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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