris Martin singing (figure 1). The shot slowly zooms out maintaining Martin's head in the dead centre of the shot furthermore maintaining the audiences focus on his singing and his lyrics. At this point the audience do not know that the narrative is in reverse. Martins final position in the opening shot (figure 2) initially creates a sense of questioning in the audience. This opening shot establishes

figure 2

an 'enigmatic or hermeneutic code' as described by Roland Barthes. Barthes stated that this code sets up questioning in the audience, for example "why is the singer lying on a dirty blue mattress in the street?". Barthes claimed that this code is essential as it gives audiences satisfaction through predicting or working out their answers or by having their assumptions disrupted by twists. This hermeneutic code is strengthened via the introduction of the reversed shots. In the following shot (figure 3) the audience see Martin raise from the mattress as a cyclist cycles backwards behind him via a slowly panning camera movement. This is where the overall reversed narrative structure of the song is introduced. As well as strengthening the enigmatic code, this shot establishes the theme of the music video and so imitates the connection between the music (the lyrics) and the visuals (the reversed

figure 3

shots). By using a reversed linear narrative elements of the story are revealed to the audience in a new an unorthodox way. For instance figure 4 shows when the audience are first introduced to the body of the protagonist's partner. The reversal of the narrative  means that this reveal happens closer to the climax of the song and so fits better with the songs construction. Additionally it is in contrast to the majority of music videos which would reveal key narrative aspects such as a dead body at the beginning. This is an effective way of making sure the audience remember the video and therefore the song. Andrew Goodwin stated that "the record label has certain demands" meaning that music videos are a way of ensuring the the artist and consequently the label they are signed to receive financial gain from music videos. By making the music video memorable and unorthodox audiences are more likely to remember the video and therefore the song increasing the likelihood of sales. Using a complete reversal of all shots and the narrative, audiences are more likely to remember Coldplay's single 'The Scientist'. This ensures commercial success for the band and their record label.

figure 4

The video for "The Scientist" both conforms to and challenges Tzvetan Todorov’s theory of narrative structure. Todorov suggested that there are three stages to how a narrative progresses and these stages are present in Coldplay's video however not in the ordinary order. The first stage is the equilibrium. This is a sense of normality that is carefully and clearly depicted to the audience. In the video for 'The Scientist', this is shown at the very end of the video where the protagonist and his partner are driving in their car. The composition of the shots shown at the end  suggests to the audience a balance and happiness that isnt present in the rest of the video. For instance quadrants are used in figure 4 to suggest  two characters lives that are balanced and related. By placing the two characters on either half of the shot it implies a stability which is not present when the protagnost is alone. The shot construction and emotions portrayed by the characters suggests that this is the equilibrium. The second stage suggested by Todorov is the disruption. This is something that disrupts and unbalances the equilibrium. In this video the disruption is the car crash. As fitting with the rest of the narrative, the car crash is portrayed to the audience in reverse. Filmed via a long shot (figure 5) that shows the full extent of the car rolling down the hill, emphasis is placed fully on

figure 5

the crash making certain the audience understand that any kind of equilibrium has been destroyed. The final stage as described by Todorov is the new equilibrium. This is how the characters in a text react to the disturbance and create a new equilibrium. The new equilibrium in this video is the rest of the begining of the video initiating with the opening shot. In contrast to the shots that portray the equilibrium, the opening shot that portrays the new equilibrium focuses entirely on the lonesome protagnist. Whereas the equilibrium is portrayed through composition such as quadrants suggesting a balance between two people, the new equilibrium shots focus entirely around the lone singer. The video for 'The Scientist' conforms to Todorov's theory of narrative structure; it has a clear equilibrium, disruption and new equilibrium. However it also challenges the theory as instead of using the stages in the conventional order the video starts the new equilibrium and then shows how the equilibrium was disrupted. By both using and challenging Todorov's theory the video achieves  a clear, classical  narrative with a twist that appeals to the audiences enigmatic code (as described by Barthes).

figure 6

Coldplay's video for 'The Scientist' uses a reversed narrative to create a build up and climax which both engages with the audience and caters for their enigmatic code. By matching the peak of the song with the most dramatic and action based section in the music video, the climax of the song is made more effective and so engages with the audience more effectively. Furthermore the reversed linear narrative of the video creates a buildup which further emphasises the climax. Throughout the video the audience are constantly striving to work out their hermeneutic code and their predictions about the enigmatic reversed narrative. By continuing the reversed narrative up to and through the car crash, audiences stay engaged. Climaxes are a conventional technique in Coldplay's videos. For example in their video for 'Paradise', a climax is used to create a powerful ending which engages with the audience and instils a 'feel good' emotion in them. As shown in figure 6, a saturated colour scheme is used in combination with an energetic performance, lens flares and playful mise en scene to create a climax which connotes happiness and freedom. Using a climax in this way, to create powerful emotions in the audience, is a conventional narrative technique. If the music video evokes strong feelings in the audience they are more likely to remember it and therefore provide the artist with better sales for the adjoining song. In addition to this, interesting narrative techniques and structures seem to be a motif of sorts for Coldplay. For instance Coldplay's video for their song "Yellow" features a single-cut, amplified, linear narrative. The video consists of one, 4 minute and 32 second long shot that follows lead singer Chris martin as walks along a beach at sunrise. The beginning of the video shows Martin in almost complete darkness however by the end of the song, it is entirely light. By using one continous shot, the liner nature of the music video is amplified to an incredible level; the audience can't help but focus on the real-time portrayal of time passing. 

Coldplay enjoy experimenting with narrative structures in their music videos, be it a reversed narrative structure such as in the video for 'The Scientist' or an intense, ultra-linear narrative such as in 'Yellow'. I feel that this, as well as giving Coldplay a motif in their music videos, ensures that their videos are interesting and engaging for their audience. The audience never know what they're going to get and as a result will always watch the new video to find out. This makes sure that the video fulfils its financial requirements of "selling the band" (Goodwin). I feel that I can take inspiration from this. Although difficult to achieve narrative structures as complex as those shown in the above mentioned videos, unusual narrative features such as flashbacks, cyclical structures or multi-linear narratives could be implemented in to my music video. Using interesting narrative structures is an effective way of ensuring your video is original and engaging for the audience as it maintains their attention through their need to figure out the story of your video.

In conclusion Coldplay use a range of narrative techniques in their video for 'The Scientist'. Instead of a conventional, chronologically-linear narrative, 'The Scientist' uses reversed linear narrative. This unorthodox narrative style creates an enigmatic tone to the video as the audience are constantly trying to work out their predictions. As well as this the reversed narrative means orthodox narrative stages as described by Todorov are made less normal as they are reversed. As is conventional with many of their videos, a climax is used to engage with the audience. By doing this the audience are more likely to remember the video and consequently the song. This fits with Goodwin's theory that music videos are bound by "requirements of the record label". The video uses unorthodox methods to create a memorable video which in turn means a commercially successful video.

t 

Selected Actors- BEN RODWELL

UPDATED: Case Study: How are the conventions of a rock music video evident in The Darkness' video ‘I Believe In A Thing Called Love' ?- BEN RODWELL

The Darkness are a British rock band from Lowestoft, Suffolk. Formed in 1999 by brothers Justin and Dan Hawkins, The Darkness took heavy inspiration from 70s Glam Rock, Metal and Hardcore Rock to create music which "put entertainment back in to rock music" (BBC). The Darkness' debut album 'Permission To Land' went straight to number two in the UK charts upon its release on the 7th of July 2003. It then rose to number one and stayed there for four weeks, eventually selling 1.5 million copies in the UK. 'I Believe In A Thing Called Love' was the third single from the album and peaked at number 2 in the UK singles chart. The New York Times wrote that the song "Sticks to the listener like hair gel.". Such as much of the Darkness' style and music, the video for 'I Believe In A Thing Called Love' boasts 70's inspired, Glam Rock outfits, an over-the-top, tongue-in-cheek performance and a narrative that was designed to portray the fun and entertainment of the song itself. Directed by Alex Smith, the music video laid the foundations for the rest of the bands music videos; latex catsuits, exaggerated performances and bizarre, comical narratives are omnipresent throughout the The Darkness' video discography and were all pioneered in the video for 'I Believe In A Thing Called Love'. The Darkness have since gone on to record 3 more studio albums, win 3 Brit awards, break up, have a reunion tour and change their line up twice. They are a band based around fun, entertainment and not taking themselves seriously and the video for 'I Believe In A Thing Called Love' encapsulates this. As Scott Plagenhoef from the online review website Pitchfork described them "I can't think of a more entertaining band than The Darkness".

Figure 1

The Darkness take conventions of glam and hard rock and exaggerate to a point where the video becomes a self deprecating, tongue-in-cheek performance. An example of this would be the mise en scene of the video. The costumes of the band members are direct inter-textual references to 70s glam rock bands such as Slade and T. Rex. For instance in Slade's video for 'Everyday' the four band members can be seen to be dressed in flamboyant, abnormal outfits such as a latex cat suit, a yellow tweed suit and a latex dress (figure 1). The Darkness take clear inspiration from this wearing outfits such as cat suits and flared suits as shown in figure 2

figure 2

. What is perhaps more obvious is the style of the Darkness' hair. Two members have long, dirty blonde hair another has a frizzy afro held in a bandanna and the other has long dark hair. One of the main elements of glam rock was taking unusual hair styles that hadn't been seen before (or had but on the other gender) and using them as a medium of expression. The Darkness' are fitting with this generic convention through the outfits they are wearing. However because of the time period in which The Darkness made their music video as well as the extent to which they took inspiration from  absurd glam rock costumes, the audience can infer an almost comical, purposefully over-the-top attitude. Modern day music videos are often used in a very serious way to sell and advertise the band. As Andrew Goodwin stated "the record label to which the artist is signed have certain demands". The Darkness however do not necessarily conform to this convention. The video is focused far more on absurdity and exaggerating glam rock influences to create a comical, entertaining video rather than creating a 'modern', fashionable looking band that are commercially successful. Dan Hawkins, the groups guitarist described the song as "party music,  it just gets people going." The music video reflects this; borrowing outrageous and bizarre costume conventions of  glam rock yet rejecting modern commercial based conventions to create a video focused around entertainment.

Figure 3

figure 4

Andrew Goodwin states that "Music videos more often than not tend to include a demonstration of typical genre characteristics" and the video for 'I Believe In A Thing Called Love' conforms to this statement. Broadly rock music videos are based around a performance to highlight the energy of the band. They may feature shows or crowds with focus on the lead member as a way to advertise and sell the band as well as to ensure audiences know who leads the band. The camera work and shot construction throughout the video places focus on Justin Hawkins, the lead signer and guitarist in the band. While there is some narrative in the video, performance is the key aspect and focus is very much placed on this. An example of the way camera work and shot construction is used to place focus on Justin Hawkins and so conform to general music video conventions is in figure 3. This shot uses vanishing lines to draw the audiences eye to the dead centre of the shot- where Hawkins is running in slow motion towards the camera. Vanishing lines help focus the audiences eye on the lead singer and so this highlights his importance; he is the leader of the band. Furthermore the use of slow motion in the shot, slows Hawkins's running down. This is a conventional technique used to show power and dominance throughout film media. It connotes that he is in control of time. Additionally it allows the audience to focus on his movement more again allowing him to be better advertised (linking to Goodwin's theory). Another example of how camera work and shot construction is used comply to typical rock conventions is in figure 4. Figure 4 is a long shot that shows the band performing during a breakdown in the song. The way the band are arranged is a direct reference to

Figure 5

the video for Queen's song 'Bohemian Rhapsody' (figure 5).In this very famous video the four members of Queen are positioned in a diamond formation as copied by The Darkness in this shot. Queen adopted styles and haircuts of glam rockers of the time and so by using this inter textual reference, The Darkness are further complying to influences and generic codes of glam rock. Figure 4 not only makes this reference but again places focus on Justin Hawkins. Placing the other members on a lower platform is a visual metaphor for the hierarchy within the band. Automatically the audiences understand he is more significant than the other members as he is physically higher up than them and so their focused is pulled toward him. This focus is strengthened via the camera movement. As the band continue to perform the camera zooms towards Justin Hawkins until the shot has become a mid-shot of just him. As well as physically pulling the audiences view towards him, by slowly removing the other band members from the shot it makes certain that the audience knows that Justin Hawkins is who their attention should be on. Throughout the video, the combination of camera shots, camera movement and shot construction places the audiences focus entirely on the lead singer. This is done not to sell or advertise Justin Hawkins commercially but instead to portray him as the leader of the "visual style which occurs across their work". The Darkness' motif is their exaggerated mise en scene and performance. In the video for 'Christmas Time (Don't Let The Bells End)' Justin Hawkins can again be seen clad in a 70s, galm-rock-inspired cat

Figure 6

suit leading the band in an over-the-top performance (Figure 6) .By ensuring the audience know that Justin Hawkins is the leader of the band it places their attention on him which consequently lets the bands motif become clearer and apparent. The Darkness conform to Goodwin's theory that there will often be "close ups of the artist" and that "artists will have a visual style which recurs across their work"

Figure 8

Instruments play a key part in the music video. This is a typical feature of rock music videos. In contrast to rap or hip hop which are based primarily around electronic instruments and computerised instruments, rock instead uses physical instruments and so the generic conventions of rock music videos reflect this. Classic rock videos such as Guns and Roses 'November Rain' uses an iconic moving mid shot that zooms in, and tilts off balance yet keeps the guitarist and his guitar at the centre of the frame (Figure 8). By having an organic, panning shot that maintains the position of the guitar in the middle, the audience's entire focus is placed on the one, stationary object: the guitar. This technique is imitated somewhat by The Darkness in 'I Believe In A Thing Called Love'.

The shot in figure 9 is a dolly shot that slowly moves in towards the soloing guitarist. Although the rest of the frame is moving the dead centre of the shot is stationary and focused on the guitar. The dolly shot gives the audience a feeling of being drawn toward the guitarist and so their attention is pulled fully on to the instrument. Using instruments to portray the excitement and power of band members is a conventional technique of rock music videos as their instruments and ability to play them is what sets them apart and makes them special. The Darkness fully conform to this convention, using instruments throughout to draw audiences in. They are part of The Darkness' motif as they are part of the exaggerated, over-the-top performances.

In conclusion The Darkness both conform to and challenge conventions of rock videos in their video for 'I Believe In A Thing Called Love'. The costumes worn by The Darkness in the video, although fitting of glam rock conventions, challenge the modern day expectations of music videos. The outfits worn are not used as Goodwin stated to conform to 'record lable's demands' for commercial success but were instead used to exaggerate the glam rock ideology of wearing bizarre and different clothing. The Darkness do use lots of closeups of the lead singer, Justin Hawkins which is conventional of all music videos. They do this not to advertise or necessarily sell him but to give the audience a clearer understanding of their motif; an amplified glam rock aura and performance. The Darkness conform to the rock music video convention of placing focus on music instruments. They do this do again strengthen the portrayal of their motif but also to add an element of power and dominance to them as a band.

The Darkness' video provides a large well of inspiration for my own music video. The challenging of generic conventions is particularly intriguing to me. The Darkness, while creating clear links to conventional Glam Rock motifs, challenge modern day expectations of Rock videos. I feel that challenging convention provides an originality that is refreshing and furthermore appeals to an audience more effectively than an average, completely conventional video. The costumes used by The Darkness are especially interesting. They use completely abstract costumes that would not be seen in everyday life. I feel that I could take an element of this on board for my music video. For instance combining ordinary clothing with bizarre, abnormal aspects would be refreshing and furthermore would add meaning to the costume. Additionally the camerawork and compositional techniques used in this video are of the highest standard and look very professional. I want my video to look as professional and industry standard as possible and so by studying the way each shot is composed and making note of how they have done so (for instance by using rule of thirds, quadrants etc) I can make my video look more professional. Each shot is clearly planned and so by me planing each shot just as meticulously, my video should look as well shot and composed as possible.

UPDATED: Storyboard- BEN RODWELL

Initially, for our storyboard we chose to roughly sketch out the general narrative structure of the video. Our video was based around 4-6 key shots and scenes with bridging and linking shots between them and so we felt that to precisely plan every shot at this stage would not benefit us. Instead we sketched a variety of key shots and aspects that convey the key narrative of our music video. 

We then created a second storyboard of the 'filler' or bridging shots that we needed. These are not strictly planned shots instead they are footage we can cut to and from in post production and editing and will help the overall flow of the video. 

Finally we created a much more detailed and strict stroyboard including tehcnical details such as shot type, descirption of the action, camera movements and transitions. This is the storyboard we took when shooting to take reference from.

UPDATED: Pitch- BEN RODWELL

INITIAL/BASIC PITCH: Our music video will feature a washed up, ex-super villain who walks around causing petty annoyances, trying to relive his glory days.

Throughout our planning, as our ideas became more developed and we focused on the larger, macro narratives and themes of the video, our pitch became more detailed and specific in what we were trying to achieve.

FINAL PITCH: Our music will video will feature a 'super villian' character who portrays the negative side of one personality. He will go around causing petty annoyances and will end up directly fighting with a 'super hero' character who portrays the positive side of a personality. The video is a physical metaphor for the inner struggle one person can have between the good and bad parts of their personality.

Costumes- BEN RODWELL

The Super Villain will be the main character in our video. Even though he is supposed to be evil and bad the audience will connect and sympathise with him. He will have a shaved head, a painted skull face and wear a hoodie with a symbol painted on the front. He will wear black jeans and black shoes. By giving the character a painted skull face, it not only portrays to the audience his significance as a main character but also provides him with a clear and unique identity. He is clearly abnormal and

Skull face paint such as this would
give the character a certain motif
and standout characteristic. It would
highlight him as the main character

 separate from the other characters and furthermore the skull connotes his enigma as a character. Additionally it shows that instead of being a super hero he is instead a super villain; historically skulls often represent death and furthermore evilness. On his torso the Villain will wear a hoodie with a symbol painted on the front. The symbol could either be the letter V, standing for Villain or a skull symbol. The symbol will again help the audience understand that he is a super villain not a super hero. It will make his appearance coherent and help establish him as an important and significant character. If the character had a V on his chest he would appear more like a classic and clichéd image of a super villain where as a symbol would portray a more modern look. The clichéd letter could be used as it would portray a retro, vintage aesthetic whereas the more modern symbol would fit with the urban locations and modern day setting. The colour of the hoodie itself would also portray these two differing styles. A dark hoodie would be more modern as it would appear sleeker and more stylish. A brightly coloured hoodie would fit with the more traditional super villain look. Villains and heroes in traditional super hero films and comic

A dark Hoodie such as this would
reflect an urbanisation or modern
aesthetic of the character.

books would wear brightly coloured outfits. An example of this would be the original Robin outfit from Batman and Robin. If we used a dark hoodie the character would look more sleek and modern where as a brightly coloured hoodie would be an inter-textual reference to older, traditional super hero films and comic books. The trousers and shoes of The Super Villain are not overly significant as the face and torso of the character connote the majority of his personality. On his legs he will wear black jeans and on his feet he will wear black shoes. By keeping these elements simple, more emphasis is placed on his abnormal face and hoodie.

The Super Hero is the second main character. Similar to the Super Villain, the character will have left his days of fighting crime behind in favour of a more normal life. His costume will reflect this change in his lifestyle. The Superhero will have a large quiff, wear a cape but also wear suit trousers, smart shoes and a blazer. This hybrid style allows the audience to understand that he is a Super Hero (and therefore in conflict with the main character) but also that he has moved on from

A slick quiff and cape are synonymous
with the image of a superhero and so by
using them it makes clear who the character
is

being a super hero. By having a quiff this is a reference to the classic ‘Superman’ look. This look is widely recognisable and so is a way of portraying his character efficiently. The cape will help audiences realise that he is a super hero. Whereas a quiff is a sign of many different styles, a cape is entirely symbolic of a super hero. However these items of clothing will be worn in combination with office clothes; a jacket, suit trousers and work shoes. By doing this the audience will understand that he has left his super hero life behind- similar to how the Super Villain has left his glory days behind him.

The extra characters in our music video are The Band Members and The Anorak Man .The band members will wear a similar costume to The Super Villain but instead of a skull face with will wear plain white or plain black masks. This will show both their link to the main character but also show that they are below him in terms of importance. The anorak man will wear black trousers with black shoes and wear a large dark anorak. This costume links to the songs lyrics

An Anorak such as The Anorak Man
 will wear

and fits with Andrew Goodwins theory that "there is a succinct relationship between music and visuals". It will create a connection between the lyrics "man who died wearing an anorak". Using costumes to portray narratives and characters personalities is a conventional technique in rock music videos. For instance in The Hoosiers video for ‘Goodbye Mr. A’ a traditional, clichéd super hero costume is used to clearly show the audience the characters job. Combining traditional, clichéd styles is less common however and by creating a hybrid kind of style for our two main characters we are challenging these conventions.