I wanted to create a timeline analysis of Sia's 'To Be Human'  because her footage can create a context for my own music video. Within her video it features clips from a film. These clips are organised in a way to create their own film and this is something that I wanted to touch on in my music video. Along with this context these clips both contrast and appose one another, not only does the lighting signify the change in area and time in the storyline, but it also falls back onto itself, repeating the same moment captured before the man goes to war, creating a non-linear storyline. This could suggest that it is the final time the main soldier spends with his lover before something inevitable will happen.
The music video opens up with a mid close up low angle shot on the mans face, cutting between that and an over the shoulder/ dirty mid shot of the same mans face in a convocation with his partner. The two clips contrast with one another, a 'before and during' the war appearance. The second time the camera switches to the first shot, the man is crying and then, for the first time the camera shot moves to his POV showing the woman he is talking to. The woman in this shot also begins to cry, a similar act happening between that shot and the previous one creating a mirroring effect and an emotion connection between the two characters. The camera also focus' on the mans face between the two shots, illuminating the colour of his eyes. The before and during shots of the war change the scenery around him, his appearance changes from clan to ragged but his eyes still stay the same.
The whole music video has a green-tint, this can have negative and dingy connotations associated with the different settings the film clips were shot in (urban, underground, abroad carnage; semantics of war).

Beyoncé's song Irreplaceable follows a simple fancifulness linear story line where a rich couple break up and the woman (played by Beyoncé) is 'chucking' the man out of her house which is shown by the man moving and picking up boxes filled with items. At the end of the music video the man arrives back at Beyoncé's house and she can't deny that he's 'still the best boy she's ever had'.
Between the beginning of the music video and the end where the story line is more realistic, it becomes more fancifulness, showing Beyoncé singing with a female band/group, changing from the story line previously.

Most of the filming was done with a hand held camera, this is a great affect to use for this music video as it allows the audience to fell like they are part of the story line (being in their POV). The camera is either stationary or follows either Beyoncé or the mans movements, this also allows transitions between shots easier as the same line of movement is followed through two or more shots. Throughout the music video the camera focus allot on Beyoncé, as the main singer and main female in the story line, being the main feature portrays her as a powerful woman.

With allot of the camera angles the man was on the left side of the shots he's featured in and not the middle third (centre), although this position is used in allot of horror films, subconsciously making the audience feel uneasy as unknowingly we prefer things to be centred, in this video the position is more literate to the first lines sung "to the left" although this link might/might not be the reason for his position on screen. The whole house and music video has a warm/natural tint to it creating a more realistic scene, rather being a dramatic dark or light colour.
The fashion sense is relative to the era the song was release (2006), this being seen as influential and sexy along with the decorative corsets she wore in between the linear story line. Beyoncé's fashion sense also created a new fashion for her audience as they would be influenced by what she was wearing.

At the beginning of the music video there is no music playing accept the background noise from the shot (Beyoncé filing her nails and the man moving the boxes). The music of the song starts only featuring basic lyrics, a guitar and an upbeat electronic drum beat. The opening shot is an extreme close up of Beyoncé filling her nails, moving outwards into a close up showing the man walking past B. The general shot after this is an open wide shot, fitting in all of Beyoncé's body in the shot.

The slow melody begins following from Beyoncé watching the man walk past her "to the left, to the left", although these are the first lines of the lyrics, taken out of  context she is telling him to do something while he walks past her. At this point the camera has captured a close us of Beyoncé while she begins singing. "Call up that chick, see if she's home" is sung by Beyoncé while she is standing in an old fashioned mirrored room which someone would use to get ready. The shot captures B sitting in a corset pampering herself in a fake 'innocent' way, though she makes it obvious that she is better than the girl the man was cheating on her with.

Within Bruno Mars' music video 'That's what I like', there are two main aspects featured; lighting and animated drawings. This style of music video doesn't follow a story line but only features the artist Bruno Mars dancing a choreography that has been edited to create a more 'twitch', jumping effect to fit with the music. The concept featuring animated drawings, Bruno uses to dance around/dance with, follows the meaning of the lyrics (and making cultural references) rather than creating a linear story line. Other videos similar to this concept is Niall Horans 'This Town' lyric video and 'Riptide' by Vance Joy.

I believe that this music video is an example of something similar to the ideas I have for my own music video to the song 'Beautiful People' by Chris Brown. One thing I want to focus on in my music video, aside from any filming ideas/story plot ideas, is the contrast of light and dark as I plan on using this idea to help to create more depth in my clips. This song in particular falls under the same song category as 'Beautiful People' being R&B/ soulful, this link in style is shown by the steady up beat-ness of the song and when reaching the chorus the lyrics and tune slow down to a more soulful re-enactment of the song (creating a change in the music to allow the audience to decipher the musical change in the song).

In the editing side of this music video, the opening shot shows a lit background creating a silhouette of Bruno Mars while text appears of the title of the music video and of the artists name. 'Bruno Mars' is in gold being underlined with a red line and 'That's what I like' in a white font. The design of this has been made to look rough and messy (similar to Justin Bieber's song 'Where Are U Now'.) which intertwines with the animates white drawings that feature throughout this music video. The lights changing position are relative to the beat of the music, moving from lighting up the backdrop (where it is mute in the music video) to lighting up the room -changing from different corners due to the change of beat- when the music stars.
the effect of the lights changing on the beat of the music creates movement and a 'change of scenery' where there isn't any, it allows different depths of field in the frame.

The colours grey, black and white are most used within this music video. Although these are cold colours and represent darker and dangerous moods, the choreography and animated drawings that list under the Mise en Scene of this music video, create a happy and soulful atmosphere. At the end of the video the choreography allows Bruno to exit/walk out of the frame, this shows the audience that he is in control of the constant movement taking place on the screen.

Throughout the music video the most used general camera angle is a wide shot with a stationary camera. This shot allows the audience to see the whole of Bruno Mars' body, a clear shot of his choreography. The stationary shot also allows Bruno to move around the area easily using the space to his own ability.
Nearing the end of the music video the shot changes for the first time to a high angled close up onto Bruno who sings upwards towards the camera. This high angled shot shows Bruno's singing escalating while animated/drawn on rain falls onto him. While this section of the song becomes more dramatic, when taken out of context it is one of many repeated scenes in romance films where the man is making promises and trying to fix his mistakes to his late-misses' while standing in the rain.

Within The Weeknds music video 'Reminder', its main focus revolves around movement and explicit content. It is evident that The Weeknd is creating a link between all of his music videos by creating a signature symbol and colour for himself; the colour red and the religious cross.

At the beginning of the 'Reminder' music video it follows a linear storyline, the camera panning across 'Hollywood' and following a helicopter in the darkening sky until it lands, opening for the main singer from The Weeknd to exit. Within the editing concept, this portion of the music video has beeen edited to have a blue/ cold tint, contrasting with The Weeknds signature colour -red- lighting up the screen from the inside of the helicopter.

The camera follows at a wide, level shot behind The Weeknd (TW) into a warm lit mansion. Throughout the music video the camera angles are all similar when focusing on TW, being of a low angle facing up towards him, having connotations of power and influence.

The style of 'Reminder' is R&B, featuring a rhythmical beat and slower paced singing. This style of music is created by TW and is his signature take on the genre R&B. When the music reaches the chorus it becomes more upbeat, although this change in tempo doesn't particularly affect the shots used in the music video.
Linking onto this concept, the editing throughout the music video has a typical structure now found in the most recent R&B and Pop music videos. Within 'Reminder' the shots and clips change on the heavy/ distinct beat featuring in the song which helps to create clarity and structure in the video. The editing done in the video features allot of 'slow-motion' or overcranking and 360 degrees tilted shots. The use of overcranking is to create a more dramatic affect (which also allows an increase of judgement on the intent of the artist/actor, giving the viewers a false impression that the actor had more time to predict what was going to happen if it were applied where something negative happened) in the shot taken. In parts of the music video shots taken become quite literal to the lyrics, for example; "travel around the world" TW is shown walking towards an aeroplane. The concept of flying remains in the video after this, the aeroplane being featured multiple times and more outside shots are taken

Mise En Scene is used in 'Reminder' to help portray the signature look TW is creating throughout his album 'Star Boy'. TW's style and appearance is clearly perceived by the viewer through the contrast between light/ dark, and the colour red. TW abuses the original concept of the religious cross, linking it into violence -shown in the music video 'Star Boy', and on the back of the dark hooded gang in this music video (also being the colour red). In contrast to the overall mood created in the video, at the mansion where TW is singing at for the most part of the music video, he is shown surrounded by a warm light -thus not creating a 'gloomy' atmosphere unlike the rest of the shots.

The symbolism of red can be perceived as either romance or danger. TW uses this dominant colour throughout this music video and album. The colour is seen when TW first enters the video -exiting the helicopter (previously mentioned)- the colour of the religious cross printed on the back of the gangs jackets, party cups multiple people end up holding and the colour of the Lamborghini (appears when sung "silence of the Lambo" which is a conjugation from the title of a horror film 'The Silence of The Lambs'.