Monday, 22 February 2016

Script and Task 4:How did you use new media technologies in the construction and research, planning and evaluation stages







Tyler: We did various screen tests for our music video to ensure that all of our actors looked comfortable in front of the camera. Furthermore, we wanted actors with a specific look, such as the artist Kelis in the 90’s.

Elisa: This ensured that on the day there were no disappointments in the actual performance.

Ollie: We made sure that there was always direct communication between members of the production team and our actors, which we did through Facebook.

Grace: The outcome of this better organisation was that we ended up with three girls who had the right look and skills for our artist.

Tyler: During the production of my A2 pop video, we had an Ipad on set, which acted as a digital clapperboard.

Elisa: This was extremely useful as it made our jobs in the edit suite much easier because it meant that we were able to sync all of our performance footage from the rush bins on the timeline using the audio queue from clapperboard, which enabled me to create a complex cut of the music video.

Ollie: Furthermore, we had a playback monitor in the form of a plasma screen television.

Grace:  What this helped with was that while one of the members of my group was filming, I was able to look at the monitor to see exactly the shot would look like. This gave us an idea of how much we would have to do in the edit suite.

Tyler: From this I could then call a cut because someone had entered the shot, or if there was a problem with continuity, etcetera. It therefore meant that we had all the shots we wanted, but also that none of the shots were corrupted with any of the things I mentioned above.

Grace: We used two different cameras, a Sony NX5 for the hand held shots because it is light and easy to manoeuvre around the set. We used a Sony FS100 with a prime lens for the rooted, tripod shots when the composition was important. This helped to keep a good quality of shallow focus, as with an integrated lens the focus shifts about too much.

Elisa: I began post-production by starting a lossless copying of the footage to HD on Adobe Prelude.

Ollie: Then I began to sort all of the rushes into a single bin on Adobe Premier. Once this was completed, I worked onto the timeline, syncing all of shots to the clapper board track so cutting the shot with the razor blade wouldn’t ruin the lip sync.

Tyler: This left us with plenty of different layers all in sync to the track. We used the razor blade tool to cut into each layer on the beat, using markers so as to show me where the cutting point was.

Grace: Having done this I was able to drop the best cuts from each one on top of the main performance cut. I created the text animation, where we made a text layer, and began to font scale.

Elisa: We chose the font from dafont.com. To do this, the key frame would start at 0% and end at 100%, causing the font to grow as the computer acts as the inbetweeners.

Ollie: I needed to use the select tool in order for the animation not to be blocked by a moving arm; this masked it out by drawing a line around the object, and then cut it out.

Tyler: I had to chroma-key, animate text and changing the aspect ratio. I used Adobe After Effects to do it all, and it began with myself exporting all desired footage into the programme.

Grace: Chroma keying with the green screen meant matting everything out, then it was easy to replace the black with a still image.

Elisa: We worked on colour with Lumetri Colour Engine, which works inside premier. This let me control the amount that specific colours feature.

Ollie: I worked on desaturating and saturating, this was to get rid of the black colouring in each shot.


Tyler: I desaturated the reds in each shot, which helped to give a 1980’s/90’ muddy and messy light, which propelled it into the period product look even further.

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