Filming on Brick Lane

Today I went to Brick Lane to film more shots for my music video. It was a very successful filming sessions as there were no complications with the weather, the transport and the timing. A friend helped with the tracking shots while I directed and took some landscape shots of the Brick Lane sign and large sky scrapers in the distance. We took many tracking shots along various back-roads, both singing and not singing for lip-syncing shots and for fillers. I intend on ending the track with a montage, a compilation of all shots taken in each scene; today's filming will help me add to this. The only issue I may come across during editing is the dark lighting from the street lights. While I tried to avoid the dullness and flatness of daylight, filming took 2 hours (15:30-17:30pm) which meant it was progressively getting darker. My favourite shots were the ones against the battered, fenced graffiti wall as this enhanced the urban, gritty look I want to achieve.

My friend helping with the filming (using the monopod)

Rescheduling

Filming that was supposed to take place on Thursday 11th December will now take place on Sunday 14th to ensure that all members involved can make it. I now plan on going around the Algate East area, particularly on Brick Lane so I can hopefully capture the sense that I am alone and disorientated within a fast-paced crowd. I want to film a minimum of three whole takes:

1) Close-up of myself singing, still
2) Tracking mid-shot of myself singing
3) Tracking mid-shot of myself

with an added shot of:

4) Traffic/cars to contribute to the busy/clustered feel

Costume and props

There will be no props for this scene however I want to maintain the dark look. I will wear black and grey with red lipstick to ensure that I don't blend into the background too much.

Sexism in Pop Videos

This presentation on sexism in pop videos discusses Miley Cyrus and whether or not she is exploiting or being exploited, questions Lily Allen "feminist" motives, and American rappers, YG and Drake's presentation of women in rap music videos. There is also the debate that the "male gaze" nature of the music industry where women are viewed as objects of male erotic desire influences real life society and forms hegemonic ideas. The overall message is that women

Michael Jackson

"Not just ‘King of Pop’ but ‘King of the Pop Video’"

Rockin' Robin

Released: February 17, 1972

This is a cover of Bobby Day's "Rockin' Robin" which was released during the days of Jackson Five. 

The music video is very basic with some superimposing, basic cuts and use of lip syncing. There is a variety of angles, high and low, central and side but when compared to his later music videos, this displays limited sophistication.

Rock With You

Released: November 3, 1979

Rock With You is the second single off of his solo album "Off The Wall". There is a definite star image quality about him with his sparkly sequined suit and distinctive disco dance moves. The mise-en-scene overall is thoughtful and sophisticated; laser lights are glaring behind him to enhance his costume with various close up, mid and long shots from different angles show that Michael Jackson is breaking through as a solo artist and finding himself as an artist.

Billie Jean

Released: January 2, 1983

Billie Jean is more like a short film than a music video as it does not purely focus on lip-syncing and dancing. There is larger variety of shot types including eye-line matches and match on action shots alongside more props, costumes and a large theatrical set. There is clever use of lighting throughout; with each step he takes, a slab of pavement lights up or a step on a staircase lights up. The editing is also much more effective in order to create these new shots and the split screen editing which occurs later on in the music video.

Eye-line match 1

Eye-line match 2

Large set

Match on action shot 1

Match on action shot 2

Match on action shot 3

The use of lighting and split screen editing

Beat It

Released: February 14, 1983

Michael Jackson continues to create these theatrical, story telling music videos with Beat It. This music video established him as an international pop music icon and it was the first treatment of black youths on the streets in music videos. Jackson also had the idea to cast genuine gang members - 80 of which featured in the music video which opened up many employment opportunities. This music video has a positive message as the elaborate choreography at the end merges the rival gangs together in music and dance which encourages them to leave violence and hatred behind. 

Thriller

Released:

November 12, 1983 (Worldwide)
January 23, 1984 (US)

Full 14 minute version:

The editing, particularly at the beginning, is more like a short film than a music video. The title at the beginning enhances this film-like quality.

The music video is considered the most famous music video of all time, at least by the Library of Congress, which added it to its National Film Registry in 2009, the first music video in their registry. The video was a cultural milestone introducing elaborate choreography, costumes and dialogue, the concept of the long-form music video, where a mini-movie was made for a song, then edited down for the short version. The long version of "Thriller" runs nearly 14 minutes, but had remarkable longevity, easily racking up over 100 million views when it showed up on YouTube. MTV usually ran the short version, which ran a little under five minutes but still contained about a minute of non-song content in a storyline that omits most of the movie the couple is watching at the beginning. 

The video cost about $500,000 to make. Jackson's record company had no intention of paying for it, since the album was on the downswing and they had already financed videos for two of its songs. According to John Landis (Director), Jackson really wanted to turn into a monster, so he offered to pay for the clip himself. Landis took on the project because he saw it as a way to revive the short film genre, which he loved. Jackson didn't have to pay for the video out of pocket because they made deals with Showtime and MTV to cover the costs. Showtime got to air a one hour special with the "making of" documentary and the 14-minute film before it was broadcast anywhere else. When MTV heard about this, their executive Bob Pittman decided that losing a Michael Jackson video to Showtime was unacceptable, and paid $250,000 for the exclusive broadcast rights once Showtime's window ended. MTV was founded on the principle of not paying for videos, so Pittman got around this by paying for the documentary, even though the money was really used to pay for the film. 

The video won for Best Performance Video, Best Choreography, and Viewers Choice at the first MTV Video Music Awards in 1984. With its famous graveyard dance, the video started the trend of group dance scenes in Pop videos. The video owes a debt to Alice Cooper, who in 1975 created a movie based on the stage show for his Welcome To My Nightmare tour. Cooper's production was based on an entire album, but it also used a horror theme and was narrated by Vincent Price. Most homes had Video Cassette Recorders in 1983 and sales of videos were big business. You could buy a VHS or beta copy of Michael Jackson's Thriller, which included the full video and also "The Making of Michael Jackson's Thriller," a behind the scenes documentary. This tape became the best selling music video at the time, and was later certified by Guinness World Records as the top selling music video of all time, moving 9 million units. The timing helped, as the video was released a few weeks before Christmas.

Most homes had Video Cassette Recorders in 1983 and sales of videos were big business. You could buy a VHS or beta copy of Michael Jackson's Thriller, which included the full video and also "The Making of Michael Jackson's Thriller," a behind the scenes documentary. This tape became the best selling music video at the time, and was later certified by Guinness World Records as the top selling music video of all time, moving 9 million units. The timing helped, as the video was released a few weeks before Christmas.

The video below shows some of the making of Thriller. It shows us the large make-up artist team, set designers and costume designers discussing how they created certain effects. For example the costumes were old suits that were wrecked and "zombiefied". The set had realistic props such as coffins to relate the zombie theme alongside smoke machines to create a gloomy feel.

 

The Way You Make Me Feel

Released: November 9, 1987

This song is about love and falling in love which allows Michael Jackson to introduce women as the main object of attraction in his music videos. Mulvey's male gaze is evident in this music video as the woman is viewed as an object of male erotic desire as there is a mid-shot of her body wearing a short, tight fitted dress. She also lacks agency, although Jackson is the one chasing her, she ends up with him in the end.

Bad

Released: September 7, 1987

Following Thriller, Michael Jackson was the biggest pop star internationally. His videos made the news and so the release of Bad's music video was a major event. The full music video for "Bad" is another short film at 18 minutes long, written by novelist and screenwriter Richard Price. These elaborate dance sequences have become an essential feature of his music videos. There also appears to be a recurrent theme with his work as many of the music videos involve gang-related themes with a positive message to teach young audiences possibly involved in gang related behaviour. 

Black Or White ($4,000,000 – Today $6,925,000)
Released: November 11, 1991

The pop video was very expensive and inventive, following Jackson through Africa to Asia to Russia and so on. The serious message behind it is that race should not cause problems in the world just as racism and discrimination. One part of the music video highlights the issue of war and terrorism, perhaps as result of races fighting against one another. A shot of Jackson at the top of the Statue of Liberty has connotations of freedom and strength through racial unity and equality. This music video was used to try and resurrect his career as there were allegations of him being ‘strange’ in terms of problems with his image. People began to speculate that he was bleaching his skin to become white but others suggest that he has the skin disease, vitiligo. Therefore this song and music video proved to be controversial as he appeared to be unsure of this own image.


The end sequence of the face morphing is reference to Peter Gabriel's ground-breaking music video for Sledgehammer.

Conclusion

As digital technology developed so did Michael Jackson’s use of the pop video. He used his videos alongside his music to form a message of some sort for example in Beat It, he diminishes gang culture and violence through dance. Newer equipment and better editing tools allowed him to create sophisticated and artistic choreography with a large cast. In Black and White I feel that Jackson has taken advantage of digital technology the most as the effects and props used are outstanding. Without it he wouldn't have achieved the fire scene, the face morphing and the successful green screen section on the Statue of Liberty. In order to show off these skills, his videos became much longer and more complex and so the videos became as important as the song itself. Jackson used pop videos to reinvent his image, tell these controversial stories and address serious issues such as race, terrorism and violence.

Filming on Thursday 11th December

The second session of filming will take place on Thursday 11th December in Central London. I plan on filming on Brick Lane or Oxford Street however this depends on time. There will be time between 9am-12pm to film so I must ensure that I am fully organised with the shot list and location. If I film on Brick Lane, particularly during this time then I risk not getting the large crowds I want to achieve the "caged in" effect. On the other hand, Oxford Street is almost always busy, even at this time of day, however it will take too long to commute and complete filming within this short space of time. Nevertheless, artistic shots of the urban landscape will be even better around Brick Lane as it achieves the gritty, urban feel.

Photoshop Practice

Today I practiced using Photoshop in preparation for my digipak. It was a short activity comprising of random images and quotes to create a band name and the album art. This was the original image (below) - in photoshop I edited it in "Filter Gallery..." using the "Ocean Ripple" effect with slight "Ripple Magnitude" to make it look less photographic. I then contrasted this blurred, distorted background with a graphic text called "Blacklisted" from "dafont.com" for the band name. It is best to put the band name/album title in one of the corners as this looks clean, appealing and does not disrupt the album cover art. When using Photoshop for my digipak I need to remember to make each new element I add a new layer so that they can be edited individually where necessary. 

Final product

Case Study 3: Alex Southam

Alex Southam has worked for Agile Films who describe him on their website as "an exciting new talent... entirely self-taught" with a series of diverse promos for the likes of Walkmen, Alt+J and Lianne La Havas. At the beginning of his career, Southam undertook all the tasks on his videos from the cinematography to the lighting and even the editing. He now uses a Director of Photography.

Southam likes the format of music videos as opposed to commercials as he believes there is more "real artistic freedom" in music videos. He finds that commercials are too restricted creatively. Vimeo is his preferred platform for showcasing his videos – this is becoming an increasingly important website as it is considered to have "higher status" than YouTube.

An entire portfolio of his work can be seen here:

http://cargocollective.com/oofvideo/about-oof-video

Alt-J - Tessellate

His breakthrough came with the video Tesselate for Alt-J with a budget of £10,000, one day to shoot with a large cast. In editing, Southam added special effects using AfterEffects. It appears as if the cast were stood in front of a green screen in their separate groups. Then after Southam has put the various shots of the groups into what appears to be one long continuous shot using Steadicam. The music video and the lyrics are very conceptual which makes it difficult to draw parallels between the two in terms of whether the video is illustrative or represents disjuncture. However it does strongly remind me of Kanye West's music video for "Power" (2010) in which he is represented as a god-like figure surrounded by a Renaissance style cast dressed as gods, goddesses and mythical creatures. Southam may have possibly used this as influence - the model that appears several times in Tessellate as more than one character could represent the god-like figure of Alt-J's music video. Both music videos appear to symbolise power; while Kanye's video is mostly illustrative, I feel that Alt-J's video is simply more conceptual and Southam is taking the opportunity to showcase his diverse creative talents.



Kanye West - POWER



Chase & Status - Lost and Not Found

In 2013, Southam worked with Chase & Status for Lost and Not Found with a £50,000 budget. It was filmed in Los Angeles using Steadicam where 36 frames per second was filmed and then later slowed down in editing. It was influenced by Massive Attack’s "Unfinished Sympathy" (1991) in terms of the Steadicam filming in one long take. He also wanted to go for an early 1990s VHS video look, achieved naturally in "Unfinished Sympathy". In Lost and Not Found there are only three shots in the whole video. The music video does illustrate the lyrics to some extent as there is the main storyline of the fugitive on the loose. But again, I feel that Southam's creativity is the main focus - it could act as an entirely different text from the song altogether. Instead of a music video, it could be a short film.

Influenced by: Massive Attack - Unfinished Sympathy

Editing Process (Day 1)

Today I began editing with the footage taken from the first filming session. I managed to complete thirty seconds of the song - throughout this process, I realised that I need to either film more shots with this setting or move onto filming the shots in the other locations. 

Case Study 2: Emil Nava

Emil Nava began as a runner for film production companies, working for Blink Productions. After working as a runner graduated to Assistant Director (A.D.) where he would manage the video shoots. His success got him signed to Academy, the biggest music video production company and then worked for Between the Eyes. Emil now works for Pulse and freelances for OB Management. OB Management often work with Pulse Films, Rocket, Agile Films, Friends and Wonda. They describe themselves as, “ three straight up dudes who work out of Denmark Street London” with aims to nurture talent, work with production companies, work with record labels and match the right director to the right artists.

In an interview, he explains how it is a difficult industry to break into and that hard work must be consistent in order to succeed. At his most busiest, Emil makes up to twenty-four films in a year. When he began shooting videos for independent labels the budget would be as low as £5,000 to £10,000. His most expensive video to date has been for Jessie J and the budget was £160,000 which exemplifies his success and dedication as a director.

Kid British - Our House Is Dadless

Emil’s first budget was for the band Kid British and the track Our House Is Dadless with a small budget of £20,000. The location was in Manchester with locals as the cast. Filming took one day with just two to three days for editing - pre-production spanned across ten days. This music video demonstrates the very tight timescales involved as the location remains the same, the cast are local people and the editing is simplistic.

BBC Newsbeat

In a BBC Newsbeat, Emil discusses the many factors that can affect a tight timescale such as make-up artists and costume designers. If the team cannot cooperate or maintain organisation then a 16 hour day can easily run over due to several small issues.



Jessie J and Tinchy Stryder

Emil Nava directed six Tinchy Stryder videos in 2009 including "Number 1" and "Take Me Back". There is a similarity in these music videos; all are set in a studio with a minimalist set and graphic lighting. This is perhaps due to a desired theme for his alum "Catch 22". However the filming and editing are undoubtedly recognisable as Emil Nava's because Jessie J's video "WILD" maintains a similar theme. It is in black and white with a simple set - the focus being purely on the artist and their performance. Nevertheless, the increased budget of £160,000 is evident in Jessie J's music video when comparing it to Tinchy Stryder's work. There is a larger variety of shots such as fast-paced tracking shots with fast editing to match. There are also at least three costume changes for Jessie J alongside a bigger focus on the featured artists, Big Sean and Dizzie Rascal.

"WILD"

"Number 1"

"Take Me Back"

Advertisements

Emil has now begun to make adverts, which generally have a far higher budget and production values but allow for less creative freedom. He has directed an advert for L'Oreal for their Feria hair colour, using the marketing slogan, "Dare To Be Different". Emil maintains this marketing approach of promoting women to be "different" by filming models with bold hair colours acting fiercely. One wears athletic clothing and punches a boxing bag which is suggestive of her inner masculinity thus separates her from the "norm"/stereotype that women are physically timid. 

Ed Sheeran

Emil Nava has also worked with Ed Sheeran for his music video "You Need Me, I Don't Need You".
The client was Atlantic and the cost was £35,000. Kid British's video with a budget of £20,000 is almost half of Ed Sheeran's which shows; the concept behind Ed Sheeran's may not have worked so well with such a small budget. Again, I feel that his relatively basic, yet consistent conceptual ideas are showing through here which makes him a recognisable director.

Emil’s Top Tip

• Use Extreme Close Up on faces wherever possible
• Do not shoot whole of video in medium shot/long shot
• Example – Sinead O’Connor – Nothing Compares to U and Godley & Crème - Cry

Audience Research: SurveyMonkey

Where do you watch music videos?

Using SurveyMonkey, I carried out a small survey on how people watch music videos. Most people used YouTube as their main online music video source and under 30% still used music channels on TV. This shows the change in internet culture; less people are using channels such as MTV to view music videos, as a result, MTV show less music. The growth in internet streaming sites enables audiences to access music videos on various platforms (iPad, smartphones, laptops etc) at home and on the go.

Do you think that artists benefit from music videos in terms of their promotional value?/Do music videos enhance the likeability of songs?

The majority of the respondents said that artists benefit from music videos due to their promotional value and that they enhance the likeability. Half of these respondents fully agreed and the other half thought that they benefited to an extent. One respondent stated that it "depends on the music video". I agree with this due to the different types of music videos such as ones that illustrate, ones that show disjuncture and ones that amplify. For a mainstream audience who want to view the music video aesthetically, I feel that illustrative music videos are most effective in promoting the artist. However, most mainstream artists rely on their fanbases which ultimately means a music video would be unnecessary. They would only alter their image/style in order to draw in a broader audience. Despite this, there are many concept-based videos which either amplify or avoid the meaning of the song for visual purposes - audiences of these types of artists are usually more "niche" and so may enjoy analysing/appreciating the music video to a greater extent than mainstream audiences. These types of music video can attract the broader, mainsteam audience due to its creative value as it usually provides them with something different which could increase sales.

Do you enjoy watching music videos?/How often do you watch music videos?

The respondents all enjoyed watching music videos which indicates that they are an important part of selling an artist and their product. Over half watched music videos on a regular basis (two to four times a week). Over 40% said that they occasionally discuss music videos with others. This result also suggests that it is a very competitive market; artists must always be creating something new to capture this audiences interest.

Some answered with a couple of effective music videos which they believed improved the likeability and promotional quality of a song.

Case Study: Jamie Thraves

Jamie Thraves' music videos:

All three videos have in common their simplicity - all are mainly set in an ordinary domestic room with underlying literal connections. However the most prominent element is the connection with the lyrics' emotion. I find Tom Odell's video is the most effective; it is filmed in one long take, the argument/action builds up over the course of the video along with the drama and emotion of the song.

Katy B - Broken Record

Goodwin's theory can be applied to Katy B's music video as Jamie Thraves uses genre characteristics of pop music. It illustrates the lyrics and has party scenes to match the location where this style of music is mostly played. There are close-ups of Katy B singing throughout the video which helps us identify her as the main attraction - it is Katy B who is selling the product. Likewise, this notion of looking is sustaineed throughout, particularly the three occasions where Katy B looks enviously into a corridor where a couple are kissing. On the second occasion, they look back at her and on the third she looks, but chooses to ignore them.

There is the use of Mulvey's male gaze as the man stares down at her singing in the bed:

Death Cab for a Cutie - I Will Follow You Into The Dark



Tom Odell - Another Love

Audience Research

What types of music videos do they watch?

What kind of music are they into?

Do they watch music videos?

What is the age of the audience?

How/Where do they listen to music?

How/Where do they watch music?

These are the questions that I must consider when retrieving my audience research. It may also be helpful to ask them to comment on my chosen track as this will help me identify the target audience and possible wider audience. Often, fans of a band will not consider the music video when it comes to buying/listening to the music. However audiences that might not have previously considered or enjoyed listening to the artist's music may find themselves enjoying a song after watching a good, effective music video. The purpose of the music video is to promote the artist and the song which is why it is essential to simultaneously appeal to the wider audience. 

There are a number of ways of obtaining this information:

1. Surveys
• SurveyMonkey: "screen grab" then evaluate the results
2. Questionnaires
3. Interviews: filmed
4. Focus group
5. Vox Pop

Vox Pops

Vox populi (Latin) = voice of the people

The interviewees are filmed in public places to give the appearance of spontaneous opinions in a chance encounter. There are usually more than a few people that are asked the same questions in order to show "balance". 

Examples of questions that I could ask:

Do you watch music videos?

What is your favourite music video?

What do you like about music videos?

What makes a great music video?

Where do you watch music videos?

Model of the Media

This short Prezi presentation shows a basic visual overview of the model of the media. It shows us how media texts such as film, TV and games are consumed by audiences who experience these texts in a number of ways. The presentation then explains the nature of the music market and how piracy has caused a decline in the financial transaction process that audiences undergo when consuming texts, particularly music. As a result of this audience behaviour, music videos are primarily used as a marketing tool, an advert. Institutions such as Amazon, Sony and Universal exhibit, distribute, market and produce these media texts for audiences to consume.

First day of filming

Lighting, props and location 

Tonight I started filming shots 1-9 of my music video. I decided to film in my living room as it was the only plain, light coloured wall I knew I had guaranteed access to. Therefore I had to plan the mise-en-scene carefully to avoid the set simply looking like my living room i.e. with the television and sofas on show as this would effect the overall believability of the music video. I took influence from Rihanna's "We Found Love" video:

My video

Rihanna's video

• The mattress with minimal colour scheme with unpolished look to appeal to the target audience
• Some small decoration was added to the "effortlessly" unkempt look (long dream catcher weaving in and out of the stack of pillows and onto the mattress and decorative lighting) 

• Sombre lighting- I used a lamp with a cream cover to: 
• 1) balance the harsh, white spotlight on the left
• 2) to avoid the shots looking too flat and dull on camera, adds some dimension like in Rihanna's video with the coloured string lights against the harsh bedside lamp
• I also used wicker ball string lights and a similar light-up heart for decorative purposes, I maintained the clean, white colour scheme to avoid the set looking too cluttered
• I also used a third light slightly off-centre. By comparing the picture of the set above with the front lamp on and the picture of the set below (costume and makeup) with the front lamp off the minor issues have visibly been resolved. It acted as: 
• 1) a softer light to reduce the contrast between the spotlight (left) and the lamp with cover (right)
• 2) a highlighter to ensure that my face was not too dark 
• 3) amplified the shadow behind me slightly to stop the image looking too flat 
• 4) softened the shadows in the creases of the sheets which made the set look too scruffy 
• I used candles in some close-up shots however I didn't use them during filming because:
• 1) they did not fit in the frame; if I had filmed them, the unwanted plug sockets and wires would be on show
• 2) I found that they practically did nothing in adding to the overall lighting effect
• 3) it would have been an extreme fire hazard as there were flammable materials very close to the candles and I found that the smoke machine made the flames larger which could have made them uncontrollable
• To resolve this issue while keeping the illustrative mellow feel that candles can achieve in place, I filmed a close up tracking shot after my performance shots. 

Lamp with cover (right)

Spotlight (left)

Rihanna's video

• "SFX": I don't have access to a projector which would have further enhanced the appearance and believability of the video however I attempted to mimic this effect by using a mirror reflection
• The mirror has a decorative mosaic effect around the edge which projects onto the wall quite nicely
• The reflection was created by "spotlight (light)"
• I also used a smoke machine to illustrate the lyrics "I don't need to breathe, breathe, breathe..." etc. It also made the set look less like I had filmed it at home.

Mirror used for makeshift "SFX"

Although this was mainly directed and filmed by myself, I had my younger sister's assistance in ensuring that still shots remained in their position. She also helped with a shot where I wanted moving extreme close-up of my leg and arm that I will hopefully use for the line: "steam on my skin from the heat within, no limit to your touch".

Costume and make-up

I incorporated the glitter eye make-up look from my mood board and maintained the "dark", grunge feel with a darker lip. I wore a loose black baseball shirt and leather leggings with a gold ring and bracelet to achieve the desired modern grunge, yet urban look. 

Close-up of make-up

Still from a mid-shot, showing outfit

Overall, I found it challenging and time-consuming to film around ten whole takes. The song is roughly 3 minutes 50 seconds but filming lasted for almost 4 hours - this includes the set up and set down, positioning the camera, reviewing shots etc. But this only motivated me to plan more filming, I may even repeat this scene to include more shots like a pan shot with even more angles. I feel that I filmed a sufficient amount of shots but I want this scene to be the main "location" i.e. I will keep returning to this scene throughout the video so I may need additional takes. However I plan to upload to footage to Premiere Pro and thoroughly review the footage before making further plans.

Animatic

Shooting Schedule

Some dates may possibly change due to clashes in work shifts etc. I have tried to work around times when I have free lessons because outdoor filming cannot happen after 4pm as it gets too dark. The costumes may also change because of how they look on camera, I might need to incorporate more colour such as red, to symbolise love/passion - this is the reason I plan to add in a rose in scene 2.

Shot List

This is the shot list for filming that is to take place 12/11/2014.  The minimum number of shots is currently nine however as ideas develop throughout filming, more may be added. The only character needed for shooting is myself, acting as the girl of the song. In order to handle more complicated shots and set up, I will ask a friend to help out.

This is the shot list for filming that is to take place 11/12/14. I will be using a friend to help me film, while I direct as I want shots of me walking down an urban street, possibly within a crowd to give the sense that I'm "caged in" and isolated in my own thoughts in order to illustrate the lyrics and mood of the song.

Costumes and Props

Take images of outfits, include outfits for other locations