As a group we have collectively decided to change our narrative again, this is due to numerous things;

• The children were a main section of our planned narrative, however, we are now unable to include them in the video as they are currently not on island
• Our prior narrative was too complexed for what we had the time for – even with the time management skills we have developed, we did not manage to get even half of the shots that we wanted to take in the time we had

Our new narrative consists of a woman who attends a therapist session – she is stressed and melancholy as she reminisces over the freedom of her past with her best friend. The shots in the therapy session will mainly need to be close ups to highlight the emotions that are going through the woman’s head while she’s looking back.

This risk assessment sheet for our narrative shoot (below) is very important as it ensures that everyone participating in the shoot will be safe / knows any risks involved – if any. It has been signed off by our group and our teacher to emphasise that we have all agreed to be aware of our surroundings at all times.

Inserted below is our production meeting agenda for our narrative shoot. The narrative aspect of our music video is the most prominent part so, we have learnt from our organizational mistakes and written this PMA up in much more detail. This will ensure that we are prepared with the correct props, costumes, Mise En Scene attributes and equipment to guarantee a successful narrative shoot.

Although we created narrative development sheets, these only told us the general story of our music video. Therefore, so that we have a deeper and more detailed understanding of what our narrative will consist of, we have drawn out a variety of shots that we would like to use throughout the development of our narrative performance. Structure is important when planning a music video, so this technique of drawing shots, will help us massively in creating a successful and well organized music video.

We have demonstrated all of the different framing and composition techniques that we would like to include in our music video such as;

• Handheld shots
• Close ups/extreme close ups
• Long/mid shots
• Two shots
• Tracking shots/pans
• Establishing shots

The anachronic style that we have decided to communicate to our audience, will be supported by the fact we are not putting our video in chronological order or conveying any type of resolution – steering away from the equilibrium conventions.

In order to successfully convey an understandable narrative structure, it is important to get a full overview of what our narrative is about. The binary opposition themes that we want to communicate to our audience are age vs youth and friendship vs time. These conflict of interests will be portrayed in our music video, hopefully through our narrative performance.

Although equilibrium is conventional in music videos, we have decided to move away from this typicality, and have opted for an anachronic video style. We have chosen this because it fits with out genre of our frantic and disjointed song choice. Our narrative will support the anachronic style as we will be including flashbacks to emphasize the binary opposition themes of age vs youth and friendship vs time.

Below are images from our first shoot, these are snips from the videos that we captured. We aimed for videos that conveyed a sense of meaning – emphasise that the boy is alone and isolated. The long shots and mid shots of him really help to indicate this. However, we could have done with a few more close ups to allow our target audience to engage with our performers emotions more intimately.

For our performance shoot we decided to capture shots at both Aimee’s house and an abandoned bus. We thought we could get a variety of scenic shots at the bus and then get more close ups and focal shots at Aimee’s house. However, due to bad weather conditions at the time, many of the shots taken at the bus are impractical and we will not be able to use them – they did not reflect upon our Mise En Scene. Despite this, the shots we got at Aimee’s were much more successful. The LED lights aided to the unique ambiance that we wanted to achieve, contributing to our chosen star image. Even though the lighting was good we did only manage to get close ups at this location.

What went well

• The communication with our performance model was adequate as they listened to what we wanted them to do in terms of body language, facial expressions etc
• Everyone participated in the shoot equally – ideas were contributed by everyone
• Our performance model had good pronunciation so all the lyrics were made clear

What we need to adjust

• More communication was needed as we came across a few issues with organisation at some points throughout the shoot
• Although we cannot change the weather, we could have planned further ahead and prevented going on a drizzly day by checking the forecast
• Our performance model needs to know the lyrics to the entirety of the song prior the shoot as we wasted valuable filming time teaching lyrics
• A wider variety of shots needs to be carried out so that when we put our video together our audience will stay engaged

As a group we decided that our initial narrative performance was not exactly what we wanted to communicate to our audience. There are a couple reasons as to why we also decided to change our performers from Max and Lily to Lukash and Aimee. This choice was triggered by us thinking that due to Max being in so many other music videos, his presence had the chance of making our video seeming quite cliche. By using Lukash our video will come across much more unique, and hopefully will allow our music video to stand out from the crowd.

The document below is the production meeting agenda for our first shoot. This document will help us in the future production of our music video as it gives us a clear plan and idea of what we are going to be doing on the day of the shoot and what preparations we need to make prior to the day. It includes decisions about the Mise en Scene necessary for our shoot as well as technical equipment and who is responsible for what.

Our overall aims for this shoot is generally to achieve the target of getting all of our shoots completed. We need to get all of the clips necessary for the video as this is a one-time opportunity to go to these locations. It is also important that we also communicate the correct star image representation to our target audience, and we will hopefully achieve this successfully by using all of the props and costume etc. that we will have with us on the day. If these aims are completed our first shoot will be successful.

Below is the risk assessment agreement for our music video. This was carried out in order to ensure that we know how to stay safe and film our music video without any accidents occurring. It has been approved by our teacher as seen in the second photo.

The star image represented above in the mood board is for the Arctic Monkeys. They are portrayed to the media as energetic, rebellious and anarchic. This band have numerous social media pages that are crucial in constructing the values, beliefs and attitudes of the artist, in the mind of the target audience – it is this that creates a wider metanarrative for the star – the Arctic Monkeys. There is a theory called the ‘Paradox of the Star’ from Richard Dyer where he believes that celebrities are constructed to represent real, ordinary people (rather than extraordinary) in order to relate to audiences further and sell products. This creates a greater connection with the target audience, and this is what the Arctic Monkeys attempt to achieve. They do this through their social media pages, generating a deeper, more personal connection with their audience.

We would like our star to be represented as a rebellious, and as someone who takes it too far and ends up regretting his decisions. At the beginning our star should be portrayed as energetic and happy however, by the end of the video we want our star to be represented as angry. After the anger passes, he needs to be presented as numb and miserable. Our second star – the girl – will need to be represented as heavenly and surreal throughout the video.

We will achieve the male stars representation to the audience through strong suggestive body language and facial expressions to emphasise how he is feeling. When he is happy and free he will have energetic body language and he will be smiling throughout, and when he turns angry the star must be throwing his body around, punching and kicking things etc. When the male needs to be represented as miserable he will have to have heavy body language with monotone facial expressions. On the other hand, the female stars portrayal will be achieved by fluent and elegant body language that comes across to the audience as peaceful. She will have this body language throughout the entirety of the video in order to create the surreal and heavenly character that we want to communicate to our target audience.