Music Video Draft 4

We have adapted our music video slightly since last time, using the peer feedback we gained on our draft 3. Here is our draft 4:

What’s changed:

  • Camera transition at 1:01 has been made more steady and less glitchy
  • Montage at the middle of the music video has been changed to have less repetitive cloud shots, also changed the speed of the clips to fit in with the beat
  • Swapped clips of clouds at 2:54 for more shots of cinema, to help continue themes of narrative
  • Changed order of last three clips – Callum spinning around in a circle is now before the volume going down, as we felt it was more consistent having the volume and the final TV clip next to each other

We then filmed James and Jake watching and reviewing our draft 4:

Targets for improvement:

  • Mask spinning in record player (00:53) could have the same glitch effect layered on top as the earlier clip, to make it blend into the record but also make the ideas and filters more alike throughout the video
  • To help the ending seem less abrupt, put clips of the volume slowly decreasing throughout the last bit of montage to build up to a successful conclusion
  • Still need to brainstorm filter ideas for narrative clips to blend better

Music Video – Draft 3

We’ve taken in the ideas which Miss Cobb gave us and worked towards making a Draft 3. Here is the next draft:

What’s changed?

  • Colour adjustments
    • We adjusted the settings on ‘Lumetri colour’ to make the green fish eyes more obvious. Therefore, we carried this effect out on other clips where we used the coloured gels, to make our ideas more consistent.
  • Motion shot slowed (0:50)
  • Mask spinning in record player (0:53)
  • Camera zoom with transition to next clip (1:03)
  • Film camera shot (0:32)
    • We made this shot more exciting by masking out the clip and duplicating it across the screen 3 times, making it look like a film strip. We then changed the colour of each shot to make it tie in with the colours seen throughout our music video.
  • Flower spinning/fish eye (1:38)
    • In our last bit of feedback from Mrs Cobb, she suggested we make the circle/fish eye effect a motif of our video. Therefore we changed this spinning shot to be in a circle, rather than a rectangle as we found the rectangle quite chunky and didn’t flow well with the spinning of the clip.
  • Extreme closeup now has a fish eye effect (0:33)
    • Originally, this clip was only covering the lyrics ‘please’ however, we changed it to cover ‘I’m begging you please’ as we found it jumped quite quickly.
  • Speed up and reverse shot of extras walking (0:15)
  • Cut in an aerial shot of record player in-between establishing shot (0:37)

Now that we’ve uploaded Draft 3 to YouTube, we need some feedback before we can continue editing Draft 4. Here is some peer assessment I received from 2 other Media Studies students…

Now that we have feedback, here are the targets for improvement:

  • Use narrative shots more than once to add consistency.
  • Try and add more filters/special effects to the narrative shots, to make them fit with the aesthetic of the video.
  • Make the end clip less sudden; fade out/zoom in to TV.

Teacher Feedback – Screen Castify

Now that we’ve uploaded the Draft 2 of Puppy Dog to YouTube, Mrs Cobb has made a screencastify where she reviews our Draft and gives ideas for development:

What went well:

  • The prolonged singing being cut in and out of with random images in between is good (1:29 to 1:45)
  • The circle shot of Callum spinning around at the end (3:18) is really effective – we should keep circle shots as a current motif in performance shots. However, we need to change the fish eye shots in dark studio to be more obvious.
  • The motion shot in the cinema (0:49) is very steady – would be valuable to slow it down and use more of this.
  • TV shots work really well and help portray the 90’s vibe and idea of being ‘stuck’ in an object.

3-5 Targets for Development:

  1. Work on the colouring of the video
    • The shots in dark studio are quite grainy and not the same shade of green throughout.
    • It would be interesting to play around with the colour of the television –  green to blue to red to yellow.
    • The phone shots are a bit dull  – play around with colouring to make it stand out.
  2. More connection with the narrative
    • Perhaps put the cinema shots closer together
    • Cut between establishing shot of record player with aerial shots at 0:35
  3. Be careful of repeating shots of clouds (1:18 – 1:28)
    • change speed, positioning, scale
  4. Play around with edits of narrative shots 
    • close up of narrative shots
    • jump cuts of cinema shots
    • reverse shot of extras walking in admiral park to correspond with numbers reversing

Overall, Mrs Cobb has given us some really useful feedback. We will now use these targets to develop our work and produce Draft 3, which will be even better.

 

 

 

Specsavers Feedback

Today we had two experts from Specsavers come into school to help us with editing our music video. They gave us feedback and also targets for improvement, which they then helped us carry out.

Summary of feedback we received:

The feedback from the Specsavers was very helpful; they supplied some useful advice and discussed with us the positive aspects of the video. For example, they believed we portrayed the themes successfully throughout the video and that we used a good selection of Mise En Scene. Some shots they thought particularly stood out were the sky shots and also the low angle with the flowers surrounding the frame, a lot of people have found that these shots give a melodramatic feel and look as though they were filmed against a green screen. Another feature they liked was the masking of Callum into the TV, this helps portray the 90’s aesthetic of the video and the illusion of being ‘trapped‘.

Targets of improvement:

  • Make green shots consistent (alter Lumetri colour scale to get all the green shots the same shade)
  • Slow down motion shot at cinema (we aren’t using it to its full potential)
  • Make sky shots more deliberate (at the moment they look quite overexposed in comparison to the darker shots)
  • Make the circle a motif to the video e.g. spinning at 1:37 could be changed to a circle (quite chunky, doesn’t blend well)

Editing techniques:

  • One thing the experts from Specsavers taught us was how to slow down and stabilise the motion shot from the cinema (using warp stabiliser). This meant we were able to use more of this successful shot without having to worry about the shakiness of it.
  • Another idea we wanted to use was masking out the record player, using the multicoloured jumper as a background. Though we had masked out before, we found this difficult as we had to turn the jumper shot into a still shot and edit out the white marks on table.
  • To help tie the mask shots in with the rest of the video, the Specsavers experts helped show us how to mask out the face, use key frames to spin it around, slow the spinning down near the end of the shot and overlay the TV static on top of the shot to help it blend.
  • A final thing they showed us how to do was slow down the shot of Callum holding the film camera. We used key frames to do this.

YouTube tutorials that might help in future:

This tutorial above will be a useful reminder in how to use the warp stabiliser.

The tutorial above will be useful in organising our footage.

Music Video Draft 2

Now that we have finished filming our narrative, we have added the shots to the video. Here is Draft 2:

Draft 2

Overall, I am very happy with how the video is looking so far. However, there are still quite a few things we need to improve. Here is a self assessment…

What went well:

  • Through out the music video, the lyrics fit what’s happening at that moment. For example, at 0:59 the lyrics ‘staring at you’ and Callum is looking through the camera. Another example is ‘spaced out’ at 0:21 where the mask spins around.
  • The edit of the mask spinning around is very effective and helps portray the 80’s and 90’s genre we want the audience to experience from the music video
  • In our Narrative shots at the Mallard, we filmed some moving shots of Callum and the extras sitting and eating popcorn (0:49). These motion shots really add to the video and make it feel less consistent and static. It would be nice to see more of this in the video.
  • We incorporated more TV shots in this draft as they worked really well and appeared quite melodramatic last time. I fixed the TV shot at 2:20 by adding a ‘noise’ effect to the clip inside the TV to make it appear more grainy and realistic.
  • The performance is still in sync and we’ve added an extreme closeup at 0:33
  • The volume going down at 3:15 and the shot of the TV turning off at end reverses the events that occurred at the beginning and helps the video feel concluded.

Even better if:

  • More fish eye and grain effects, etc to make the narrative and performance shots more cohesive (narrative is still very clean and modern)
  • All the green shots need to be the same shade of green so that the colour ties together throughout the whole video
  • Shot in camera 0:32 – quite grainy and hard to tell what’s happening – we would like to mask it out and duplicate the clip to make it look like a film strip
  • At 0:59 we slowed down the clip and dragged it out using key frames (still shot effect) and we would like to put Callum inside the lens

Shoot 2 Reflection (Narrative)

Our Narrative shoot took place on 11th September, in the White Studio. Our aims for this shoot were:

  • Ensure we get a variety of different angles and framing. We need more extreme closeups and long shots to make the video overall look very fluid.
  • Stick to our storyboard to create a narrative which makes sense and goes with the themes and ideas of our video
  • Use props to illustrate the themes

We wanted to get shots of Callum with the vintage camera and shots of the record player. If we had more spare time, we also wanted to get a few extreme closeups of Callum performing as we felt as though our video was lacking this.

Here is some BTS I took of this shoot:

We wanted a still shot of Callum looking through the Camera, so that in the editing we could zoom into the lens and mask in a shot of Callum. This idea helps portray the isolation feelings of our narrative. This started off as a medium shot and gradually became an extreme close up.

Here, we experimented filming through the vintage camera.

Here is an example of how we positioned the shot through the camera lens.

WHAT WENT WELL:

  • Lots of different angles and framing. For example, we got a birds eye view of the record player spinning.
  • We stuck to the ideas on our storyboard, which will help our music video look composed and collective.
  • We got a good variety of shots of our props and of the star which we will be able to make even more interesting in the editing process.

AIMS FOR NEXT SHOOT:

Our next shoots will be at the Mallard Cinema and Admiral Park. There will be more opportunity for long distance shots, which has been an aim for our music video for a while and more moving shots.

  • Movement – at the moment our video is very static and choppy when cutting to the next frames.
  • Variety of angles and framing – we set this as a goal for every shoot but we need more variety in angles and framing to help the video flow better
  • Shot distance – we need more long shots as at the moment the video mainly consists of medium shots to extreme closeups.

PMA for Narrative shoot 3

Our next narrative shoot is to take place on Tuesday 15th September. We’ll be getting permission to leave school for the afternoon to shoot in the mallard and in the open space around admiral park. We’ll link up with the extras at 12pm in the Ref, from there I will drive us to the Mallard, where we have organised with Daniel Phillips-Smith, the general manager, to use a cinema room to shoot in. We’ll have to leave by 2pm as that’s when the showings start. From Grammar School, the Mallard is a 12 minute drive away.

After the shoot at the mallard, I’ll drive us to Admiral Park, where we will shoot in the open space behind the Aztec Group. It’s a 22 minute drive.

We’ll be filming in the circled area

Here is our PMA, where we discussed the ins and outs on the 10th September:

Our plan is to have the extras (Luke, Levi, Georgia and I) wearing all black and white costume masks. While Callum sits in the mallard, the extras will move around him to give the illusion that Callum is stuck in the moving world. We will achieve this by filming multiple shots of Callum sitting in the same space but the extras changing seats. We’ll keep the camera in the same position for this so that it looks more fluid and natural. We will buy popcorn and a slush puppy, so that Callum is sat doing different things in each shot.

In the second shoot (at Admiral Park), we want to portray the same repetitive themes that Callum is stuck, confused and isolated in the busy and constantly moving world. We will have Callum standing with the black dial up phone (which has been used in a few other shots), while the extras move around him on modern technology, which suggests there is a digital divide between them. We’ll take 2 separate shots (one of Callum and one of the extras) so that in the editing stage, we can overlap the two and speed up the extras.

Our overall aims for these shoots are:

  • Time management – we need to be efficient with our time so that we can get everything done.
  • Stick to our narrative storyboard – we want the narrative ideas to be cohesive with the theme of the song.
  • Get a variety of angles and framing – we don’t want to have to reshoot or waste our extras’ time.

Risk Assessment for Narrative Shoot 2

Our narrative shoot will be taking place on Friday 11th September in the White Studio. We had to make a risk assessment to ensure we are aware of any potential hazards:

This risk assessment will make us aware of any potential risks which we could come across when filming in the White Studio. For example, one risk which we could encounter is tripping over wires. To adequately control this, we will be careful when walking around and tidy up any wires when we’re finished with them.

Our teacher and team members have signed this risk assessment to ensure we are aware of the risks and abide by the rules. We are also aware that if we go against our risk assessment by putting ourselves at harm, we may risk losing our home study privileges.

PMA for Narrative Shoot 2

Our narrative shoot it to take place on Friday 11th September from 11:45 in the white studio. We had a production meeting agenda on Wednesday to plan what themes we want our narrative to portray and to organise the location, costume, props we need to bring.

The narrative is a visual metaphor that focuses on the themes in an episodic formOur plan for the narrative is to portray the star as being stuck, confused and isolated from the world around him. To help convey this message, we will be using props such as a dial up telephone, a deep back TV, an old film camera and a record player.

In this narrative shoot, we will be getting shots of Callum, holding the vintage camera, white wearing the multi coloured jumper. In the editing process, we will be zooming into the lens and have his past self stuck inside the camera. These shots will be a vary of medium shots, medium close-ups and close-ups.

In this time, we will also get shots of my record player because we plan on editing Callum into the shot, so that it appears he is sat on the turning record. If we have time left over, we may also get some further performance shots, as we have noticed that we need some extreme closeups.

Here is the PMA:

Our overall aims for this shoot are:

  • Ensure we get a variety of different angles and framing. We need more extreme closeups and longshots to make the video overall look very fluid.
  • Stick to our storyboard to create a narrative which makes sense and goes with the themes and ideas of our video
  • Use props to illustrate the themes

Video Narrative storyboard

As discussed in the Narrative Development post, our narrative will be amplifying the themes of the song and it will be in anachronic order (out of order – flashbacks and flash-forwards in-between performance shots). We want the narrative to uncover a deeper meaning of the story that you might not see in the performance (in an episodic form).

Russian theorist, Todorov believes that all narratives should follow a 3 part structure; equilibrium, disruption and resolution. However, our music video won’t be in chronological order but instead showing flashbacks and flash-forwards, therefore we intend on starting the narrative by showing quick snippets of the past, inbetween performance shots.

Our main idea for the narrative is to show Callum stuck in the past, while the modern world is moving on around him. This will be achieved through a few ideas…

The first narrative shoot will take place in the white studio. We plan on getting shots of my record player – the clips of a record player turning will emphasise the idea of constant movement. These shots will be taken from a diagonal angle (medium shot) and from a birds eye view (closeup).

Another shot we will get in the white studio will be a medium longshot of Callum holding Georgia’s vintage camera – we will have central framing of this and we will slowly zoom into the camera lens, leading to a closeup of the camera. Inside the lens will be a clip of Callum, to exaggerate the theme of being stuck and isolated.

Another shoot we are planning on doing is at the Mallard Cinema. I have organised this via email with the general manager, Daniel Phillips-Smith. Straight after this location, we’ll be heading to Admiral Park. Here is the storyboard:

At this location, we will have 2 extras (Luke and Levi), dressed in all black and wearing white costume masks.

The plan for the Mallard shoot is to have the extras sat around Callum, while he is unaware of his surroundings, and continuing to mindlessly watch the movie (these will be mid shots/long shots). The white masked people will change positions around Callum and we will jump cut these shots to make it appear like an illusion. We are going to borrow a trolly from the cinema so we can take some motion shots.

As you can see in the storyboard, we will be filming mid shots of Callum drinking his slush puppy and extreme closeups of Callum’s side profile, while he eats the popcorn. We will also be filming individual extreme and mid closeups of the masked people, which we plan to mask out and put special effects, such as noise, on top.

Another shoot we will do (with 3 extras) will be at admiral park – an open space in a business complex.  Callum posing with old telephone, while the masked people will walk/sit around him on modern technology, ignoring him (as if he’s in a parallel world).

The shot of Callum with the telephone and the extras walking behind him will be a long shot. We will also get a shot of them all sat on the stairs, surrounding Callum; this will be a medium closeup.

I’m looking forward to these location shoots and  using these storyboards while filming to remind us of the intended shots we need at each location. Overall, this variety of framing and angles which we are aiming to take will give us lots of shots to work with and cut in and out of.