The music video for singer-songwriter Charlene Kaye’s song “Skin and Bones” opens with an extended tracking shot as the camera follows a long piece of blue yarn. The camera then pans over a brightly colored cardboard desert and mountain backdrops. The video, with stagehands holding construction paper props in the background as the band plays paper instruments in the foreground, has the same playful sensibility that might be found in a pop-up book by Michel Gondry, director of “The Science of Sleep.”

Paper Frame Productions, the production company behind this video, is now tasked with figuring out how to surpass this star video on its next effort. It is this fact that brings the three-person company to Amer’s Mediterranean Deli on State St. on a Monday night, where they’re meeting with Charlene Kaye to plan the upcoming video for “Magnolia Wine,” the follow-up to “Skin and Bones.”

At a tiny table near the deli’s entrance, Kaye and the production team, composed of LSA sophomore Liann Kaye (Charlene Kaye’s sister), LSA sophomore Thom Arnold and his brother, freelance videographer Mark Arnold, start to block out the video. The four of them pour though a notebook filled with scribbled storyboards as they debate potential shots and ideas. Over a cup of tea and a MacBook Pro displaying the song’s lyrics, Charlene Kaye admits that, in planning the new video, trying to avoid treading over familiar creative territory is a challenge.

“I think for this video, it’s always hard to try and make the sophomore effort, because you want to live up to the last project,” Charlene said. “You want to affect people in the same way, but you also don’t want to get boxed in stylistically.”

Considering that Paper Frame Productions has only officially existed since January, it's pretty impressive that the group is producing a second music video, especially considering the group’s modest roots.

The group's story begins in January 2008, when Charlene needed someone to film a concert she was playing at Canterbury House. Thom Arnold, a friend of Liann’s, filmed the show on a handheld camera, switching between close-ups and long shots, catching Charlene's attention.

“Anybody can take a handheld video camera and hold it steady and film any band, but the shots that I’ve seen from Thom and Mark, they are so artful (and) so creative,” Charlene said. “Just the energy and the time and the attention that they put towards getting the perfect shot is really impressive and it makes the work much more lasting and beautiful.”

From here, things slowed down, but later in the semester, Liann and Thom started sketching out the basic ideas for what would eventually become the video for “Skin and Bones.” The use of paper props, the video's most visually distinctive element, and the focus on the relationship at the center of the song were planned out, but nothing tangible arose from the meeting until later.

Over the summer, the video was effectively spurred into production after Liann attended a seminar at the University of Southern California. Tasked with producing a music video in two days, she made an early incarnation of the “Skin and Bones” video, building all the cardboard props and sets herself while having an actress lip-sync the song.

After watching Liann’s video, Charlene asked the group to remake the video to coincide with her album release in the fall. In October, the group shot a version of “Skin and Bones” with Charlene in 10 hours at the Duderstadt Center Video Studio. Mark, through Thom, joined them at that point, helping out during the production. The process behind making the “Skin and Bones” video gave the group its first chance to work together on a different type of project. It was a prospect that Liann Kaye found appealing.

“Making a music video allows you to be creative with sort of a plot set out for you and also actors, if you will, that are really willing to do what you ask them to,” Liann said.