'Rolling In The Deep' is (insert information about track and artist)
The video starts with a very slow forwards tracking shot, lasting only 2 seconds. Adele is not looking at the camera lens but sitting rather majestically to the side. A low strumming guitar beat fades in, almost like a ticking clock. A straight cut is made to a long shot of a silhouetted woman standing in what looks like dust or flour. This too is a slow forward tracking shot. The previous tracking shot featuring Adele appears again, just as the vocals begin. She lip syncs this, still giving no direct address to the audience. The perspective is helped at 0:09 as Adele is now seen from the other side, a longer shot in terms of framing but a more open body language as she is faced more towards the camera. Again, this is a tracking shot.
This is broken up by the first still shot of the video so far, between 0:12-13. An upstairs landing is filled with glasses of water. Perhaps this reflects the emotion in the song. They are still currently as the song has just started and the tension is building up.
The tracking shot of Adele makes an appearance once again, this time framed in a close-up shot. This coincides with the lyric 'finally, I can see you crystal clear', just as the audience see Adele for the first time. This also references to the clear glasses of water, as a close-up of these glasses cut in on the word 'clear'.
At 0:18, a still shot of a drummer is seen. He is centre of the shot, making him significant, however his face is never seen. He is important as he is the visual source of the drums that kick into the song mere seconds later. The shot of the stairs is connecting the landing containing the glasses to the rest of the setting. It also plays an establishing role as it is quite early on in the video. The room Adele sits in looks very majestic, as does the room the silhouetted woman is in. This adds to the sense of grandeur and space.
A wider shot of the glasses of water appear at 0:20 starting in a still shot, then very slowing moving forwards to make a tracking shot, but as the drums kick in, this camera movement quickens as the glasses vibrate with the sound. At 0:25 these vibrating glasses are seen in a close-up, this time tracking backwards.
This reverse tracking carries onto the next shot, Adele seen from the door of the room she sits in. Then a forwards tracking shot at 0:31 of the silhouetted woman, and again to a backwards tracking shot of Adele this time from the opposite end of the room with the door in frame.
It is evident at this point that tracking shots will be a large part of the video, and in fact there are very little static shots in the whole of the video. This visual movement may be to represent Adele's emotional journey, as the song is about looking back onto a previous relationship and perhaps seeking retribution. However it does sometimes feel as though the tracking shots are overdone and could make audiences feel disorientated.
A reverse tracking shot lasting from 0:34-36 is one of the few times that Adele is framed facing forward. Adele never looks down the lens, and so the song is not a direct address to the audience but whoever was previously in a relationship with her. This is strengthened by the fact she is not facing forward exactly but angled to the right slightly. The room Adele sits in is covered in dust covers and sheets. A big, square white sheet hangs up behind Adele, picking her out and almost like a sub-standard infinity cove or white background.
In the form of inserts the silhouetted woman comes into frame more frequently. She is holding a stick which she uses to move around the dust/flour. This could be a visual representation of 'rolling in the deep'. It also adds to the dramatic qualities of the track.
The shots of the glasses, Adele, the silhouetted woman and the drums keep on repeating like this, more often than not using tracking shots.
At (insert number) the stairs are seen again, at the foot of the stairs is a pile of broken china or crockery. Perhaps this could represent the 'broken heart' nature of the song.
The video starts with a very slow forwards tracking shot, lasting only 2 seconds. Adele is not looking at the camera lens but sitting rather majestically to the side. A low strumming guitar beat fades in, almost like a ticking clock. A straight cut is made to a long shot of a silhouetted woman standing in what looks like dust or flour. This too is a slow forward tracking shot. The previous tracking shot featuring Adele appears again, just as the vocals begin. She lip syncs this, still giving no direct address to the audience. The perspective is helped at 0:09 as Adele is now seen from the other side, a longer shot in terms of framing but a more open body language as she is faced more towards the camera. Again, this is a tracking shot.
This is broken up by the first still shot of the video so far, between 0:12-13. An upstairs landing is filled with glasses of water. Perhaps this reflects the emotion in the song. They are still currently as the song has just started and the tension is building up.
The tracking shot of Adele makes an appearance once again, this time framed in a close-up shot. This coincides with the lyric 'finally, I can see you crystal clear', just as the audience see Adele for the first time. This also references to the clear glasses of water, as a close-up of these glasses cut in on the word 'clear'.
At 0:18, a still shot of a drummer is seen. He is centre of the shot, making him significant, however his face is never seen. He is important as he is the visual source of the drums that kick into the song mere seconds later. The shot of the stairs is connecting the landing containing the glasses to the rest of the setting. It also plays an establishing role as it is quite early on in the video. The room Adele sits in looks very majestic, as does the room the silhouetted woman is in. This adds to the sense of grandeur and space.
A wider shot of the glasses of water appear at 0:20 starting in a still shot, then very slowing moving forwards to make a tracking shot, but as the drums kick in, this camera movement quickens as the glasses vibrate with the sound. At 0:25 these vibrating glasses are seen in a close-up, this time tracking backwards.
This reverse tracking carries onto the next shot, Adele seen from the door of the room she sits in. Then a forwards tracking shot at 0:31 of the silhouetted woman, and again to a backwards tracking shot of Adele this time from the opposite end of the room with the door in frame.
It is evident at this point that tracking shots will be a large part of the video, and in fact there are very little static shots in the whole of the video. This visual movement may be to represent Adele's emotional journey, as the song is about looking back onto a previous relationship and perhaps seeking retribution. However it does sometimes feel as though the tracking shots are overdone and could make audiences feel disorientated.
A reverse tracking shot lasting from 0:34-36 is one of the few times that Adele is framed facing forward. Adele never looks down the lens, and so the song is not a direct address to the audience but whoever was previously in a relationship with her. This is strengthened by the fact she is not facing forward exactly but angled to the right slightly. The room Adele sits in is covered in dust covers and sheets. A big, square white sheet hangs up behind Adele, picking her out and almost like a sub-standard infinity cove or white background.
In the form of inserts the silhouetted woman comes into frame more frequently. She is holding a stick which she uses to move around the dust/flour. This could be a visual representation of 'rolling in the deep'. It also adds to the dramatic qualities of the track.
The shots of the glasses, Adele, the silhouetted woman and the drums keep on repeating like this, more often than not using tracking shots.
At (insert number) the stairs are seen again, at the foot of the stairs is a pile of broken china or crockery. Perhaps this could represent the 'broken heart' nature of the song.
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