Our draft 4 of our music video with a screencastify showing feedback on this draft.
This is the 3rd draft of our music video. Since our 2nd draft we have taken on the feedback that our teacher has given us.
Below is a screenshot of the feedback that our peers have given us on our draft 3. It was important to gain this feedback on our draft 3 because it gives us an insight into what other people think of our video instead of only changing elements of the video due to what my group likes/dislikes.
The attached documents show my groups New Storyboard and Production Meeting Agenda for our re-shoots of our narrative and our draft 3 of the overall music video. It was important to update our PMA so that all of our information is accurate. Keeping our PMA up-to-date ensures that nothing will be forgotten on the day of our shoot. It will ensure that all required costume, props and make-up will be bought on the day.
Creating a new storyboard also ensures that it is easy to see what new shots have been included since draft 2. It allows my group as the filmers to take note of what shots are new to be included, what shots we will need to re-shoot/shoot and how we need to adjust our draft to ensure continuity and a story that makes narrative sense.
The embedded video is a Screen-Castify from our teacher giving us feedback on draft 2 of our music video. Below I am going to bullet point the feedback that we received.
- Good opening shot in slow mo
- Nice to connect with the star as the lyrics begin
- Good connection with the lipstick in mirror then on the actor
- Nice close-up montage of getting ready
- The shot with a close-up of Sophie’s eyes works well
- Shot of Sophie sat on the rock hugging her legs works well
- Fabric through the frame shots are framed nicely – work well & look effective
- Close-ups that we have work really well
- Likes the fourth wall break at the end
- Good framing
- A clear, effective narrative
Targets For Improvement:
- Make first lip-syncing shot a bit longer
- Would be good to do match-on-action with the lipstick shot at the start.
- Close-up of photo when girl looks to photo
- Maybe add a filter to flashbacks to show that the girl in reminiscing
- Close-up of star’s hair cascading down her back – pick-up shot if needed
- Pulling photos down – pick-up shot – make it a close-up – match-on-action
- More singing close-ups/fabric through frame shot
- Close-up of ripping the photo – demonstrate the importance of this moment, also a close-up of objects flying through the air after they’ve been swiped off the table
- Nice to see what is happening on the phone – will shoot a screen recording and do a split screen between actor on the phone and the screen recording of what she is seeing.
- More cuts to anxious. facial expressions
- Don’t over use the waves – only reference that once – waves will be replaced with other abstract shots such as rocks tumbling from a stack or a hand hitting sand into the air.
- More obvious signs that the phone has flashed in the mirror
- Pan/dolly around fabric through frame/pan or dolly around the star whilst singing so that it is not so static
- Gain more match-on-actions detailing pivotal moments – more close-ups
This is draft 2 of my groups music video.
Draft 2 differs from draft 1 as it includes the narrative section of our video. In draft 2 we have also lip-synced the song and added in the audio which has changed since draft 1. This is the first draft which looks how an actual music video would. Our draft 2 is 50:50 performance:narrative, it is an equal split and it works effectively for our genre.
Targets for improvement for draft 3:
- More match-on-action shots – Example: putting on lipstick – in mirror, on our star, back to in the mirror.
- More close-up performance shots.
- Cut to close-ups more often to show more discomfort/anxiety in my stars facial expressions.
- Get some close-ups of the Polaroids being ripped off the mirror.
- Shoot more abstract shots – stack of rocks being knocked down/hand hitting sand into the air.
The task to understand audience ideologies was to create a dating profile for a member of society who would watch my music video. We used YouGov to research what area of the UK a typical member of my genre’s audience would live around and what sort of things he/she would be interested in. YouGov provides demographic information (gender, age, location, political views) and it also provides an entertainment category which provides us with information on what TV, music and films our genre’s typical audience would watch/listen to.
The profile that we have created details a typical audience member of the indie-pop genre of music. She is 19 years old, listens to Lana Del Rey music and is a freedom/independence seeker. The demographics category on YouGov also told us that our typical audience members would live in the East London area and so this is where our character lives.
Our narrative for the music video was filmed in two shoots. The first shoot was where we shot all of the group footage with the 3 actors and for the second shoot we had only our main star and we shot all of the footage that shows her getting ready to go out. Both shoots went very well and we got lots of good footage from each of them.
We will need to do a third shoot to produce some pick-up shots to draw more attention to the facial expressions of our actors and to produce some match-on-action shots. We may also need to do another re-shoot to gain more abstract shots of the dress from our performance shoot flowing through the camera frame.
Some positives from our narrative shoot:
- All props & costume required were bought.
- We got the majority of the footage needed and only need to re-shoot a couple of shots.
- Everything went according to our production meeting agenda and everything ran according to the time set aside for it – we got all of what we needed done in our arranged time frame.
- My group produced a variety of shot distances and angles for each section of our narrative – we have a large range of footage to choose from and can decide what angles/distances look the best for each shot.
Targets for improvement on our next shoot:
- Get more close-up shots to show detail in facial expressions & to create match-on-action shots – can build up tension/drama/emotion.
- Shoot more abstract shots – EG: Dress fabric flowing through the frame or a stack of rocks being knocked down.
- Close-up lip-syncing shot to be re-shot.
- Re-shoot close-up lipstick smudging shot (not in mirror).
The below image shows my groups risk assessment with signatures from each person involved in the shoot. We have gone through several threats and described how we would cope with them in order to minimise the risks involved.
For example, one risk would include our actors possibly falling over when wearing their heels. In order to avoid/minimise the risk involved here, we have said that our actors will not be running in their heels and they will not be walking around quickly on uneven surfaces. There will be minimal risk of mis-stepping.
It is important to carry out a risk assessment before doing shoots so that our actors will not be at harm during our shoots. Risk assessments minimise the risks involved in our shoots meaning that the chance of danger/damage will be reduced significantly.
The embedded document shows my group’s production meeting agenda regarding our narrative shoot. This document lists our locations, dates, who is involved and what we will be needing. This means the document is of vital importance to ensure that no props, costume and/or make-up is forgotten on the day.
Production meeting agenda’s help to keep us well-informed as organisers, and well prepared as filmers. If we did not make this document, some key elements of the costume required for our narrative may have been lost/forgotten on the day of the shoot. This would result in an ineffective shoot that wouldn’t meet our needs. If we were to forget things, leading to a bad shoot, we would have to rearrange another time with our actors and that would lead to even more planning and heightened levels of stress on my group.
Production meeting agenda’s make planning far simpler and clearer and they also specify to us and our actors where we need to be, what we need to bring and when we need to be there. They can minimise the risk of anything going wrong on the day of our shoot.