Draft shotlist

As this shotlist is an initial draft of how we want the video to run, I have only included the opening and closing ten shots, as these will be the most memorable and thus need to be planned out the best. The shotlist can be viewed here, and a more descriptive one is provided below.  

Beginning:

Close up of Connar waking up
Mid-shot of him lip syncing the first lines of the song
A lens flare in the dark to add meaning to the lyric "you're a carrier of the light inside of you"
A tracking mid-long shot of him walking through the woods as he tries to get his bearings
An extreme close-up of his mouth lip syncing the lyrics, possibly pulling back to reveal the rest of his face
An establishing shot of a tree in order to show that he has moved to a slightly different location
Close-up of him scratching his head in order to signify that he is still clueless as to his whereabouts
A shot of him lip syncing with a torch under his mouth in order to make him look spookier
A panning shot of the path which he has found himself down
 

Ending:

1. An establishing shot showing the motorway which he is about to discover
2. A close up shot of his face in order to show his delight at having found a way out of the forest
3. A tracking shot of him pacing up and down the road looking for help
4. A similar shot but in a lot more darkness, in order to connote that he is beginning to lose his faith in getting help
5. A long shot of him walking into a side road, zooming in to show the name of the road
6. A shot of him scratching his head again, similar to the shot earlier, in order to hint at the cyclical structure within the video
7.  Close up shot of him knocking on a door but getting no response
8. A birds eye view shot of him walking back into the road
9. A long shot of a car steaming towards him, cutting just before it hits him
10. A long fade back into the first shot, to leave the viewer with the idea that the character within the video is stuck in this never-ending cycle

By making an initial shot list, I have been able to put a lot more thought into the connotations and significance which each individual shot will hold, along with planning out how the ending is going to mirror the beginning. Whilst our initial plans are likely to change, these shots will provide a good basis for the beginning and ending of our video, which is the most important part.

By George Martin