Detailed Synopsis

As an extension of my initial synopsis for the 'Lights' pop promotion, here is an extended, more detailed and definitive version.

Our ideas have changed quite a bit since the first stab at a synopsis which is a good thing because I feel like everything's been thought out more realistically and the stylistics involved seem much more captivating than they previously were. Our ideas now are also much more within reach and thought through much more logically and work well.

The pop promotion will begin with the infamous out of focus lights panning around layered over footage of Kira and myself which gives an instant visual of the band and automatically builds a star image. Following this, Kira's verse kicks in shortly after the musical intro so naturally, the focus will begin on her in the studio with a range of shots edited in continuity. We will layer the out of focus lights on top of parts of this footage as well as shots of Kira posing to the camera to break her verse up slightly before transitioning into the narrative.

We will begin the narrative through the 'viewfinder' effect we filmed during the Christchurch park shots where we put the SLR camera's viewfinder against the lens of the DV Camera. Hard cuts of Kira walking will work with the pace of the song before the narrative really opens up into the story. The effect of the SLR camera will enforce the feeling of scrutiny and being watched and judged which is why we're going to move onto Kira running now, being followed by a panning shot before cutting to myself snapping pictures of her. This will fade back into the studio where the chorus approaches.

In the chorus, I'm then introduced to the piece in the studio using the same range of shots used in Kira's verse - a lot of different angles and shot types using continuity to merge them. During the chorus, the chase scene over the bridge will be featured, using hard cuts to the beat and lyrics of 'calling calling calling me home' which will add some pace to song and define the mood and tone.

In my verse, the cuts quicken slightly now in the studio shots and we're going to make much more use of the out of focus shots and layering - this is where the editing gets really interesting. Kira will also be seen in my verse, posing to the camera a few times as the bokeh lights layer over her face.

In the last chorus a breakdown of the song, we are reintroduced to the narrative, showing Kira getting increasingly distressed and hinting at the fact that I'm the one taking photographs of her in an enigmatic manner. The range of angles here strengthen the image that Kira's being watched and observed carefully before she runs and finds the box. While this is happening the pace will increase further using hard cuts that coincide with the beat but also follow continuity to the audience aren't left confused.

In the final chorus, the pace remains quite fast and we make use of the really energetic studio footage, featuring shots of just Kira and just myself but also shots where we're seen together. The out of focus lights and shots of us dancing completely out of focus can be seen here as we make our dramatic entry into the instrumental outro, finishing with Kira and myself posing to the camera. The piece will finish will the panning out of focus lights before the 'viewfinder' type shot returns from earlier. I can be seen making my way up the camera and peering in rather mysteriously (the lights from the studio can still be seen at this point) before I walk out of shot and everything fades to black.

This sounds rather confusing but the finished product, which we're shortly to start work on soon will illustrate everything I've just mentioned and will speak for itself; this is just final detailed description for Kira and I so we know which direction we're taking the video in. If it ends up looking like it does in my head (if that makes any sense) then I'll be absolutely ecstatic.