Music Video Treatments Kym Marsh 'Sentimental' - An original video concept by Orson Nava Summary The video for Sentimental needs to take us on a journey, both emotionally and physically, a journey that's full of dynamic energy, colour and light. The camera needs to follow Kym's every footstep as she delivers a great performance. Setting The whole video for Sentimental will be shot in the style of one long continuous steady cam shot; an amazingly fluid, tightly choreographed camera move that follows Kym from the beginning of the track right through to its end. (This would be achieved using eight or nine invisible edits and some clever post production trickery). This shot would be reminiscent of the long fluid 'trademark' steadycam shots in 'Goodfellas' and the beginning of 'Boogie Nights' where the camera follows a character through a complex series of actions lasting several minutes. Shooting We begin the journey in a large beautiful Bedouintype tent. The sides of the tent are open and we see Kym lying on ornate cushions. Jewelled wind chimes hang from the roof and the look is very Moroccan chic. The shot continues past a number of her friends who are partying outside, through a little forest, and then back inside the tent as the sun sets. The camera movements will be carefully and gracefully choreographed to simultaneously create a dynamic sense of movement, tell the story and give Kym's performance its maximum impact. The pace of the camera moves will perfectly match the pace and feel of the track, arcing round Kym in the choruses and then moving for intimate moments on the breaks. The stunning English countryside location and the warm summer sunlight will provide this journey with a spacious, optimistic, and highkey atmosphere. We open on a beautifully composed closeup shot of Kym as she sits in her amazing, elegant pavilion. The camera is intimate, capturing every nuance of Kym's performance, every expression, as it flits across her striking features. Then she gets up as she continues to sing as she walks around the stunning location. On the chorus Kym leaves the tent and a burst of sunlight flares into camera. Outside a number of Kym's friends are having a spontaneous garden party. It's as if a whole bunch of friends have decided to decamp to the countryside for the weekend, but with style! People are moving to music, play fighting, sitting on the lawn and generally 'chillin'. The camera dances around Kym as she walks through a group of her funky young friends playing with high powered water pistols. As the water sprays through the air it creates a mini rainbow of refracted light (this effect would be achieved in post production). Then one of the water pistols sprays into camera (we use this as an invisible cutting point to dissolve through to the next part of the shot). Kym walks past some of her friends doing 'donuts' (albeit very slow ones) in a powered golf buggy on the lawn. Kym keeps moving and as the track enters a more meditative feeling on the verse she enters a little forest of trees with a small stream running through it. As she does so the camera gracefully glides around her intimately capturing the emotion of her singing. As the camera moves trees wipe the frame creating a dynamic visual effect and also providing useful cutting points for invisible edits. Then Kym leaves the wooded area just as the chorus kicks in again and encounters the golf buggy as it brakes to a halt in front of her. She jumps onboard (along with the camera) and the vehicle speeds off around the grounds, twisting and turning like a dodgem car. Kym continues to deliver a great performance to camera while the world spins round behind her. Then the buggy skids to a stop and Kym hops off. Kym walks back to her amazing Bedouin weekend retreat. She enters and continues to give a great performance as she lounges on the beautiful richly coloured cushions as the camera spins round her, creating a vortex of movement as she sings. The sun begins to set outside, casting a flattering magic hour light over her face. The image fades to black. Conclusion The video for Sentimental is a perfect opportunity to combine a dynamic camera technique with a great performance to deliver a really upbeat and entertaining video. It will be ambitious and clever. Fluid choreographed camera movements; great natural light and a beautiful location will provide the perfect vehicle for Kym's performance and ensure she looks amazing at all times. The clip will be a stylish light-hearted piece that focuses completely on Kym and imbues the whole atmosphere with a fun summery vibe. ==================== Harvey 'Get Up And Move'- An original video concept by Orson Nava Summary The video for 'Get Up And Move' will be an ultra stylised manga/garage hybrid. Amazing Japanese inflected design, stunning urban/oriental styling and clever 'hyperreal' postproduced backgrounds will make this Video a one of a kind. Kinda Scifi Kurasawa, with an urban edge. Harvey will look amazing as he performs in this stunningly graphic and brightly coloured environment. The lighting, grade and camera movement will be sumptuous, polished and controlled. Overall the video will draw out the energy and dynamism of the track and tap into the fantastical, scifi undercurrent in the garage scene. It will be new, original, stylish and vibrant. Setting The setting for the video looks like a cross between a classical Japanese house with Zen garden, paper blinds and polished wood floors, and a super high-tech corporate office with plasma TV's, computer, monitors and moving image'paintings' on the wall. (These would be created by inserting postproduced imagery onto a greenscreen 'picture window'). The studio set has the feeling of a hightech corporate Ninja training camp. The colours are bright and vibrant a warm, orange light filters in through the windows. Outside a number of strikingly styled martial artists are training against a hyperreal bloodcoloured 'rising sun' background reminiscent of the graphic image in the Japanese flag (the exterior sky would be put in in postproduction). Their silhouetted figures make extraordinary shapes against the vibrant gold and blood red landscape as they spin and kick in extreme slow motion. These martial arts sequences will be executed with a stylised fluidity that makes them appear like a dance; controlled and graceful, but deadly. It's a game of elites The video concept would reflect the lyrics of the track, evoking the idea that life is simply a complex and dangerous game of tactics, in which opposing teams struggle for ascendance. Dressed in a white kimono style outfit and framed by wall hangings of computer generated Japanese text, Harvey sits at a classical Japanese chess board. (Rather than the traditional western chess pieces, this game is played with polished round stones). Harvey is literally playing chess against himself. As he moves a white chess piece he dematerialises and reappears on the other side of the chess board, this time wearing black, and moves a black chess piece in retaliation. As the two 'Harveys' moves their pieces, futuristic Ninja style warriors (also dressed in black and white) do battle with each other against a hyperreal postproduced background. (The combat is extremely stylised, more of a slow motion dance than actual combat). Shooting Shot through a fisheye lens Harvey does an amazing performance direct to camera. In the background behind him, through the 'windows' in the set, a blood red sun sets over the horizon. Harvey looks like an updated Samurai warrior in a leather 'Kimono' as he drops his incredible lyrics. His movements are strong, stylised and martial arts influenced. The acute shutter angle and frame cutting in the edit give his movements an ultra crisp, unreal/accentuated feel. BOOM! Music Video Treatments 'Demons nowadays will creep' At this point in the track we cross cut to Harvey as he delivers his explosive performance, against a different but equally stunning graphic backdrop, (this would also be shot in the studio). As he does so humanshaped shadows creep up the walls around him, creating an amazing stylised effect (these shadows would be animated in postproduction). At this point we could cut away to a masked female martial artist as she throws some amazing kicks directly to camera. She stops and removes her mask to reveal herself as Alesha from Misteeq (the martial arts techniques would of course be performed by a stand in). Then we cut to Tor dressed in an incredible, scifi manga outfit, with amazing stylised makeup and luscious colours as she gives a stunning performance. She does a mind blowing martial arts/dance routine as she sings, framed by a powerful graphic oriental backdrop. At other points in the video Katrina appears on the wide screen monitor at the back of the set and delivers her backing vocals. Her features are digitally distorted to give her a beautiful, ethereal quality as she sings, like some kind of electronic 'ghost in the machine' (Katrina would only appear in this digitally enhanced form). Harvey continues the chess game. The pieces on the board move in a series of animated geometric patterns. The movements of the pieces around the board would be traced by a series of clever post produced effects that make them look as if the are mapping out some kind of mathematical 'energy field'. Outside the Ninja warriors movements mirror the movements of the pieces on the board, as they fight for dominance. When one chess piece takes another there is a flash of energy and the taken piece and its matching warrior dematerialise in a burst of postproduced flame. Harvey continues his boomin' performance to camera, accompanied by Tor (and Katrina who reappears on the video monitor). This stunningly, stylised 'in yer face' performance provides the backbone for the whole video but it is cleverly and rapidly intercut with the stylish and action-packed cutaways of chess playing and martial arts until the end of the track. As the track finishes there are just two pieces left on the board. Intercut with the two remaining warriors as they fly at each other the pieces on the board disintegrate in a explosion of post produced luminance. Conclusion Will be an ultra stylish video that showcases Harvey looking amazing with Tor and Katrina giving serious back up. The video will act as a perfect vehicle for Harvey, establishing his individual character and reflecting the intensity and power of this incredible track and making the most of his personal charisma and performance ability. It will be imbued with an ultrastylish 'Eastern futurist' feel and the styling, make up and studio set will reference totally cutting edge Japanese design (budget permitting Wale Adeyemi would be the best candidate to execute this 'high concept' styling brief). Overall the video will have a luscious, sensual and 'hyperreal' texture. Throughout the grade and production design will utilise the intense vibrant colour schemes of Japanese animation, giving the video both a bright poppy feel and also an evocative atmospheric edge.