GP: Technical Analysis

Technical Analysis

Shot Number	Timing	Camera	Mise-En-Scene
1	0:00-0:33	Mid-CU of the lead singer’s face & Static	Low-key lighting with a (what looks like due to the black and white effect) white light on the singer’s face who is lip syncing ('meat' of the video)
2	0:33-0:37	Change-of-focus from his face (MS) to the car shining the lights (long-shot). Handicam.	The explanation of the light, the car, is revealed. Slow-motion.
3	0:37-0:40	POV/ long-shot. Static.	From-inside-the-car-shot showing an empty location with the singer tied to a chair (victim)
4	0:40-0:42	Static & MS	Car in background whilst the singer is lipsyncing in the foreground
5	0:42-0:45	Handicam MS	Half-a-face of a person in the car is lit up.
6	0:45-0:48	Handicam MS	‘White lining’ due to the car’s light on the singer’s face as he is lip-syncing.
7	0:48-0:51	Static MS	Antagonist in the car (face hidden by shadow and lack of light on the face).
8	0:51-0:53	Handicam MS	The singer’s feet are tied up (there is a little movement of the feet).
9	0:53-0:58	Handicam MS	Singer silhouetted and lip-syncing.
10	0:58-0:59	Handicam MS	Antagonists in their car with shadows hiding their faces.
11	0:59-1:02	Foreground not in focus and background (of car) in focus.	Car in the background with darkness (still) apart from the car light.
12	1:02-1:05	Handicam CU Camera pans upwards.	Hands are tied up and car lights light this up with shadows.
13	1:05-1:07	Static LS	Slow-motion and shows the car moving with the lights showing the smoke/fog in the air.
14	1:07-1:11	Static MS	The light flashes on the beat (when the drums kick in & become more prominent). Singer is lip-syncing.
15	1:11-1:13	Handicam LS	Shows the car and the door opening with the lights still shining.
16	1:13-1:17	Static shot where the car, in the foreground,  is in focus and the background is not in focus. MS	This shot reveals multiple cars surrounding the singer and shining their lights on him.
17	1:17-1:19	CU handicam shot.	Close-up shot of one of the cars and the lights.
18	1:19-1:25	Static MS	Singer is still lip-syncing with lights illuminating him.
19	1:25-1:27	Static MS	A heel stomps down from the car on the beat of the guitar strum.
20	1:27-1:28	Track towards the person getting out of the car. MS	Slow-motion and silhouette of antagonist getting out of their car.
21	1:28-1:30	Jump-cut. Track to the right (towards antagonist). MS	Slow-motion and silhouette of antagonist getting out of their car and slamming car door.
22	1:30-1:33	Crab following the gas canister. MS	Gasoline is being held and walked along with (presumably by the antagonist). There is a lot of darkness part from the light on the gasoline gas canister; highlighting this prop.
23	1:33-1:35	Handicam CU	Shows the singers hands tied up & struggling; represents the struggle he is going through.
24	1:35-1:36	Handicam MS	Singer silhouetted and lip-syncing.
25	1:36-1:38	Static LS	Antagonist is shown walking away from car with gasoline towards singer (lit by other cars).
26	1:38-1:39	Handicam MS	Antagonist in car with shadow covering most of their face; less identifiable compared to the lead singer.
27	1:39-1:42	Crab MS following the gas canister.	Gasoline is being carried at a low-level (next to calves) whilst someone (antagonist) is walking a long.
28	1:42-1:44	Handicam MS	Slow-motion. Silhouette of the singer lip-syncing with the car light behind him causing the silhouette.

• This music video is a conceptual video due to the high amount of symbolism (victim of misery; personifying misery and the person in the car is ‘misery’). Our video has the potential to create a lot of symbolism and amplification due to the lyrics and the mood of the song (which could be made, as this video demonstrates, to be dark).
• Lighting is effective (especially during the lip-syncing shots) (yellow lighting can look amateur-ish) in this video shows that black and white can make it look more high quality (and stylised/dark). Clear focus is the singer due to the lighting being aimed at him, the singer lip-syncing to the lyrics and the singer getting a lot of screen-time. The shadows and silhouettes look really effective as well as they can hide or reveal aspects of the video (objects or people).
  
  
• This video is simplistic due to the location, props, concept and costume (casual clothes are more identifiable and relatable to the audience) and may not necessarily be hi-fi (but looks professional).
• The cutting-rate increased when the rock instrumental got ‘heavier’ & when a ‘heavier’ chorus was reached. Additionally, the cutting on the beat & mise-en-scene (lighting and non-verbal language) on the beat (they make it look seamless) look incredibly effective and contributes to the synaesthesia (these visuals fit the song). 
  
  

We can take inspiration from this by taking into consideration how effective the cutting-rate can be when the speed is appropriately fitted with the instrumental; in our Lorde song, when the cutting-rate is slow we would have a slow-cutting rate and then have a high-cutting rate near the end of the song where the instrumental picks up. Our mood is quite dark so the dark lighting & shadows can contribute to the portrayal of this mood. This video uses a black and white effect which creates white lighting, even though we are not using this effect, white lighting looks quite cold, yet also professional which would fit with our narrative for the more depressing part (with the family being harsh & the boy being upset). Overall, this video is most relevant to the darker aspects of our video.