My team and I developed our idea for a magazine show. We wanted it to have a ‘live lounge’, musical and youthful feel, and found inspiration in images of underground, trendy music venues. This lead us to the theme and name of our show; BSMNT, pronounced basement, standing for ‘bath spa music ‘n’ talent’. We then went onto create a presentation which we would later pitch to our peers, in hope of creating out own show.


After winning the pitch, and creating the concept for BSMNT, my team and I were able to choose and allocate preferred roles. I was elected as director of a VT insert, and as the vision mixer for the live show.

Directing the Music Video for Saint Loe

I first approached this task by brainstorming what the VT could be. Since I helped to form the idea for the show in the initial stages, I felt confident that I had an understanding of the style, and content needed. Through this understanding, combined with research on popular television shows, I decided that having a music video inserted into the show could add an interesting element, that would break up some of the ‘chat’.

After copious research and meetings with the band, discussing their style and taste, as well as discussions with other members of the BSMNT team, I came up with the aesthetic concept. The band we decided to choose, (Saint Loe), often played with acoustic instruments, and admired the likes of Mumford and Sons, so with that, I researched their videos and visual style.

I noticed Mumford and Sons’ running theme consists of lights and old fashioned, ‘shabby’ walls or stage settings. They seemed to follow an, ‘English country’ theme, which can be seen both in the locations, and their dress. I took inspiration from this style, using an old, English temple as the location, and bringing in a light halfway through into the built up section of the song. I created a story board with a selection of inspirational images, which on the shoot, proved very useful to reference back to; keeping the theme running throughout.


I applied research from Directors and cinematographers who collaborate well together, and who I admire.

I kept in mind techniques from this research, especially when designing the shots in the video, and choosing which cameras and lenses to use.



I worked closely with my team, showing them the storyboard and making sure we had a shared vision, so the outcome would be as we all expected, and so the team all felt valuable and involved.


Overall I was very pleased with how the shoot went, and later the edit. The brilliant team communication meant that it was well planned and organised throughout the creation process. I think the choice to use DSLR cameras was successful, and the pulls of focus added a stylistic element that can be seen in many Mumford and Sons music videos. In addition, my idea to add the glitter onto the drum added another dimension to the video, to keep it entertaining and original. This, mixed with the clever timing and choice of shots in the edit all contributed to create a successful VT which integrated well into the recorded show, which we also planned to have a ‘rustic’ feel, decorated heavily with lights.

Vision Mixing

As the vision mixer, I began my role early; attending tutorials beforehand to really get to grips with how to set up the desk correctly, so that I could play in the different VTs, and use fitting transitions. This proved to be a good decision, as on the record day, I was able to confidently use the desk and follow the director’s shots accurately.

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During the sessions I attended, I made many notes which I was able to keep beside me during the record of the show, incase I felt unsure of my next step. Upon reflection this was a sensible decision, and one which I will continue to use in future productions when learning how to use a new piece of equipment.



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