Storyboard

Treatment

To the song Blag it by Mikill pane I have the idea of directly linking the lyrics and on screen image. I have watched many videos from different, similar and the same artist and have thought of the best way to intrigue the audience and portray the song to its potential. There will be a main actor which will be playing the role of the artist and singing the song whilst walking and moving from scenes. I will match the lyrics by having scenarios going on and interlinking with the main actor for example the lyrics says “I sneak whiskey, through the door, as we go clubbing” to this I will have a set of a nightclub entrance and the character will sneak a bottle of whiskey through whilst singing the lyrics. This is an example of how I will make the lyrics and the on screen shot match together. A reason as to why I have chosen this style of shooting the music video is that 25 people out of the 27 questioned for my survey said yes and sort of too there needing to be a relationship between onscreen image and lyrics. I also feel that this would fit in the style of the artist and his other previous music videos.

The edits of the music videos will be done by the use of doors. Where the actor will walk through one door after a verse or a scene and then cut to another scene where the actor will walk out the door and continue with the song and another verse. The way this will be done, will make the video seem like its one long take, however it will be an assembly of different scenes and sets.

There will be a lot of use of props and sets during the production this is due to trying to match as many lyrics into the video as well as this there will also be the need for lots of characters and extras to make each scene and set come alive they will also walk in out of the shot to make it seem like the singer isn’t really there or isn’t noticed. There will be two main sets which will be a make shift bar and a corridor or a warehouse, with an open space to have enough to walk through.
As I’m going to a gig where the artist will be actually playing I will try to record some footage and incorporate this either at the end of the video or at the beginning so that there is some footage of the artist still in the video. For this it would be done on my phone rather than proper filming equipment. However it will add a fans point of view to the video.

Brainstorm

Audience Research

Shot Analysis of Kanye West's 'Runaway'

Shot by Shot Analysis

Concise Video Analysis

Dire Straits- 'Walk of Life'

The video shows to good effect crosscutting of the swooping of shots from different lines of action. The sports stars getting ready to play sport (American Football and baseball) and the band preparing to go on stage and this is developed throughout the video, cutting between band and sport out takes or funny moments.

The video echoes the narrative in the song. The song being all about the ups and downs that we face in everyday life! The ups are represented by the sports stars performing – however there are clips of them performing with less aplomb than usual – tripping over, fumbling passes etc. I feel that I don’t want to have such a close link in my video as how we want the world to be is very individualistic and if I portrayed it one way; others may dislike it and not watch the video.

With the number of shots of the band star image is promoted. I feel this is not an important factor for me in my video and I personally feel that there is close to the maximum film of the band performing in this video.

A variety of shots are seen throughout the video.

· The video uses to good affect Graphic Match in the opening clips. The lines of guitars linked with the line of baseball bats. The musician putting on the wrist bands – the sports man his gloves and placing his box in his trousers with the artist buckling his belt. These shots closely tie together the two elements of this video.

· Tracking shots follow the band as it moves from the dressing room to the stage.

· An overhead shot of the drummer, the coach walking along the side line and numerous sporting clips from an overhead angle

· Low angle shots are used to show despair of the coach with his head in his hands.

· Tilt shots of the guitarist, when having focused on his feet the camera tilts up and out to show a complete shot of the artist.

· Most of the pictures of the artists are heads and shoulders or close up. There are some shots where the band is playing on stage which can be termed mid-shot.

· The transition or editing is all straight cuts with relatively short quick clips to introduce the subject matter. This is an idea I would like to use in setting the scene quickly and to hold the audience guessing about what is going to happen next.

Aerosmith - 'Don’t want to Miss a Thing' 

Close links with the film Armageddon

Opening image – a Long take of the planet moving through space. It doesn't have much action but as it moves towards the viewer there is a feeling that it will come through the screen and the tension begins to build from the off.

The transition is by way of a quick dissolve from the planet crashing to Aerosmith appearing. Following this there are straight cut editing techniques between the performer and clips from the film Armageddon. The shots from the film briefly introduce and develop the story line As a result the climax of the film script is reached quickly without the viewer having to watch the film they can understand the action.

The video cleverly uses clips of the band superimposed over the original film. This gives the impression, through skilful editing that the band is in the film, viewed from NASA control room actually out there in Outer Space. This artistically links the film with the band and the song and unlike other videos from films which simply cut from the musicians to action from the screen. Later on in the video the back drop to the orchestra and the band appears to be inside a cavernous metal structure and leads the viewer to feel that this could be another area of the space craft seen in the film. Again this enhances the link between the band and the film.

The narrative of the song begins to link with the action on the screen as the musical score builds towards the chorus images of the leading couple appear saying their goodbyes and moving away.

The use of a variety of shots cleverly and skilfully enhances the singing and music. Overhead shots are used to diffuse the power of Aerosmith’s voice. Tilt shots (from above to waist height) bring the viewer back down as his voice softens. In contrast as the volume once more rises the camera tilts upwards across the flags.

Straight cutting of short clips builds the tension as the space ship takes off and the music once more builds towards a crescendo. At this moment the viewer is once again transported back into the film when watching the space craft launch smoke appears under the craft as it lifts. The following shot is of the band being engulfed by similar smoke. The thrust of the engines creating wind through the sectors hair, moving their clothing etc. is again echoed cleverly through this cross cutting technique to link the band to the film set.

The end of the video finishes with a reverse tracking shot leaving the actress alone in front of the screen.

Eagle Eye Cherry – 'Save Tonight'

There are many things from this video that I like and would like to incorporate into my own production. The video follows the singer who takes on a number of different characters. This is a base for where I wish to start my video, I will incorporate more and add my own twist onto it, but the way the tracking shot done through the use of steady cam has been done flows from one scene to the next. The reason that I’m inclined to continue with this idea is because of the way that it incorporates a performance element, as well as a storyline, running simultaneously together, this not only looks better than confusing edits back and forth from storyline to performance. It also on the other end of the spectrum doesn’t swing entirely performance related or entirely storyline. Another selling aspect of this video to me is the way in which edits are put together, for example he walks out the shot, seemingly heading for the door then an edit to outside where he has taken the place of another person. This keeps the singer alive and doesn’t mean that he has to keep the same character flowing, as well as allowing us to see different angles of the production. I really like this idea and would like to mould it into my own production however instead of the singer changing characters he would only change costume from set to set. This is so the star image of the artist is kept alive.

Lupe Fiasco – 'The Show Goes On'

This video has many aspects to it which I think both work really well and that I admire. Firstly the camera tracks the performer as he makes his way to stage. Other from this I also like the use of close ups to start the music video especially of the performer and how he is preparing for his performance on stage. I feel that this adds detail to the video and it is an idea that I’d like to develop into my own music video with a different element not focussing on the same things on different aspects that are relevant to my artists track. Another key factor of this music video which I feel could help me with ideas for my own music video is the performance element and how this is done on the way to the stage to the camera head on so there is an amalgamation of storyline and performance both running perpendicular to one another. The incorporation of live shots seemingly from a concert or gig, give the production a more real feel about it and this is something that I feel works well and also enhances the music video to a higher level. There can be some types of theory that apply and fit in with this music video for example Goodwin’s theory of music videos says there will be certain aspects that will be included. This video adheres to some of those statements for example ‘That there is a relationship between lyrics and visuals’. This can be recognised through the way in which he is working to the stage to perform a show and the lyrics to the song mean that the ‘Show must go on’. This is directly linking the audio and visuals together. This is a theory that I’ll be looking at and try to incorporate some of the aspects that Goodwin feel are paramount for a music video. Alongside this theory there is also loose connotations of voyeurism through the use of flashing cameras say that he is constantly seen and being viewed, this links to a star image with the camera flashing. This could have been intentional to build a star image and an idea of pleasure from watching the video or the artist.

Reasearch into the music industry

Research into Directors

Music video directors are used to supervise and direct the music for a video. However the combination of music and visual media is responsible to the musical supervisor. They handle, negotiate and incorporate audio with visual images, to create music videos.

Mark Romanek born September 18, 1959. Mark is an American music filmmaker who has had many notable achievements in the music industry in directing of music videos. He has 19 MTV awards, and 3 Grammies more than any other director. He is a cross-genre director not aiming or specialising in a certain area making him versatile and his abilities stretch further than others. His first music video 'Closer' by Nine Inch Nails, caused controversy among critics saying it was dark and disturbing however this was a reason it was so popular with the fans. The artists he has worked with are a wide range from Michael Jackson, Johnny Cash and Jay-Z, all of which have either proved him with award success or with praise from the fans or the artist. He has also been involved in feature films, directing 'One Hour Photo' starring Robin Williams, he has also been involved in various other films and is signed on to make a up and coming horror, thriller featuring Ben Stiller.

Notable pieces of work that Romanek has done within the music industry is to direct the claimed, most 'expensive' music video ever, 'Scream' by Janet and Michael Jackson, costing over 7million to make.

Other achievements include the making of Johnny Cash's music video 'Hurt' winning an award for best cinematography in the process.

Alongside these great successes he has also made the videos:

•  Coldplay - 'Speed of sound
•  Jay-z - '99 problems'
• Madonna - 'Bedtime story'
• Iggy Pop - 'Beside you'
•  David Bowie - 'Jump they say'

Spike Jonze was born in October 22, 1969. He is an american director and producer, and has been nominated for various awards. He was also a co-founder of director’s label, alongside Chris Cunningham and Michel Gondry. Currently Jonze is a creative director of VBS.tv. His music video portfolio consists of working with Jay-Z & Kanye West, Fatboy Slim, Kanye West, Weezer and the Beastie Boys. Spike Jonze has also been involved with majorly successful TV shows and films, including producing and co-creating Jackass the series and films. His music videos have been summed up by http://www.imdb.com/ as being 'off-beat in their visual storytelling, particularly their mix of live-action, animation, and puppetry.'

Some music videos Jonze has been involved with have been:

• Kanye West - 'Flashing Lights'
• Fatboy Slim - 'Praise You'
• Beastie Boys - 'Sabotage' and 'Sure Shot'
• Weezer - 'Island in the Sun'
• Ludacris - 'Get Back'

His most recent music video is Jay-Z and Kanye West's, 'Otis'. The video is up for nomination in the 54th Grammy awards in 2012, for Best Rap Song and Best Rap Performance.

Track and Permission.

This is a print screen taken from my sent box, in which I have emailed the managers of the artist Mikill Pane for permission to use his song ‘Blag It’. The email explains the circumstances in which I shall use the track and for what purposes. The contact information on his website www.mikillpane.com lists these two contacts as his managers. I have received no reply and can only take this is as acceptance to use the track. There has been no email stating any intent that I can’t use the track so I have decided to go ahead with the using of this track.

Below is the track taken from the artist’s Soundcloud page using the sharing link? I was drawn to the artist before the song and chose the song after going through songs in which I liked and secondly didn’t already have a music video for them. The first draw for this song is the strong back beat that overlays the track. It is a lively beat that is fast enough to use different music videos to, and most importantly it wasn’t to slow that I was limited to keep the video slow and flow with the music more.

Alongside this enthusiastic back beat, the vocals are clearly split into three clear verses and four choruses throughout the song. This clear change between verses was something that interested me as I could have a total of three sets/locations. This chorus is also very catchy and the story behind the lyrics is something that many people can relate to. This will help sell the single and the music video as it will allow an identity behind the song. This is a component of the users and gratifications model and will rally the audience behind the identity of something they have indulged in.

The lyrics of the song are very clever and flow seemingly effortless amongst verse and line. They are also spilt so that I can play around with a lot of matching the lyrics and visuals something which is present in Goodwin’s theory of music videos.

 

Overall I chose the song due to its upbeat, dance rhythm that allows lots to be played around with a fast video that coincides with the video or a slow video to contradict the pace of the beat. Also because of the lyrics and how the audience can relate to the meaning and how the lyrics can be matched to visuals on screen.

Non Music Video Analysis

 

Although this is not a music video instead it’s an advert for a newspaper, it illustrates the ideal concept in which I’d like to base my music video from. It follows the singer as he performs his song whilst on the move through various different sets and scenes where there are matches to the sets and props that are used and the lyrics in the song. This is a single long take of the performance and no edits which is where my production will be different as well as having different sets and props.
 

The way in which this is shot from a tracking side on shot whilst the singer is walking along the pavement creates the long take. As this is a multi-million pound newspaper and there was probably a high budget for this advert it means that the singer can have the entire sets and scenes all in one line and for him to only pass down the line once timing every scene to the song. As I’m on a lot lower budget I can’t afford to place all of the scenes in a horizontal line and have one take. This is why I have chosen to use the doors that the singer will go through as edits to another scene which wouldn’t be on the other side of the door that he opened instead it would only appear as an illusion that it was. This way I can cut down filming into days and work on one set for each day. There are a lot of videos that decide to use the long single take for a music video, and if done perfectly it can look extremely professional however as I will not be having the original artist I will therefore need to fine an actor that would be able to learn the entire song and fit it into the duration and the timings of the song in order to do one long take. I also feel that the edits will look good and allow more detailed lyric matches to take place such as the clothing of the singer where it will link with the song. 

The lighting in this video is all natural as it is all filmed from outside. I will need to use artificial light which will add a difference, this is due to the availability and timing to set up, film and take down the sets outside with limited help. It would be also harder to make the set outside especially for those that need more detail for example a club or a bar which will be one of the scenes.

The character base for this production is lots as they are able to pay performers and extras to be in the video as mine is a lower scale production I will be trying to create the same affect and the similar quantity with a much lower character base. This then links to the different scenes at different venues and being able to reuse the same characters in different roles. This is an example of utilising the resources I have to the maximal potential.

The props that are used in this production are frequent; this is the same frequency that I wish of my production linking in as many props to lyrics as possible. As well as having large props and even characters and sets that is mentioned in the song I’ll be using.

Video Analysis - Rihanna 'We Found Love'

Video shows the relationship of Rihanna and her partner. The video clearly shows the emotional turmoil’s as well as the ups and downs of relationships and love. The start of the song is a prologue from a young girl explaining an experience about love and partnership. It explains how love is hard and it speaks as if a break up or loss of love has occurred, setting a negative tone to the song from the outset. The song however kicks in later in a very vibrant and upbeat manner. As the song seems to follow the path of the couple and the song reflects the on screen images it continues with the prologue and shows the relationship as being beautiful and exciting at the beginning but turning into pain and heartbreak if it were to end.
Editing:

The overall editing in the video is done through straight cuts, however there is varying speeds at which the cuts appear, they start off slow and build up during the fast paced parts of the song where the beat is building to drop is an example of where fast cuts have been used until it drops into the heavy bass beat after. There is also the manipulation of certain shots, in which the shot has been slowed and sped up in speed the extension of time is an expansion of time. There could have been many reasons to this from the effect allowing a break from the normalities of the video conventions? This breaking of a mould could possibly have meaning that the video is a postmodern production.  Also could be an effect allowing us to see that scene for a longer duration possibly for importance. I feel that more a connection lies with the couple being in there own world. The entirety of the video they are shot together with rarely seen contact with other people. The performance of the song when Rihanna sings in the bedroom, and the use of superimpose is vaguely present, this is done with the projection of the sky over Rihanna whilst she performs.

Camerawork:

The video combines performance and narrative together it overlaps the use of the same sets. There is a greater percentage of narrative to the performance element. This is where my production can’t follow suit, due to my video being a debut video for an up and coming star which needs to create the star image around the artist. There is an abundance of two shots used throughout the video as the songs mantra is of love and a couple. All of these two shots shows the partnership and relationship that’s growing between the pair throughout the video It reveals to the audience that they are in love and as the title recites they found there love a ‘hopeless place’. There is often interjects of single shots mainly during the performance elements as this aspect is where the Star Image of Rihanna takes place. The mostly used shots include close ups and mid shots, these are used to highlight the theory of star image. Establishing shots are also used frequently as to set the scene for the various different sequences.  The overall feel that comes from the music videos camerawork is one of fluctuating moods from fast paced up beat action to the start long takes to create tension. There is lots of movement within the shots to add confusion to the viewer this highlights area of confusion around the relationship. Alongside the use of two shots there is also a mix of shot reverse shots and reaction shots mixed together in this as the song is very thought provoking and the characters are always together the shot reverse shot builds up the image of their relationship and relays it across to the audience

Theories:
The majority of the shots are close ups on the face, with inserts of imagery, this links to the theory posed by Richard Dyer about stardom. This use of close ups on the artist face makes them memorable and links to the other media they have including, posters, merchandise and CD covers.

The link to Steve Archer’s theory of repeatability this is linked in with the Voyeuristic nature for males and for females there are very fruitful scenes that are the leading up to sexual intercourse. This risqué approach leaves the audience wanting to watch multiple times and they’re left intrigued and satisfied.

Jacques Derrida’s deconstruction theory can be seen in the production there are two main binary opposites that are present in the video. Firstly the binary opposite of love and loneliness, as they don’t want to be with out love as they are together but at times it looks like they are close to the end of a relationship and the fight between which opposite drives there fear more until the final scene when a choice is made. The second binary opposites is male and female in this sense it’s the domineering position in the relationship and both want to be in this position and they are to alike to connect properly. These binary opposites

There are some postmodern conventions in the production for example I feel there is a non linear narrative in the sense that the prologue to the video talks about a break up and a negative experience with love. This is something which is present throughout the song and eventually with the walking out of the relationship. This makes the starting of the video the ending. Another postmodern code that I feel can be identified is the possible dystopian narrative, by which she finds love and yet ends up walking out therefore ending up alone. This links to the binary opposites of the love and loneliness argument. Is ‘We Found Love’ a postmodern text? Yes I feel that the video by Rihanna is a post modern text, whether intended or not there is strong bulk of theories and conventions from the postmodern era that are present in the video. This abundance makes is hard not to label the video post modern. 

Voyeurism:

Voyeuristic nature is used within the narrative; it’s used as the couple are intimate with each other. This voyeuristic images helps the viewer mainly concrete in there head that the couple are in love and romantically intimate. The scenes when it’s used are sped up as to give the feeling to the audience that although they are evidently in love that maybe this has been rushed into and not meant to happen yet. Another scene when typical voyeurism is used is when Rihanna is running into a field and she takes her top off, without having underwear on, this provokes the male instinct and makes in memorable to the male audience immediately. This also helps to link in with Steve Archer’s theory of repeatability.
Mise en scene:
The mise en scene used in the video, is mainly through adult related themes, and the narrative. The first major use of mise en scene in the video is through the use of pills in excessive amount. These pills bring the view of drug use and possible overdose. They also create a link with the song about addiction and being addicted to things, other things that can be addicted to are also used In the video. These include:
·                       Alcohol
·                       Drugs
·                       Smoking
·                       Gambling
·                        Sex
These are five main things that are both adult related  and things that can become addicted this theme is carried through to link with the song about love and being addicted.  These pills placed in then ties together the slowing down of time in the shots preceding the pills, strengthening the bond that they are either on drugs or affected by drugs.  
Develop, use or challenge forms and conventions?
The music video very much does follow all of the forms and conventions of music videos; it has a fast paced video that matches the pace of the song. There are lots of straight cuts between different shots and sets. There is little to challenge the conventions of the conventions it’s brightly shot with lots of shots of the artist to increase the star image. It also tells a story with the lyrics and the on screen image.

Shot Analysis of Childish Gambino's 'Bonfire'

Childish Gambino – ‘Bonfire’

Shot Number	Shot Type	Shot Length (in the bold is the shot finishing)	Description	Edit to Next shot.
1	Pan from right to left followed by a Zoom Out. Establishing Shot.	0:00 to 0:15	Introduce character and zoom out to reveal setting.	Straight Cut.
2	Mid shot.	0:15 to 0:27	Shows the character being sick, and in distress.	Straight Cut.
3	High angle shot that zooms down into a mid shot.	0:27 to 0:37	Follows the characters eye line of the screen to reveal a noose.	Straight Cut.
4	Tracking mid to long shot.	0:37 to 0:45	Following character walking and reveal more setting.	Straight Cut.
5	Tracking Mid shot.	0:45 to 0:48	Shows character confused and calling out.	Straight Cut.
6	Long shot zooming in.	0:48 to 0:51	Highlights that’s he is alone from long shot.	Straight Cut.
7	Tracking long shot to mid shot.	0:51 to 0:57	Again following the character as he moves through setting.	Straight Cut.
8	Tracking Mid Shot.	0:57 to 1:01	Shows the character from all angles so we know he is alone.	Straight Cut.
9	Close Up Shot.	1:01 to 1:03	The character has spotted something and the close up identifies this.	Straight Cut.
10	Long /Establishing Shot.	1:03 to 1:06	Reverse shot to see what the character was looking at.	Straight Cut.
11	Mid shot to close up zoom.	1:06 to 1:09	Shot of the people that the lone character has spotted.	Straight Cut.
12	Close Up Shot.	1:09 to 1:11	Single shots of the group of people.	Straight Cut.
13	Reaction Shot.	1:11 to 1:13	Shoes the joy that the person has found someone as he was lost.	Straight Cut.
14	Long Shot.	1:13 to 1:16	Long shot shows how far the people are away. But another character comes in closer to shot with a knife.	Straight Cut.
15	Reaction Shot.	1:16 to 1:18	The mood of the character has changed to worry.	Straight Cut.
16	Close Up Shot of Legs.	1:18 to 1:20	To reveal the knife and the person holding a noose. Walking towards the group of people.	Straight Cut.
17	Reaction Shot.	1:20 to 1:23	Shows the worry again and that he has to act to help these people. He is trying to call out.	Straight Cut.
18	Tracking Long Shot.	1:23 to 1:24	Shows the character running after the hooded man with a knife and the group of people.	Straight Cut.
19	Mid Shot.	1:24 to 1:26	Shows the character tripping over something and becoming injured.	Straight Cut.
20	Long Shot.	1:26 to 1:27	Shows the character falling to the ground.	Straight Cut.
21	Zoom from Long to Close up Shots.	1:27 to 1:29	Reveals the group of people is being told something scary.	Straight Cut.
22	Close up Shot.	1:29 to 1:31	The agony of the character that fell over.	Jump Cut.
23	Close Up Shot.	1:31 to 1:32	The agony of the character that fell over.	Jump Cut.
24	Close Up Shot.	1:32 to 1:38	The agony of the character that fell over.  He also finds a pocket knife on the floor.	Jump Cut.
25	High Angle Pan.	1:38 to 1:41	To show the character getting back up and chasing after the man.	Straight Cut.
26	Tracking Long Shot.	1:41 to 1:44	Follows the character on his chase.	Straight Cut.
27	Long Shot.	1:44 to 1:45	Long shot shows how far he has to go and how fast he is going.	Straight Cut.
28	Long Shot.	1:45 to 1:47	Long shot shows how far he has to go and how fast he is going.	Straight Cut.
29	Zooming in Long shot.	1:47 to 1:50	Builds up tension that they don’t know someone is coming for them.	Straight Cut.
30	Mid Shot.	1:50 to 1:52	Facial expressions of the group as the go on without knowing what is happening.	Straight Cut.
31	Long Tracking Shot.	1:52 to 1:54	Tracking shot follows the character in his chase.	Straight Cut.
32	High Angle Shot.	1:54 to 1:56	The group of people still unaware of what’s going on.	Straight Cut.
33	Over the shoulder shot.	1:56 to 1:59	Of one of the group to see the person who is telling a story.	Straight Cut.
34	Low angle to High angle tilt.	1:59 to 2:02	Shows the scared nature of the group from this story.	Straight Cut.
35	Close Up Shot.	2:02 to 2:05	Close up shot of the noose which links to the noose from earlier on which could have links to this person doing it before.	Straight Cut.
36	Tracking Shot.	2:05 to 2:08	Showing the character running through the woodland.	Straight Cut.
37	Mid to Close Up Shot.	2:08 to 2:12	Shows the character come to a stop from a mid shot to a close up as he looks for where the group are and the hooded man.	Straight Cut.
38	High Angle Long shot.	2:12 to 2:14	Showing him running again to prevent something happening.	Straight Cut.
39	Long Tracking Shot.	2:14 to 2:18	Showing the character slowing down and changing direction to the group.	Straight Cut.
40	Long Shot.	2:18 to 2:20	Showing the hooded man getting closer to the group of people.	Straight Cut.
41	Mid Close Up shot.	2:20 to 2:22	The character scared that he is getting closer.	Straight Cut.
42	Over the Shoulder Shot in reverse, Two Shot.	2:22 to 2:26	Shows the character running up behind the hooded man over the knife in his hand.	Straight Cut.
43	Mid Shot.	2:26 to 2:30	Of the character making it to the group and shouting.	Straight Cut.
44	Mid Shot.	2:30 to 2:35	Closer mid shot of the group unaware that the character is directly next to them, shouting.	Straight Cut.
45	Close Up Shot.	2:35 to 2:37	Showing the group still scared and not noticed the other character.	Straight Cut.
46	Mid Shot.	2:37 to 2:40	Of all the characters as the hooded man runs up and scares the group not attack them.	Straight Cut.
47	Close Up Shot.	2:40 to 2:41	Of the reaction of being scared on the group.	Straight Cut.
48	Mid Shot.	2:41 to 2:43	Of the reaction of being scared on the group.	Straight Cut.
49	Close Up Shot.	2:43 to 2:45	People in the group laughing that they got so scared and it was only a joke.	Straight Cut.
50	Close Up Shot pan into a two shot.	2:45 to 2:49	The character understands that he is in fact dead and that the scary story was about him.	Straight Cut.
51	Mid Shot, zoom into close up.	2:49 to 2:58	The group leave as they don’t know that he is there and character is left confused that he is actually dead.	Straight Cut.
52	Close Up Shot.	2:58 to 3:03	Shows the character sad and then start to get dizzy and fall.	Straight Cut.
53	Zoom Mid to Close Up Shot.	3:03 to 3:13	The same shot as the opening shot of the character on the floor with the noose showing he is in a cycle.	Straight Cut.
54	Title Shot	3:13 to 3:16	Name of the song.	Straight Cut.
55	Title Shot	3:16 to 3:19	Name of the director.	Straight Cut.