GEETA BAHRA
G322
I Need Your Love
Calvin Harris ft Ellie Goulding
This scene opens with 4 different shots of Ellie lying in a bed wrapped in the
covers. All these shots are similar and feature the sunlight shining through a
window in the background but from slightly varied angles. In the 5th shot Calvin
joins her in bed in a ‘selfie shot’ giving the audience the idea that it is him
capturing the shot. After this the camera takes us outside for a shaky shot of
Ellie laughing in a tropical environment on a rooftop. The camera does a 180,
with Ellie still in the composition of the shot, adding Calvin. After this we have a quick cut to back in the bedroom capturing a mirror, which reflects the image of Ellie in the bed in the background and Calvin in the foreground holding a handheld camera phone, informing the reader of how he is filming. Calvin then takes us back to the bed and we then cut to see the pair laughing again on the roof. At 31 seconds there is a momentary delay when the fast shaking of the handheld camera slows down and the two interlock for a kiss. This is a good example already of when the video matches the audio track, something, which is key in music videos.
GEORGE FIELD
After this the chorus kicks in and they are both captured in a fast car with its roof down on a sunny day. The scene quickly cuts back to Ellie on the rooftop and the to building as the car is driving along. Three buildings are shown which matches the beat of the song and then changes to Calvin adjusting the camera on his car bonnet. The same cut to beat affect is used again but this time capturing three driving locations from the bonnet of the car. As the verse starts there are longer drawn out shots of similar things, which have already been previously introduced to us as viewers and the new development of them facing away from us on the beach. This scene develops with them no longer with the camera on the beach and there is a slight flick on the tape to show a disturbance.
After a shot section of quick cuts a new character becomes in control of the handheld camera introducing us to his skateboarding including upwards facing shots capturing his whole body. This then develops to us, as viewers, being positioned at the end of a pool table watching him play. After a short while of this there is another flicker where we go back to Ellie and Calvin in the bed and then return to the pool table where we are introduced to our next character; a biker. After he spots the camera he places it on his bike, facing himself, and starts to ride. There is then another quick cut back to Ellie in bed and her in the open top car. This change in shots continues back and forth throughout the chorus with forward facing shots on the bike, until the second verse where the focus returns to Ellie and Calvin. Her we are revisited by similar shots of Ellie in bed and both Ellie and Calvin on the rooftop showcasing their love. At 2:08 we have the new scene of a tattoo parlour where again ‘selfie shots’ and shots of Ellie show us that she is getting a tattoo.
At 2:23 another character picks up the camera showing us shots of him getting into a helicopter. What then follows is a series of aerial shots again using the three clips along with beats of the audio track technique. There is then an aerial shot panning to a man on a jet ski. The shot the cuts to this man having control over the camera filming action shots of himself before submerging into the water. However, as the camera comes up a woman on a boat grabs the camera and we see that the entire scene has changed to two women on their private boat to go along with the bridge of the song. The flick on the video happens again here returning to Ellie and Calvin and the back to the girls on the boat. One of the girls in the next shot has both her hands on the camera and is dragging it into a busy nightclub. This scene follows with girls dancing and smiling at the camera and goes back to a singing Ellie Goulding in bed which is a very similar shot to the opening section. There is also the inclusion of Calvin Harris playing in the nightclub whilst the girls dance. As the final chorus kicks in we slowly zoom into Ellie and Calvin together on the dance floor with strobe lighting. As we approach them Calvin takes the camera and the camera goes out of focus. When the focus comes back we see the entire dance floor dancing with glow sticks. The last five seconds of the music video feature a noise similar to a rewindso the video track reflects this with previous shots, which have an applied filter over them to create a rewind effect. Once the music ends we are left in the corner of Ellie and Calvin’s bedroom as he jumps on top of her, out of focus, with the sun shining through the window, giving a feel good feeling.
This song is a summer feel good dance track and that is reflected in the music video with the incorporation of sun, beaches and love. The song is also heavily focused on love, which is captured in Ellie and Calvin's relationship and also the sharing of a camera, which ends up back with its owner. Throughout the video we see a mixture of Ellie lip-syncing along with the track and also her playing along the narrative. This gives the viewer a healthy balance so that we know it is her singing but we are constantly distracted by it. We also see a lot of interaction with the handheld camera and the characters using it so it is clear that when using this technique you need either consistant interation or none at all.
