All Time Low - Time Bomb

All Time Low – Time Bomb

So far after examining three music videos, I can safely say All Time Low’s Time Bomb is one of the most ‘secure’ instances of alternative rock (as well as one of the newest examples) that safeguards a lot of conventions, whilst exploring the actual camera work and shot representation at the same time; often leaving out some of the most popular conventions such as live audiences. What’s quite nice and sort of fresh about Time Bomb is its obvious attention to detail to scene, costume, and quality of camerawork –clearly shot in HD – as well as a few more elements such as product placement.

00:00

Immediately the audience is introduced to the narrative – whilst this isn’t non-conventional it is however a bit out of norm for my current research, it is conventional but approves of establishing the narrative immediately and opening the scene to the video somewhat smoothly. This long shot creates that ‘obscuring’ feeling, whilst the light work in the shot appears inviting due to the use of bright colours, creating the entrance to the piece. As the shot zooms in to focus on the protagonist of the music video, the entrance point becomes more effective, as well as creating that motion needed to drive the music video forward and introduce the cut-away no more than a second after the shot is held. At this point however, the mise-en-scene at this point is cruital for the story line, as often in the narrative shots are held at mid shot, close up or dolly, rarely establishing the ideal of the ‘abandoned’, ‘obscure’ or ‘secretive’ that the video sort of requires.

00:02

Whilst establishing shots of instruments or band members aren’t non-conventional to begin with, the directors choice of who/what is slightly unusual; here, we have an extreme close up of the drummer at his snare as the shot pans up quickly, and with good-quality cameras, the optical blur in the background creates a natural, yet obscuring sense in this introduction to the band. Normally (and more so conventionally) the first establishing shot for the band, or shot to establish iconography, is typically a mid-shot, close up or extreme close up of the lead singer; the drummer and other band members are often left until later or last, to the point where that stage is several minutes into the song or later.

00:03

However, the drummer shot only lasts a second before it quickly cuts to the (seemingly) lead guitarist walking in front of the drummer, strumming; this shot tracks left to right, creating the motion (more so for the short length of shots, lasting a second) that’s needed for these shots to work so effectively in such a short space of time.

00:06

Finally – and more so conventionally – the piece comes to pan up on the lead singer, the shot shaking (due to the lack of a steadicam) and the lead signers small ‘bouncing’ movement, continues the motion from the past shots as the intro builds up to the point of the actual music beginning. As the shot shortly rests on an extreme close up of the lead singer, this is the most establishing sense of iconography and as the piece explores the other band members and (after this shot) has a long establishing shot of the band on a roof, creates that sense of iconography to All Time Low before the music actually begins or the narrative. Although the methods of this video are slightly unusual, it has all of those traditional conventions to an alternative rock music video, more so as it really ‘ties up’ the scene of the band before the actual song begins.

00:08

Growing into the narrative now as momentum and pace picks up from the song; the band is finally fully established in single sequences (rather than the full establishing shot) as the bassist is shown after a glimpse of narrative and guitarist. This extreme close up of the bassist as he vigorously plays, creates that full sense of iconography as well as motion that the composition needs to create in time with the soundtrack.

00:12

Whilst the band has seen established in this music video, this shot in its full is genuinely interesting – more so as it also examples light, scene and the composition of the piece. This shot is stationary, yet as the drummer naturally moves a lot, the camerawork doesn’t need to move to create that sense of pace – more so as it syncs up to the music effectively. What’s important to note of this shot is the obvious half break of drummer and the background (the setting of rooftops) and the clear indication of natural light, to create a glowing sort of sensation to the piece; the scene itself is conventional as the setting has that ‘derelict’ or ‘alternative’ sort of sensation, such as Sum 41’s swimming pool scene.

00:15

When returning back to the narrative (still following the behind shot of the protagonist) the shot has changed considerably to an extreme close up of the back of his head, whilst optically focusing truly on what appears to the audience through the use of the mise-en-scene, wall and the sparks flying (as well as other shots that showed machinery in ways) to be some sort of plan – the actual name of the song bomb and the lyrics, instantly interlining music and video (which is conventional) creates that sense that the protagonist is indeed or appearing to create a bomb. The link and cinotography between video and sound is extremely conventional of an alternative rock music video, taking in the main chorus and actual title in a literal and strongly narrative related model.

00:21

Straight into the lyrics and the narrative is easily brushed into with a much slower, calmer pace than already established in the music videos; immediately, shots such as this are held for far much longer as the verse is a whole deal slower than the initial chorus or intro itself; at this point and time also, there is very little but the lead singer and the drummer as the song has yet to build up. As this character has already been shown as the protagonist, it is natural that the close up shot such as this can be used to establish the bases of the storyline effectively (as will be explained at 23 seconds in) however it’s interesting to note the clear use of product placement in the music video. The first frontal shot of the protagonist, this close up, clearly targets the ‘dre’s beats’ product effectively, whilst managing to ‘silhouette’ it into the mise-en-scene and costume of the character. Product placement in a music video isn’t un-conventional however it is slightly abnormal in an alternative rock music video: it is rarely seen. Such product placements as this however, are more commonly seen in mainstream music videos such as pop or R n B music videos – ones that make it onto the likes of MTV for example or the charts – yet the product placement, whilst directly obvious, also adds this edge to authenticity, whilst having nothing to do with the actual ‘story line’ of the lyrics; it’s strictly there for the effectiveness of trying to sell the band and the product, like a subliminal advertisement for those who clearly listen to music (yet again, All Time Low aren’t really shy of product placement, as being a large band, they are able to have this instituted into their music videos, or at the same time have the effect of such literally explained to the audience in a video such as: I Feel Like Dancing, where the actual storyline is the conventions of an alternative rock music video). What is further unconventional about this product placement is that it is normally expressed in the costume of the actual band or lead singer; this is due to the iconography and ‘selling angle’ that establishes with audiences even further more.

00:23

Whilst this shot is held for around 4 seconds, as it slightly pans up and focus on the (previously) blurred background, the optical filter changes to focus past the protagonist and onto the wall behind (mise-en-scene). This mise-en-scene examples the direct link to the lyrics of Time Bomb, - as a sense of running out of time, trying to save the one you love – as well as (due to the pace of the song) the slower and longer held nature of the shots. The mise-en-scene at this point in the music video particularly emphasis particular elements of the music videos; the red line or seemingly route of ‘escape’ on the map shows the directions between the protagonists current location and the location of what is in the music video his ‘love’ above the larger circle; whilst the mise-en-scene isn’t direct with the lyrics immediately, it does aid the narrative effectively enough to make sense and drive the story further forward. The use of mise-en-scene in such a way is extremely conventional, and from recent research, is one of the most effect examples of narrative and mise-en-scene.

00:25

Leading on from the mise-en-scene of the woman’s photo, the shot is cut away to the blurred effect trim to a close up of the woman, seemingly unconscious; again, mise-en-scene is applied to make further sense of the current situation: the red on the blanket allows the audience to assume that blood is apparent, pulse sensors but most importantly, what appears dog tags or a key around her neck – this adds to the military effect of the narrative, as well as the idea of being ‘obscure’ vigilantes or even spy’s.

00:35

As the song begins to encounter the bridge pre-chorus (naturally picking up pace and atmosphere) the piece on queue and in sync, introduces the brewing climax to the video and song; introducing troops. This low shot of the troops boots and obvious swinging of gun, is obscuring, yet is clear to the viewer that these are troops. At this point, the shots become shorter as the pace is slightly increased and the guitar is introduced more profoundly.

00:41

This shot is the most effect close up example of mise-en-scene in the piece; although the viewer is not aware of what it is the protagonist has – or why he is beginning to run – what appears through mise-en-scene is that he has some sort of ‘bomb’ or ‘weapon’; this is the most direct example of mise-en-scene and narrative towards the actual lyrics of the song, which is conventional and effective to explore the song’s meaning or fantasy.

00:54

This shot is particularly effective as it creates an immense sense of motion as it tracks the guitarist running and jumping around to the front of the drummer whilst playing; at this point of the chorus and at the songs intensity of pace and dynamic sound, is extremely useful to push forward the live performance and begin to introduce the narrative once more.

00:55

Going into the narrative, the same sense of motion is continued, as it tracks the protagonist running down the stairs and forward, attempting to escape the armed forces; again mise-en-scene is effective here once more as the spray painted ‘no’ in the background is a symbolic message in the piece for the protagonists ability to not give up although in the face of danger (shown by the armed forces group shots and mise-en-scene) and again, another link to the lyrics of its message of determination. All of these conventions work effectively together to type up the music video in means of over-all video to music fantasy as well as example of cinotography; what is interesting from what lacks in conventions is the strong sense in iconography that is established so strongly in other music videos.

00:58

This shot of the protagonist jumping over the rails continues these conventional sense of motion to reflect the speed of the chorus, and the intensity of the lyrics and name time bomb further ( as though he was running out of time ) the conduction of this shot in camerawork is slightly unique in the terms of its panning to follow, its speed showing control as the protagonist is clearly in focus and central of the shot at all times.

01:01

Iconography hasn’t really been established as much as other music videos, yet all the same it still does it, just not as much. Conventionally to note however, the piece comes to focus on a mid-shot of the lead singer for a second, to establish that connection with the viewer as well as himself.

01:02

Whilst there aren’t a lot of conventionally close-up shots of the lead singer, there is however a lot of establishing shots of the band (notably, a high angle shot, suggesting and creating a minimal effect to the band); these establishing shots as a whole really create the sense of iconography that the band is the selling point, the image of this music video and not the lead singer as normally is found in music videos. Mise-en-scene is also effective when noticed in this shot: the lead singer has a t-shirt on saying ‘no regrets’ which really interlinks with the lyrics ‘we’re like a time bomb’ and the message from the video that love is worth the effort. At this point and time also, it is also considerably worthy to note the ‘costume’ of the band in its entirety through an establishing shot; all of the band members are wearing black or white, which is conventional for the alternative rock atmosphere.

01:04

This shot, in combination with the mise-en-scene, helps to tie the narrative together, and suggest that the protagonist is running away from the armed forces, the firing in this shot expresses the literal meaning of time in combination with the song’s lyrics and atmosphere as visually expressed in fantasy; again, making the narrative of the music video extremely conventional.

01:25

This extreme close up whilst the guitarist plays really emphasis on the soundtrack to the music video, whilst synced up yet abstract, it continues to create that sense of iconography and remind the viewer of the performance parts as well as the narrative; this shot in its visual and iconography effects is conventional, more so as the focus is pointed to the fingers as he plays.

01:36

This shot has the camerawork conventions of an alternative rock music video, however when put into focus and role, this shot is rather unconventional; here, the camera has a mid-shot of the bassist as he sings back-up vocals, the mid-shot creates this sense of iconography and establishment further within the band, however when emphasis of singing is taken upon in the music video, it is conventionally the lead singer that is the focus. What is also particularly noticeable (yet not quite mise-en-scene) is the ‘flash’ of tattoos as the bassist plays, relating with the alternative rock audience for the more adventurous, younger age group.

01:43

The terms of editing in this music video expresses a very sleek, very tuned and synced up piece that really uses the climaxes and the paces within the song – or particular riffs and lyrics – to emphasis particular parts of the narrative; or, as at this point, aid the cut away between live performance and narrative. Coming closer to the solo and the end of the song, the piece becomes more wrapped up towards building that ‘grand finally’ sensation as the piece really gets off the ground. Here, when the drummer hits the crash, the piece jumps to the troops storming a building on the note, clearly and effectively using the music to move and switch between the two effectively through editing. This is extremely conventional in alternative rock music videos, as it allows a clean break or division between live performance and narrative, allowing the piece to effectively interlink and cut away between the two with the soundtrack.

01:46

The same editing and sync up is used here, so when the shot gun is fired, the initial shot is on another crash note, creating that depth of note and significance in the music to correspond visually.

01:47 – 02:09

For nearly all of this second chorus, it is only shots of the band during live performance; as the images above demonstrate, the bouts of the band are run over again as to establish the band effectively for each individual, as well as a band in entirety, creating that full sense of iconography. The shots are held for slightly longer, if not a second each than previously, yet quickly change between the band members. Whilst the camerawork isn’t unconventional, the length of the live performance focus is however; often in alternative rock music videos, establishment and iconography shots are often swapped up in-between live performance and narrative, to create that sense of music and band between the ‘fantasy’ or physical embodiment of the lyrics. This section actually in terms of editing, seems too long dragged out without any narrative to divide it up and with nearly 30 seconds under the belt, that is a considerable amount of the music video (an estimated 1/6 of the music video in effect). Whilst this may have been done so that the narrative could sync up with certain parts of the song, such as timing or lyrics, it does however not work as effectively.

02:15

Although the live performance section lasted for about 30 seconds, when the narrative actually returns to the young woman in real time (not in a dreamlike state, as to why the blur effect was used) is at the bridge between the chorus and the solo of the song a.k.a the calmest part of this rock music video. This shot is held for a considerable longer amount of time than others throughout the video; the editing becomes slower to reflect the pace of the song and its emphasis in the tempo also, this is conventional for alternative rock music videos, however slow motion effects are often used in the past videos I have looked at to effectively ‘fill this gap’.

02:20

The composition on this mid-shot really aids the narrative in the music video, as it shows the obvious connection, care or otherwise viewed by the audience as affectionate love that helps the lyrics relate to the video in the music video, as running out of time for the love, conventionally working on many levels in the narrative to fully embody this.

02:24

Once more, mise-en-scene is used effectively here to continue the ideal of this item that the protagonist is carrying to be something of worth, or otherwise a ‘bomb’ of sorts, when relating to the name of the song and the lyrics. Again, this is used conventionally to create the ‘fantasy’ that corresponds to the atmosphere, tone and message in the song.

02:35

Like before, the crash cymbal from the drums is once again used to create that signifying change within the narrative – this time it is used to introduce the sudden awakening of the young woman; the editing and the music being used in such a way is conventional as is the close up on the young woman as her eyes immediately engage with the audience, creating that focus and significance once more.

02:38

This shot doesn’t really have anything to do with convention other than the significance of the heart beat coming back, the idea that there is still time from the lyrics and narrative in the song, but I found the shot particularly interesting as it presents two views. The viewer will naturally view the heartbeat, yet with consideration will notice the young woman rising from bed in the heart monitor reflection; the optical view in this piece is used to fully aid the shot as the rest of the heart monitor is out of focus.

02:49

In the pause between bridge and third chorus, the camera quickly pans down onto the band, jumping straight into a mid-shot of the lead singer as he repeats the chorus once more. The speed of this shot and the motion in it, even during the pause, helps the music and video to continue forward and reintroduce itself effectively, as well as pick up that tempo and pace of the chorus immediately after the considerably slower bridge. Jumping back into the mid shot really ignites that sense of closeness as well as iconography from the band altogether; both with both, these are very conventional uses of camera work and editing as it effectively brings the change from narrative, bridge and chorus to live performance effectively together, and re-create that reflection and atmosphere (even speed) of the song.

03:02

This is the point where the live performance and the narrative clash together, with really no explanation as to what role the band play within the narrative, or as to why they have suddenly become one, it sort of creates a non-realistic atmosphere of the narrative immediately, and sort of cuts the recreation of the lyrics and therefore the fantasy of it dead short. This is unconventional; live performance and narrative (even if the band are included) are normally kept separated – even From Yesterday managed to do that with the clear division of shots, yet as this would demonstrate with the optical view and tracking of the protagonist and the young woman from the lead signers point of view would suggest, the two domains of an alternative rock music video have really clashed together in a very unconventional matter. At this point the lack of conventions in this music video becomes more obvious, such as a lack of a live performance band, to signify to the viewer that this is an alternative rock music video. Whilst it doesn’t totally recreate the image or what the video actually is, it does in respect create a slightly hindering yet view to it.

03:16

This is the shot that the piece fades out on, the long establishing shot of the band and the mid shot of the troop leader really emphasis more on clash between live performance and narrative, yet sort of creates a total division between it at the same time, as neither recognise the other. As unconventional as this is, from this shot it does sort of work, but hinders the conventional effects of the narrative’s mise-en-scene and relation to the lyrics of the song.