The shoot for the lip syncing was a great success. We splatted powder paint n the lips at first by simply throwing it at the actors' faces, however we realised that although this is effective, it would look better if the lips were fully coated with the paint. So we used a paintbrush to lightly fill in any areas on the lips the paint had missed. This immediately improved the look as it appeared sophisticated yet spontaneous.
We shot the sequence with the 75mm lens so that it was close up to the lips and so you couldn't see any other features of their face apart from their nose. We also tested out different shots without them singing which we thought might be useful as extra fillers to use during the music video's sequence.
The final footage looked really effective as we used carefully experimented with the lighting levels which made the powder paint stand out really well.
Thursday, 28 November 2013
Tuesday, 26 November 2013
Lip Syncing Shoot: Research
GENERAL LOGISTICS
We have decided to shoot the close-ups of the lips in order to add the element of performance. We were worried we'd have to order more powder paint but we are now confident we have enough, as we only need a very small amount to use on the lips.
LOCATION
All we need is a black background so we are going to hire our drama studio which has black walls. We would use the studio again but we cannot justify the cost when there is something equally as effective, but for less.
COSTUME
We will only see the actors' mouths so costumes are not necessary as such, but we have asked them to wear black tops just in case any head/shoulders slip in - in which case, they will all be the same.
ACTORS
To help keep the storyline consistent and easy for the audience to follow, we have used actors from the powder paint fight. We have also used an external actor too, though it still meets conventions and flows so this does not disrupt the theme at all - you can hardly tell!
HAIR/MAKE UP
Again, this will be a very small element of this shoot. On one actor we will be filming half her face so we will keep the make up style similar to that used in the powder paint fight, but other than very light foundation, barely any make-up/hair will be seen.
PROPS
The only prop we will need is the powder paint.
LIGHTING
We are using the lighting which already exists in the drama studio. We are lucky that it has a range of spotlights and backlights we can use. We will ensure the lighting is bright enough in order to achieve good depth within the footage.
We have decided to shoot the close-ups of the lips in order to add the element of performance. We were worried we'd have to order more powder paint but we are now confident we have enough, as we only need a very small amount to use on the lips.
LOCATION
All we need is a black background so we are going to hire our drama studio which has black walls. We would use the studio again but we cannot justify the cost when there is something equally as effective, but for less.
COSTUME
We will only see the actors' mouths so costumes are not necessary as such, but we have asked them to wear black tops just in case any head/shoulders slip in - in which case, they will all be the same.
ACTORS
To help keep the storyline consistent and easy for the audience to follow, we have used actors from the powder paint fight. We have also used an external actor too, though it still meets conventions and flows so this does not disrupt the theme at all - you can hardly tell!
HAIR/MAKE UP
Again, this will be a very small element of this shoot. On one actor we will be filming half her face so we will keep the make up style similar to that used in the powder paint fight, but other than very light foundation, barely any make-up/hair will be seen.
PROPS
The only prop we will need is the powder paint.
LIGHTING
We are using the lighting which already exists in the drama studio. We are lucky that it has a range of spotlights and backlights we can use. We will ensure the lighting is bright enough in order to achieve good depth within the footage.
Friday, 22 November 2013
Editing Update: Decision Making
After importing the footage from the two shoots we have done and editing it together, we still feel like it is missing something. To solve this, we decided to brainstorm as a group how we could solve this, and after going through more dance music videos, saw that there is often an element of performance within the piece.
So we have decided to do a third shoot which will mean we can embed the element of performance into our music video. We will film close-ups of people's lips covered singing the lyrics, covered in powder paint splatters so as the theme is continued and maintained throughout. We are going to use females only for this shoot as the paint will look more striking and lipstick-like rather than messy.
Additionally, to give the music video even more energy, we are going to do a shoot where we smash china plates. This action holds many connotations to do with love and relationships. We also think it would look really effective if we put a little mound of powder paint on the plate before we drop it, so as when it hits the ground, it is an explosion of colour and glass.
We think this will help break up the sequence a bit, as currently the powder paint fight and studio footage looks very dynamic and striking at the beginning, but it feels a little repetitive at times. It also means we will have employed narrative, concept and performance into our music video which broadens its appeal.
So we have decided to do a third shoot which will mean we can embed the element of performance into our music video. We will film close-ups of people's lips covered singing the lyrics, covered in powder paint splatters so as the theme is continued and maintained throughout. We are going to use females only for this shoot as the paint will look more striking and lipstick-like rather than messy.
Additionally, to give the music video even more energy, we are going to do a shoot where we smash china plates. This action holds many connotations to do with love and relationships. We also think it would look really effective if we put a little mound of powder paint on the plate before we drop it, so as when it hits the ground, it is an explosion of colour and glass.
We think this will help break up the sequence a bit, as currently the powder paint fight and studio footage looks very dynamic and striking at the beginning, but it feels a little repetitive at times. It also means we will have employed narrative, concept and performance into our music video which broadens its appeal.
Wednesday, 13 November 2013
Studio Shoot: Review
We had booked the studio for 2 hours as we thought this would give us time to take all the shots we needed. We took all the shots we had storyboarded and tried to get the most out of our time slot by experimenting with different shots.
When we imported these clips into Final Cut Pro, we were happy with the general framing and composition, however agreed that they would need colour grading in order to make them fit in with our previous footage so as our conventions are maintained.
So overall it as a successful shoot for which we will not need to re-shoot, meaning we can move forward with the editing process.
When we imported these clips into Final Cut Pro, we were happy with the general framing and composition, however agreed that they would need colour grading in order to make them fit in with our previous footage so as our conventions are maintained.
So overall it as a successful shoot for which we will not need to re-shoot, meaning we can move forward with the editing process.
Tuesday, 12 November 2013
Studio Shoot: Research
GENERAL LOGISTICS
We have decided to shoot the second part of our music video in a stylistic medium, whiich we will do in a photography studio. The one we have found is very local and offers a discount to students - which is always very helpful on the finance front!
LOCATION
We are shooting our video in a local studo used for all kinds of photography projects. They offer a white, black or grey backdrop so it is fabulous to have a choice - however we are going to use black as it will maintain our contrast of white/black/colour theme.
We are going to set up a stereotypical but simplistic dining table setup, so will need to bring plates, cutlery and a tablecloth etc and we have been informed that there is a table available at the studio which we can use; this definitely helps logistically as we do not want to have to hunt around for a table!
COSTUME
Costume-wise, we want to stick quite closely to the theme of black and white/representation. Therefore the girl will wear black leggings and a plain white top, whilst the male actor will wear jeans and a T-shirt. This will mean that it won't take away from the concept we are trying to focus on, which is a fight for love between a couple.
ACTORS
To help keep the storyline consistent and easy for the audience to follow, we used one of the same couples we had used from the powder paint shoot.
HAIR/MAKE UP
Again, we wanted to keep this stylistic and simple, so are having the girl's hair in a typical half up/half down style and the male's hair normal.
PROPS
We will need a table and chairs which is being supplied by the studio. We are bringing the extras, including the plates and cutlery as well as the mobile phone and magazines. There is nothing too extravagant so it should be quite a straightforward setup.
LIGHTING
We are using the lighting provided by the studio, which has 2 brilliant bright white spotlights which will give our shots great depth. This is key as the background is dark, so it is essential that the actors and props are well lit in order to avoid shadows and out of focus shots.
We have decided to shoot the second part of our music video in a stylistic medium, whiich we will do in a photography studio. The one we have found is very local and offers a discount to students - which is always very helpful on the finance front!
LOCATION
We are shooting our video in a local studo used for all kinds of photography projects. They offer a white, black or grey backdrop so it is fabulous to have a choice - however we are going to use black as it will maintain our contrast of white/black/colour theme.
We are going to set up a stereotypical but simplistic dining table setup, so will need to bring plates, cutlery and a tablecloth etc and we have been informed that there is a table available at the studio which we can use; this definitely helps logistically as we do not want to have to hunt around for a table!
COSTUME
Costume-wise, we want to stick quite closely to the theme of black and white/representation. Therefore the girl will wear black leggings and a plain white top, whilst the male actor will wear jeans and a T-shirt. This will mean that it won't take away from the concept we are trying to focus on, which is a fight for love between a couple.
ACTORS
To help keep the storyline consistent and easy for the audience to follow, we used one of the same couples we had used from the powder paint shoot.
HAIR/MAKE UP
Again, we wanted to keep this stylistic and simple, so are having the girl's hair in a typical half up/half down style and the male's hair normal.
PROPS
We will need a table and chairs which is being supplied by the studio. We are bringing the extras, including the plates and cutlery as well as the mobile phone and magazines. There is nothing too extravagant so it should be quite a straightforward setup.
LIGHTING
We are using the lighting provided by the studio, which has 2 brilliant bright white spotlights which will give our shots great depth. This is key as the background is dark, so it is essential that the actors and props are well lit in order to avoid shadows and out of focus shots.
The lighting and colour is also very important in this scene because we have to get it to mirror that of the colours and tones within the last shoot so as to provide consistency. This means we will have to experiment with the lighting levels quite a bit in the studio to make it the same brightness. If we don't get this spot on during the shoot, then we will have to try and sort it out in post production by altering the colour and brightness filters.
Saturday, 9 November 2013
Editing Investigation: White Stripes - Seven Nation Army
I haven't counted the cuts in Seven Nation Army as such because it is pretty much one smooth panning zoom shot which fades into different scenes. The editing in this song was truly iconic for it's time - and still is now. It must have taken great skill to put it all together with a number of clips being overlaid and precision timing in place.
What I love is how the visuals build up with the song and are exactly to the beat everytime - it really gets the audience into the rhythm of the already-catchy beat. The white and black theme with splashes of red relates to the band name, 'White Stripes' It is very disorientatiing at tiems because you do not quite know ehere to look as it is so fast oaced there is a lot to take in, but this is what makes the video so unique.
Thursday, 7 November 2013
Editing Investigation: Animals - Martin Garrix
The editing within this music video has been effectively carried out to match the upbeat, club anthem sound of the song. There are approximately 144 cuts throughout which proves the fast pace and makes for choppy cuts.
The effect of shrinking time is used within the whole video and reasonably choppy cuts are employed.
There are also points in the video where cinematic time has been expanded, for example the shots of the group of men walking/dancing down the corridor has been put in show motion to match the build up of the song.
Following on from this, the visuals don't always match the music beat-for-beat, but they certainly follow the general pace of the song. There are more dynamic, choppy cuts that quickly switch between two scenes when the music is at its climax, then when the beat drops it goes back to the more static, representative shots the video started off with.
Overall, the editor(s) have created a successful dance video whereby the visuals which have been put together suit the music and make it aesthetically easy to watch and pleasing for the audience.
Tuesday, 5 November 2013
Editing Investigation: Spectrum - Florence & The Machine
In Florence & TheMachine's, 'Spectrum', I have observed that there are 122 cuts, which at first glance seems like a large amount whereby we would assume it is a constantly fast paced video, however considereing the song is over five minutes long, comparitively it is not quite as fast paced as initially thought.
A notably unique element of this music video is the fact that the first cut of Florence sitting on the Atlantis-like throne holds for 40 seconds. This is a huge amount of time in music video terms, and would usually have taken up a good third of the video in a more average three minute music video.
However the music video does fit in more cuts following this powerful opening scene which acts as a huge build up alongside the soft, harp chords which are the backbone of the song. The pace of the visuals speeds up immediately as the song bursts into the more instrument heavy chorus when , "Say my name" is sung.
Not only does the content within the video speed up - for example, the dancers become increasingly more fluid and dymanic, starting in textbook ballet shapes but evolving into more abstract shapes as the song develops - but the actual cuts themselves do too. The most cuts occured during the chorus and teh least during the more toned-down verses which demonstrates how the editor(s) built in this mirror-like set of visuals, as it makes it easy and interesting for the audience to watch; it makes sense for them and fits conventions.
A notably unique element of this music video is the fact that the first cut of Florence sitting on the Atlantis-like throne holds for 40 seconds. This is a huge amount of time in music video terms, and would usually have taken up a good third of the video in a more average three minute music video.
However the music video does fit in more cuts following this powerful opening scene which acts as a huge build up alongside the soft, harp chords which are the backbone of the song. The pace of the visuals speeds up immediately as the song bursts into the more instrument heavy chorus when , "Say my name" is sung.
Not only does the content within the video speed up - for example, the dancers become increasingly more fluid and dymanic, starting in textbook ballet shapes but evolving into more abstract shapes as the song develops - but the actual cuts themselves do too. The most cuts occured during the chorus and teh least during the more toned-down verses which demonstrates how the editor(s) built in this mirror-like set of visuals, as it makes it easy and interesting for the audience to watch; it makes sense for them and fits conventions.
Saturday, 2 November 2013
Editing Investigation: You're Nobody Till' Somebody Loves You - James Arthur
I decided to observe James Arthur's new song, "You're Nobody Until Somebody Loves You". I counted the cuts in this, which came to 182.
There is a large proportion of the music video which involves shrinking cinematic time, for example, the party/performance starts earlier in the day which is visible through the natural lighting and also by usual everyday happenings, however this fades into nightime where everything is a little looser and 'wild'. In realtime, this would probably take at least 6 hours, however in the music video it took 3 minutes!
There are also points in the movie where cinematic time has been expanded, for example when he first enters the music video towards the stage, alongside some shots of the people dancing at night.
The cuts generally occur when we have taken in enough information to build a picture/understanding of the culture. For example, there are several quick close ups of individuals who contribute to the urban community which are embedded within the video. The cuts are very snappy and allow us to take in the concept without becoming bored. Once we have taken this in, the editor has made it so it cuts to a different representation.
I compared this to the amount of cuts in the first 3 minutes of the film, "stick it" which resulted in 44 cuts.
This shows that music videos often operate at a far faster pace than films, and more cuts are needed. This is something we need to refine and establish to move away from the conventions of film which we studied for AS and more towards that of music videos.
There are also points in the movie where cinematic time has been expanded, for example when he first enters the music video towards the stage, alongside some shots of the people dancing at night.
The cuts generally occur when we have taken in enough information to build a picture/understanding of the culture. For example, there are several quick close ups of individuals who contribute to the urban community which are embedded within the video. The cuts are very snappy and allow us to take in the concept without becoming bored. Once we have taken this in, the editor has made it so it cuts to a different representation.
I compared this to the amount of cuts in the first 3 minutes of the film, "stick it" which resulted in 44 cuts.
This shows that music videos often operate at a far faster pace than films, and more cuts are needed. This is something we need to refine and establish to move away from the conventions of film which we studied for AS and more towards that of music videos.
Friday, 1 November 2013
Editing Update: Importing the Powder Paint Footage
We started to edit our music video the day after we shot the footage we had shot of the powder paint the night before - we were very excited about seeing what it looked like!
We started by importing and naming all of our clips which makes finding footage so much easier. We try and describe the clip, e.g. 'Close Up Selina Good'. We realised when we put the footage into Final Cut Pro that the wide shots were of lesser quality and had no depth to them in comparison to the close ups & the mid shots which were sharper and better lit.
To solve this, we decided to use the less quality shots in quick, choppy succession and hold the greater quality shots for longer. We have decided to match the pace of the visuals to the pace of the song so this actually works quite well considering it's a dance video.
So far with the editing we think it has gone extremely well and we are very happy with how it is turning out. The powder paint fight was a huge success and we are very excited about it's potential.
We started by importing and naming all of our clips which makes finding footage so much easier. We try and describe the clip, e.g. 'Close Up Selina Good'. We realised when we put the footage into Final Cut Pro that the wide shots were of lesser quality and had no depth to them in comparison to the close ups & the mid shots which were sharper and better lit.
To solve this, we decided to use the less quality shots in quick, choppy succession and hold the greater quality shots for longer. We have decided to match the pace of the visuals to the pace of the song so this actually works quite well considering it's a dance video.
So far with the editing we think it has gone extremely well and we are very happy with how it is turning out. The powder paint fight was a huge success and we are very excited about it's potential.
Thursday, 31 October 2013
Powder Paint Fight: Review
We only had one take for this shoot as the powder paint so it was essential that we stuck to our plans or it would come at a great cost to us.To make sure we were organised, we briefed the actors with what they would need, what we were bringing, times and locations etc. We arrived half an hour earlier to set up the camera and do some test shots. We also set up the powder paint and put the rest of the equipment we were't using out of the way so it wouldn't get covered in paint.
We set the camera to shoot 50fps rather than 25fps so that when we slow it down in editing it will be a smoother shot. We waited till it got darker which was around 7pm, and because the actors had arrived at 6.30, we were able to get the most of our shooting time.
We only had one chance to film all the actors whilst they were clean as once the first handful of paint was thrown that was that, so we ensured we got all of the footage we needed for that particular setup.
We then got a wide range of different shots of the paint fight that we could edit together. We instructed the actors to throw it in different sequences and at different people, making their throws as exaggerated as possible. We also took some close up static shots to provide a contrast and also to make the footage more intimate.
Overall the shooting went really well and we all thought it was very successful. The paint showed up really well and the lighting was really good too. I also think that the costumes suited the convention of the image we are creating as they enabled us to show the effect the powder paint has when thrown.
If we were to do it again I think we would have got more powder paint and shot even more footage just to be certain that we had enough shots. However we ar confident that we have enough shots to use.
The only real problem we found was that one of our couples said they couldn't do it last minute, and neither of our reserves were available either! We managed to get a third girl but we couldn't find another partner to match it. We were definitely not going to reschedule, so to ended up having three girls versus two guys which in the end didn't look that bad at all and wasn't such a disaster.
Saturday, 26 October 2013
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