MUSIC VIDEO TREATMENT | Rachel Chinouriri | Through the Eye

MY INTERPRETATION OF THE SONG:
An individual desperately craves help but has resigned to the idea that she is alone, and so makes the decision to accept her situation and deal with those feelings by herself. An emotional and empowering personal journey expressed through dance and eye-catching visuals.
NARRATIVE
The video will feature one character, played by professional contemporary dancer Zoe Baptiste.
The video will begin with a close up of a girl’s eyes. The camera steadily zooms into her pupil, revealing a dark black void. In the centre of the darkness lies a girl, alone and lost. She rises from the ground, her movements perfectly mirroring the hypnotic beat. Sensorial and delicate contemporary-style dancing. Smoke and dust begin to rise and swirl around her, pulsing with fiery red and orange hues. The characters’ movements becoming bigger and more confident. Through the thick smoke she can see what appears to be a field with a beautiful sunset, ebbing in and out of existence like a mirage. A lone figure awaits her, silhouetted against the sun. She continues to dance, big movements and a show of determination as she fights through the warm smoke to reach her freedom. She reaches for it, desperation and longing in her eyes. Too late. The mirage disperses into the red smoke, and the red hues are replaced by solemn blue tones. Her dancing becomes more emotional and erratic, almost violent. Her expressive face emits a silent cry for help. Through the blue fog, the beautiful sunset mirage reappears in the distance. The lone figure awaits her. This time she rejects them, turning her back on the figure and the beautiful sunset. She continues to dance, but this time it’s relaxed, natural, evoking a sense of acceptance. The blue smoke becomes a bright golden yellow, closing in on her and becoming part of her. As the song comes to an end, the dancer sits back down and the smoke dissipates, leaving her once again in the black void. The golden smoke is still within her, giving her an ethereal, pulsing glow. The camera slowly rolls back, out of the girl’s pupil, perfectly mirroring the beginning.
VISUAL STYLE:
In terms of visuals, I would play with the speed of the footage to reflect the mood of each sequence, speeding up and slowing down with the ebb and flow of the melody. Jump cuts, reversed shots and some repeated shots would capture that slightly jarring effect inspired by Benobo’s Kerala. I would also use After Effects to enhance the visuals, experimenting with some mirroring and compositing effects to create some kaleidoscopic visuals which will stylistically portray the confusion felt by the character.
“SMOKE & MIRRORS” Sizzle Reel
Please watch my short sizzle reel in the link above which shows some similar work I have done in the past, using light, smoke and colour for visual effect.
The link above shows my capability using Adobe After Effects to composite visuals, and also shows that I can capably achieve the ‘golden glow’ effect alluded to in the narrative section of this treatment.
I would use a Panasonic Lumix GH5 to capture 4k resolution footage, equipped with an array of lenses (including some adapted Vintage Soviet lenses) which should give the image a unique texture. A DJI Ronin S gimbal stabiliser would be used for some select shots, allowing for beautiful, free camera movement through the layers of smoke and fog.
For costume, I believe bold simplicity would be most effective, a long flowing white dress which would stand out against the darkness and the colours in the backdrop and also compliment the movement of the dancer. I would consult with a fashion designer I have worked with in the past who could perhaps craft something more elegant (West Indian-inspired fashion designer Sidnie Co Couture).
TIMEFRAME:
I am absolutely certain that with a two-day shoot and a few solid days of editing I can produce this film within the timeframe specified. I will also have a team working with me, which would definitely speed up the process and allow for more creativity during production. I have access to a studio where I can arrange to shoot in, and have all the lighting and smoke technology needed to create the visuals. I have also discussed this idea with the dancer I have in mind for the part and a professional dance choreographer who are both more than happy to be involved.
COVID-19:
We can easily adhere to industry Covid-19 regulations during production. The space where I want to shoot this video already strictly enforces COVID-19 guidelines throughout the building including hand sanitiser stations, good air ventilation and regular cleaning. The crew would maintain distance while wearing masks and be fully briefed on the risk assessment beforehand. The performer and choreographer would be given enough space to work without coming into close contact. All crew members will have specific equipment to handle (e.g camera equipment, lighting equipment, etc) and all equipment will be cleaned before handing over, minimising any contact between crew members.
Danny Turner – 20052515