EDITING

After shooting, the rushes were processed through to the computers, fortunately in the weekend and were ready for us to edit by the next Monday. Final Cut Pro and Adobe After Effects were both used in our process of editing the video. We began by creating a ‘logbin’ with the use of Final Cut Pro and started scanning through all our takes; some of which where great and worked with our idea and others that simply could not have been used; over exposure or members of the group were seen in the background. Either way we still continued sorting through both the good and the bad rushes. A folder was then developed with shots that we knew would work and some that we knew that we would incorporate later on in the video. Initially, however we were a little overwhelmed with how much footage we had shot and were worried that we couldn’t capture all the moments in a three minute clip. After our first session in the editing suite we had only created the ‘logbin’ so we knew that we had to fasten the pace of editing and balance our time with extra sessions or simply work more sufficiently. Overall as a group we seemed to agree with each others editing techniques or ideas and we all knew that we were going to subvert any video convention in the editing process. To add to this ‘edgy’ portrayal of characters, the use of handheld also increased this urban decay theme.

Whilst editing, we followed our story board as strictly as we could, but with the spontaneous filming and on-the-go action it was hard to follow on the shoot day. However, we tried to regain a sense of strong narrative that we created in the storyboard using Final Cut Pro. This is one of the many advantages of using a programme like this because so many after effects can be used and the whole shoot can be ‘turned on its head’ through the use of manipulation.

As a few more editing sessions went by, in lessons and extra time the video was becoming more of a narrative and it became easier for us to establish what rushes would be added or erased and if extra effects could be placed to emphasise our meaning. As we were looking for more rushes to potential use, we came across some that were too over exposed to use. We can to realise that one of the cameras was not white balanced before filming. Unfortunately for us, this meant that nearly half of ort filming was ruined. This was a complete turn around for us as before we thought we had multiple rushes to choose from and were spoilt for choice. It just shows that on the day it is key to captured everything at least twice and run over time if necessary to ensure the shots are captured. Luckily, there was a solution. With technology like we are using nearly everything is possible. Film can always be manipulated using the right techniques and programmes. We discovered Adobe After Effects. This allows shots to merge into the same colour as the next shot. For example, if one scene was cut into the next and both scenes were to represent similar time periods, one could be darkened or the other brightened to match. For us, we will be using that process at the very end once we have cut and finished the video. This is the perfect opportunity to tweak our video to finalise the original hypothesis.

As well as our four opinions we had the help of Matt and Luke who work for the media department. They really helped us with a second opinion and with a large amount of experience in this area they gave us some great advice of what to change and why;
The establishing shot was too long
One specific scene that did not work

At this stage we found it almost hard to accept advice and change the video. As a group when we had spent hours in the edit suite and perfecting it to our own judgement criticism was even harder to take. However, we thought through the new ideas but still could not bring ourselves to adapt the video. We are aware that this is a huge risk not to listen to second, experienced opinions but the video is ours so, as a group we must make the final decision.

Our editing technique subverts all conventions of pop videos, by using discontinuity editing; “The deliberate or accidental violation of rules of continuity when editing.” Our use of editing has created threatening and an edgy message. Typically, diagonal lines and strong shapes represent danger and fear. With the use of strong lines in the derelict land and simplistic linear lines in the studio, the theme of the narrative is constantly apparent. The use of slow motion and handheld cameras only emphasise this point of controversial and edgy editing. With not one static shot, the filming technique really drills home the impact of the film; the fast, strong and violent behaviour. One particular shot of the car explosion, we used slow motion to emphasise the busy frame of action. With only one chance to set the car a light we decided to film with one camera in normal mode and the other in slow motion. That way be captured the action with two different techniques. Fortunately, the slow motion selection was a good one and it has effectively and given the video a lift.

SHOOT DAY

We began the day off at 9 am on the 11th of November. My group who consisted of JJ, Leo, Tamara and myself were optimistic about our day and felt that we were organized and ready to shoot. We began in the studio where we arrived before the cast did to check that all the props necessary were available and as a group we were sure of what our target and idea consisted of.

We also wanted to ensure everyone was following the same hypothesis/narrative. So we began to check that the DJ set and the lighting was correct. We were using two ‘mover’ lights beside the deck and used multiple blonde heads lined above. The lights were extremely effective to create a realistic rave scene. The day before we had invited three photographers to follow the action from the studio set. We did not want to over crowd the studio with too many of them but we needed some good shots for the DigiPack. Our DJ, Glen who plays professionally was our choice for the character; he suited the roll well and the realism of the shoot was emphasised because of his background knowledge. Before the shoot we gave him a short brief on how to dress; jeans, coloured hat, headphones and an artistic top. He arrived at the set like requested and confident to start. We gave him a few minutes to become comfortable with the set and prepped him for his roll. Again, he got right into the moment and played naturally with a different song playing in his headphones allowing him to relax and get in the ‘vibe’ by dance with the music that he was listening to. As he practiced we tested the sound and colour bars on the camera and were ready to begin.

Matt and both sound technicians arrived with the equipment and we started setting up. The JVC500 was used which is an advanced camera in comparison to what we have used in previous shoots. It enables us to be able to film our work onto a memory card which can be cleared once it has been permanently stored and reused. The cameras also film in HD which is a huge step in the making of our film. Enabling us to see will great clarity the motions and actions of the gangs or the intricate hand movements from the DJ.

We set up one camera and placed it on the Vinten tripod and began filming from mid-shot. Initially we placed the camera about 15 degrees around from the centre and filmed in an unconventional manner; shaking and focusing in and out constantly. We filmed this multiple times for security, to ensure that we had the perfect run through. We also knew that we would be using this scene to cut in and out from the rest of the video. This being one of our main narratives it was important to film it correctly and get enough film to choose from when editing. Throughout these two efficient hours we varied the film angles using wide-shots as well as close-ups (using the same effect.) Once we were assured that we had captured all the shots, we started elaborating with a wider variation of shots. My of my favourites being the over the shoulder shot. We heightened the tripod to its maximum and angled the camera almost pointing towards the floor. We began shooting a full take of Glen on the decks. We targeted his hands and headphones to emphasise his actions. Once we were sure the actions had been filmed, we started brain storming for further ways that we could interest our audience and keep them excited. Tracking was one of our last options that we chose; side-to-side and forward and back. The tracking system was quickly set up using two RUBBER TRACKS that allowed the tripod to roll along with the chosen direction. We began with the ‘swinging’ tracking in which the whole scene was filmed by slowly and smoothly moving the camera round the front of the set. The second idea was tracking directly towards the DJ. We wanted to synchronize the music’s introduction with the slow camera movement. Moving in with the beat in which Glen would point is finger in the air and follow it down to the camera as we tracked backwards. From the monitor the shots seemed surprisingly good. The lack of organisation fortunately paid off this time. By then (12.30) we had finished in the studio. We packed up the equipment and all met in the edit suite to discuss our second half of filming...

The main problem for us was the second part of the day. In the process of planning the shoot there was a lot of confusion to what exactly we were filming and how it would work. So before we went to our location we came together and started to solidify an idea, an idea which could work using eight cast members. Obviously, we based our idea on gangs as we originally planned, but we had to ensure that the audience would understand that two gangs were competing against one another and the use of handheld would reflect the idea of aggression and jealousy between the gangs. Brainstorming continued for an hour or so and finally an idea of ‘caps/hoods’ and no hoods was thought of. This was an idea which could differentiate the gangs without any extra props needed. We had enough caps/hoods available for the four gang members to wear, we already had planned to use handheld cameras and it was decided to split both the gangs. Matt would film one of the gangs for an hour or so and my group would film the other. We would then swap half way through the shoot. This technique is similar to an insurance policy; to make sure we captured everything we needed, a sense of security. We ate lunch, packed the mini bus and drove to Beatrice Webb were we would conclude our shoot day...

We arrived at Beatrice Webb which was fortunately only a five minute drive away. We collected the equipment, walked round the gate and searched the environment that we were about to shoot in. Immediately we found props and objects that we could use for filming that the cast members would enjoy. We began straight away and split the two gangs. We began by experimenting with hockey sticks, batons and natural weapons that we found. We prompted the members to walk down the track path and run riot whilst stamping around. Throughout the day we kept experimenting with different subjects. For example there was a large pile of materials and wood that looked as if it was piled for a bonfire.

We simply asked the members to run, stamp, shout, and simply create havoc and provoke violence within the scene. The day seemed to follow on like this; with a few encouragements and briefs from the group we left the rest of the aggressive action to the cast members. I think the realism of the scenes were emphasised by the members genuine excitement and thrill to be able to smash and ruin any object that was in their way; to act as a ‘real’ gang member, to rebel. We continued filming for another couple of hours until it began to get dark .By about 5pm, we began to film our last two main scenes; one of which was the ‘burning car’ scene. Within this derelict area, luckily for us there was a rotten dumped car that we were able to use. One gang group acted out the scene of setting it alight. We followed the narrative through by asking one extra member to casually throw his cigarette away in the direct of the car, which coincidently would blow the vehicle into flames. This is one of my favourite scenes because of what the burning symbolised to the other gang, who beforehand had been using it as part of their territory. Obviously, we could only capture this once, so there was a lot of pressure. Our final scene finalised the gang war and saw them facing one another. Flares were used for one group and the others were standing on a higher ground. We knew that this would be our last scene of the day and we wanted it to conclude the video nicely, but he also had all intentions to keep the audience ‘hanging’.
(Here are a few photographs of the day that either the members of the group took or our selected photographers)
Overall, I was very pleased with the shoot day. From what I had heard I was expecting a very stressful and rushed day. My group worked well together and considering that we had not planned the second half of filming I thought the spontaneity was successful. From what we have seen from the rushes it looks as if we captured everything we needed/wanted to. The film so far has two strong and effective narratives and hopefully using good editing techniques we will produce a great video.

PERMISSIONS LETTER

HURTWOOD HOUSE
HEADED PAPER


Dim Mak Records
Po Box 348
Hollywood
CA 90078 16th September 2010


Dear Sir or Madam

We are a group of A Level students working on an A Level project for a qualification in Media Studies. We are writing to request permission to use the following track as part of this project:

We Are From Venice
- The Bloody Beetroots

With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board.

The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.

Yours sincerely


Mille Freeman
Hurtwood House School


http://www.dimmak.com/home.html

INTRODUCTION TO THE MUSIC INDUSTRY

Musical taste can be a controversial topic, almost to the point of tribalism. Tribalism is contentious because it defines and often signifies personality and lifestyle. Musical taste is about the way you dress, speak and sometimes act. The music industry looks to find and create star's who will seek fame for their hole career and potential be remembered even when they have passed away. They intend to sell clothes, calendars, pens, mugs and any merchandise that could make money and advertise the pop star. All music companies intend to establish success as a star and a business. However, all commentators agree that music and its trend sit at the epicenter of popular culture.

We all have to accept this ‘dynamic tension’ that exists between the artistic and commercial forces underpins the success of this vast media business. A tension between the organic and synthetic. E.g members of a band leaving the group to create more money as a solo artist, much like Cheryl Cole in Girls Aloud of Nicole Scherzinger from the Pussy Cat Dolls. Bands like these can be created from organic or synthetic elements. The Arctic Monkeys for example are an organic band, meaning that the music is natural and the priority for the band and the appearance of the band and the publicity is the second process of creating the band. Whereas synthetic music produces the band members and their appearance before the music is made.


It is a business for these bands and is all about targeting their audience to create money and to find a niche in the industry. The pop video that we are working on is quite controversial with gangs and rioting, so the music is organic and not concerned about manufacturing an image. As well as ‘synergetic connections’ with other media forms this condependence with other media means that a ‘mutual reliance’ can be productive but also risky. Music links to all types of media, and all artists and bands aim to show their videos on all TV channels that are targeted at their audience. The pop video is only one strand of an often multimedia campaign. These will involve TV, radio, newspapers, magazines, the internet and shopping malls.

The current media industry is dominated by three trans-national corporations; Universal, Sony/BMG and EMI, these are known as the ‘majors’ of the industry. Most majors also own or license a strin of smaller subsideriary companies in order to reach different kinds of audiences in different kind of genre, these are known as the ‘major-independents’. Finally, there are a huge number of small companies with little or no financial connection to the majors. The financial hierarchy of the invested money plans out like so; Majors, £100,000,000. Independents; £100,000. Mini’s £10,000.

The reason for creating pop videos for artists is mainly to promote their song and the band, but also to create, adapt or feed into a ‘star image’, to entertain as a product in its own right and it can reinforce the meaning of the song. However, the future of the legal music industry is decreasing by each day especially for the producers of new bands. There are now large problems and challenges but huge possibilities. The internet creates all illegal downloading of music(FrostWire), as well as it being able to promote the band and pushing them into the correct direction and targeting accurate audiences. iTunes in itself is trying to promote purchasing music and the minimum of 25 pence. Again, this can be seen as an issue for artists because of the small price tag but also can be seen as creating money and advertising themselves. Live feeds can also be a bonus or a destructive concept to artists, money can be made by uploading live feeds of gigs to audiences and asking to pay a small price to watch it, but again these feeds can be downloaded illegally through the internet. Videos or ‘iVideo’ are short interviews of artists following on with their pop video. This is a great way to promote the band to thousands of shoppers for free. Fortunately for up-and-coming artists, music television is becoming even more popular. Our video would be played after 10pm due to the violent behavior and could be used as soundtracks to amateur action and thriller films. At the current time, this is the structure for the music industry that artists, bands and producers will have to work with and find a way to keep making money for the work that they create.

These are a few links to bands that I mentioned earlier. Hopefully, this will only emphasise my point of different types of the music industry.
Girls Aloud: http://www.girlsaloud.co.uk/music/albums/
Pussy Cat Dolls: http://www.pcdmusic.com/music
Arctic Monkeys: http://www.arcticmonkeys.com/photos.php

CALL SHEET

The Call Sheet is like an architect's plan for a house. The Call Sheet is the Bible for the shoot day, covering everything from the names and jobs of the production team to the cast to the shooting schedule, to the equipmrnt and even maps and directions. It also includes the story board, the lighting plan and the studio plan.



WE ARE FROM VENICE

THURSDAY, NOVEMBER 11TH 2010

TAMARA
MILLIE
JJ
LEO

CONTENTS

1. PRODUCTION TEAM

2. CAST LIST

3. STUDIO SET PLAN

4. LIGHTING PLAN

5. EQUIPMENT LIST

6. PROPS AND WARDROBE

7. SCHEDULE

8. STORYBOARD

9. SHOOTING ORDER

PRODUCTION TEAM

JJ BENZIMRA
(DIRECTOR)

TAMARA MIDDLETON
(PRODUCER)

MILLIE FREEMAN
(EDITOR)

LEO FAULKS
(CAMERA/LIGHTING)

CAST LIST

GLEN PEGADO
(DJ)

(GANG MEMBERS)
NIALL GREEN
JAKE CECIEL
MAX CANOVAS
OMONELUMO IKANADE-AGBA

STUDIO SET PLAN

(See Studio Set Plan below)

LIGHTING PLAN

(See Lighting Plan below)

PROPS AND WARDROBE

DJ SET
LIT BATONS
CIGARETTES
FAKE DRUGS
EMPTY BOTTLES

BLACK/WHITE MAKE-UP
BLACK/WHITE HAIR ACCESSORIES
BLACK/WHITE JEANS
BLACK/WHITE HOODIES/SLEEVELESS T-SHIRTS
BANDANAS
HATS
BOOTS
JACKETS
DJ OUTFIT

SCHEDULE

9-12.30
STUDIO

12.30-1.15
LUNCH

1.15-3.30
BEATRICE WEBB

3.30-4
BREAK

4-6
BEATRICE WEBB

STORYBOARD

(See Storyboard below)

SHOT LIST

STUDIO
Camera position: 1, 15, 19, 25, 27
Wide shot, mid shot, close-up from front
Wide shot, mid shot, close-up from side
Wide shot, mid shot, close-up over shoulder

Tracking Shots:
Left to right, in and out
Cherry Picker

LOCATIONS
Incidents:
Bonfire
Graffiti
Breaking stuff
Drinking
Smoking
Drugs
Stolen Handbag/Wallet

PROBLEMS AND SOLUTIONS

In the process of creating our pop video, we were aware that we would encounter many problems that would hinder our initial ideas. Like every film company, problems will occur frequently through out the process and the shoot day it's self. Paying almost £1 million a day to film it is crucial to find quick solutions. Through out this creative period, we have had to alter many of our ideas because of the errors and problems that have occured. Our two main issues were...

1) The Location

(This is a similar factory to what we were originally aiming to film in)


2) Cast


(This is a simple example to explain how we camera tested each of our cast, and that in the media industry problems involving cast can make or break the film day)

To follow our 'urban' theme we originally sourced a derelitc old factory that was 'open' to the public. It is situated in Reigate so it was a perfect opportunity to shoot there with no fees to pay for filming and it is relatively close to the school so it is easily accessable. After researching more and visiting the area we found that it would be a very tricky area to film in. The council were unsure if we would be able to film there as well as the risk of anyone who may be attached or partly own the area may immediately ask us to leave. As well as this, there are only narrow tracks leading to the factory so we would be unable to drive with all the equipment down to the main area.

All of these factors could not have been solved...and on the shoot day we are not prepared to take such high risks as those. On the day, if we were asked to leave the property we would have no back up plan. After cancelling our first location we researched a lot of areas that would suit our theme. Many bunkers and factories were found, but again they were unaccessible areas or we were strictly unable to film there. Eventually, we decided to use Beatrice Webb boarding house. A side road leading away from the house leads to a battered area full of broken down objects. The area conveys the exact image we want of derelict, empty and silent areas that are no longer in use. After concluding that there were a limiatation of public areas to film on, we started to think about creating the image of want we wanted in the studio. This could give us a great opportunity to create exactly how we imagined our video and express, accurately what we want. This idea has not been completely eradicated because this can be a definate option if al else fails. We are very lucky to have a back-up, this means that if anything would to go wrong or anything were to be cancelled, we will always have the option of the studio.

Fortunately for us, Beatrice Webb is a 7 minute drive from school and with two of our group members boarding in the house it gives us a large chance to revisit the area. To ensure a spaceous area to film as well as taking photographs for the rest of the group to be able to plan out the video. Here, we are guarenteed filming accessibilty because it is within the properties of school. This is a huge advantage for us and has helped us to be able to continue with the progression of the rest of the video.

Our cast lsit, originally was filled with about 12 people both male and female. We camera tested some of them and finalised who we wanted to be a part of our video. A week later however we were challenged by the media department with who we could used. Many of the students were unable to attend our shoot day (11th November) because of their lessons or extra curriculum. We were disappointed to hear that the majority of our cast had be excluded from our cast members. Our main priority was to regain our DJ. The student we had picked was a professional DJ and that would obviously enphasise the realism of the video. Unfortunately, he had been selected for another video, but we at the moment we are in the progress of regaining him as one of our biggestes characters in the video. For the gang members, however we were only a few students short. Again, we were missing many of the best fitting characters but we just had to camera shoot more students that could fit our part. For the time being all gang members have been selected and secured but we are still in the challenging task of bringing back our DJ.

CAMERA TEST, STUDIO DESIGN, LIGHTING PLAN, LOCATION PLAN

In this blog I talk about how we camera tested for our cast, designed our lighting and studio plan and organised our location.

Camera Test; We looked through the list of students through out the school and we hand picked 10 students, female and male. We asked each of them to play a character in our pop video and invited them to the studio later in the week for a camera test. All the students we had picked fitted the look that we needed for our video, but camera testing every one is crucial because many people do not 'look good' on film. We were looking for people who were confident in front of the camera. They should be expected to move well, with dramatic facial expressions and a rebellious persona. Initially, the problem was finding 'gangsters' within school. We did not want to create a generic product, but a 'real gangter'. Luckily for us, many students study drama and with the use of costumes we can emphasise appearances and perceptions of each character. Most of the students turned up for the camera testing...We shot them from a wide-shot and a close-up of their faces to ensure that they fitted our criteria of the character. Fortunately, all of the students are pleasent and seem like they will take good criticism on the day and listen to the specific requirements for their character. OUR CAMERA TEST IS ATTACHED BELOW.

Design Plans; The plan allowed us to overview our ideas of shooting in the studio and the derelict factory externally from school. We drew out a birds-eye-view plan of the studio lighting and positions. For the studio plan, we drew out the DJ and the 'decks' in the center, with the curtain and graffiti wall. We planned to place two white spot lights lighting up the wall, and another facing directly up to the DJ. We hope that the shilloutes and shadowing will create a large emphasise of the image and message. It may even add a theme of mystery through darkness. To the right is a scan of our lighting and set plan. With using an external location, we only had to plan our lighting and set for the studio.

CAMERA TEST


These images show the similar equipment that we will be using for our video...

STORYBOARD

The storyboard builds on the Timeline to visualise the shot and work out the type of shot to use and why is is used. Why tracking or craning is used and why, and finally why we shoot to edit and why. Much like the Timeline, we can see what works and what cannot. Storyboarding is a more in depth technique of structuring our narratives and helps with the progression of our ideas and plans. The storyboard is he plan which we shoot to, so if it works on paper it should work on the shoot day. This can prevent wasting time and save expence for the video. The storyboard works out the type of shotm the anglesm the camera movement, the colours and shapes, the mise en scene and how the image composition rules will be applied in the film. Anything and everything is thought about in the storyboard so that the shoot day is as quick and easy as it can possibly be. This is crucial, as we only have one day to shoot.



The second cene of our video will be the DJ performance. It will be filmed in the studio using a graffitied wall. We will be making this from corigated iron, old rough posters and graffiti. However, in this shot we will cover the wall with a black curtain. The simplisity of the shot will hopefully intise the audience and enhance the tension of the narrative. The DJ will be intensly playing on the 'decks' in front of the wall. A small selection of white spot lights will be used on the Dj and the curtain. We may use a 'canted angle', which could convey an odd world within our surburban evironment.



We will be using tracking in shot five. The scene will be made up of the two 'gangs' who are walking towards one another in the derelict factory. The tracking allows the audience to be in the position of the action which will create intimisy between the action and the audience. This keeps audiences interested within the action and encourages them to follow the anrrative. Aesthetically, tracking can we extremely pleasant to the eye, once again encouraging the audience to concentrate and stay with the action of the video.



An idea of an editing technique that we may use is the variations of colours and black and white. Shot 12, as shown in the storyboard could be filmed in black and white. Thr graphics on the wall and the simplicity of the DJ's costume and performace can be emphasised. This will prevent any distraction from the narrative or the subject.

I had researched tutorials of storyboarding before I created mine. I found this video sepcifically interesting and usseful to ensure that my storyboard was accurate and organised correctly.
http://howtostoryboard.com/dvd/

These are some other examples of clear and specific storyboards...

TIMELINE

Timelines use the music and the times for our pop video structure. This is our first time at trying to link images and the music.This timeline has helped our group to synchrinize the music with our imagery. We have planned out each shot from 0 seconds to 3 minutes, 2 seconds. Dividing each shot became harder as we got further through the timeline. It became a struggle to balance out both narratives of the gangs ad the DJ performance. However, this gave us an opportunity to to create new ideas that fitted with timings and relevant ideas. From these timeline examples, you can see what works and what does not.


This particular timeline has helpd our group to synchrinize our ideas with the timing of the music. Unfortuately, our song does not include lyrics. Oblivious to this, we have created aethetically pleasing scenes to keep the audiences interested. We had to follow the rhythm and any outstanding parts of the song, here we would create more dramatic visually stimulating secenes. However, I think our group we have had a slight advantage in that the lyrics could not possibly distracted the audiences from the narrative of the video. Therefore, our narratives and action with in the video will be far more effective and personal to audiences.

COMPOSITION RULES OF FILM MAKING

Films, videos and TV all work because they use ‘language’ of their own that is visually stimulating. Khuleshov claims that 70% of the information we receive through media pieces is through imagery. As a film maker, we must understand and use the ‘language’ to create successful pieces of work. All of the composition rules are what we call the grammar and vocabulary which makes up the message within the language. The following are some of the key rules that I will try to use on my pop video;

1. Different Type of Shot Size
Extreme Close-Ups, Close-Ups, Mid-Shots, Long-Shot, Extreme Long-Shot and Wide-Shots are some shot types that are used to create atmospheric moods or specific messages. Close-Ups would be used when wanting to promote the specific product/character. It allows the audience to view the subject multiple times and helps to repeat the image in their minds for a memorable scene. On the other hand, Long-shots are used to establish the scene and gather as much information, in a short period of time. Long-shots are traditionally use in scenes of fighting. It gives the audience a chance to make decision of each character and separate the villains from the heroes. The Wild Bunch uses many long-shots to establish the progress of the fight, as well as using hand held cameras in which they can create a more intimate motion to the scene.

2. Camera Position and Angle
The positioning of the camera can suggest many a thing when interviewing of shooting a scene; Using a flat on shot creates a very boring participant, where as angling the camera by 35 degrees creates an exact depth of field. It can create good shadows and emphasise the participant’s features in a good light. Filming at a higher angle allows the audience to believe that the subject is a humble, mellow and down-to-earth character. Oppositely, at a low angle the character can look arrogant and powerful.

3. Lighting
Lighting is an essential element of filming, whether using natural light or tungsten lighting. Redheads and Blonde lights are used to create different atmospheres, depending on what is being filmed. When interviewing, the subject is normally flooded by a spot light. 32 degrees from there a fill light is used to create shadows and directly behind the subject, back lighting is used to create depth of field.

4. Rule of Thirds
Using the rule of thirds can subvert of follow a storyline. Typically, the first two hot spots would be used for the most popular character e.g Mike in The Wild Bunch. He is know automatically seen as the hero in the film and the the Mexican army are placed in the fourth hot spot. This is normally for the mysterious, rebellious characters of the film.

5. Leading to the eye
Within film making, almost one of most essential elements is to encourage the viewer to follow the main character or subject. This can be done in two ways; rule of thirds or converging lines.
The rule of thirds uses hot spots to entice the viewer to look at specific areas of the shot, before any other spot. Automatically, the eye is drawn to the top left of the shot, so this leads the eye to a certain point of the scene. The director, more often than not would use converging lines. Within the set, props and materials could be used to create converging lines, in which, again the viewer would follow. For example, the use of a pier can be seen as a technique of converging lines, where the viewers will follow it up to the end where the water begins. The use of converging lines does sometimes present messages of the end, the beginning of an intimating, bold statement about the character or the overall narrative.

6. Colours
Colours within films are always used to create moods, biases or opinions. The Wild Bunch opens with seedy, grainy colours of brown but flashes to black. Black is seen as a rebellious, bad colour that conveys The Wild Bunch as the ‘villains’ in the film. The use of dusty, nearly sepia colour effect emphasises the dusty, ‘cowboy’ stereotype of ‘cops and robbers.’

7. Editing Styles
The Wild Bunch uses balletic editing within the scenes to create a sense of continuity and a flowing storyline. It intends to cut each scene and start the scene in the same place that it left off. The eye can follow each cut from where they last saw it. Using a oval shape of balletic editing gives the viewer a chance to follow the storyline, easily. Creating a smooth watch.

FIRST PITCH

The main conventions of current pop videos are;

· To always follow the artists’ image whether that is rebellion, romance or innocence. The brand identity must be followed as strictly as possible, for the mass consumption to enjoy. The best characteristics for an artist’s successful career for the current time are an edgy, rebellious, youthful, and attractive character. With a well built family including money alongside a genuine personality.

Kings of Leon who represent rebellion in the music industry

· The featuring of the artist. In almost all videos the artist is encouraged to feature to build a stronger narrative and image for the video.

· Camera use. To use a variety of shot types, camera angles and movement can create a edgy atmosphere that could follow our “rebellious” theme, imitating the current media.

· A strong narrative structure

· A strong theatrical performance

· Shot types is synchronization of the beat

· A good use of special effects. We will be using a blue screen to emphasise any backgrounds or unique effects

· A carefully constructed mise en scene

· High impact imagery to beat competition

Our first pitch consisted of our two main ideas and one as a backup if all else was to fail. Our back up video was immediately suggested as our main idea to use that we are going to strive towards. We were told that bringing in the genuine band would prevent any forced performances or awkward moments on film. Our idea is simplistic, with the indi/rock band performing with the blue screen where we will add special effects. There were two main worries that occurred; One being reliability. All the artists’ either live very far from the studio or attend school, so it could be hard to rely of them to arrive on the shoot day. Second being our small time gap in which we would be able to film. From the 2nd to the 24th of November is our only time to film and if they can only arrive on weekends after school it could be a difficult task.

The second idea consists of a band playing in their bedroom and the whole neighbour is physically drawn to the music. They all stop what they are doing and immediately drag themselves to the music. The response was positive, but some realistic questions were asked. “Where is the bedroom” “Where will we populate 40 people to act out for a day” and “you’ll need a variety of people in variations of age, appearance and gender.” We will need to ask cleaners, students, friends, teachers, family members etc to create a large group of people. Adding to our idea, pathos was suggested. For example, the conclusion to the video was that actually it was not the band, but the radio playing. We were left to consider whose house we could use and if the studio should be used at all, for the window or the interior design.

The third idea is a “rave” themed video, played by Goose. (band) We would convert the convention by showing no band. This is a risk because we will have a limited set of scenes and potentially a less structured narrative. The idea was to have many people all dressed in worn down, edgy clothing who are all running together to the “rave” in which the DJ is playing. The group must all be intimidating, rock like characters. We would then incorporate short, sharp shots of political events. E.g a bomb, tank or a soldier to add a narrative of aggression and an underlying message. Again, we were happy with the feed back and this time round we were simply encouraged to emphasise the idea we already had; adding a faceless DJ to the set in which he is left alone when a bomb is set off. Standing, still quietly will conclude the video nicely. Also to emphasise he narrative of “each man for himself” that society has broken down and rebellion has broken out. Uncontrollable aggression throughout the derelict land. Finally, we were given a few elements to research, one being how we could find a burnt out area or building that we could pass with the health and safety council.

RESEARCH AND DEVELOPMENT

I began my independent research by searching through a variety of music channels as well as YouTube. In the search boxes, I typed in “pop videos”, “A2 student pop videos” and “unique music performances.” I found many very famous videos like Michael Jackson and Pink Floyd. I found a video performed by Pink Floyd which I found very influential. I managed to present a handle full of ideas from my researching process from media technology.
My three ideas;

1. Edge of Seventeen- Stevie Nicks
I begins with a long instrumental were one elegant girl will gently dance in a long, dress. Influenced from Florence and the Machine. Four other girls will move into the shot, with similar outfits on. Filming will turn to 360 degrees, with tracking and focusing in to specific points, e.g foot work, facial expression etc. One male enters the room but the girls still dominate the area, continuing to dance. (http://www.youtube.com/watch?v=LcxMHhkzH_0)


2. G4L- Rihanna
This video would be shot in the studio. Again, a female dominated video. It will be blacked out, with one girl strutting through the studio. Flashing one light onto a part of the body every three seconds, unveiling the character. The singing begins and the lights become more frequent and with the beat the lights flash on and stay on. The girl stands in a ‘fierce’, domineering stance. The music then continues as she dancing a solo. (http://www.youtube.com/watch?v=_eP7MTsJpaQ&feature=fvst) 3. The Recluse- PlanB
This video is dominated by the male generation. The establishing shot begins with a drunken man slouching on a chair behind a table full of empty alcohol bottles. He stands up, singing and the camera tracks him. The camera will only be follow him, which is of his side to the left. No zooming, close up or different angles. As we follow him, he narrates the story of the song through the scenes he walks into. All the scenes are ‘frozen’ whilst he walks though everyone’s lives.
http://www.youtube.com/watch?v=s5TxIynodew \

THE FIVE STAGES OF PRODUCTION

Research and Development;
· Research
· Development
· Distribution
· Exhibition
Development of the initial idea is key to perfecting the video. Timelines, treatments, pitch, practicalities, storyboards, cast and camera tests are some of the tasks that are involved in developing the idea further. Pitching our idea to more superior, experienced individuals will help us to create a unique idea, as well as a realistic idea that is possible for our budget and timings. They can also help us with practicalities like camera settings and scenery which we would have found difficult and almost impossible to solve.
A target audience must be established through age, gender, social class and interests. For our pop video, we will most likely be targeting a young generation from 16-24. We will be playing an up tempo song, will current themes and interests of the culture of today. We will try to imitate the conventions of now, to encourage the targeted audience. Other videos will also be looked at for inspiration. Rhianna, Faithless and Justin Timberlake are some of the artists that we would like to incorporate in our film. Their image is what we would like to display. A “divaish”, rebellious attitude through the music and themes that we will be using.

Exhibition and Distribution;
Exhibition of our pop video will be through YouTube for public entertainment and feedback. The responses will help us to establish if we have achieved our target audience. The responses will help us to learn from our mistakes and feel some sense of achievement. For larger scaled pop videos, distribution companies will aim for a larger company e.g MTV or Kiss, depending on who the target audience is. Newspapers and interviews can also help to distribute the video to a wider population and possibly internationally.
Pre-Production;
A few weeks before our shoot day, we will be putting together a full call sheet. This is a vital tool to organise timings and props as well as sticking to some sort of structure on shoot day. It will include a cast list, names and numbers of all characters, production crew and their contact details as well as their jobs for the day, appropriate equipment, on hand wardrobe, locations of each scene, the shooting order to stick to schedule that we ensure everything can be shot in our one day shoot, lyrics, props and any extras that may be added through the process of our development. Pre-production is a key element to producing a successful pop video. On the shoot day, time is one thing that we cannot control, so being organised and ready for each scene will help us. Hopefully the organisation will reflect in our video.

Production;
As much work and pre planning we do in pre-production, we are unable to guarantee a smooth shoot day that all goes to plan. The day needs to be as stress free as possible and everything must be organised beforehand. The shoot day all comes down to knowing exactly how we want our video to be shot and being prepared for any errors that could occur. Under the pressure, second ideas and backups must be ready to prevent a longer delay in our day.
Post Production;
Editing and after effects completes the video. Credits, sounds and fading effects can dramatically change the dimension of the video and to a certain extent it can increase the success of the video if it had slightly flopped throughout the filming.

POP VIDEO AND MARKETING CAMPAIGN OUR BRIEF

The Brief

Your task is to create

• Three Multi Media Products
• Aimed at a specific target audience or audeinces
• To establish the image and bran of your singer or group and
• Help sell the song, their first single from their first album
• As part of a multi media marketing campaign.

The group or singer must be a new group (even if they are doing a copy of an exciting song).

the song is a single from thier first album.

The actual products to be produed are:

• The pop video
• A digipak for the album
• A magazine advert for the album

Photos of Shoot Day

These are shots of our shoot day, to see how our film is developing.