Here are my second storyboards where I go into much greater detail. I have already put together a storyboard video to the music, so I can see how everything fits together.
1. The first shot will be an establishing shot of the first location: the beach. It is an important shot as it the first of the video and it also parallels the last shot. This will be achieved firstly by fading in from black, whereas the last shot will fade to white - an important contrast to represent the change in the artist as she comes to terms with her break up and sees her life as it can be now in a more positive light. As this is the main narrative of the video, it is vital to connote this where possible. The lighting should be dusk - he same as the last shot except the last one has the artist in it, signifying that she has learnt since the beginning.
2. The second shot is quite a long one as it focuses on the artist singing the first four lines of the song; introducing the narrative to the audience, and also the artist, as it is important for her to be known to the audience in terms of marketing and branding. However it won't be all one shot, but many cut together. I would like camera movement similar to what I have looked at here, with cutaways to her lips, eyes and hair in the breeze - making it more pleasing to look at visually.
3. Then before the beat kicks in, there will be more atmospheric shots of the location, hopefully ending with the artists shadow on the waves, however this is determined by the lighting conditions.
4. I really love this image of the match falling from her hand in slow-motion. It represents how the love they had ("we could have had it all") is no more and 'out of her hands'. I would also like to try panning the camera to follow the match to the ground - some practice of this shot will obviously be needed as there are clear risks involved with flames.
5. Then intercut with the above, with the beat, I'd like shots of the artist singing in front of the red cliff on the beach as this will connect nicely with the passion of the flame and the passion of the red. Close-ups of the artists face may also be good to add drama.
6. I'd like to have a long shot of the artist on the beach, walking (perhaps in slow-motion) with a lens flare. However, the lens flare is totally dependent on weather conditions, so may not be possible.
1. An extreme close-up of some lips singing the dominant line of the song will emphasise these words and takes the audience away from the beach location briefly, meaning they will stand out even more and increases the pace.
2. As we've now entered the chorus where the beat picks up even further I'd like the pace to match this. Seeing the artist singing, dancing, spinning etc will fit the the conventions of existing products. Having a nostalgic feel could be ironic to the lyrics or even support them even more as she thinks about what they had.
3. Here is an example of one of the quick shots I would like in this section of the song. Others include; the artist laughing and running away from the camera, close-up of her hair in the wind, the artist looking out to sea.
4. Now the chorus has ended I felt a change in location was appropriate to keep the visuals fresh. As the end of the chorus is signalled in the song through 5 drum beats, I thought it would be good to have 5 or 6 different flashes of the last location (a technique seen here and here) and then ending on a tree in the forest, showing the audience that the location has changed.
5. The pace should slow slightly in the verse so that when it picks up again it will have more of an impact. Therefore the images in the forest/grass shall be dream-like and use slow-motion.
6. Moving closer to the river, I'd like to see the artist throwing stones into the river - a common stereotype for being thoughtful and contemplation, something which the song focuses on. It also sets up the next shot which I am excited about...
1. The introduction into the interlude is very important as it is a dramatic piece of music and allows the audience a pause in the chorus'. I like the idea of a stone being thrown into the river as it will create some beautiful ripples which will look really great on screen, while symbolising the artists feelings of throwing away the relationship while creating something good out of the aftermath. This is a shot I will need to practice to get right.
2. Below is the more extensive plan for the interlude. I felt it was right to take this section indoors away from the other locations, to set it apart from the rest of the video as it is a unique part of the song. Here I've been able to explore more thoroughly the artists feelings, and I'm hoping that it will look good and dramatic through shadows and low lighting and getting some emotion out of the artist. She starts off further away from the camera and gradually gets closer and closer, until she is face to face with the camera - expressing her true emotions to the audience making it a more striking and touching video.
3. To match the sound effects on the song of symbols crashing I thought a shot of waves crashing on the beach would be a great idea to ease the viewer out of the interlude.
4. Heavy beats dominate this part of the song so I thought I would make use of it in my second location as their is a path locally that zig zags and would be perfect to use.
I would love to do jump cuts of the artist as she gets closer to the camera ending with her close-up (5.) as the chorus begins. I am looking forward to testing this technique out soon as it will be important to get right, otherwise it will not look very professional.
6. Then the repeated use of "we could of had it all" close-up will be effective in establishing audience recognition of the phrase. Repetition is also a widely common technique in existing products.
1. Keeping with the forest location I would like a closer focus on the artist and the lyrics as we come towards to climax. I like this shot as it is an interesting high angle, which makes the artist seem small - almost as if she is anyone, so the audience can identify with her. Cutaways of shots from the ground will add further depth, as well.
2. To break up the long sequences and to add impact (and a visual cue) to the change of beat I like the idea of the artist simply looking up, with the trees behind her framing her face.
3. and 4. The next 18 seconds are represented with two drawings as there will be many different shots with quite quick editing. The first sketch is of the artist rolling down the hill which is a direct reference to the title of the song and is also playful and positive which, as the song nears the end, is the note I'd like to leave on. The second sketch is inspired by this:
I really love the atmosphere in this screen shot from Birdy's video which I have previously looked at, so would like to try it out.
5. As drums are such a big part of the song, I would like this drum 'solo' to stand out. I am looking at the use of slow-motion if it fits with the beat, otherwise I may use a couple of cutaways to make it more interesting to watch.
6. This section of the song is almost a second interlude and at 37 seconds long is the longest sequence of the whole song. Therefore I've had to think hard about what I can use that is different to the rest of the video while still retaining the feel of the song. Looking at other dance videos, they are often set in urban locations so I would like to feature this in some way and this part of the song feels the best part as it is focusing on the melody and the caribbean vibes which always make me want to dance, so I think using people dancing in a more urban location will work well. To fit the beat ideally I will need about 6-8 different people which may be hard to find, so as a 'Plan B' I can use fewer people and use cutaways of their feet and hands as well as intercut it with shots from all the locations, like of the artist dancing in the first location to round-up the entire video. I have seen this technique used many times before so it will fit with well tried and tested conventions and make it fit in with the rest of the products in the industry.
1. - 4. For the last 9 seconds of the music I would like flashes of the whole video's locations and memorable shots. As there are about 20 seconds about 20 shots would match well.
The 20th shot is 5. and is using the light of dusk to silhouette her face and then cuts to 6. the same angle as the very first shot. But with the artist with he back to the camera, looking out to sea. I will hold on this after the music ends, perhaps with the sounds of seagulls and waves as it fades to white. The only part of this last shot that is unsure is if I will have the artist holding the match or not. I quite like the simplicity without it, but also the subtext and symbolism with him. I may look to audience feedback to decide this.
2. The second shot is quite a long one as it focuses on the artist singing the first four lines of the song; introducing the narrative to the audience, and also the artist, as it is important for her to be known to the audience in terms of marketing and branding. However it won't be all one shot, but many cut together. I would like camera movement similar to what I have looked at here, with cutaways to her lips, eyes and hair in the breeze - making it more pleasing to look at visually.
3. Then before the beat kicks in, there will be more atmospheric shots of the location, hopefully ending with the artists shadow on the waves, however this is determined by the lighting conditions.
4. I really love this image of the match falling from her hand in slow-motion. It represents how the love they had ("we could have had it all") is no more and 'out of her hands'. I would also like to try panning the camera to follow the match to the ground - some practice of this shot will obviously be needed as there are clear risks involved with flames.
5. Then intercut with the above, with the beat, I'd like shots of the artist singing in front of the red cliff on the beach as this will connect nicely with the passion of the flame and the passion of the red. Close-ups of the artists face may also be good to add drama.
6. I'd like to have a long shot of the artist on the beach, walking (perhaps in slow-motion) with a lens flare. However, the lens flare is totally dependent on weather conditions, so may not be possible.
2. As we've now entered the chorus where the beat picks up even further I'd like the pace to match this. Seeing the artist singing, dancing, spinning etc will fit the the conventions of existing products. Having a nostalgic feel could be ironic to the lyrics or even support them even more as she thinks about what they had.
3. Here is an example of one of the quick shots I would like in this section of the song. Others include; the artist laughing and running away from the camera, close-up of her hair in the wind, the artist looking out to sea.
4. Now the chorus has ended I felt a change in location was appropriate to keep the visuals fresh. As the end of the chorus is signalled in the song through 5 drum beats, I thought it would be good to have 5 or 6 different flashes of the last location (a technique seen here and here) and then ending on a tree in the forest, showing the audience that the location has changed.
5. The pace should slow slightly in the verse so that when it picks up again it will have more of an impact. Therefore the images in the forest/grass shall be dream-like and use slow-motion.
6. Moving closer to the river, I'd like to see the artist throwing stones into the river - a common stereotype for being thoughtful and contemplation, something which the song focuses on. It also sets up the next shot which I am excited about...
2. Below is the more extensive plan for the interlude. I felt it was right to take this section indoors away from the other locations, to set it apart from the rest of the video as it is a unique part of the song. Here I've been able to explore more thoroughly the artists feelings, and I'm hoping that it will look good and dramatic through shadows and low lighting and getting some emotion out of the artist. She starts off further away from the camera and gradually gets closer and closer, until she is face to face with the camera - expressing her true emotions to the audience making it a more striking and touching video.
4. Heavy beats dominate this part of the song so I thought I would make use of it in my second location as their is a path locally that zig zags and would be perfect to use.
6. Then the repeated use of "we could of had it all" close-up will be effective in establishing audience recognition of the phrase. Repetition is also a widely common technique in existing products.
2. To break up the long sequences and to add impact (and a visual cue) to the change of beat I like the idea of the artist simply looking up, with the trees behind her framing her face.
3. and 4. The next 18 seconds are represented with two drawings as there will be many different shots with quite quick editing. The first sketch is of the artist rolling down the hill which is a direct reference to the title of the song and is also playful and positive which, as the song nears the end, is the note I'd like to leave on. The second sketch is inspired by this:
5. As drums are such a big part of the song, I would like this drum 'solo' to stand out. I am looking at the use of slow-motion if it fits with the beat, otherwise I may use a couple of cutaways to make it more interesting to watch.
6. This section of the song is almost a second interlude and at 37 seconds long is the longest sequence of the whole song. Therefore I've had to think hard about what I can use that is different to the rest of the video while still retaining the feel of the song. Looking at other dance videos, they are often set in urban locations so I would like to feature this in some way and this part of the song feels the best part as it is focusing on the melody and the caribbean vibes which always make me want to dance, so I think using people dancing in a more urban location will work well. To fit the beat ideally I will need about 6-8 different people which may be hard to find, so as a 'Plan B' I can use fewer people and use cutaways of their feet and hands as well as intercut it with shots from all the locations, like of the artist dancing in the first location to round-up the entire video. I have seen this technique used many times before so it will fit with well tried and tested conventions and make it fit in with the rest of the products in the industry.
The 20th shot is 5. and is using the light of dusk to silhouette her face and then cuts to 6. the same angle as the very first shot. But with the artist with he back to the camera, looking out to sea. I will hold on this after the music ends, perhaps with the sounds of seagulls and waves as it fades to white. The only part of this last shot that is unsure is if I will have the artist holding the match or not. I quite like the simplicity without it, but also the subtext and symbolism with him. I may look to audience feedback to decide this.
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