JC - Technical Analysis

FIDLAR -  'Oh'

Shot No.	Duration	Shot type/distance	Mise en Scene
1	0:02 – 0:04	Titles	Black background, white font, grainy film effect – old film effect
2	0:05 – 0:09	Long shot of band member	Warehouse door, sunglasses - inconspicuous
3	0:09 – 0:10	Low angle, close up of band member	Looking around suspiciously
4	0:10 – 0:13	High angle, steady cam shot	Unconscious man in mask being dragged by others
5	0:13 – 0:17	Bird’s eye view, pan right	Band open boot of the car and drag the man towards it
6	0:17 – 0:24	Mid shot – Medium shot through window – bird’s eye view	Band put man in the boot, get in car and start driving
7	0:24 – 0:46	Shots of different angles on car whilst driving, e.g., bonnet, roof, back seat	Large number of driving shots give sense of long distance journey
8	0:46 – 0:48	Big close up of band member’s hand. POV shot from the perspective of the man?	Hand holding an axe.
9	0:48 – 0:50	Over-the shoulder, high angle shot of band member cutting man’s hand off	High angle shot give the audience a sympathetic view of man
10	0:50 – 0:52	Cut on action of cutting hand, low angle close up of singer with blood on his face	Low angle shot shows the audience that the band are of higher social status in the video, and is also an example of binary opposition – good vs bad
11	0:52 – 1:00	Steady cam shot of band walking across desert	Singer wipes blood from face, angry expression
12	1:00 – 1:07	Extreme long shot of band walking further	Suitcase with handcuff attached. Band drop suitcase and crowd around it
13	1:07 – 1:15	Different angle, eye level shots	Band try to break open suitcase with rocks and a hammer
14	1:15 – 1:19	Pan right, mid shot	Shot shows the hostage’s legs walking and his bloodied shirt, presumably headed towards band
15	1:19 – 1:21	Close ups showing singer hitting suitcase with axe	Cutting rate increases showing singer cutting the locks
16	1:21 – 1:23	Low angle shot of masked man	The status of the man has changed, uses laser-gun to kill the singer
17	1:23 – 1:31	Fast cutting rate, long shots of band members getting killed	‘retro’ flashing effect is applied when band members die, connoting to old sci-fi films
18	1:31 – 1:37	Wide shots of drummer hiding behind rock, then stealing suitcase back	POV shots show drummer hiding and present masked man as new antagonist
19	1:37 – 1:49	Montage of shot reverse shot of drummer and masked man	Slow motion
20	1:49 – 1:52	Handy-cam shot of drummer dropping suitcase and hiding behind bush	Drummer puts hand over mouth in a comical manner
21	1:52 – 1:59	Extreme long shot/low angle close up	Masked man walks to briefcase and bends down in front of it
22	1:59 – 2:06	Extreme close up of masked man’s face	Stops for a moment- thinking?
23	2:06 – 2:10	Extreme long shot	Circular beams fire from the man into the sky
24	2:10 – 2:17	Close up	Masked man slowly pulls off mask to reveal an alien face – clearly another mask
25	2:17 – 2:29	Close up/low angle mid shot, extreme long shot	Alien throws mask to floor and is beamed up into the sky, the video then ends

Evaluation of technical analysis

Summarise what you have learnt from this technically

- By carrying out this task, it has given me insight into how the videos for FIDLAR's music feature meat shots of the band and also the low-budget feel they favour.

How is camera movement and cutting rate incorporated to create pace?
- The cutting rate of this video is very fast, with some sections too fast to count how many shots there actually are. This gives the video a sense of fast-moving narrative and reinforces the narrative of the clip.
- The camera techniques such as handycam, steadycam and tracking shots also give the audience a sense of placement within the action of the video.

How are aspects such as the rule of thirds, framing and transitions used?
- Throughout the video, the rule of thirds is maintained, as the director intends the audience's attention to be directed towards the subjects of the shots.
- Different methods of framing are used halfway through the video as part of a montage. The camera is set up on different parts of the car to help give the illusion of a long journey, as the audience sees the car driving for almost half a minute.
- The transitions in the video are predominantly a normal cutting transition, however there are some parts where the change from one shot to the other is cleverly interpretted, such as the car driving into the dark tunnel, and then the darkness being removed and a POV shot of the kidnapped man in the boot of the car.