Alina Akbar 18008497
The song is lovely, I want to create a visually strong video combining narrative and experimental filmmaking techniques. Juxtaposing a visually strong/dominant female actress to experiences which bring out her inner vulnerability and struggles, taking us on an emotional journey with continuous references to eyes/looking. The vulnerability is further explored through an abstract dance piece. Colour grading and lighting is important to set the tone
Scene 1 – Antique store or Jewellers
The intro really gave me a vintage vibe which I loved so for the music video I want to show this through an antique shop/traditional jeweller setting! The camera will follow the actor into the store and establish the setting with B- Roll shots of what’s around and details of the woman as we get to know her. This leads us into the exchange of her not buying luxury items to our surprise but actually pawning them, taking her own jewellery off as well as an intense plead with the man behind the counter as he does not accept one jewellery box. She leaves the shop with some money and we also see the refused jewellery case leave with her.
In this scene we see the first references to eyes/seeing as the man inspects her jewellery diamonds using magnifying glasses etc. This scene takes us up to around 50 seconds into the song.
Scene 2 – Car
The woman gets into a car (“taxi”) which has not yet moved where we begin to see her internal demons at work. Strange hands, a phone flash, someone with binoculars, someone with a camera all are seen through the inside windows as if we are in her head. Possibly using a low shutter speed to highlight the difference between reality and what she is seeing as this will create blurred laggy footage. We see the case multiple times but never reveal what’s inside.
Before the beat kicks in at 1:27 we see a smooth transition into the dance scene through going into darkness and then into the new location. The dance is set on a straight corridor style path often seen outside flats, this will hopefully allow for the dancer (same person as the actor) the make use of bumping into pillars and walls inspired by the similar scene featured in Bonobo – Karela; using similar editing methods adjusting to the pace. Keeping a gritty experimental style to juxtapose the elegant narrative form she was first introduced in.
I will use my gimbal to follow her movements so that everything is smooth. Using cutaways and being able to jump back to the car scene will give enough scope for the edit. This combination continues until 2:50.
Final Scene 2:50 – End
As things start to blur more and more all round, in both the car and dance through the use of different shutter speeds we see the woman run from the taxi into the dance scene location. At this point she meets a car where we see her trade the money and again plead for them to take the jewellery box as a form of payment (in exchange for drugs). At this point it is revealed what is inside; preferably a weird antique glass eye prosthetic but a eye ring will also work.
An example of low shutter speed footage I have mentioned throughout with a link to a test I did to make sure I know how to execute it. I tested in a much darker setting but the same effect will work in more lit up areas/during sunset.
A gimbal will be used throughout to maintain a high quality production level; here are some links to music related work I have shot using a gimbal
I hope to use this dancer I know and have worked with previously. I also know she has acting abilities and is very very confident in front of the camera.
A middle aged white man for the jeweller scene
Anyone male can be used for the final scene as it will only show hands/over the shoulder