Day one of filming

During day one of filming i managed to shoot from shot 1 to 40 on my shot list.

Upon editing i decided to initiate the music when Jack put the headphones on for an individual touch.
For the shots of Jack walking, i decided to take a walk from Blenheim Street, to Westbourne Avenue, to Hymers Avenue. The scenery when passing through these streets give the impression that the Protagonist is progressing from inner city suburbs to the outer city, which is where the final scenes take place.
For the opening shots of the antagonist, i filmed then mainly in my house, then with the van. I thought that adding a slow motion effects to these scenes that only the antagonist is included in, would create the sense of two completely different characters and worlds, creating a strong impact when they collide.
To relate to my targeted audience, i filmed the majority of shots in the inner city, with the protagonist wearing casual urban clothing whilst smoking.

Music Video First Draft

Some filming as test shots...

Before engaging in filming, i tested certain angles and shots to give me a foundation on which i could base my used shots...

Applying media theories to my media piece...

Uses And Gratifications Theory:

The 'Uses and Gratifications' model represented a change in thinking, as researchers began to describe the effects of the media from the point of view of audiences. This model looks at the motives of the people who use the media, asking why we watch the television programmes we do, why we read newspapers and why we find ourselves so compelled to keep up to do date with our favourite shows.

Blumler & Katz (1974) argued that audience needs have social and psychological origins which generate certain expectations about the mass media, leading to differential patterns of media exposure which result in both the gratification of needs and in other (often unintended) consequences. This does assume an active audience making motivated choices.

The underlying idea behind the model is that people are motivated by a desire to fulfil, or gratify certain needs. So rather than asking how the media uses us, the model asks how we use the media.

The model is broken down into four different needs:

-Surveillance

The surveillance need is based around the idea that people feel better having the feeling that they know what is going on in the world around them.

The surveillance model is all about awareness. We use the mass media to be more aware of the world, gratifying a desire for knowledge and security.

-Personal Identity

The personal identity need explains how being a subject of the media allows us to reaffirm the identity and positioning of ourselves within society.

The use of the media for forming personal identity can be seen in music videos/films. Pop stars can often become big role models, inspiring young children everywhere (which is why there's such an outcry when one of them does something wrong). 

-Personal Relationships

We can form a relationship with the media, and also use the media to form a relationship with others.

Many people use the television as a form of companionship. This may seem sad, but think about how many times you've watched the TV on your own, or with other people but sitting in silence. The television is often quite an intimate experience, and by watching the same people on a regular basis we can often feel very close to them, as if we even know them. When presenters or characters in a soap die, those who have watched that person a lot often grieve for the character, as if they have lost a friend. 

-Diversion

The diversion need describes what's commonly termed as escapism - watching the television so we can forget about our own lives and problems for a while and think about something else.

We watch music videos to take our mind of our every day lives, we want to distract our self from the problems we are experiencing. We want to see that people experience the same feelings as we do and want to forget about our own problems and focus on some one else's.

How this applies to my product:

The need of surveillance isn't necessarily applicable to my product as it is a fictional story. However in regards to personal identity, there are some ways in which certain audiences will be able to relate to the protagonist, as he is portrayed as a working class individual, and is seen to be walking around the city, through city streets, alleyways and urban settings. Comparing to that of the recent Arctic Monkeys video 'Why'd You Only Call Me When You're High', in which the main character is presented as a very working class character, which reflects the music that they and I intend to appeal to. The personal relationships aspect can also be considered as applicable to my video, as the protagonist is shown taking a journey, which the audience will see, and take an interest in how it unfolds, as well as how it ends. As my video is fictional, it provides a narrative that is considered extremely rare within normal societal life, providing escapism for the reader, as this is a story that they aren't likely to experience. Using the conventional attributes of this genre in my video helps develop an iconic representation that will appeal to my target audience.
Levi Strauss - Binary Opposites
Strauss believed that we understand words, not solely based on their meaning they directly contain, but of our understanding of the opposites they reflect, hence 'binary opposites. 
Our understanding of the word ‘Hero’ depends of our understanding of the word ‘villain’.Within the media world binary opposites are used on a frequent basis.They are usually the basis of our understanding of a story as it is a conventional narrative and enables an equilibrium.Binary opposites are used in films to help plots, they are also used in music videos as part of a narrative to reinforce song lyrics.
Levi Strauss’ theory links heavily with our ideological values of how we feel we should ‘perceive’ the world. E.g. what is an ideological view of a mother?This links strongly to the ideology of protagonists and antagonists, as they are direct opposites in story line narratives. 
This theory enables us to have an understanding of a narrative before it has even begunRepresentations  re-present them self to an audience to assure understanding, meaning and recognition from a text is understood.
Having opposites within a text enables climax and interest.This applies to my piece as i have used the typical convention of a antagonist and protagonist, giving the audience a conventional aspect of narrative to cling on to. 

Link to chosen song

Artist Information & Why I Chose This Song

ARCTIC MONKEYS:

Arctic Monkeys are an English indie rock band formed in 2002 in High Green, a suburb of Sheffield. The band consists of Alex Turner (lead vocals, lead/rhythm guitar), Jamie Cook (rhythm/lead guitar), Nick O'Malley (bass guitar, backing vocals), and Matt Helders (drums, backing vocals). 

The track Fireside is taken from their latest album AM. I chose this song as it carries a very ambient vibe, with multiple connotations. Prior to picking the song, i had an idea for a music video in mind, after hearing this song i decided my idea would fit perfectly. 

Music video ideas

Music Video Ideas:

After much consideration, I decided to execute my initial idea concept one. When i first wrote it out, this was the summary: 

"This concept tells the story of an individual who is embarking in a deep thought process. Feeling confined he starts on an aimless walk to clear his head and goes a long distance. Interweaving with this story line is the tale of another character (antagonist) who receives a message with a picture of the other man’s face, he then starts preparing himself to go and kidnap the man. As both narratives progress through the story, they collide and the walking man is dragged into a van and taken in to the distance. He is brought to a desolate, abandoned location and then the camera fades out. Upon the ending of the video the kidnapper then receives a photo of another person’s face."

This idea was inspired from the videos 'Duquesne Whistle' by Bob Dylan and 'Why'd You Only Call Me When You're High?'. In the Bob Dylan music video, the protagonist is captured by mobsters and taken to a warehouse where he is brutally attacked, whilst interweaving with this story is Bob Dylan walking through New York at night. In the Arctic Monkeys video, it features primarily mid close up shots of the Protagonist walking through Sheffield at night. I decided to incorporate both of these ideas into my video and add a little twist. 
Therefore I decided that there would be two interweaving story lines; one of the Protagonist, who is walking around the city, and one of the antagonist who is builds up a plan to capture him. Then the protagonist and antagonist meet and the protagonist is dragged into the back of a van, taken to a desolate area and the ending implies he dies as the camera fades out. Upon the end of the video the antagonist receives another message, and the video implies that he is about to kidnap another person. This produces an unconventional ending, meeting my genre convention.
The costume for the protagonist will connote innocence, featuring colours such as white and grey. Whilst the antagonist's costume will connote evil and corruption, consisting of predominantly black. This creates a narrative convention of antagonist and protagonist, but this convention is broken as the protagonist does not overcome the trouble he faces.

My intended video idea deconstructed:
Upon the opening of the video, there will be multiple shots of the video sped up, then it comes to an immediate stop of a still shot of a street with the sound of the street in the background. The protagonist (played by Jack Marley) will then walk on from the side into the view of the camera, initiating the music of the video. There will then be multiple cross cuts of him walking in different areas, creating the sense that the background is changing and that he is embarking on a long walk. The video will then cut to the antagonist (played by myself) receiving a text message (with or without a picture of the antagonist). The scenes featuring the antagonist will be dimly lit to enforce the fact that he is the evil character of the narrative. The antagonist then gets ready and leaves his house. The video will then cut to the protagonist walking down different streets again. After several shots of the protagonist walking down streets, the video will cut to the antagonist getting into a van and starting it up. The video then cuts to the protagonist walking down multiple streets again, but this time the background changes on every snare hit of the chorus. 

Animatic Storyboard for fireside

Shot list.

Shot list.

1) Establishing shot of street - Protagonist walks into view creating a mid shot of him, then tracks him. Midday

2)Mid track shot of protagonist walking in a different place

3)Mid track shot of protagonist walking in a different place

4)Mid track shot of protagonist walking in a different place

5)Still Close up of mobile phone receiving a new message

6)Still Mid shot of Antagonist holding up phone, then exiting view (S/M)

7)Still Long shot of Antagonist walking towards the door and shutting it on his way out. (S/M)

[ 6 x Mid shot of protagonist walking in a different place ]

14)Mid shot from the back of the van of van door being swung shut, (S/M

15)Close up of van lights igniting (S/M)

[26 x Mid track shot of protagonist walking in a different place]

41)Mid shot pan of van driving

42)Cantered still shot of steering wheel and window

43)Mid Track shot of Protagonist walking with van approaching in the background, the van 
comes to a stop and driver gets out and approaches Protagonist.

44)Low angle shot of weapon being held, with Protagonist featured in shot (S/M)

45)Mid track shot of Antagonist striking Protagonist over the back of the head.

46)Still mid shot from side on of Antagonist dragging the Protagonist away (S/M)

47)Still mid shot from side on of Antagonist dragging the Protagonist into van (S/M)

48)Still Mid shot of back van door being swung shut, then the van driving off.

49)Still shot of road being traveled down at night (S/U)

50)Still shot of road being traveled down at night (S/U)

51)Still shot of van driving up close to camera

52)Side shot of van, featuring antagonist bringing the protagonist to the front (S/M)

53)Side shot of van, featuring antagonist bringing the protagonist to the front (S/M)

54)Low shot still shot, protagonist is brought in front of camera, put onto knees creating an eyeline match, then camera slowly zooms out, whilst antagonist is walking around behind protagonist. When shot is fully zoomed out... (S/M?)

55)Slow fade to the same shot, but without van or characters there.

56)Still shot of antagonist receiving text message

57)New character walking (S/M)

When filming:
Film shots -
5, 6, 7 & 56 together
1-4, 8-13, 16-40 together
41 & 42 together
43-48 together
49 & 50 together
52-55 together

Health & Safety assessment

Health & Safety assessment:

There are few factors within my piece that require safety procedures. There are several shots that are filmed near roads, so I must ensure that road safety measures are made, making sure there are no cars coming that could endanger the cast.
There are also several shots in the van when a character is driving, so I must ensure that the shots are filmed in a way that does not in any way obstruct the driver of his full capability.
There is also a shot when the protagonist needs to appear to be struck by a blunt object, so I must ensure that every measure is made to create a safe execution of this shot and ensure that under no circumstances is the protagonist actually touched by the blunt object, this can be done by creating effective angles and positioning of the characters.
 The majority of shots within my piece feature the camera operator walking backwards whilst filming, this could be dangerous as there may be obstacles in the way of their path, so I must ensure that the path is clear for the camera operator.
There is also a risk that the camera could be damaged whilst filming, so i must take precautions to ensure that the camera is attached firmly to the tripod and kept in a safe place whilst not being used.

Hazard	Risk	Who’s at risk	Possible severity	Precaution
Trip hazards when filming	high	Me	Medium	Ensure paths are clear for filming
Oncoming Cars	medium	Me & Jack	Medium	Always check for traffic prior to filming.
Obstructing driver whilst filming	medium	People in van Other driver’s	high	Stay distant from driver, and don’t distract them whilst driving.
Stunt going wrong	low	Jack	medium	Use effective camera angles, so the weapon is nowhere near Jack
Damaging camera	low		low	Ensure camera is tightly attached to the tripod.

Storyboard with unoriginal images

Storyboard of my music video using images from google.

KEY -     [Time in song]        [Lyrics]      [What will be featured in the video]    [Type of shot]   


0:00
Video will start prior to the soundtrack and when
the maincharacter appears on the street, the track
starts.
Mid Shot
(main character walking down street
5 multiple shots of walking and they cross cut fluently)

0:10 -
 I can't explain, but I wanna try
Mid shot high angle
Notification on phone


0:14 -
 See there's this image of you and I
eyeline match mid close up (Character's face out of shot)
2nd Character opens phone to see
picture of 1st character.

0:19 -
 And it goes dancing by
Same as previous
2nd character puts away phone and
walks off

0:22 -
 In the morning and in the night time
Eyeline match mid shot
 Shows 2nd character shutting a door
behind them


0:29 -
 There's all these secrets that, i can't keep
Like in my heart, there's that hotel suite
Mid close up
Returns to main character walking
and the scenery behind changing
from cross cuts, with the day progressing.


0:39 -
 And you've lived there so long
Long Shot
Shot of van door being swung shut.


0:41 -
 It's kind of strange now you're gone
Close Up
Close up of van lights igniting.


0:47 -
 Not sure if I should, show you what i've found,
has it gone for good, or is it coming back around,
isn't it hard to make up your mind, when you're
losing and your fuse is
Mid Shot
Changing background whilst walking,
Changes on each 1nd & 3rd note of the musical
bar.


1:03 -
 fire side
Mid Shot
Shot of main character walking and smoking.


1:08 -
 there's all those places, we used to go
Mid shot out of front window
track shot of van travelling at dusk


1:13 -
  And I suspect you already know
Cantered angle of driver from behind.
focusing on steering wheel.


1:17 -
 But that place on memory lane you like
Pan shot
 van driving by,


1:22 -
 still looks the same but something about it's changed.
Pan Shot to Mid Shot
pan's onto main character walking in
a desolate area
with van approaching in the background


1:25 -
 Not sure if i should show you what
I've found, Has it gone for good, Or is it coming
back around, Isn't it hard to make up your mind
When you're losing and your fuse is fireside
Mid shot with van in background
Van continues to approach main character
Then pulls up, 2nd character exits van with
a weapon and approaches main character
without him noticing.


1:41 -
Close Up
Close up of 2nd character holding weapon
and walking (slow motion)



1:44 -
 And i thought i was yours forever
Mid Shot
2nd character strikes main character with weapon
over the back of the head, and he falls out of
camera view



1:51 -
Maybe I was Mistaken
Low angle shot
2nd character starts to drag off the main character


1:54 -
 But i just cannot manage to make it through
the day, without thinking of you lately.
Low eyeline match
Main character being dragged into the back of the van
in slow motion.


2:00 -
Mid Shot
Van door is slammed shut and van drives off into
the distance


2:05 -
Mid Shot
Still shot out of the van's back window, featuring
travelling along the road at night time (sped up)


2:14 -
Shot from the side of the van
Van stops, doors open.


2:17 -
Same as previous
Main character is dragged out of van


2:23 -
Not sure if i should, show you what i've found,
Progressed to the left of previous
Main Character is brought to the front of van


2:28 -
has it gone for good or is it coming back around,
Eyeline match from side on
Main character forced onto knees in front of the headlights


2:32 -
isn't it hard to make up your mind. When your losing
and your fuse is fireside.
Mid shot in front of van
Camera zooms out of scene via eyeline match,


2:43 -
Same as previous
Van and characters fade out of scene


2:48 -
Screens fades black


2:53 -
Mid shot excluding Character's face
 cuts to scene of 2nd character recieving
a text message of another face,
then cuts to the
man in the recieved image walking,
Mid shot
 then camera fades out.

Cast & Roles

The initial idea i have chosen for my piece features only two character's. The protagonist, and the antagonist. The protagonist will be played by Jack Marley, and the antagonist will be played by (undecided).
As well as this there are many roles that need to be fulfilled in the pre-production process. These consist of things such as the Executive producer, camera operator, lighting director, writer, producer, director, production manager, storyboard artist and editor, their individual roles are as follows:

Executive Producer - Determines finance & budget
Writer - Develops script from concept brief
Producer - Secures & oversees creative team, develops shooting schedules, manages budget & timeline.
Director - Creative control of production, directs performance of cast & crew. 
Production manager - Day to day management of production; people, equipment, facilities, catering and post production
Storyboard artist - Works with producer/director to develop the storyboard of script.
Editor - selects best material to assemble find film with music, graphics, special effects & text.
Camera Operator - Co-ordinates cinematography and shooting
Lighting Director - In charge of lighting

As product manager i will be fulfilling the roles of Storybhoard artist, writer, producer, production manager, camera operator and lighting director. I will be collaborating with Jack to direct cinematography and lighting.

Prop List

Prop List:

In order create a successful media piece there are several things i need to include within the mise en scene of my music video.

Objects
Van - The first of which is a van, which half of my music video is based on. It is required for scenes such as the van driving, the lights igniting and the protagonists being dragged in the van.
Baseball bat/Blunt weapon - This is required for a brief part in the video, in which the antagonist hits the protagonist over the head.
Phone - This is required for two key parts in the video; the opening and the end, when the antagonist receives pictures of the targets he has to take.
Cigarette - Required for a brief part in the song when the protagonist is smoking.

 Costumes:
To provide the conventions of my genre's music video, i need to ensure that the protagonist and antagonist can be easily portrayed, so the audience knows who is who. Therefore, i need to ensure that their costumes provide the right connotations for the audience.

Protagonist:
Black skinny Jeans & desert boots - This reflects the interests of the type of audience i intend to appeal to.
White T-Shirt - Connotes purity, enforcing the fact, that he is the protagonist of the story.
Grey jacket - Grey is quite a mundane colour, which will reflect that the protagonist is just an every day person.

Antagonist: 
Balaclava
Black trousers
Black Jacket
Black shoes

By making all clothing items black, it will clearly demonstrate that he is in fact the antagonist, as black's connotations are that of evil and corruption. The fact that he will be wearing shoes and trousers instead of jeans and trainers will demonstrate that he is a professional at what he does. The balaclava will enforce the antagonistic nature of the character, and with all of these elements added together, the character will be a successful antagonist.

Lyric Analysis...

I can’t explain but I, wanna try

See there’s this image of, you and I
And it goes dancing by,
In the morning and the night time
(Straight away it is clear that this is a love song, we can tell this from the declarative sentence "There's this image of you and I" which show that he is thinking about a certain memory he holds dear. And the declarative phrase "In the morning and the night time, shows that he can't get the memory out of his mind and it is constantly in his thoughts.)

There’s all these secrets that, I can’t keep

Like in my heart there’s that, hotel suite
And you’ve lived there so long
It’s kind of strange now you’re gone
(The second verse enforces this ideology as it states the artist is struggling not to talk about what he's thinking. And he's finding it hard coping without the one that has left him, this is obvious in the independent clause "It's kind of strange now you're gone")_

I’m not sure if I should, show you what I’ve found,
Has it gone for good, or is it coming back around
Isn’t it hard to make up your mind,
When you’re losing and your fuse is fireside,
(The chorus shows the state of mind that the artist is in, it carries elements of struggle, confinement and solitude, these are elements I will be sure to include in my video.")

There’s all those places we, used to go
And I suspect you already know
But that place on memory lane
You like, still looks the same
But something about it’s changed
This verse demonstrates the feelings the artist is feeling in the sense of confinement, he is remembering the places they went and the things they saw together, but its not the same as he remembers it when he was with the person he is talking about.  

And I thought I was yours, forever

Or maybe I was mistaken

But I just can’t manage

To make it through the day

Without thinking of you lately
This verse strongly enforces the ideology of the song as it shows he is devastated about his loss, and no matter what he does he can't shake the image of the person he is thinking about.
Overall, there appears to be strong ideology behind the song enforcing solitary confinement, loneliness and dismay. It shows he constantly thinks about what could have been.

Initial idea concept three

Conor Murray
Initial Idea Concept three

The third idea consists of one main character that has just finished a live performance at a venue, as he makes his way out of the venue, he engages in an argument with a girl and ends up in a fight with another person, in result he is thrown out of the club and starts on his journey home. On his way he is confronted with a variety of obstacles in the form of antagonists. As it builds up the impression that the main character is a protagonist, he stumbles at the end landing in the path of a moving car. At this point the video ends.

Initial idea concept two

Conor Murray
Initial idea Concept two
The second video consist of three main characters, all of which go to a party and something horrific happens resulting in the death of a friend, the three characters then cover up the crime and go on three separate journeys. Following this, the characters are all shown becoming depressed about what has happened and all retaliate in different ways. One turns himself into the police and finds himself serving a sentence. Another engages in a course of drug and alcohol abuse, driving him into the ground. And the third drives out to a beach, and stands at the edge of a cliff with a camera shot rotating around him, building the video to a climax.  

Initial idea concept one

Conor Murray
Initial Idea Concept one
Music Video to Fireside – Arctic Monkeys.

This concept tells the story of an individual who is embarking in a deep thought process. Feeling confined he starts on an aimless walk to clear his head and goes a long distance. Interweaving with this story line is the tale of another character (antagonist) who receives a message with a picture of the other man’s face, he then starts preparing himself to go and kidnap the man. As both narratives progress through the story, they collide and the walking man is dragged into a van and taken in to the distance. He is brought to a desolate, abandoned location and then the camera fades out. Upon the ending of the video the kidnapper then receives a photo of another person’s face.

Audience Research

Fortunately, during my course last year i engaged in a large amount of audience research for my production process of my music magazine. I created a large demographic based on the readers of NME magazine, who are the audience I want to appeal to with my music video. The demographic is as follows:

Also after looking at the conventions of my chosen medium i have acquired knowledge of the expected elements to feature within my music video. The typical appearance of characters in alternative/indie music videos consists of skinny jeans, denim jackets and desert boots/shoes. Typicaly in music videos, there is a protagonist and antagonist, and they develop a narrative that matches the story that the lyrics of the song tell. Videos of my chosen medium are often quite mundane in regards to colour when compared to videos of genres such as pop. Alternative/indie rock music videos are regularly filmed on streets and alleys, with fractions of performance in them. Therefore i decided to film the majority of my piece on city streets and alleyways to meet the expectations of my required audience. I have also set up a poll on my blog and invited other users to vote regarding their tastes. My poll asks questions such as 'what is your favourite genre of music?' and 'What's your favourite type of music video?' to help me establish the percentage of people that regard the genre of music i have chosen as their favourite and so i know what to feature in my video to appeal to these people. 

Genre Conventions

The genre that I chose to utilise for my media piece was Alternative/Indie music, so to establish what types of conventions, regarding mise-en-scene, cinematography, editing and sound I should include in my music video, I analysed several other music videos of this genre. I watched videos by Arctic Monkeys, Alt-J, Bombay Bicycle club, The Hives, Peace & Little Comets to see what conventions they used, that could assist me in the production of my own original piece. After analysing these videos in much depth, I established that the vast majority of these videos within this genre were extremely similar.

Firstly, the costumes within this genre all seem to fall into the same category. Most of the artist/actors within these videos are clad in casual, dull clothing. This consists of simple things such as t-shirts, skinny jeans, leather jackets, casual jackets, winter coats, sand shoes, desert boots and shirts. This way the artist(s)/actor is presented as a working class person, or 'one of the people'. The Arctic Monkeys' videos "Why'd You Only Call Me When Your High" and "Leave Before The Lights Come On" enforce this strongly as all characters in these videos are dressed in very casual clothing to show that despite all their success and fame they are still 'working class lads' from sheffield. This is extremely different to genres such as metal and pop, as in pop the artists tend to wear extravagant, flamboyant clothing to stand out and make a statement to their audience. Whereas alternative music artists are conventionally represented as very informal and quite unkempt to enforce the ideology that indie/alternative music is independent and on much of a smaller scale than that of mainstream pop which is regularly globalised.

Another consistent feature within the videos of my chosen genre that I analysed was the setting. Arctic Monkeys 2005 single's 'When The Sun Goes Down' music video, tells the story of a prostitute on the streets of Sheffield,  in dull mundane settings consisting of streets and alleyways.

This attribute of indie/alternative music videos is enforced in Bombay Bicycle Club's 'Always Like This'. Despite this song being a performance based video rather than one that tells a narrative, it is still set upon streets alleys and estates. This shows that this genre of music is very urban, and carries a large 'working class' feel to it. 

The Libertines video "What Became Of The Likely Lads" also backs up this point as it too features a narrative told about two young boys who are brought up on a rough council estate. This carries the urban theme of alternative music videos even further.

Although the 'working class urban' theme is extremely common among these types of videos, there are many other types of narrative, performance and abstract videos as demonstrated in this video of Peace performing 'Bloodshake', which defies the costume and setting norms of other videos within this genre.

After analysing many different forms and types of alternative/indie music videos, i have gathered that there are many different types, but the unmatched convention of setting for these types of videos consists of streets alleyways and estates, so to ensure that I appeal to my targeted audience I will film the majority of my video in city streets and alleys. As well as this the most used type of costume appears to be casual clothing, so i will dress my main character in casual clothes such as a t-shirt, hooded jacket and skinny jeans.

I regards to cinematography and editing, most of the videos in this genre seem to demonstrate quite basic elements. There are primarily cross cuts to develop the narratives of these videos, so I will incorporate this into my video. In regards to indie/alternative music videos there appears to be a consistency of unconventional endings as I described in my LIIAR analysis of three music videos. Bob Dylan's 'Duquesne Whistle' and 'Arctic Monkey's Why'd you only call me when you're high' are great examples of this. Therefore I intend to include an unconventional ending in my video that defies a conventional 'happy ending'.