As some of the footage from the first session with the band isn't enough to make up the time for the rest of the video, as well as some parts of it not being suited to the song we are going to film again on Sunday. To make our task simpler I have created a script purely for the band filming, which is a work in progress and will be added to later. This is the band footage that is in the script but without the narrative, stock or any other footage mixed in - this is so that whilst filming the band performing in time to the music we may see line by line aligned with the bullet points what shots we wanted to film for what lines.
This was created in order that we may save time during shooting the band. A copy was printed off and given to each member of the group to bring along with them for the shoot, and copies of the script were also given to band members in advance to ensure they'd be able to remember their lines in time.
Thursday, 8 December 2011
Tuesday, 6 December 2011
Wednesday, 9 November 2011
Friday, 21 October 2011
FINAL SCRIPT
This is the final version of the script. I've added one more colour coded category of 'misc' for miscellaneous, and I have ordered the visuals on screen scripted parts in bullet points so that the first bullet point of on screen, should match the first bullet point of the lyrics. Each point correlates to each line of the lyrics. The stock footage chosen has also been cut down and changed as a result of group discussions and decisions e.g. instead of the charleston dance, we have decided to cut to only the most relevant clips such as a young girl crying with her handkerchief, a mother holding her children weeping and so on though we kept the footage of a ship leaving shore as it was a perfect example for the visuals to illustrate the lyrics. Some of the original stock was also cut and a decision was made to flick back and forth between clips of famous leaders in war time speaking, of Bush, Churchill and the band with some protests in between. This was a matter to be finally decided in editing however, but this is the final working script with which we could finally go and shoot the video with and begin editing afterwards.
Thursday, 20 October 2011
4TH DRAFT SCRIPT - WORK IN PROGRESS
This script is entirely different to the 3rd draft. To organise it better and make things much clear, I have laid it all out in a table with different verses in different boxes aligned with the scripted footage in a box beside it. Overall the table is divided into three: 'time marks', 'lyrics', and whatever should be showing visually 'on screen'. I've colour coded the types of footage we will have, stock, band, and narrative so visually anything we're looking for is much quicker and easier to find. I've labelled the verses and checked the time marks of each verse as well as instrumental parts in order to better plan and time what footage should happen when. This will also be useful when doing the editing, both for cutting the clips as well as syncing it to the sound.
Sunday, 16 October 2011
3RD DRAFT SCRIPT
At this point everybody changed jobs a little and I became the scriptwriter. I worked on descriptions of the possible stock footage that we wanted to use, as well as descriptions of our own footage that we already had as well as planned to shoot. A time lapse of clouds in the sky is there to show the passage of time as well as a couple from the 20s doing the charleston dance before that to show all the light and happiness in life that was lost by the young soldiers who went off to war, proper performance shots were thought of collectively and written up here.
A modern day parallel is written in the narrative footage with the soldier before he goes off to war seeing the woman he will later marry at the bus stop, and later of him nervously buttoning his coat post-war leaving the house. He is no longer the same, and cut with stock footage of war in Afghanistan to give some context he looks over an old graduation photo adding pathos to the lines 'my pale schoolyard chums away lost country's call' - this cuts to footage of the names engraved in the war memorial, reflecting war times past and present and the great loss that soldiers have made for this country.
The second chorus is cut frantically between performance and narrative, with a loud noise shocking the already jumpy veteran with camera shots in uncomfortable close ups showing his anxiety and stock explosions, the camera spinning at a three hundred and sixty degree angle to show his inner turmoil. Another scene shows him waking up having nightmares with his wife shaking him awake, these narrative scenes are to show that he is no longer a normally functioning individual within society but rather tormented by the loss of his friends and the great suffering he has seen and is having difficulty adjusting - showing a real human being as opposed to a two dimensional character which glorifies the soldiers loss while airbrushing out all of the pain. At this stage the script is still being worked through, ideas being placed in and practicalities of the ideas being tested out, and it is not complete for ideas near the end and the beginning of the video isn't entirely decided either.
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