7/24/2019 Music Video Visual Brief

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Oliver James Cooke

Music Video Visual Brief

MUSIC VIDEO VISUAL BRIEF

Sequence 1 LOC1 DAY PRO

We begin our video with a diegetic segment, almost directly cinematic, similarto the ways in which certain indie music videos tend to begin with a shortsequence before the music begins.12We will do this in order to directly sowthe seeds of a clear narrative for the music and subsequent visuals to expandupon. In essence, this sequence must draw the audience into the emotions ofthe central performer. Resting upon the stone steps of a public hall, our lonelyprotagonist softly weeps with angst and the loo of loss. Reaching into his

pocet, he pulls out a moth!eaten wallet, to which an extreme close uphighlights a photograph, equally moth!eaten, of himself and another woman."he connotations of this instantly convince the audience that she must besomeone close to him, and his weeping suggests that of an intimate nature.#losing his eyes, he lets the wallet drop to the floor, hitting the curb by theroad. $s vehicle after vehicle speeds past, the camera cuts ever closer to theimage, which is obscured in the final shot when the resultant wind from avehicle nocs it over.

Sequence 2 LOC2 NOON PRO; WOM

Intercutting into a segment set within the interior of a vehicle, we very quiclygather that we have been thrust into flashbac, through the use of theconvention that flashbacs are presented through a distinct variation in hueand saturation and a particular emphasis on light.%"his aspect will alsoemphasise the feeling of happiness as being depicted within this segment,another typical convention.&$s the couple seemingly speeds away into afantasy of love and adoration, we see a montage of shots from the

1Wonderwallby OASIS

2I Feel So Goodby Richard Thomso!

"Amnesiaby # Seco!ds of Summer

$The Somewhere Windby %i&by a!d 'he (ullaby

7/24/2019 Music Video Visual Brief

2/2

Oliver James Cooke

Music Video Visual Brief

perspective of the driver ' through the framing of the side and frontalwindscreen( we speed past the crumbling exterior of a factory and theuniformed facades of houses. )verything is not as it seems. *hot as we would

observe through very loose and handheld means, as an intertextual referenceto other forms of media+, we create a vision of rawness and grit, in starcontrast to the overly!romantic shots of the couple within the front seats.

Sequence 3 LOC3 PRO; BAND

Within a large presentational room, particularly a stage or studio, we see ourband begin to play directly toward the camera. owever, within thesesegments, the camera-s motion should be dictated by the movement presentwithin previous shots. "his segment will be crucial in accentuating our band-s

star image in general, and should certainly not remain reserved for a singlesequence following the previous two. In essence, the purpose of this segmentis to pull the audience directly bac to reality, despite the narrative andatmosphere being created during the narrative sequences. It would bepreferable to shoot on a stage where all aspects aside from our band remainin total darness and, thus, emphasises the sense of isolation and emotionalconstriction that is present throughout the rest of the video. "his segmentshould be much more focused upon the intimacy of what the performers aresaying, as opposed to what they are feeling, thus, lighting will be absolutelycrucial in pulling this off to the greatest degree. $s a reference point, it will bevery important that we tae a quic loo at studio sessions within musicvideos or separate, but competently directed studio music films./)xtremeclose ups on the inner chords and beats being hit by the instruments, willallow the audience into the musical creative process( with the visuals forcingthem to dissect the individual sounds being reflected within the music.

#The Sopranos)1**+, - Televisio! Sho. )Oe!i!& Se/ue!ce, - %ir0 %avid Chase

The Last Waltz )1*+, - Co!cer' 3ilm )S'udio Se&me!'s, - %ir0 Mar'i! Scorsese

Darkness on the Edge of Town (4aramou!' Thea're, As!r" #ark, $%,&)255*, - S'udio

Co!cer' 3ilm