Our first Narrative shoot was down Pembroke. It wasn’t as successful as we were not full prepared for it and didn’t have a clear enough shot list and we were trying to think of more stuff for the actors to do without making them feel awkward and to try and determine the relationship. We also didn’t have long enough their to film and gather enough footage to determine the relationships with the performers. On the other hand with the footage we did get we were able to get a lot of useful shoots with good camera angles which we will be using in the music video.
We plan to redo the shoot at a place where the actors can be themselves as this was them trying to pretend to be having sun leading it to looking fake. Also we will learn from this and created a more detailed shot list including a variety of different shots and shot angles.
Here is a photo from the shoot:
We decided to take our second shoot at a various locations including; Fairy Ring, Olivia’s house and mini golf at bar 19. Doing it at different locations made the actors feel more comfortable as we were not always set up in a certain location. The weather worked well with us as we were able to go to these locations in the sun and allowed us to have fun whilst on the shoot, which played to our advantage as we kept the camera rolling on the actors sometimes without them knowing so they could be themselves, this enabled us to collect loads of shots that we needed.
When it came to editing we had loads of footage to choose from to fill the majority of the song. We also gained loads of different shots such as low angle which was really effective and was my favourite shot gained from the shoot. This was when they’re in the field and having a piggy back, this is also enabled us to communicate the relationship of the actors.
We had a visitor Lenny Lengfesty which works with making movies and is involved in the industry. He assisted us in thinking through our ideas and pitch for our music video, giving us useful tips we will need to use to make our music video best and how to best use our music video. His feedback helped us make our music video ideas more efficient and gave us many more ideas.
In his feedback he suggested that we made a shot list to know what will be happening at the exact point in the song, also the meaning of the shot to allow us to be able to understand what is happening which will make it easier to explain it to our performer what is happening so they can get into their character easier.
Following his feedback we created a shot list which involved 2 pages of a structured understanding of what will be happening in each shot. We will take this to the shoot with us as we will understand which shots are needed and we will not miss any.
Summary points of feedback given included:
Have a clear story line and write or make a story board to understand what you have and you can adjust it if needed.
Don’t forget about shot reverse shots.
Make sure you establish the relationship between the performers clearly near the start.
Reaction shots are important.
Always record it all in a wide shot and a close up as these are the most essential angles.
Keep the camera running as you may be able to get good footage still
Run it longer than you need so that you don’t cut anything out you need.
Make sure your organised for your first shoot – making sure your actors know what there bringing and the lyrics.
This was very useful as it has given us useful tips to help plan for our music video and will mean we can get all the shots needed plus extra we didn’t even think about.
We did our performance shoot at the Cow’s Horn with our actors being Jordan, Lottie and Olivia. We had 3 hours to do the shoot with an additional 45 minutes to set up the equipment.
Our performance shoot was successful after about an hour in as our main performer Jordan became more confident and could remember all the lyrics so he didn’t have to worry about forgetting it, leading him to move more and get more into the song. The mise en scene was great we had a great location as it had a very vast variety of heights allowing us to do different shots from different heights ans angles. Also the performers didn’t look out of place as they were dressed appropriately for the location.
Targets From Shoot:
Make sure we were dressed more appropriate as it was cold
Make sure we sing along with performer from the start to make the performer more comfortable and help him with the words.
Whilst looking through different social media sights we have created a moodboard for our star image ‘SAINT PHNX’. We have been able to identity that they are a mysterious and secretive band as you can never find any photos of them selves living in their normal lives, also when they are in their own music videos there identity is hidden majority of the time by images. This has also allowed us to identify the mise en scene we would like in our music video especially concentrating on the clothing of the performer as this will be how they are represented to the audience and will convey the genre we are looking for our music video.
We messaged our artist ‘Saint PHNX’ to see if we could get permission to use their song ‘One’ in our music video. This is important as it could be classed as copyright if this action hasn’t been taken.
This was an essential part to our narrative planning as it enabled us to list all the shots which we wanted to use. We also chose which angles they were taken from, also allowing us to build on our narrative story and made it clearer what we wanted. Without doing this we could’ve missed out essential shots which would’ve meant we had to redo another shoot.
Here is a risk assessment for our narrative shoot, this is to ensure we keep ourselves safe as well as our performers safe. It also allows our teachers to know where we are at all times. It also identifies the risks which mean we can watch out for the dangers identified.
Here we have made a production meeting agenda to make sure we knew clearly who needed to do what, and what people were responsible for bringing certain equipment. However in the end we used Seb Smeed instead of Tom Teasdale