# Anchorage Inn and Resort — Music Video Shot Brief
## 30–45 second promo MV | Original framing, no copied photos

**Concept thread:** The camera follows the physical journey from inside the building to the beach — a deliberate crossing that mirrors the lyric "cross the road." Each shot adds one new sensory layer. Cuts land on beat.

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### Shot 1 — LOBBY WINDOW, PREDAWN (0:00–0:05)
*Interior to exterior through glass.*
Camera is tight on a lobby window. Outside: Long Sands Beach is dark blue, empty, surf just barely visible. A single lamp reflects in the glass. Title card: "265 Long Beach Avenue, York, Maine." The song's first acoustic strum hits as light begins to lift on the horizon. No people yet — the place is already awake before the guests are.

### Shot 2 — SUN AND SURF RESTAURANT, MORNING STACK (0:05–0:10)
*Close detail, warm interior light.*
A short stack of pancakes lands on a window table. Out of focus through the glass behind them: ocean, gray-green, morning light. A coffee cup. A hand wrapping around it. No faces needed — this is sensation, not stock photography. Matches the lyric anchor "breakfast at the Sun and Surf, the waves rolling near."

### Shot 3 — WATERSLIDE DESCENT, WIDE ANGLE (0:10–0:16)
*Action, movement, color.*
Overhead or side-on angle from pool deck level: a kid exits the waterslide into the pool, full splash bloom. Camera holds on the ripple rings expanding outward. The indoor pool ceiling and the bright signage of the resort building frame the background — establishes scale. Hits on the pre-chorus snare crack.

### Shot 4 — LONG BEACH AVENUE CROSSING, SLOW MOTION (0:16–0:22)
*The defining brand moment.*
Low angle, road-level. A family — two adults, two kids — in mid-crossing of Long Beach Avenue, shot from the ocean side looking back toward the resort. The Anchorage Inn sign is readable but not forced. Behind them: the resort buildings, multi-story, real scale. In front of them (us): Long Sands Beach, wide and flat. Nobody looks at the camera. This shot IS the hook — it earns the lyric. Slow-motion on the chorus drop.

### Shot 5 — LONG SANDS BEACH, LOW TIDE WIDE (0:22–0:28)
*Scale and air.*
Wide drone or long telephoto from beach-level showing the full expanse of Long Sands at low tide — the flats are enormous, reflective. The Anchorage Inn buildings are visible in the background across Long Beach Avenue, framing the beach on one edge. Late afternoon light or golden hour. No voiceover, just the chorus gang vocals riding over wind sound. Shows why you'd stay here versus a property set back from the shore.

### Shot 6 — HOT TUB / OUTDOOR POOL DECK, DUSK (0:28–0:34)
*Contrast shot — year-round.*
Two adults in the outdoor hot tub, breath visible in cold air. Ocean visible over the pool deck railing — dark, churning, November-looking. String lights on the railing. This is the shot that earns "year-round" — not a summer-only place. The steam rising from the tub against cold ocean air is the visual proof. Matches the bridge "seven in November."

### Shot 7 — RESORT SIGN, NIGHT, RAIN-SLICKED PAVEMENT (0:34–0:40)
*Year-round closer.*
The Anchorage Inn exterior sign lit at night, reflected in rain-wet pavement of Long Beach Avenue. Ocean sound audible under music. Every room window glowing amber. This is the "lights are always on" image — not moody, just solid. Shows the resort from across the road the way a guest pulling in from the highway first sees it.

### Shot 8 — RETURN TO LOBBY WINDOW, DAWN (0:40–0:45)
*Mirror of Shot 1, close out.*
Same window framing as Shot 1, but now: golden morning light. A child's handprint on the glass, slightly smeared, Long Sands visible through it. Acoustic guitar alone on the outro. No text, no logo lockup needed — the handprint on the ocean-facing window is the brand.

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**Edit note:** Cuts 1–3 land on verse downbeats. Shot 4 (the crossing) lands exactly on the chorus kick. Shots 5–7 ride the sustained chorus. Shot 8 drops on the outro guitar. Total runtime target: 42 seconds. No slow-mo on more than two shots — keep the pace feeling like a family in motion, not a dream sequence.