Shoot Evaluation (Narrative)

We have now gone out and done our shoot. We took a very ample amount of shots, more than we need, and we very commonly doubled upĀ  with shots, allowing us a sort of safety net, just in case a shot is out of focus, or has no composition. We some decent mise en scene, especially with the straight jacket, as that was our crux of mise en scene. The characters were interesting, and well defined, and overall the shots were great. We spent hours getting these shots, and will only be able to use about a minute and a halfs worth, so we need to only choose the cream of the crop, only the greatest parts of the greatest shots can get into our video. Despite this, I do have some problems with the shoot, which include:

  • We didn’t get enough running shots
  • Some shots had shaky camera
  • Some shots were out of focus
  • We didn’t get many shots to end off the narrative
  • We could have got some more mise en scene shots

Despite that, as I shot all of the performance shots, I could not shoot anything at the narrative shoot, as it would be unfair to myself and my team, so although I had input on the shots, in essence, the majority of the shots weren’t my vision. I have faith that my team got some good shots, and a wide range of distances and angles however, and am very pleased with what we have, and am sure that we can get a good edit out of it. If we realize that we don’t have enough to work with, we can always get a few close ups, and put them in, and with a fast paced song with lots of energy like ours, this might be the case, however what we do have so far has been quality, and I am happy with the overall effort that we have put in, and product we have gotten out.




Risk Assessment

We have had to do another risk assessment with another shoot. We have written down where we will be, and when, just in case we need to be checked up on. We also have written down what the risks that we would have faced would be, for example cutting ourselves on rusty nails, or slipping on some water, or even falling down some steps. We have all signed this off, showing that we are aware of the risks, and will do anything and everything in our power to assure that we avoid them.


Production Meeting Agenda for a Narrative Shoot

Just like we did a production meeting agenda for our performance shoot, we have decided to do one for the narrative shoot. It is important to have one, so that everything can we well prepared and planned out for. This includes:

  • The time, date and location – To know where we have to be and when for (We have a picture of our location, so we know which bunker it was – There were a few bunkers in the area)
  • The outline for our performance – Just so we can stick to our master themes, we will know what roughly we need to do
  • Actors – We needed to know who would be in this sequence, and which character they were
  • Mise en Scene – We needed to know any mise en scene we needed to buy
  • Filming – We needed to know who was filming what. As I filmed the performance, my partners performed the narrative.

So now we have everybody’s roles down and organised, we can have a well productive and efficient shoot. We have everything in place for a good production, and now because we know what we need to buy and who is responsible for bringing it in, we can all do everything we need to, in order to be well prepared for this shooting day.


Performance Rough Cut – Draft 1

Here is the first draft of our music video! We haven’t yet done the narrative shoot, so for now, it is 100% performance. This short clip is a show of our highlights. All of our best shots are shown here, and I believe that it really highlights both the cinematography skills of myself, and the performance skills of my partners.


  • Well performed – Nice energy given off
  • Well lip synced
  • Good angles were used
  • Though a rough edit, it was indeed edited very well
  • Lighting change when it hit the scream bit was excellent

Improvements needed:

  • Some shots are slightly out of focus
  • Some shots are badly lit
  • A few shots are awkward jump cuts

Having looked over the footage, there were a lot of shots that very much surprised me in how good they were, and some edits that were very well put together. We will have to trim out any weaker shots, or speed the cuts up however, as our actual music video is a 50/50 split between narrative and performance, and therefore we can choose the cream of the crop to put into our first draft of narrative and performance. We can easily get an awesome video together, but now it’s just about going out there and getting that narrative shoot down.




Shoot Reflection (Performance)

We have now taken our performance shoot, and I am generally pleased with the shoot. Though not perfect we got a lot of shots, and can easily get it into a 1:25 video. We have a lot of strengths in our group, and lots of positives to take away from the shoot. Those include:

  • Our mise-en-scene was on point, and conventional to the genre
  • We got a lot of great angles, movement and distances
  • We got a range of distances, ranging from close ups to a master shot of everybody playing at once
  • We had good acting throughout the performance, making the song look believable
  • Our actors seem about the right look and stature to the voices that they’re playing
  • There is a good bit of energy given in these performances
  • Lighting was good

Therefore, we have a lot to be proud of, we should be very happy with the shoot. However, the shoot was not perfect, there were errors that we will need to improve in further shoots. Those errors include:

  • I wish that I could have played with coloured lighting more. I did it once, but only once. I might change that in editing however.
  • We could have had a more emotive performance from our rapper
  • I wish I would have done some more whip pans, I did two or three, but could have done more
  • I wish I could have done some more camera movement, though I had some moving shots, a lot of these are static
  • The location was passable, but I feel like we could have thought of a better black room somewhere

These should be improved on in the future, and as the cinematographer of this piece, I should be the one to take these on in future filming. However, despite that, I believe that we have a solid performance piece, and easily enough shots to make it into our piece. I am sure that we can use these to get an awesome full video.




Narrative Storyboard

The storyboard is a necessary part of film and media making. It allows us to see the inner thoughts of the cinematographer, and allows them to get across their message, what they want to see in the shoot. Whether it be angles, movement, distance or any composition. It is also helpful to describe what happens in the shot on the back of the pictures to clarify what is going on, and any emotions that should be displayed by the actors. For example:

  • Close ups will allow our star to act
  • Canted angles will show confusion
  • The trombone shot will represent a sudden moment of realisation
  • POV will allow us to be in the mind of our main star, and empathise with him
  • Camera rolls will infer slow descent into madness
  • Jump cuts will connote the jumpiness and mental instability of our character

We will need to get a good mix of mise en scene, shots of our narrative star, and the personified feelings in his head. As our film is only 2 minutes 50 seconds long, we will need to make sure that we only choose the best shots, as we have no time to waste shots compared to the 3-4 minute music videos. We will try and use advanced cinematography techniques that we have learnt in class to tell our story, and get as many shots as possible in order to have a bit of material to edit with. We will keep the camera rolling as much as possible, and keep looking back at this storyboard to guide our way if we are ever stuck. If we stick to this storyboard, we will have a successful shoot.

Below is our storyboard, created and described by myself and a partner, we worked together brainstorming ideas, and illustrating them. We will use these on our shoot to assure that we have all of the shots that we need. The detail here is lacking, and it will be improved in future re-shoots. We will be sure to have full coverage of all the shots necessary to our narrative, before straying away and getting some shots that we think look good.



Narrative Development

A narrative structure is crucial to any music video, whether it in chronicle order, or anachronic such as director Quentin Tarantino meant when he said “A story should have a beginning, a middle and an end, but not necessarily in that order”, but still, the order and structure of the narrative is imperative to how the video is perceived and seen by an audience. Here, we have identified our ‘super-objective’ and will create our narrative video tailored to it, at all the beginning, middle and end. We have also discussed the ‘narrative mountain’ which is essentially describing how 99% of narratives go:

  • Equilibrium is where we usually begin
  • A disruption occurs, causing a conflict to begin, and pressure/tension to mount
  • A resolution, easing the tension
  • A new equilibrium is restored

Here, we have indeed stuck to this narrative, with the middle where the most conflict/tension has been risen, and the ending where it might possibly be resolved. However, we strayed away from the norms too, as at the start of our narrative, there will never be an equilibrium, promoting our themes, that in mental health there is never an equilibrium to go to.


Star Image Planning

The image of the star in any piece of media is extremely crucial to its reception. We personally have ‘Linkin Park’ as our stars, and have created a moodboard, and small analysis’ by most pictures, to reflect how we want our stars to be perceived and represented, whether it be:

  • Charitable and caring
  • Dark and dangerous
  • Banterous and boisterous
  • Rough and raw
  • Ordinary or extraordinary

The perception of the band or performer is extremely critical to how their music is perceived. In essence, a humble down to earth star, has more likeability than a cocky, arrogant and deluded star, and a lot of people would rather listen to the humble and honest star. However, there would be a demographic, of rebels and people who like to go against the grain, who would rather listen to the arrogant and hated star, rather than the mainstream and likeable star. Therefore, the arrogant performer would have to cater their music to that kind of audience, the mold breakers and rebels. Without targeting their music and personality to that kind of audience, the star would be finished, however by targeting their music to a specific demographic, their music can thrive.



Risk Assessment

My group and I have needed to create a risk assessment, to assess what sort of dangers might happen during our performance shoot. It is important to detect and identify these risks so we can avoid them, in order to keep all of our stars safe from harm. Here we listed:

  • What the risks are
  • If they are preventable
  • How to prevent them
  • Where we will be
  • When we will be there

These are all important so we can prevent any risks that are there, and can be observed by a professional adult, just in case anything does go horribly wrong, and something that we either missed, or something out of our control happens and safety of ourselves and our actors are put in danger. We all signed this, and will try our best to not break this agreement.


Genre Conventions Analysis


The video above is myself talking about, and analysing our genre an ‘Alternative Rock’, going into immense detail about the genre and everything to do with and about it, including key features such as:

  • Our stars perception
  • Our narrative
  • Themes of the genre
  • Other similar bands
  • Our colour palette, aesthetic and style
  • Mise en Scene and costume

These are all of the essentials to the shoot, and are the bare minimum that we need to know and plan out before going any further with our planning, but now that we have all of these smaller details down, we can start to look at the bigger picture and the meta narrative of the whole video itself, therefore we can get on with our planning and get a good shoot down. By understanding what is conventional, not only can we play into predictable pleasures of the audience, and create a piece of media that won’t be rejected by the audience, however will challenge and change conventions in order to stimulate the thinking of my audience, and challenge their thoughts, making them think about, and question our piece.