Editing

We uploaded our footage onto the final cut server system which enabled us to edit our footage (3h 34min) from any computer in our school. We at least spend 26 hours over the 4 weeks we had been given to edit our pop-video. I probably spend over 7 hours working on our footage and tried to make it as sharp and edgy as possible.

We used Final Cut Pro to edit our footage. Final Cut Pro is a professional editing software that is used in companies such as 20th Century Fox or accomplished directors like the Coen Brothers. We first logged all our shots which made it easier for us and enabled us to work very precisely and organized. Then we dragged our shots onto the timeline and manipulated shot length and order. After our fine cut was finished we used Adobe After Effects to colour correct our footage. We did this to create some sort of continuity editing.

We stacked very much to our storyboard in terms of shot order. This gave us the opportunity to work fast and efficiently. After we had the complet cut following the story board we added extra shots that made the video more fast and quirky.

When we finished this we had our rough cut. We watched it several times and went over the meanings we were trying to portrait. We decided what did and what did not work and than made appropriate changes.

After we made all these we finally came to our fine cut. We found that we had big improvements and were able to give our pop-video a certain flow through the use of precise editing. WE sometimes just cut one or two frames out however these changes made a big difference.

Our song was about a girl that tried to entertain herself and to make her self happy. We decided that she would perform and watch herself perform the audience however would not know that it it her watching herself on a screen this would be revealed later at the end of the pop video. Kuleshov says that 70% of the meanings are portrayed visually so we thought about how we can convey those meaning through the use of the composition rules.

One composition rule is that left to right tracking stand for the protagonist. This is because we read from left to right so our eye is used to that kind of motion. When something is placed on the right side of the frame it is associated with the antagonist or some sort of unusualness. We use this to subvert the conventional expectation of a pop-star and to make it clear that it is not a normal pop video. We also let her crawl from the right to the left side of the frame this makes her more interesting and edgy.

We also use different shot types to introduce our artist. For example we out focus on the physicality of our artist through the use of tight close up of her hips etc.

Different meanings are portrayed through different colours. Use a light blue as our background which normally stands for peaceful, quite, introverted. This however is completely the opposite of what were trying to achieve. This is the beginning of the song where we start quite and aclm and that transform into a completely different mood. This is also shown through the use of colour because the room gets painted in red (outgoing, physical, active), yellow (quick, alert mind, sunny/bright ideas), Purple (creative, spiritual), etc. This is how we use colour to convey meaning.

We also apply the rule of thirds in our pop-video in this shot our artist is on the second hotspot and the end of the opened door on the first hot spot.
In this shot we heighten the importance of “whats is in the next room” by putting the opend door on the first hot spot. Our artist is still on of the key elements of the frame but not ne main focus in this shot. The shot creats a mysterious atmosphere and raises philosophical questions such as “Where are we?” and “Why are we here?”

We also used different editing techniques to convey meaning and to manipulate the feeling of time, space etc. Most film use continuity editing. This editing style aims at making cut less obvious and nearly invisible. However we are using discontinuity in order to explore the artificial world our artist is in. Through the use of jump cuts and dress changes between cuts continuity is broken and therefore time and realism are ignored.
We also cut tightly to the beat in order to create a certain flow however in some parts we deliberately decided to subvert this convention (raised by Negus). We did that because we wanted to create an extraordinary piece of work that goes against the norms. Barthes would describe that as juissance. An audience gains juissance through subverting the conventions and plaisir when these conventions are imitated.
We also sometime decided to hold shots longer on certain events. This was done because we wanted to heighten the importance of these aspects. Normally shots in pop-videos are 2-3 seconds long we sometimes held them for 4 seconds or longer which made the difference.

Shoot Day

In our school we have half a day to build the set and set up the lights, and then one full day to film and 2 hours to strike the set. Even with this generous allowance we worked hard at all stages. We arrived at the set which we had already built on the day before. We were checking if our lighting was appropriate to our pop-video and explained to our actress what she will have to do, what she will have to wear etc. Very important was the setting up of camera one which would not move during the whole music video. We set it up in the middle so the shot would capture the action form a frontal position. We had to make sure that nobody during the whole shoot would move this camera otherwise the jump cut effect that we were panning on doing later in editing would not work.

Our set was a blue room whit two yellow doors on each side. We decided not to fill the room with props etc because we wanted to put the focus on the artist. However we had to be careful interns of continuity problems. After approximately 35 seconds we were planning on throwing paint against the walls so we had to make sure that before we shot this scene that we had all our shots without the paint at the wall.

After we set up the little blonds at the top of the studio we tried to avoid shadows, however this was very hard to do because we did not have enough fill lights. Then we set up our cameras (Z……). We did not have to role the tape over etc. because we had the comfort of shooting digitally. We adjusted the shutter-speed, frame rate- exposure, focus etc.

I was responsible for camera 2 which would get close-ups of the artist or cut aways which we would use to reduce the shoot length later in editing. The average shot length in a music video is about 3 seconds. We break this convention at some point in order to show that our artist is different. I chose camera positions and angles however we did not have any tracking shots in this video because it would not suit the style we were trying to achieve.

I also tried to tell our actress how "flirt" with the camera and helped her to understand the main objective of the pop video. We divided the work in separate part. One group member was responsible for the dresses (costume designer), the other one was responsible for the playback.

Then there was the set change. Because we layered our pop-video we needed to change the set. The footage we had shot it set number 1 would be projected on a green screen later in the editing process. Set 2 consider out of a blue screen and red cinema chairs which we had order from a specialist shop. This is all one shot however it took nearly as long as the actual pop-video shoot. We told our artist what to do and how to behave. Then we placed her on one of the chairs and lit her and the green screen properly. It is very important when shooting a green screen that it is lit equally and that the artist does not wear anything that contains green as a colour. There are many ways of determining this. We looked through a darkened piece of glade which helped us to see variable slightly better. The simplest method to use here is to rely on the exposure zebras in the view finder. It was very important that we would maintaining the value of the light corma key. the lighting should enhance the colour green which makes it then easier to key the green elements out later in post-production.

One major issue which hew had to overcome was that our shooting day was at the same day as our two artists and my math exam so we had to work around this. We started shooting 2 hours late due to the given circumstances. We had to make sure that everything was carefully planned and ready to work with out any mistakes. I relied in this case on my two other group members and that they would use the 2 hours of "spare time" productively, which the did. Because we planned everything in such great detail we were able to stick to our timeline and story board which enabled us to work fast and precisely.

However we sometimes got confused because our pop-video did not have a clear narrative, but we were able to look up structure, shot types etc in our call-sheet.

Even we planned everything carefully our intention of no mistakes and no arguments was not fully met. I was suggesting little changes and new ideas which created a little argument within the group, however we overcame this problem by just trying these new ideas out after we shot our main footage.

Also one major problem was that visitor that came to watch the performance had accidentally moved our camera 1 which was supposed to remain in the exact same position through out the whole day. We tried to create the exact frame as the original however there are still slight differences which we have to change in post production.

One shot that really worked was when our artist crawls on the floor. She craws toward the camera from the right of the frame to the left. This low angle shot puts her in a superior and mysterious position. She also crawls form right to left which indicates some sort of edginess, difference in terms on norms etc. Through the use of this shot the audience is introduced to the fact she is different and extraordinary.

Another shot that worked well was when our artist is dancing the shot tilts up her body which puts focus on her body and slightly objectives her and puts foes on her female characteristics. The shot is shot really tightly and we cut to a wide directly after this. Which show the whole image of the artist.

One shot that did not work was when we filmed the colour splashing against the wall. Because the colour dies not splashed the way we want it i to splash against the wall we had to take separated shots one where the drum with the colour on time is hit and another clasp of colour hitting the wall. We realized later that the colour does not hit the wall in the right angle.

All in all our shooting day went well. We had to overcome problems and mistakes but because we planned everything carefully we were able to cope with this difficulties. I do no think that our pop-video is appropriate for a mass audience and has to be seen with different eyes. it was not an easy idea and maybe we would have done better if we would have chosen a more conventional idea. But we set us this challenge at did very well.

The structure of the music-industry and how my pop-video fits in

Music is the most consumed medium in the industry. It influences people's life-style, views and even shapes their personality. Music connects people and forms little forums. It even leads to an imagined community, according to the theory of Anderson. Musical taste can be a controversial topic and almost to the point of tribalism. It is contentious because it defines and often signifies personality and lifestyle. Musical taste is about the way people dress, speak and sometimes behave. However all commentators agree that Music and its trend - sit at the epicenter of popular culture. Not only to the extent that an individual can derive a sense of identity but to the extent the global community can be changed by Musical trends.

One of the main questions we have to ask ourselves is music inspirational or perspiration. ;amy critics believe that music and industry are in many ways incompatible terms. The reason for this is a dynamic tension that exists between the artist and commercial forces of underpins the suc

cess of this cast media business.

Music is either organic or synthetic it's either focused on the actual music or shaped in order to gain the biggest amount of money . Another feature to consider is the music industry "synergetic connections" with other media forms. THis means the connections to ther media forms such as radio, television, films etc. Products of big studios such as Universal can mutual rely on other formats. Synergy tries to get the band onto

the appropriate music program for the target audience.

The pop video is only one strand of an often mulitmedia campaign that tries to make the band or arrest more famous. There are sometimes conflicting forces behind music and media creation, A major question is "how significant is the pop video as a text or product within this scheme?" The answer would be: "Very important". For example we are using our pop-video to present the artist. According to Kuleshov 70% of the meaning is conveyed through images. In ur pop-video we try to establish Camille as a character. This is done by a lot of close-ups of her. The music industry has realized that it is not only just about selling the song it is about selling the whole package such as, Image, Style, Artist and ideological views. In order to gain a mass audience controversial topics are avoided. When is Beyonce for example singing about war or social- political problems? Artist that question society are more likely to be consumed by a smaller audience. The focus is put on the meaning not on the image or revenue.

The music industry is dominated by 4 trans-national corporations (Universal, Sony, Warner Bors and EMI). These are known as "The Majors". They spend huge

amounts

of money ($1000000-$500000) on the production of the music video. Most majors also own, license, a string of smaller subsidiary companies in order to reach different kind if audiences in different genres. These companies are known as "major independents". The budge of music video would be $100000-$50000. There is also a large number of small companies with little or no financial connections to the majors. The are ferried to as "Mini-Ind

ependent". They concentrate on a small number of artists within specialized niches in the industry.

Camille is put under contract by Virgin Records (www.virginrecords.com) a subsidiary of EMI which is a conglomerate of EMI film and EMI records. This reinforces the nervy between the different formats andhelps to broaden the song to a wider audience. However I would describe Camille as an independent artist who is not shaped by the record label such as JIS or other artists. She is more organic reasons is the use of French language in her song. In order to gain an international audience the use of the English language in a song is highly recommended.

The music industry as whole has a complex relationship with a number of different midi purposes (Radio, TV, Print MEdia, Film and New Media). The energy between different media is highly important in order to ensure success. We are trying to establish a band that is "real". We are aiming to represent the brand of the band and the son and its meanings. Our artist chooses to talk about controversial topics sic as the attacks on the 11th September. This makes it less likey to be consumed by mass audience.

The purpose of a music video is to promote specific singles and

normally an album, to promote a specific artist or band, to create or adapt into a "star image ", to entertain as a product in its own right and to reinforce or undermines the meaning of a song.

However pop videos are becoming defunct and irrelevant due to internet downloading an through manufactured programs with live feeds.nThe media will explore other ways to introduce a

nd represent their stars in more effective ways. The music industry has also suffered through the increase of illegal downloads and also thorugh the slow decreasing of Television ratings. The music industry has to choose another medium where they can show the video. Sources like "YouTube" are already used effectively to get people to introduce the population to a new face.

Call Sheet

The Call Sheet is the Bible of the Shooting Day. We come back to it at any point. Everything that we have planned such as props etc is in our call sheet. It makes the shooting day run smoothly and faster so we can be more productive.
The Call Sheet contains:

Title Page

Contents List Page of the Call Sheet

Production Team Page

Studio Set Plan

Lighting Plan

Props, Wardrobe Page

Schedule For The Day - Times, Places, Shot List

Storyboard Pages

Words Of The Song

Shot List - Order Of The Shooting Page


CALL SHEET
Ta Douleur

16th November 2010-11-02

Production Group:
Felix Klinkhammer 00491726496363
Victor Stromberg
07769790244
Tess Lomas
07721733251
CAST LIST
Ruby Kammer - singer
Alistair Toovey – band member
Lukas Dressler – band member
Oscar Jackson - drummer

STUDIO SET PLAN
Coloured room/theatre with doors either side + cinema seats

LIGHTING PLAN
Warm/vibrant lights. + Projector light in FX.



PROPS AND WARDROBE
Clothes from costume studio at Radnor
Suitcase
Paint
Tool Box
Confetti
Frog
Ladder
Trapezium
Bike
Juggling balls
Cardboard box

SCHEDULE
Monday 15th – 3pm onwards Studio set up
Tuesday 16th – 9-11 Shots of band members
11-1 Studio first layer and performance
1-1.20 – LUNCH
1.20-3.00 – Studio Performance
WORDS OF SONG
Lève toi c'est décidé
laisse moi te remplacer
je vais prendre ta douleur

Doucement sans faire de bruit
comme on réveille la pluie
je vais prendre ta douleur

Elle lutte elle se débat
mais ne résistera pas
je vais bloquer l'ascenseur...
saboter l'interrupteur

Mais c'est qui cette incrustée
cet orage avant l'été
sale chipie de petite soeur ?

Je vais tout lui confisquer
ses fléchettes et son sifflet
j'vais lui donner la fessée...
la virer de la récré

Mais c'est qui cette héritière
qui se baigne qui se terre
dans l'eau tiède de tes reins ?

J'vais la priver de dessert
lui faire mordre la poussière
de tous ceux qui n'ont plus faim...
de tous ceux qui n'ont plus rien

Dites moi que fout la science
à quand ce pont entre nos panses ?
si tu as mal là où t'as peur
tu n'as pas mal là où je pense !

Qu'est-ce-qu?elle veut cette conasse
le beurre ou l'argent du beurre
que tu vives ou que tu meurs ?

Faut qu'elle crève de bonheur
ou qu'elle change de godasses
faut qu'elle croule sous les fleurs
change de couleur...
je vais jouer au docteur

Dites moi que fout la science
à quand ce pont entre nos panses ?
si tu as mal là où t'as peur
tu n'as pas mal là où je chante !
SHOOTING ORDER
CAMERA POS 1(when she’s in the room) – 1,2,3,4,5,11,13,15,20,21,22,23,24,25,26,27,28,31,34,36,38,39,44,45,46

CAMERA POS 2(film) – 7,8,9,10,12,14,16,17,29,30,32,33,35,37,(41), 42,(43), 47,48

CAMERA POS 3 (chairs) – 6,18,19,40,41,43

CAMERA POS 4 (towards chairs) – 44,50.

Set Building and Lighting Design

We chose a theatre as a set. This is however not very cheap and hard to create in the studio but it is worth a try was the conclusion we drew from the conversation with our set designer. He as the set builder and lighting designer knows what is possible and how a certain atmosphere is created. We were listing typical characteristics of classical theatre and objects that connoted a theatre like atmosphere. Things like Red-Chairs- Red heavy curtains and of course a stage came into our minds. Because of the fact that our video is divided into two layers we have to create two different sets. One is our main set where we have just the stage this allows us to shoot from a wider angle. Our other set is just the theatre chairs and a green screen in front of the wall where we can project on the footage which we shot in our main set. Lighting wise we thought of a warm golden wash which establishes the theatre like world. We also decided to bring spotlights in which is typical for theatre work.

We are trying to confuse the audience by making them think that the action takes all place in a theatre but it is actually a cinema with a huge screen. In order to reinforce this bizarre world we although thought about the “Ames Room Illusion” which is an optical illusion that creates false depth cues and causes perceptual mistakes. It was an idea that we came up with in order to make the audience doubt the usual expectations. Unfortunately we wound out that it is to hard to build so we decided not to use it. Even if our idea is not very simple to explain after several examples talking him through the whole video he understood our objective and our main aim. After this we talked about the cast. We are planning on 1 main actor and 3 actors in the background dressed as pantomimes. We choose a English-Italian female student for our main role. the reason for this is she has a very exotic and interesting quality, works on camera, can dance and speaks french fluently. These characteristics are perfect for our video and help us to establish the character in greater detail. However the problem with that was that she is very busy person so we had to match shooting days to her schedule. Our three pantomimes consist out of 3 boys. This gives a visual contrast to the singer. One of the can drum the other one juggle and the third one can dance. Here we have 3 visual elements that make our pop video watchable and visually more interesting. Of course this process did not occur without any problems, but we so those as challenges which were proving individual and group abilities. For example we had to over come the problem relocating the pop shoot which needed a lot of planning. We perfectly suited the time schedules to be as productive as possible. Everything we do is like little puzzle piece and will add to the final picture!

Design Plans

We draw the studio design for a birds eye vie perspective, this helped as to organise and allocate props etc. The set out is quite simple because most of the attraction lies with the performance of our artist. We tried to create a theatre like atmosphere. In order to achieve this we got three rows of red theatre chairs which look on to the stage. The stage also reinforces the theatre location. We planned in one door on each side one used as an entrance and as an exit. Another reason for the two doors is that we want to create a certain feeling for depth. The 2 exists and entrances give the feeling of an outside world which reinforces the weirdness of the absurd world that is occurring in the theatre. We also draw our backstage are which is essential because we have to store our props and other artist there.

Our lighting design is very much like in a theatre. We light the stage quite

bright and the seatsare keept dark so you can just see the outliens of the chairs an people. The lighting of the stage is going to be a warm washlight and consists out a couple of soptlights to put the focus on the artist.
However because of the factthat we use a green screen where we are going to project the video on we need to light it very carefully. Green screen needs to be light very right and on an equal level if this is not the case it will be hard to project something on it later in post production.

Camera Test

We used a camera test in order to find out whether the cast looks good on camera, is able to being directed and if the studio design works roughly. We also tried to recreate the set slightly by putting up chairs in rows in order create the feeling of a cinema or theatre. Then we let our actress perform while we played the music out loud. During this we told her to perform and gave her different emotional states which she had to express by dancingor facial expressions. We put our focus on weather she worked on camera and if an audience could connect with her. Even though if she was nervous and unprepared we came to the conclusion that she suited our style and genre. We tried out several shots and mad her turn up in front of the camera etc. wanted to find out if our actress suited the style and genre of the music video. We played the music out loud and told our artist to dance, move, and lip sync. This is what she will do in the actual shoot. She was supposed to act

playful and mysterious. We set up a simplistic version of our set which was a row of chairs and told Ruby to interact with her “double” which was placed on the chairs.

We told her to jump and hide under the chairs, suddenly turn up in front of the camera and dance. Ruby performed in front of the camera however she performed to her “double” sitting on the chairs. We changed camera angles and positions in order to find out which shot worked best.

We wanted to see if our acteres was able to convers with her "double" (her oserselve) and if the juxtaposition worked of he being enrgetic and loud and her otherself more observing. We looked for the best shot that would portail this meaning.

However we did not have the opportunity to test all of our artist. We decided to pick a dancer, drummer, gymnast. This would be advantageous for our quirky pop video. The 3 different elements make the stage performance more intereseting.

We are not able to put up a video of our camera test becauase the school system lost it. Otherwise it would be here

Storyboard

Storyboards are used to visual the images that will appear on the screen. You work out the types of shot, the angles, the camera movements, the mise en scene, the colours and shapes, anything and everything.

Storyboards are where the real work happens. Storyboards are much cheaper to experiment with, to try things out than messing about on the day of filming. A piece of paper and a pencil and a storyboard artist cost a lot less per day than the million pound a day that will be spent on movie.

Pop Videos are just the same. You work out all the shots on the storyboard before you even begin to think of filming. You spot the mistakes, the things that don’t work, and put them right in the storyboard before you film. It is a bit like creating a puzzle or a plan, which you shoot to, and then you put the puzzle together afterwards. The Storyboard builds on the timeline and is used to visualize the shots.

For example we drew a long shot which

is used to put focus on the physical actions carried out by the artist. We use jump cuts in order to reinforce the absurd world the artist is performing in. This is made clear in our storyboards. We go from Long Shot to Mid shot from Mid Shot to Close-Up. We make clear in our storyboard where and how the artist is moving. This is done by white arrows that point in the direction t

he artists moving. We are using close-ups in order to introduce the unknown artist to the viewers.

Another Example are tracking shots which we use to create a smooth and comfortable atmosphere this is however juxtaposed by the actors performance and editing techniques. We track from right to left which is comfortable to watch for the audience. We also use a tracking shot in order to reinforce the unexpected twist that occurs in the end. Tracking is signalised by black arrows that point in the direction of the track.

I found this link on the internet it is the storyboard prodction of The Lion King

These videos describe how to storyboards and the process of pre-producion.

Timeline

In order to be able to visualise our ideas we created a timeline. This helped us to add a structure into our pop-video. We first wrote down the words of the songs and tried to link lyrics to verbal descriptions of the images. In our timeline we decided how long a shot would be and weather the editing would be fast or slow. The normal duration of a shot in a music video is 3 seconds our introducting shot is 8 seconds long, in extreme slow motion and shows the artist jumping. This shot creates the feeling of flying. All these thoughts are written down in our timeline and are used to help us to structure our storyboard. Our shot length changes towards 30 seconds we chose to do that to increase the tension and speed the pace up.

Through that we can see if it works or not if actions match to the lyrics (which the do not have to) or, if editing fits to the beat which is common in pop music videos and creates a flow. It gives information about Shot types, camera movements and angle.

For example, we counted the number of closeups which we needed because we must introduce the new artist. Doing this helped us to present the artist clearer and more effectively. In one shot we have a extreme close-up of her lips through the use of our timeline we know exactly when the shot will occur and what the lyrics will be this helps us to speed up the shoot.
Another Example is from 39sec to 53sec where we have a lot of close ups of a drummer drumming on card boxes splashed with colours. The music plays rhythm which is matched with the drumming.

This is our Timeline:

POP VIDEO : TITLE Ta Douleur YOUR GROUP: Felix, Victor + Tess PAGE NO.1

WORDS or MUSIC …………………..	TIME	PERFORMANCE …..	NARRATIVE……………	IMAGES
Leve toi, c’est decide Laisse-moi te remplacer, je vais prendre ta douleur.	0-8	A wide shot of the singer jumping in slow motion so it looks like she is flying with the character watching in the frame
Doucement sans faire de bruit, comme on reveille la pluie, je vais prendre ta douleur.	8-13	Backup singers appear on the beat 1 at a time – jump cut.
Prendre, ta douelur, je vais prendre ta douelur	13-18	Mid shot of all the backup singers confused to why they are there.
Elle lute, elle se debat, mais ne resistera pas, je vais bloquer l’ascenseur.	19-25	A wide shot of character walking in and sitting watching, getting comfortable etc.
Je vais prendre ta douleur (repeat by BUS)	26-30	Lip Sink close up of singer Link Sink close up of BUS or shots of band dragging the drum set on.
Saboter l’interrupteur	30-33	Lip Sink close up of singer or shots of band dragging the drum set on.
Je vais prendre ta douleur	34-38	Mid shot of singer with hand out “taking the pain” and then a look up to the camera – close up of her face with wide eyes – dolly zoom	Snippets of CU of frog face.
Clapping, noises etc.	39-53	Mixture of shots (ECU,CU,MS etc) of cardboard boxes with paint on them, and the band member hitting the boxes and the paint splatting everywhere.
Clapping, noises etc.	39-53	Mixture of ECUs/CUs of singer and band making the noises with their mouths.
Mais c’est qui cette incrustee? Cet orage avant l’ete Sale chipir de petite seour.	53-1.00	Mixture of shots of her putting make up on, eye, blusher and then puts lipstick all over her face.
Je vais tout lui confisquie ses flechettes et son sifflet je vais lui donner la fessee	1.00-1.07	Close up of frog jumping, then mid shot of her frog jumping over the other band members.	Snippets of CU of frog face then CU of her face
(Je vais prendre ta douleur) by backup singers	1.07-1.09	BUS lip sink and Mid shot Lip sink of singer and her arm.
Je vais prendre ta douleur	1.09-1.11	Cut to CU of her tensing up and it is a massive muscle of someone else
La virer de la recre	1.12-1.14	Mid shot of the cinema seats with the girl and others sitting down, moving round etc
Je vais prendre ta douleur	1.14-1.19	Mid shot of the cinema seats with the girl and others sitting down, moving round etc
Mais c’est qui cette heritiere, qui se baigne, qui se terre, dans l’eau tiede de tes reins?	1.19-1.26	Mixture of shots of her in different costumes – afro’s etc mixed with shots of BUS making the noises
Je vais la priver de dessert lui faire mordre la poussiere de tous ceux qui n’ont plus faim	1.27-1.33	Singer wearing massive over-all which is too big trying to dance
Je vais prendre ta douleur (BUS)	1.33-1.35	Singer see’s a box with ‘pain’ written on it.
Je vais prendre ta douleur	1.35-1.37	Box with ‘pain’ written on and singer destroying it with bat.
De tous ceux qui n’ont plus rein	1.38-1.41	Box with ‘pain’ written on and singer destroying it with bat.
Je vais prendre ta douleur (BUS)	1.41-1.43	Shots of singer in straight jacket trying to get out, Band help her, she runs around the stage.
Je vais prendre ta douleur	1.43-1.45	Mid shot her throwing the straight jacket off at the climax
Dites moi que fout la science A quand ce pont entre nos panses?	1.46-1.54	Bird’s eye view of singer lying on ground singing, mixed with shots from side angle and then at the end she gets up and appears in front of the camera.
Si tu as mal la out t’as peur tu n’as pas mal la ou je pense!	1.54-2.01	Wide shot from behind the character with the singer right in front of her.
Qu’est-ce qu elle veut cette conasse? Le beurre ou l’argent du beurre? Que tu vives ou que tu meures?	2.01-2.07	Suddenly she’s back on the stage with swords fighting off the other band members. OR kart wheeling and flipping etc (Ruby can do this!)
Faut qu’elle creve de Bonheur ou qu’elle change de godasses faut qu’elle cruole sous les fleurs change de couleur	2.09-2.16	Jump cut in different colours whilst throwing flowers, shoes and cake jumping around the stage.
Je vais prendre ta douleur	2.16-19	Lip Sink of singer and BUS
Je vais jouer au docteur	2.19-2.22	Lip Sink of singer and BUS
Je vais prendre ta douleur	2.23-2.27	CU Over the shoulder shot of singer right in front of girl.
Dites moi que fout la science a quand ce pont entre nos panses?	2.28-2.35	Wide shot over the shoulder standing in the rain. (Girl’s head moves showing she is shocked BUT audience don’t actually see her face.)
Si tu as mal la ou t’as peur tu n’as pas mal la ou je chante!	2.35-2.43	Then wide shot over the shoulder of them standing in the rain.
Ah la, Leve-toi (repeat) mixed with noises from band	2.43-3.03	Wide shot of big suitcase and she is chucking everything out trying to find more things to entertain her with, Mid Shot of her almost giving up.	Last 5 secs – Wide Shot -she’s finishing her song, stands still, wide shot of the audience leaving because its finished. Then a ‘tracking in the round’ shot from her back to show the front of the girl watching (who is the same person)

Props List

· Frog??

· Baseball Bat

· Small box

· Cardboard boxes

· Paint

Cast List

· Singer – Ruby Kammer

· Band/BUS – Oscar Jackson, Alistair Toovey,?????

Location/Set Design

· 3 rows of cinema seats

· Black Studio

Costume List

· Afro Wig

· Straight Jacket

· Huge all in one costume too big for singer