Planning the Artwork

After viewing the 5 album artworks for indie/alternative artists, I had decided that a simple yet effective image would be useful and conventional for our album. Here is my first plan of the cover, which probably won't stay that way, and also accompanied with a few (cheesy) cover artist names/titles.

NOTE: This post was started before I used the selected photos as seen in the very recent posts for the album art.

I'm going so far going with the name 'The Project,' which after checking, I haven't found any other band with that title who are signed on to a label. I intend the image of the tree to be also on the back cover, where it's more close up, but still zoomed out enough to establish a background. On the back cover the tree would be shown by itself, with instruments from the band hoisted up between the branches to present an odd image, which could possibly border on surreal because it's not exactly an image that we'd entirely expect. However, before trying this, I would need to check if there isn't any similar images already done and copyrighted. 

I decided to also include another tree image, but from a low angle to make the drumstick-holder's arms and the tree look much bigger; an intention that would benefit the connection with 'Human.'

This is a birds-eye view that I intend to use as the disc-holder artwork. However, trying to pull off a birds-eye shot would be very difficult and time consuming, so if I can't obtain an image of this, then I will either take a photo of it from a high angle or stand on the roundabout itself and take a close-up birds-eye shot of it.

Originally scenes in the storyboard that weren't filmed, these two images (above and below) are intended to be used as part of the artwork. I want these to be included because they 'complete' the video, as well as apply the sense of eccentricity as some of the albums from my analysis of covers did. They both symbolise the transitions of both characters from 'human' to 'dancer,' breaking from the typical features of being human and taking their own paths.

Like 'My Head is an Animal' by Of Monsters and Men, this album art is similar to the front cover, yet without the band and the instruments instead being placed in the tree, which was an improvised scene at the end of the 'Human' music video. The oddness of it is what drove me to include this image as the back cover. The track list would run either side of the tree, as though to replace the band who were stood in those previous positions. The barcode adds authenticity, as does the company name (which I haven't thought of what to name yet), giving the album a genuine look. The bareness of the background is also occasionally used on indie albums, like 'English Rain! By Gabrielle Aplin, or 'We Started Nothing'by The Ting Tings.'

5 Alternative/Indie Album Covers Research

For help with producing album artwork for our music video of 'Human' by The Killers, I've searched for 5 various albums (of which the artists I've listened to before) that match The Killers' genre: Indie/Alternative. I'm going to be comparing album artwork and attempting to find a common ground between the majority of them. Here they are:

                               Of Monsters and Men- 'My Head is an Animal'

The front cover of the album has an abundance of a bluish grey tone, with a man walking on a beach whilst the central image takes the normality of the scene away and brings in a surreal, artistic element in the form of the small wooden house being flooded by the tide. It raises some questions: is the house owned by the man on the beach? If so, is he escaping the tide, despite him not being in the running posture? Is the central framing of the house intended, so that it's the first thing we see upon viewing the cover? Are these surrealist tones supposed to mirror the album content? The only other different tone is the pink of the artist name, which forms an acronym. This cover design could also be simply derived from a song lyric in their work.

The inner cover of the album is much more multicoloured (For each of the three sides of artwork in the album, there's two portraits). We notice the black and white/possibly sepia torsos below the multicoloured drawings. It is obviously a take on the album title 'My Head is an Animal,' which was a line from their song 'Dirty Paws;' connotations of animals. The division between the monotonous torsos and the rainbow-scheme of the animal drawings could imply the alternative genre of the band as their songs range from indie pop and rock like 'Mountain Sound' or 'Six Weeks' to slow-runners like 'Slow & Steady' or 'Your Bones.' The animal drawings seem beast-like because of the tusks and horns accompanying most, which could refer to possible Icelandic folklore concerning mythical beasts, so as to introduce their culture. Also, the colours used in these drawings are very organised into the appropriate areas of the animal faces, which could maybe remain in a surreal fashion without mixing colours like most mainstream pop albums do. It could simply be interpreted that the animal drawings, the colours used in these drawings, and the division between monotone and 'multi-'tone could just be the personalities of each band member, as there are six of them. 

The back cover is the same location as the front cover, but without the man, the house and the slight roughness of the sea. Could the front cover, because it is the front, signify the introduction of the album and how it will be like, then the inside album artwork of the animal heads mirrors the artistic, alternative nature of each song (as we're listening to it), and then the back cover signifying the end of the album, with the surreal-ness (house in the sea) of the album gone and now it's all calmed down, as pictured with the sea. 

Arctic Monkeys- 'Favourite Worst Nightmare'

Again, with this album cover, we're given an image of something normal, which is (possibly) Sheffield's terraced council houses. There is the abundance of a dark greyish tone, yet it's put out of focus because of the bright 70's style groove of the wallpaper designs in the three lit rooms, where it attracts you first before you turn your attention to the mustard-yellow title of the album, which gives the band title as well as the oxymoronic subtitle 'Favourite Worst Nightmare.' These terraced houses could be the band's original housing either before or during their fame, as it seems to have at least some significance with the lit rooms which could be where the music (or the band living/performing) is coming from.

In comparison to the front cover where the lit rooms are shot from a diagonal long-ish shot, the flipside (inner) of the case shows the rooms dead on, multicoloured and very attractive designs. It seems,  like the first album, to suggest that you're listening to the music as implied by the colours and the dynamic designs, as though to further suggest the album content. The central disc artwork has only three colours: black, white and green, which could be just a convention of the designs of indie album artwork; simple yet effective.

Only dual colours black and yellow used here, probably to indicate the end of the album, with no terraced council house, light or position of the title. Just a list of the songs for information and company labels etc.

Gabrielle Aplin- 'English Rain'

Again, there's an abundance of the grey tone to give the album title it's meaning; bad weather or (English) rain. The title is in a handwritten font, maybe to emphasise that Aplin wrote her own songs, as most indie artists do. Her presence in center frame wearing a creamy yellow dress and running in the rain with a rainbow umbrella as though she's trying to gain momentum and fly, attracts the most attention. She's the good in the midst of the bad (weather). The emphasis on one coloured image alone attracts us and raises our curiosity on the content of the album.

The flipside (despite it not being divided into three separate images) is very artistic. There's the same image of Gabrielle Aplin with the umbrella (on the left) yet this time she is pointing the umbrella towards us, presenting a wheel of colours to attract. The other side consists of Aplin attempting to fly with multicoloured balloons in an otherwise monotone background, which mirrors my suggestion of her trying to fly with the umbrella on the front cover. Also, the idea of her being in a wide open field, as the front cover also is, it could be allegorical, maybe symbolizing the openness that allows her space to fly, or just basically giving a view of the English countryside to visually correspond with the title 'English Rain.' The booklet is just the umbrella itself in center frame, more close up and topped with Gabrielle's name along with a kiss as though to thank us, the audience (or spectators) for listening to her music. The colour is the same as the front cover to maintain its indie look without overusing colours in a different image.

The trackless on the back page is in a handwritten font to possibly further the suggestion that Gabrielle wrote her own tracks. The position of the tracklist replaces Gabrielle with the umbrella, resulting in a dull 'English Weather/Rain' background, as though to, like the other albums, signify the end of the album.

Mika- 'The Boy Who Knew Too Much'

This album cover is very different to other indie albums. The colour scheme is very vast and the imagery is very imaginative. The colours could indicate the colourfulness of the album content and it's variety. The title 'Mika' is presented in a white stencil font with a blue 3D pop-out which resembles the childlike nature of the album cover, with connotations of fun and imagination. The image of the boy on the floor reading the book is very interesting, as the surrounding environment of colour,  space, planets and stars derive from the book he is reading, his imagination. He's 'The Boy Who Knew Too Much,' which is a reference to Hitchcocks's 'The Man Who Knew Too Much.' Alfred Hitchcock directed independent films like the iconic 'Psycho.' This independent factor is a possible reason why Mika's album is indie: an indie artist referencing an indie film/director; the wild yet controlled colours of his imagination; introducing us to the colourful album, using a childlike design like he did with 'Life in Cartoon Motion' to attract us straight away, and also having that surreal element of the Birdseye angle that establishes the imagination, as though suggesting that when we listen to his music, we imagine the songs visually, like the boy imagines the book visually. The colour does, however, seem to break the convention of indie albums being mostly dim toned and fixed on just a few light colours, instead creating a multicoloured and imaginative design.

The flipside mirrors some of the songs. The blue background emphasises the white symbols, such as the female symbol, which could relate to the song 'Blame it on the Girls,' or the article that mentions the song 'Dr John,' or the sewn up rag doll that relates to the song 'Toy Boy.' These images are not disjuncture or amplification, but illustration of the lyrics in the songs on the album. The idea that the images illustrating the lyrics being on the flipside, where the disc is, could imply the songs playing as the images are seen in this section. The colour scheme again is very imaginative and instantly attractive, yet not too childish as some images, in particular the devil using a sewing pin on the rag doll, seemingly reference dark fairytales because of the rag doll; a child's toy, is being attacked by the child demon. Yet the bright colours take the seriousness out of it and remain attractive to the eye.

The back cover is very imaginative in comparison to the other albums. The tracklist is golden in colour, surrounded by an artsy depiction of the universe that continues to attract. It resembles Mika's style of music and videos; indie pop, electronic, partly ballad (Relax, Take it Easy) and alternative. The back cover still remains imaginative and appealing, yet without 'The Boy Who Knew Too Much' in the frame, it's the end (possibly).

Wolf Gang- 'Suego Faults'

Wolf Gang's 'Suego Faults' has a very interesting front cover. The overall tone is a very light blue/turqouise colour, which is very conventional of indie albums because there's not an abundance of colour, where only turqouise, black and maroon/brown are the main colours. The surrealism of this cover emanates from the central framing of the person wearing an Indian War Bonnet in the middle of the woods. It could emphasise the alternative and indie nature of the album, mostly consisting of indie alternative and indie ballads and rock. The image of the fallen tree seems possibly symbolic, but I can't exactly put a finger on it. The positioning of the title and the subtitle in the top-left corner is possibly intended to be small because the artwork attracts us first because of its interesting imagery, before we take a look at the title. In comparison to mainstream albums, such as Katy Perry's 'Teenage Dream' album, which doesn't reveal any title at all because we already know who she is, indie albums rely on a variety of low key and interesting imagery to capture the eye of anybody who would consider listening to new, unknown artists.  

The back of 'Suego Faults' is very reminiscent of Paloma Faith's 'Do You Want the Truth or Something Beautiful' album. Faith's album consists of her in center frame, donning a very classy hairstyle and holding what look like doves. 

The back of the 'Suego a faults' album is dark in tone, with the only real flare of colour being a woman's fiery hair. The tracklist is very formal and in a low-key golden colour. The imagery is, like most indie albums, simple but effective. 

So from the look of these five (six if you count Paloma Faith's) indie albums, to successfully produce our own five-sided Album artwork, we would need to consider: tone,mostly dim, yet with certain colours that attract ('English Rain,' the rainy background with the colourful Gabrielle Aplin in the center); simple (and occasionally surreal) imagery, such as the man from 'Suego Faults' in a War Bonnet in the middle of the woods, which is overall effective; central framing to attract (as well as attractive colours in a single image); the title being positioned marginally or in corners to allow for full view of the image; possibly an image of the band. These are factors that I will mostly consider for the creation of our album artwork.

Thanks for reading :-)

Changes Made

Here are the various changes we've made during the shooting:

•  Made alterations to the schedule list, including added days and more filming to fit in the schedule  before the deadline.
• The equipment book with additional dates for using it.
•  The first initial actors were both changed to two other people who we re-shot their scenes to include them in.
• A real hospital gown was unavailable at the time of shooting, so we instead changed it to a white jacket, which could still have an advantage as we could imply that the actor's character is almost insane due to certain negative factors of his life.
• We changed a few angles and camera shots for a few scenes involving the band performing in the woods, as establishing shots would reveal the borders of the green screen.
• There was considerate change in costume, as we no longer had the intended clothing at the beginning. They were changed to more informal clothing such as a bright orange football shirt and green trainers.
• We had to replace Ryan Hayden's role of the man with Leon Asgari taking his place.
• We didn't include the shot of Leon walking through the hospital corridor where we see the signs reading 'Sadness, Devotion and Dancer' because it was intended to be done in the actual hospital, but we would have needed to create our own signs. So, if there is time during the re-shooting stage, we could attempt to include it.
• We changed the beginning location of the woman's narrative after learning of Chelsey Willis' departure from the project. So after Nicole Denman agreed to replace her, we instead filmed her introduction in a consult room, where we could turn all of the lights off to give a darker tone.
• Josh Hobson replaced Joe Clark's position as a band member, as well as Connor Faulkner replacing Dan Howley as another band member.
• Some instruments were replaced with ones that were lighter in weight, but still resembling the intended instrument. We also excluded the microphone as we wanted just close-ups of the singer performing, as the more established and side shots with the microphone would reveal the borders of the green screen.
• We had the band perform on the school field in front of a single tree to give a simple look to the video.
• The band placed the instruments in the tree after finishing, which we used for the video.
• We filmed Nicole in an extra scene in a play park to give her miserable character a colourful perspective, intended to imply the play park as her transition from 'Human' to 'Dancer.'

Production Diary

29.11.13

      Today, we began filming the first couple of scenes for 'Human' by The Killers and used two distinct locations. Filming the part of the woman, we had our actress, Chelsey Willis, lay on a medical bed (in our school's medical room), start filming using a birds-eye view that pans to follow the woman wake up, sit up and then get off the bed to answer her phone. We had Chelsey mess her hair up to try and capture a dishevelled look along with the clothes that she wore when sleeping on the the bed. We wanted to give the impression that she didn't have a permanent residence; was homeless, or a runaway. We then filmed the beginning to the Man's narrative, played by Ryan Hayden. His first scene followed him as he plays a hospital patient (more of a metaphor than playing an actual patient) being pushed through a 'hospital corridor' (actually the school science corridor) by the orderly, played by Josh Hobson. We only filmed the man being pushed through the corridor, zooming in on his face as he passes by the camera, but due to some shaky movement, I'll have to reshoot this in the post-filming stage. All filming equipment was borrowed from school for this particular shoot.

3.12.13

        Today we had our band's lead singer, Jake Jones, lip sync the majority of the song 'Human' by The Killers so he could be able to lip sync during the filming of the music video, hopefully arranging the band members (Joe Clark, Jake Jones, Daniel Howley, Jack Charlesworth) in time for filming them and finish their parts along with the green screen setting in the forest clearing. We borrowed the equipment from school to do this practice.

6.12.13

        Today, we filmed Ryan Hayden's hospital scene again, but replacing him with Leon Asgari due to some difficulties. I recreated every shot I'd done, but with a few added ones, including the shot of the wheels rolling along with the orderly's feet behind it. Another added shot was of 'The Man' (Leon) noticing the music and getting out of the chair and walking down the hall to the entrance of the 'hospital.' After that, we did a couple of minutes of out takes, where Josh Hobson rolled around on the wheelchair pretending to be Professor Charles Xavier from 'X-Men.' All of the filming equipment was borrowed from school, as seen on the equipment booking form I will be posting soon.

7.12.13

       Today, I filmed Leon's scenes for his characters journey through his narrative, starting with the outside of the hospital (we have to film him coming out of the door on Monday), leading to the streets with occasional change in clothing to signify the spontaneous behaviour that he's expressing, and through a (as hopefully convincing as possible) small wooded area. We did a few of the same shots for back-up in case of problems with other shots. I used my own equipment for this shoot.

9.12.13

       Today, me and Leon was given permission from Montagu Hospital to film on their grounds. We shot Leon's character exiting the hospital (that began with the 'hospital' corridor shot in school) in the gown he was wearing, walking up the path from the entrance, which then leads to the shots we did on Friday the 7th, almost completing his narrative, which will be finished on Friday, the shooting deadline. I used my own camera for this shoot, with the hospital 'gown' and the tripod borrowed from school.

10.12.13

         Today we re-shot Chelsey Willis' scenes, with Nicole Denman replacing her as the lead woman. We used a different room to the original one used, this time a room that had lights that will actually stay switched off. We added another shot that comes before Nicole's character is introduced, where the camera pans in from a shot of an outside building then into the room. Josh Hobson also assisted me with difficult movements of the camera, which we borrowed from school as well as the tripod.

11.12.13

         This afternoon, I went out to Creighton Woods in Swinton to film a forest clearing that will be put onto the green screen on Friday the 13th *gasp*. I found a relatively spacious clearing, with enough space to 'hold' the band on the green screen, but having less of a crowd in this setting. I slowly panned and shot from different angles of the clearing to be able to have some accompanying shots incase something goes wrong. I used my own equipment for this shoot.

12.12.13

         Today, I filmed two separate shots of two different streets that were empty, so filming them at the right time was crucial as cars frequently drove past and people occasionally walked past. I used my own camera for these shots.

Note: I was going to film Nicole Denman's character scenes as well in the afternoon, however, problems for her arose today, so if given permission, I will film the scenes the week before the holidays.

13.12.13

        Today, we filmed the vast majority of the green screen clips for the video. There were certain problems however, with the size of the green screen not being large enough to contain more than three people before the walls behind the screen begin to appear. These shots will have the forest scenes I filmed pasted onto the green screen to give the illusion of the performers being in a wooded clearing. 

6.1.14

         Today, we began the editing for the video, despite having to re-shoot a part of the video that was filmed but went missing after the holidays. 

         We began positioning the clips in chronological order. However, problems became prominent: the process was slow as not everybody was present to help with the editing; the track wasn't on the desktop so it couldn't be added to iMovie for synchronising; the importing of the most recently filmed scenes heavily slowed the allowance of editing because of the Mac focusing on the import (which isn't strictly a problem).

7.1.14

           Today, editing became easier with the inclusion of the song so that we could start on the synchronisation between the music and the video.

          I started synchronising the first green screen section (with a member of the band miming the song), however there were two main problems: the clips had to be elongated and sometimes shortened to attempt to synchronise with the song as perfectly as possible; the instruments used in the video were also needed to synchronise with the instrumentals in the song, so the final product would be more genuine and infrequent on simple mistakes.

13.1.14

         Today, we continued editing, adding a few more clips to the project for cutting and prolonging sequences, however, with useful advice from the tutor, we decided to clip all of the scenes together to complete the video, and eventually re-synchronise the music again, which would prove to be the best time to become careful and identify the flow of the video and the music. We also began briefly focusing on the colour palette of a certain sequence; the hospital corridor, where Man (Leon Asgari) is being wheeled through the hall. We darkened the blue tone in this scene, so as to create a more cynical, dark and depressing atmosphere to suggest Man's life. There were'nt any mentionable problems within this session.

14.1.14

       Today, we continued the darkening of the blue tone in Leon's hospital scene. New clips were added, completing the majority of the beginning scenes, leading steadily into the mid-section of the video. There were certain problems: a scene featuring Leon 's character exiting the hospital through a door, then walking along a path towards the street, which was hit with an unexpected problem, a sign which read 'Ambulance Turning Point' outside where he was walking, revealing a mistake on his location, so the scene would require rather heavy cuts. However, there were many positive outcomes in this session: we transitioned clips correctly to avoid certain problems; the jump-cuts were clearly positioned to avoid abrupt cutting; we handled the editing of our Woman (Nicole Denman) opening the door from an inside perspective to an outside perspective.

20.1.14

     Today, we continued with the editing and found a couple of more affecting problems. We edited more clips together correctly, however, we needed to start re-filming two scenes: Nicole's narrative and the whole green screen section with the band performing because of the rejecting of proper pasting of the forest to the background due to colours not separating upon pasting it.

22.1.14

    Today, we continued editing the footage. We imported Josh Hobson's performance of miming the song outside and playing an electric (or bass) guitar (which we had permission from the music department to use). The performance was satisfying, furthermore satisfying as a flock of white birds unexpectedly entered the frame in a fitting way (aesthetic and well-timed). When we finally synced it with iMovie, we then decided that we would need the whole band to play, intending to use the same location (a field with a single tree) to film it at.

27.1.14

    Today, we filmed the band performing the entire song, from 4 different cameras; one angled from the left, one from the right, one directly facing the band, and a Gear Pro camera for portable use. However, problems such as the wind was present. Cameras blew over, the whistling overwhelmed a lot of the sound on the recording, even though we were able to edit out the sound. After filming and packing up, we filmed the singers performing the song again, using the Gear Pro to do close-ups and panning shots. The problem with this was that the camera hadn't recorded the footage; I must've not realised that the camera was recording the 'behind-the-scenes' part instead of the actual scene.

4.2.14

    Today, after importing the band scenes, we continued the editing process, adding in the new clips for the correct timing and importing previously lost clips to bring the video to its final minute of editing. There were problems such as scenes being difficult, but after improving them, it goes out of sync again. However, fortunately the process is going fine, so we hopefully won't take long for the completion of the video.

10.2.14

   Today, we re-shot the band scenes again, yet with more close-ups of one of the performers (Josh Hobson) so that I could create a variety of camera shots and angles. The wind proved to be a problem; blocking out the music so that it wasn't understood enough to be able to mime. After finishing the shoot, we began to import it, as well as doing some very brief editing.

17.2.14

      Today, we continued the editing; adding and taking away some scenes. The biggest problem was trying to sync the miming with the music, by lengthening, shortening, adding or deleting various clips. We're onto the 3 minute mark of the video, correctly syncing it, however we left the editing with a scene out of sync, so we will alter the rest of the video tomorrow when we have over 2 hours to finish and import it. We also added timed black screens that will be replaced with Nicole's scenes once we finish filming them.

18.2.14

        Today, with over two hours to finish the video, we finally got to the end, finishing at the 4:05 minutes mark just as the session ended. We altered the previous day's synchronization and it fit perfectly, as well as adding close-ups of drums, syncing more voice-overs, darkening a few bright scenes that don't match the rest of the video (which was mostly dark weather), turning brightness to -18%, the contrast to -48%, and the saturation to 70%. It was the closest to the intended surrounding weather, however it became a problem as the picture quality decreased because of the changes, but it was still very clear. We had a few more problems with it going out of sync, but because of the amount of time we had, it wasn't much of a problem to fix. We passed the singing stage, going onto the instrumentals that end the song. The end shots consisted of our drummer, Josh (also the person pushing Leon in the wheelchair) throwing his drumsticks into the air, subsequently putting them in the tree, then the camera slides up Connor Faulkner's guitar, signalling the eventual detachment from the band as the song draws to an end (we also changed the beginning scene of the video, where we instead used a shot of the camera sliding down the guitar as though to introduce us to the band), and finally, the image of the guitar and drumsticks in the tree, then panning upwards, fading to black. The song ends.

         We also manipulated Leon's end scene as he comes out from the bushes, making it look as though he's looking at the band with confusion (as well as Nicole), then turning his head (used from a previous shot) as though to face Nicole, who will also appear from the bushes (which is yet to be filmed). We won't be having both people in the same shot however, due to time constraints, instead trying to be creative and manipulate the scenes as though they are looking at each other.

         We started exporting the film just as the lesson ended.

CONTINUED: 

19.2.14

     Today, we filmed Nicole's final scenes where her character is passing through the trees (mainly bushes) and eventually appearing out onto the same field as Leon's character, so that the loose ends could be done and connect the video to what they are both seeing: the band. We had a few problems however: disagreements on how much inside the bush Nicole's character should be positioned in due to the bushes being potentially irritating; and the state of the bushes being without leaves, unlike the bush that Leon comes out of, despite them both being on the same field and us only realising later that we could have used another location that would've been easier for shooting. Another problem was Nicole's haircut, which was different to earlier shootings, so we decided to mostly show her through close-ups to avoid attention on the difference, as well as the difference in clothing, which we sorted because we acknowledged the theme of the video being about spontaneity, so the change in clothes (which happens to both characters in the video) was justifiable. 

21.2.14

      Today, we imported the final scene, and after editing it into the video, we exported it to meet the deadline. The problems we had were: as the clip was added onto iMovie, the last quarter of the video again went out of sync and we had to lengthen the end scene where the band is putting their instruments up in the tree, as well as lengthening the scenes where Leon and Nicole come out of the forest (bushes) and see each other; putting Nicole's quick glance at Leon in slow motion to lengthen it slightly, and eventually pit the video back in sync, where we could now leave the factors of length alone. We made a few alterations to colour so that the vast majority of the video would be in the same tone. As the lesson ended, we exported the video.

The Whole Preparation

This blog post will be the listing of everything that we have or we need for our music video. This will be updated a few times until it's completely prepared. The first set of lists is a screenshot from 'Kayleigh H's' Music Video blog, where you can visit at:

http://www.kayleighmusicvideoblogg324.blogspot.co.uk

UPDATED LISTS:

POST-PRODUCTION SCHEDULE- May be changed if anything unexpected happens.

SCHEDULE FOR PRODUCTION- Just a tidier version and slightly updated.

EQUIPMENT BOOKING FORM- Brief Planning for requesting equipment for the days of shooting.

Note:  Some days on these lists consist of me using my own camera, so I included these into the lists to correspond with the whole filming diary.

The Cast List

The Risk Assessment

The Schedule & Shooting List

                                          UPDATE ON SCHEDULE LIST

                                                 27th JANUARY 2014

                          CAMERA, TELESCOPE AND TRIPOD NEEDED

                                                  FURTHER UPDATE

                                                14th FEBRUARY 2014

      GEAR PRO, TELESCOPE AND INSTRUMENTS (MUSIC DEPARTMENT) NEEDED

 Location Ideas    

        The rest of the lists are on here, as well as the other members of the group. The location is a vital part of preparation, as we need permission to film in certain places, but first we would need to do some location scouting. So here are the ideas.

       The band are introduced in a forest clearing through the pre-lyrical section of the song, just instrumentals, where the lead singer begins singing for a few seconds until the camera cuts to introducing the actors in their roles.

                                                                 The Band...                                                        

                    

                      Connor Faulkner, the guitarist

                          

                        Josh Hobson, the drummer

                    Ryan Brown, the lead 'singer'

Jack Charlesworth, the keyboard player (THIS IMAGE IS JUST A REPLACEMENT FOR THE ORIGINAL IMAGE THAT WAS LOST)

For the location of the room that the woman wakes up in at the beginning of the video, we have chosen to use one of our school's medical rooms to make it look untidy with the lights off as though it's abandoned, and the woman is laid on the bed (a discarded mattress).

Nicole Denman as the woman:

Leon Asgari as the man:

Preferred clothes for the woman in the beginning.

       The man is introduced on a gurney being pushed along by the orderlies in a hospital corridor.

The orderly:

Josh Hobson

The Man is...

Leon Asgari

Vague idea of the corridor, to be filmed in school.

The Model Forms

      Through the middle section of the music video, the locations included abandoned streets, a forest entrance and pathway and basically quick uses of normal background settings. The props include sticky labels with frowns drawn on them, costumes changing into more lively attire to reflect the change in mood through the video.

Sticky labels to have frowns drawn on them.

Ideas for deserted streets:

Change in costumes:

These changes in attire are to reflect the more spontaneous nature of the two main people being released.

The final act of the video will be of the man and the woman approaching two separate entrances to a forest, where they walk through until they reach a clearing with a large crowd of people and the band playing. The forest clearing will be achieved by green screen inside the school gym. The crowd of people are all idiosyncratic, wearing all different costumes and random clothing.

The Forest Entrance

The Forest Pathway

The end of the video will be an elongated shot if possible.