Mk Gee Treatment
(2026)
Video Editing ◦ Art Direction ◦ AI Pre-production Techniques
Mk.gee Treatment
Mk.gee Treatment
(2026)
(2026)
Video Editing ◦ Art Direction ◦ AI Pre-production Techniques
Director’s Treatment Concept
Visual Development by Rachel Horvath
ROCKMAN
Director’s Treatment Concept
Visual Development by Rachel Horvath
ROCKMAN
Director’s Treatment Concept
Visual Development by Rachel Horvath
ROCKMAN
Director’s Treatment Concept
Visual Development by Rachel Horvath
OVERVIEW
OVERVIEW
In this video, we will see Mk.gee alone, no other cast or audience. The entire video takes place inside an empty regional bowling alley, somewhere in upstate New York or the midwest, mid-afternoon on a weekday when nobody comes. The space hasn't been renovated since the late 1980s. The wood lanes, the pin lighting, the neon scoring displays glowing for no one; they are already doing everything we need.
In this video, we will see Mk.gee alone, no other cast or audience. The entire video takes place inside an empty regional bowling alley, somewhere in upstate New York or the midwest, mid-afternoon on a weekday when nobody comes. The space hasn't been renovated since the late 1980s. The wood lanes, the pin lighting, the neon scoring displays glowing for no one; they are already doing everything we need.
WORLD
WORLD
A regional bowling alley, not renovated since 1987.
Wood lanes worn smooth at the approach. Pin lighting overhead, warm, directional, low. Neon scoring displays glowing for no one.
Ball return machines humming. The smell of wax and carpet.
Between each lane, a pocket of near-darkness. We alternate between the light and dark spaces overhead and backlit as Mk.gee plays through them.
This is the landscape we move through.
A regional bowling alley, not renovated since 1987.
Wood lanes worn smooth at the approach. Pin lighting overhead, warm, directional, low. Neon scoring displays glowing for no one.
Ball return machines humming. The smell of wax and carpet.
Between each lane, a pocket of near-darkness. We alternate between the light and dark spaces overhead and backlit as Mk.gee plays through them.
This is the landscape we move through.
FIGURE
FIGURE
He doesn't command the space, he occupies it.
Guitar in hand, cord trailing behind him across the lanes as it follows every step. The cord trailing, untidy.
Mk.gee's hair is down and his face is obscured more than revealed. His outline with the guitar serves as the identity. The hair is the frame, and his face arrives in pieces with warm light catching a jaw, an eye, a mouth mid-word.
He is not performing for anyone.
He doesn't command the space, he occupies it.
Guitar in hand, cord trailing behind him across the lanes as it follows every step. The cord trailing, untidy.
Mk.gee's hair is down and his face is obscured more than revealed. His outline with the guitar serves as the identity. The hair is the frame, and his face arrives in pieces with warm light catching a jaw, an eye, a mouth mid-word.
He is not performing for anyone.
CAMERA
CAMERA
A reimagining of what a live performance video can be.
The camera stays on him predominantly.
It follows at a slight distance, walking with him. As he crosses from lane to lane, light passes over him: bright under the pin lighting, swallowed briefly in the dark between lanes, bright again. The camera does not cut to the environment, instead the environment comes to him.
One continuous relationship between camera and subject.
A reimagining of what a live performance video can be.
The camera stays on him predominantly.
It follows at a slight distance, walking with him. As he crosses from lane to lane, light passes over him: bright under the pin lighting, swallowed briefly in the dark between lanes, bright again. The camera does not cut to the environment, instead the environment comes to him.
One continuous relationship between camera and subject.
LIGHT
LIGHT
Pin lighting overhead is warm amber, directional. The lanes create a natural algorithmic rhythm of light to dark.
As Mk.gee moves, light interrupts the frame subtly. Lens flare off the lane surface. A pocket of near-white when he walks directly under a fixture. Backlit moments where he becomes silhouette with his guitar neck visible, hair catching light at the edges.
We shift from warm to cool to warm.
His face is seen in fragments within oscilating colors.
Pin lighting overhead is warm amber, directional. The lanes create a natural algorithmic rhythm of light to dark.
As Mk.gee moves, light interrupts the frame subtly. Lens flare off the lane surface. A pocket of near-white when he walks directly under a fixture. Backlit moments where he becomes silhouette with his guitar neck visible, hair catching light at the edges.
We shift from warm to cool to warm.
His face is seen in fragments within oscilating colors.
PERFORMANCE
PERFORMANCE
He plays while he walks through the lands, then stands stationary under a pin light. This is not in a loud or performative way, but nuanced.
His hair is forward, eyes are mostly down or closed. His face and gestures are alternate between calmly, almost shyly, playing the guitar and bursts of energy when he hits a strong lyric or chorus. A physical balance between chill and aggressive playing.
He plays while he walks through the lands, then stands stationary under a pin light. This is not in a loud or performative way, but nuanced.
His hair is forward, eyes are mostly down or closed. His face and gestures are alternate between calmly, almost shyly, playing the guitar and bursts of energy when he hits a strong lyric or chorus. A physical balance between chill and aggressive playing.
VERSE : 0:30 --1:20
VERSE : 0:30 --1:20
VERSE : 0:30 — 1:20
He continues walking lane to lane, then stops and plays. The lighting shifts as he moves: warm amber and red.
We begin to see his face in fragments. A jaw in amber. An eye briefly visible through the hair. A mouth, barely open, mid-word. Then the light shifts and he is silhouette again. Nothing is held long enough to become a portrait.
VERSE : 0:30 — 1:20
He continues walking lane to lane, then stops and plays. The lighting shifts as he moves: warm amber and red.
We begin to see his face in fragments. A jaw in amber. An eye briefly visible through the hair. A mouth, barely open, mid-word. Then the light shifts and he is silhouette again. Nothing is held long enough to become a portrait.
FINAL CHORUS : 2:55 — 3:40
FINAL CHORUS : 2:55 — 3:40
FINAL CHORUS : 2:55 — 3:40
The camera starts close, just behind Mk.gee, intimate, his figure filling the frame. He has stopped walking. He stays still, gazing forward down the bowling lanes as the camera stays on him, facing him as he is back-lit. Light shifts from cool to amber then back again.
He doesn't move or respond to the light changing. The space is changing around him.
The camera starts close, just behind Mk.gee, intimate, his figure filling the frame. He has stopped walking. He stays still, gazing forward down the bowling lanes as the camera stays on him, facing him as he is back-lit. Light shifts from cool to amber then back again.
He doesn't move or respond to the light changing. The space is changing around him.
FINAL SHOT : 3:40 — END
FINAL SHOT : 3:40 — END
FINAL SHOT : 3:40 — END
He stays stationary, still gazing down the bowling lane.
The camera backs away slowly, then picks up pace. The overhead lights flicker as the camera retreats. The neon strips hold above him until he has nearly disappeared into darkness.
Our camera stops at the same distance we started, with nearly the same frame save for Mk.gee in the middle, still gazing down the lane.
We stay for just a beat, then cut to black.
He stays stationary, still gazing down the bowling lane.
The camera backs away slowly, then picks up pace. The overhead lights flicker as the camera retreats. The neon strips hold above him until he has nearly disappeared into darkness.
Our camera stops at the same distance we started, with nearly the same frame save for Mk.gee in the middle, still gazing down the lane.
We stay for just a beat, then cut to black.
Hi, I'm Rachel
I enjoy floating in the ocean,
fresh orange juice, and my chihuahua, Luca.
