Somewhere Only We Know

By KeaneAran Knowles

LOCATIONThe location of this video is

an inspiration for us, particularly the climax. The location for the majority of Keane’s video is a forest and when put beside the song title, “Somewhere Only We Know”, gives you the idea that the forest is like a special haven for a relationship. This is the idea we want to have in our idea as the final part of ours will have a forest setting and, like Keane’s, signify purity and a way to forget the troubles of the world. This is especially highlighted in Keane’s by the fact they start in an urban city environment and choose to leave it for a forest.

ARTISIT REPRESENTATIONThe band Keane are dressed in

casual, winter clothing and from this we pick up the impression that they are not very spectacular. They choose not to become an iconic image, instead rather they fit the casualness of their music. They come across as down-to-earth, judging by sedated actions, such as walking through a forest and getting into taxis. A taxi being a sign of the common man.

We are aiming for this commoner appearance, but in the young and trendy hipster world. In my opinion, the hipster look has been accepted into society, therefore we can consider our Boy and Girl to be everyday people, and so they will have the unassuming nature of Keane in their video.

CAMERAWORKThe camerawork of Keane’s

video is done mostly in handheld, and the usage of handheld brings with it the usual connotations. Those being that the jerky movements and fluid movement allow for a rough style and imperfect way of filming, which gives it a sense of realism. And the easy movement lets the camera capture what it wants simply, and that conveys the emotions more greatly than a camera on a stand may be able. It is that combination of realism and emotional capture that we want to be the focal point of our video, and so it goes without saying that we shall be implementing that style into our video.

CAMERA SHOTSWhile in the taxi, the shots

become more close-up and personal which conveys the claustrophobic feelings felt by them in their city environment. But then when they get to the forest, the camera pulls away to give them freedom, whilst also allowing us the viewer to see the scenic environment for ourselves. It adds a special presence to the forest . As this cathartic release from the tension of the city. Most importantly for us, are the establishing shots of the forest, because we want the locations to be a character themselves. And then, conventionally, during the climax, close-ups return to add some emotion, as we the feeling in his face.The progression from detached camera shots, to the close-ups of when our Boy finds his girl is a strong formula to have.

MISE en SCENEKeane’s video takes itself in

different directions in terms of its look. It starts in the city setting, and uses downbeat elements, such as rain and black shades of colour, and the dirty yellow light of the bulb. But then when they get to the forest the lighting turns to a natural light, and this signifies hope and an improvement for them over their previous situation. The video ends with them back in the night but this time there is a washed-out blue tinge to where they are, and it’s refreshing to see. Refreshing to know they found their place that only they know.

The changing visual look, in terms of lighting and colour, is a technique worth having in order to anchor the changing moods of the video. Especially during the climax of ours, where the Boy finds his girl and the lighting and colour will reflect the positivity of the situation.