P5: Progress of footage

 P5: Progress of Footage

Below is the full time line of all my unedited footage, both footage I plan to use and and footage that didn't completely work. The full timeline is a full hour of footage, demonstrating that I created varied types of shots, narrative and footage, allowing me to have different choices of video when editing.

Below is the fully edited and finished timeline of the music video in Filmora; I found difficulties when re-editing the first cut of the music video due to the watermark placed on the footage, as well as this it caused a lag when watching the music video, to overrule this I had to export the first cut and redo the editing from scratch, although I could not get rid of the watermark, thus being a difficulty in my editing.

To edit my music video I used the software 'Wondershare Filmora', as I found 'Adobe Premiere Rush' to not have the applications I was wanting to work with on FinalCut Pro, such as overlaid effects on the footage, specific filters to create a night time feel to my footage and when using Premiere Rush I found it difficult to work with and didn't fit with my normal way of working when editing. We were originally going to use FinalCut Pro within school but because of the COVID19 Quarantine restrictions I was not able to come into school to edit my music video. The equipment I used to film my music video was a professional Nikon Camera, tripod (& back up tripod), batteries and extra batteries, a lighting machine, jell slides, a camera wheel for moving shots and an SD card.

                                                                        Shot 1:

To begin my music video I used a simple long shot of my character walking down a nearby street, this being an example of a technical code of conventions, I have included my location and setting time in my call sheet. I then used a dolly to pull back the camera and tripod as the character walked forward to create an illusion like effect; although my storyboard and script is all based within a night time setting, I had to film in day when learning through outside school research, that filming at night will result in grainy, dark footage and doesn't work well to give you a good white balance. When filming I turned my white balance on in my camera settings and used the auto focus setting throughout my various days of filming. To edit this footage to create a night time setting, I used research online from Youtube videos and blogger walls to understand how I could change the colour settings to a preferred look; to do this I began by using the filter 'cool film' provided by Filmora in their filters settings, this cooled down the temperature of the footage and added a blue tint, this was useful as when doing my research I found that in Blockbuster films, when a setting is at night time, productions film in the day and use a blue tinted overlay to create this effect, allowing the footage to not appear black. Moreover, at this point in editing I added the chosen music underneath the footage, this being my non-diegetic sound, so I could understand when to create mash cuts on a certain beat of the music to produce a flow from visuals to the music heard. Furthermore, in the crop setting of Filmora, I decided the footage seamed almost too wide, even for a long shot, and so cropped the sides of the footage to decrease the amount of space and focus points in this opener so the audience can focus on the main character, instead of unneeded background objects. This is also a symbolic code as demonstrates my setting and sets up the narrative, the setting being bleak, dreary and almost melancholic allows the audience to know what to expect throughout the music video. There is also the use of mise-en-scene as this scene, allowing the ability to express to my audience the mood, drama, and likely events of the scene, but also affecting its intensity, its mode of feeling, and to invite the viewer to feel deeply too about the narrative.

Shot 2:

At this point in the music video I wanted to create an opening title to introduce my audience to the name of the music video while also adding a sense of what the music video will feel and look like. I created strips of numerous coloured images, all either in neon or pastel colouring that fit with the aesthetic of the music video, I then extended them to fit the shot scale in the crop setting of Filmora and used this same setting to advance the size of the strip as well as change the colour, every frame to appear them getting bigger. This created a forced perspective, employing an optical illusion to the audience; this I feel worked well as it opened the music video in a unique way and foreshadowed the sense of illusions in the music video later on.

Shot 3:

Again, within my opening I extended the size of the vertical shapes in the crop settings, again to continue my wanted optical illusion effect, however I then added a 'chromatic abberation' filter using Filmora's filter settings to demonstrate a chaotic, neon overlay that plays with the compositing of the text and images; this is then a written code convention of written language. To add to this when the images grew big enough I added text that showcased the music videos title, 'All For Us', I used a 'Monsteratt Semibold' font, this connotes a simple yet intriguing feel, however when re-editing the music video I may change this to something that fits better with the darker tone of the music video.

Shot 4:

In between of the growth of the images I used a match cut that cut to the character walking down the street in a medium shot to medium close up shot, this being in time with the changing of the beat, this then created a rhythm that sets up the feels of the music video. Moreover, I also left in the diegetic sound in the footage, this being of cars and the footsteps of the character, this I feel took the audiences attention from the title and back again in these short clips, this I feel created an interesting transition and opening to the music video. Again, in this footage I used the overlay filter of 'cool film' over my footage to create the night time, eerie effect I wanted.

Shot 5 & 6:

I created this worms eye view to showcase my character walking in a different way, demonstrating this differentiated angle allows the audience to see another side of the character that is not just their head and shoulders. I liked this shot as it is a great example of using the rule of thirds compositioning, as the 'horizon line' meets up with the centre of the footage, creating a sense of flow and helps draw the viewer's eye into the image and places more emphasis on the subject. When editing I again used the 'cool film' filter to again keep a persistent time of setting to display a night time feel with the exaggerated blue light. Moreover, when editing I also slowed down the footage of the walk as I felt it was too fast paced and didn't allow enough time to cut on the right beat to match with my storyboard, I slowed this down to 1.63 speed.

Shot 7:

To keep with the pace of the music video I again used footage of the character walking down a street, this being a medium to medium close up shot. The character walks towards the camera and leaves the shot, this being a use of 'frame right' as the protagonist leaves screen. I again used the same filter, 'cool film' throughout this footage but also desaturated the face of the character as I felt the hair was too bright for a night time setting.

Shot 8:

I then used an extreme close up of the protagonist, thus displaying emotion and driving the audience to feel empathetic for the character. This was the first time I used the colour lighting machine and jell screens, this allowed me to create the blue on the characters left side of face, this I felt worked well as enhanced the colour within shot and created a fun blue contrasted to red colour imagery. When editing I did not use the 'cool film' filter but instead hand changed the colour modifications in 'colour match' on Filmora, a common tool in their settings I have used throughout. I used a high saturation within the left hand side of the face to emphasise the blue lighting but lowered the brightness and contrast to still hold a night time feel; in my own opinion this created a sense of two people in the music video, one holding a melancholic tone in the blue colour imagery and lighter, more pastel colours demonstrated a happier version of the protagonist, this being an example of mise-en-scene, this being the lighting, makeup and composition of the shot as well as holds and symbolic/technical colour conventions. However, in this footage the camera focus's in and out of shot, this being something I want to improve on but expected when it came to extreme close ups, to improve on this I in my final edit I will cut out any unneeded unfocused footage.

Filter used over blurred footage:

Re-edit: Within my re-edit of the music video after feedback from my Media teachers I decided to try try hide the blurred part of this scene as I felt was distracting towards my audience and took away the impact of this shot. To manage this, in Filmora (editing software I am using) I overlaid a glitched filter, that I feel flows with the aesthetic of the music video, to hide the blurred parts of the footage, the glitched filter evoking imagery of broken footage, thus covering this mistake through editing.

Shot 9:

In a quick match cut this then cuts to the character in the street falling backwards, this also cuts to the beat of the music audio, this then being a use of setting and camera work codes and conventions. The character falls backwards in time to the cut of the beat and later transitions  into a new setting, this being a main transition and editing piece of camera work I wanted to make from the very beginning of planning of my music video; I was inspired to do this shot by the main inspiration of the music video, this being the show 'Euphoria', a show that repeatedly uses this shot and edit. Again, I used the 'cool film' filter over the top of the footage when editing to keep a consistent setting time; I feel the lining of cars in the background almost uses a sense of direction in the elongated street to transition the audience eyes to somewhere else. However, when re-editing the draft music video I feel in this shot I left too much space when the character fully falls and leaves a moment of lingering footage; this will be something I change when re-editing and focus on the timing of certain shots and how I can make them fit better within the music video. To create this shot I placed the tripod where I wished the shot to be (with help from those in my COVID 19 bubble as well as family) and fell onto pillows placed below me, this was the only way I feel I could have created this shot without it looking clumsy. To add to this, I also slowed down the footage slightly as I felt the fall was too fast and the audience needed more time visually to understand what had happened.

Shot 10:

After the transitioning shot beforehand I scripted the character to fall down into her bed in a neon lit room as if she had fallen in from the street. This I feel worked well as the transition was fairly smooth, although when it comes to re-editing the music video this again is something I want to improve on to create faster cuts. Within this footage I didn't use the 'cool film' filter as was one of the only times I had to film in the dark to enhance the brightness of the LED lights in the background. This I found was an alternative to using the lighting machine with the jell sheets as when trying them I found there was not enough pigment to show up on camera. I placed the LED lights behind the protagonist to emphasise this effect and cast an eerie shadow over the characters face. This then uses symbolic and technical codes and conventions, within the use of mise-en-scene, lighting and setting. The LED lights change colour rapidly, contrasting to the opening title screen when the title and background did the same, this was to mimic the feel of a night club, demonstrating lighting and music becoming harsh and loud as if coming home from a night out of drinking; this can also reflect the inside of the characters mentality/mind, constantly changing and filled with the unknown. The characters expression and body language contrast against the fun, neon colours, demonstrating she is a melancholic and eerie character.

Re-edit: Within the re-edit of my music video, after taking feedback from my Media teachers, I felt some of the scenes within my footage lingered for too long, thus taking away the emotive impact of the scene. To fix this I used the clipping tool in Filmora to cut out unwanted footage, thus making the clip shorter yet having more impact. 

Shot 11:

This shot transitions from the last as a worms eye view walking shot, allowing the audience to understand the movement in between footage. This piece of footage could have been improved by better focus of the camera and less of a close up of the characters legs. This was a use of technical codes within the camera work, creating a shot that differs from others to create the feeling of movement in the music video; as well as this the use of diverse lighting contributes to this.

Shot 12:

Within this shot I used a high angled, medium close up to showcase the keys on the table; the protagonist is then seen to grab the keys swiftly. I chose to do this to create the feeling of a quick montage of the character leaving, grabbing essentials. To improve this I could have placed the keys in a more dynamic way and added more props to create a more natural feel to the shot. This is an example of mise-en-scene, everything you see in this shot, including the composition of the keys and action of the character showcases a clear message without having to use dialogue.

Shot 13:

This shot demonstrates the character grabbing a bottle of alcohol and sliding it off a kitchen counter top, then walking away; this is a use of a medium close up in a slight low down shot, this still allows a sense of movement as the protagonist walks away in the same shot. This introduces a major theme within the music video, this being alcoholism and later on drug use, thus foreshadowing what will happen later in the music video. When editing the music video I used a 'cool film' filter over the top of the footage to exaggerate the blue tones of the footage, thus exemplifying the melancholic tone of the music video, this being a use of colour symbolism and imagery.

Shot 14 & 15:

This shot showcases the protagonist leaving and re-entering the setting in a cowboy shot, thus again creating movement. In shot number 14, I decided to leave in the diegetic sound of the door slamming to create a more immersive feel of the character's feelings of anger and pursuit of leaving home. This sound overlaps over the music audio and I feel works well with the timing of the music. To transition into the next shot I used a match cut in time with the change of the music tone to showcase the feel of time changing. I could have improved this by the camera not shifting slightly in shot number 15 as distracts the focal point of the footage. Moreover, I used the lighting machine listed in my equipment used; by using this I created a blue tinted lighting that dramatised the feel of the footage, I then again emphasised this colour within my editing process of changing the saturation and brightness of the footage. 

Re-edit: When taking feedback from my Media teachers I found that when the protagonists shuts the door there is lingering footage, thus making the scene awkward and odd to look at for the viewer. Taking the concept of mise-en-scene into consideration I decided to cut out the last 4 seconds of footage from this scene as what you can see in the frame doesn't flow with the rest of the music video. Moreover, within shot number 15, I found again there was lingering space in the footage as well a sit being slightly blurred, again this didn't work well within the music video as a whole and so I decided to cut this out, thus making the footage shorter. The alternative option of adding effects over the top of this didn't flow with the music video when first attempting this, and so I remained with the technical codes and conventions of editing to cut out this footage.

Shot 16:

This medium close up shot demonstrates the character drinking alcohol in a dramatic, melancholic way. This allows the audience to understand the protagonist's need for alcohol and emphasises this through the lyrics aligned with the footage, "do it to my system", this being a use of 'Andrew Goodwins' theory on the 7 rules of making a music video, this theory being something I feel I followed when making my own music video. This shot follows the rule of a "relationship between music and visuals", as the character drinks while the audio emphasises this as a poisoning thing to the protagonists body and their mental health. Moreover, I also used a blue tinted light below the protagonist in 'Rembrandt lighting', this helped to achieve a more eerie, melancholic look.

Shot 17:

This above angled shot, placed right above the characters head is used to create a feeling as if the audience is seeing what the protagonist is seeing. I used surrounding objects around the characters action to create a more dynamic shot that has more focal points of the narrative to drive the music video forward. The symbolic use of the obvious drug use in the shot allows the audience to understand the characters narrative more, making them think questions of if she is a drug addict. Furthermore, the colour imagery used in the shot creates a neon, night club feeling, again a symbolic code demonstrating the protagonist is addicted to the night life. Neon colours and lights having connotations of the party life and is often seen in films or shows to showcase this.

Shot 18:

To create this medium close up shot I used a colour jell sheet over the top of a lamp within the setting to create neon purple colour imagery again of a night life type feel. This was used symbolically to demonstrate the protagonist, even when with her mother, as demonstrated in correlation to the music audio of the lyrics, "mama making ends met, working like a slave", she still feels addicted to the night life, this having more correlations of drugs and alcohol. To create to fall of the protagonist within this shot, I used the same technique I used when filming the street setting shot; I did this by placing pillows behind me and falling onto them safely to create the illusion the character is falling to the ground. This is also a use of symbolic codes of the character 'falling' into their alcohol and drug addiction, despite of the love seen from their mother on screen; this showcases to my target audience the relatability of how addicting drugs and alcohol can be. Moreover, when filming this I made sure I followed the COVID 19 restrictions of only filming with people in my household or support bubble. To add to this, the convention of 'acting; is used within this shot, the body language between the protagonist and the 'mother' is seen in a loving, friendly way, thus demonstrating to their audience their relationship without using audio but only the language and symbolism from the visuals and music.

Shot 19:

This next low angled shot is used as a transition from the last falling shot seen above; in this we can only see the characters legs and feet jumping into shot. In context to the music video as a whole I feel this is a shot I definitely need to improve on as the timing and pace of it doesn't match the audio or other clips in the music video. To improve this I could cut out unneeded time in the footage on Filmora (my editing software) to create a more fast paced transition shot. Within this scene there is a use of mise-en-scene as within the frame the audience can directly see a grave, giving the audience that they are at a graveyard, this having connotations of death, grief and having melancholic, depressive tones. To emphasise this I used the 'cool film' filter over the footage to exaggerate this even further, making the footage even more murky, dark and depressing. Furthermore, I also used 'framing' within this shot to try and creating a more diverse and aesthetically pleasing angle; this low down angle making the audience on the same eye level as the grave, metaphorically making us feel like them.

Shot 20, 21 & 22:

The three shot above, all in an over the shoulder shot the grave. This I feel was a key use of continuous, 'temporal' shots within the music video as demonstrated a passing of time, through lighting editing, relation of the visuals to the audio and varied changing positions of the characters body language. Within these shots, myself and a individual within my support bubble went to the setting of a graveyard within my area, this was accessible to us and didn't break any of the guidelines that go outside fo our area. In shot 20, the character is seen kneeling beside a grave, this visual in correlation with the lyrics of the audio, "daddy aint at home, no", this again being a use of Andrew Goodwins theory of creating a good music video to correlate the visuals to the audio or lyrics heard, giving the audience the symbolic evidence that the grave is the protagonists father. This allows a melancholic feel to the music video and adds an even further theme within the narrative of the loss of a loved one, this possibly being relatable to my demographic and behavioural audience.

Shot number 21, conveys the same protagonist within the setting but creates a sense of the shift of time, their body and facial language has changed as well as within editing, the lighting has become darker, suggesting the day passing into night, this holding connotations to the audience the protagonist being there all day. To make the footage darker I used the 'cool film' filter on top of the footage as I did with shot number 20, but increased this even further by darkening the brilliance, saturation, brightness and contrast as well as making the blue tones of the footage that bit deeper to generate this effect.

Finally, within the third shot, this being number 22, I emphasised the feeing of night time be even further darkening the footage in edit mode of Filmora (editing software) to make the tones of the blues in the shot deeper, saturation darker as well as cutting the light from the frame and making this darker.

Shot 23:

The shot above is an extreme close up of the protagonist, this contrasting to the earlier extreme close up used at the every beginning of the music video that has brighter, higher intensity saturated colours while this shot has dark, depressing navy blues tones, suggesting the darkness and melancholic feel of the character and music video. To edit this shot I used Filmora colour editing software to enhance the intensity of the blue on the characters face, this was used when filming by using the lighting machine and a blue coloured jell. The imagery of the character crying creates symbolic and also direct imagery of their depressive state, thus showcasing the downfall of the protagonist. To add to this, the audio's lyrics at this point in the song are, 'do it for the fam", this having connotations of the focal character trying to get sober from the earlier symbolic codes of drugs and alcohol, the tearful imagery helping emphasise the struggles of this, thus being relatable to my target audience.

Shot 24:

This next shot I feel was difficult in correlation of keeping up with the pace of the music video. This was a shot used in one of the music video's I took inspiration from, this written in my treatment presentation, of a the focal character been given alcohol and this being taken by a hand unseen by the audience on the other side of the screen. This I feel could have been improved by doing the shot left to right and not right to left as this is an action more pleasing to audience as this is the way things are read and is easier to see across the screen. Moreover, the footage is sliced within this shot, creating an odd sense of pace so this will be something I want to go back to and change when doing my re-edits. To further this, the lighting of the background doesn't fully match in sequence with the last shots, again something I will change in my re-edits by darkening the saturation of blue tones and lighting. Moreover, this is an example of the 'cause and effect' convention within film; the character been given a bottle of alcohol and then later, something or someone taking it away. This then draws our attention to the causal nature of narratives: one event leads to another, then another, until eventually, the narrative is resolved.

Shot 25:

This medium close up shot showcases a transition between shot number 24, in which the character takes the bottle from the shot number 24's hands and takes it for herself in shot 25. This allows a tone of 'analepsis' (flashback) as the previous shot sets up action for the present shot; I was inspired to do this by a Youtube film maker when creating her own music video used a similar type of shot and editing to this, this is shown in my 'inspiration editing' within my treatment presentation. By the present character reaching out, out of the screen, to grab the past versions of her alcohol bottle, gives imagery of a self sabotage; this can then be seen as relatable for my target audience as alcoholism can be a form of self harm and self sabotage. This evokes negative connotations within the displayed imagery of greed. I created this shot within a narrow setting, the walls of the fence around her getting smaller; this I felt was a good use of subtle background symbolic imagery of the protagonist feeling trapped and overwhelmed. This also presents itself as a path, evoking the feeling for the protagonist this is the only path she can follow down; thus giving melancholic, depressing imagery and tones. Again, I used the 'cool film' filter over my footage to develop a harsh, cold environment around the protagonist, as well as deepened the saturation of blues in the sky to create a night time effect. I feel this shot could have been improved by more sufficient cutting on the beat that didn't leave any 'hanging' footage as when watching it on screen and in my analysis it feels odd and without a flow in pace.

Shot 26 & 27:

This close up and medium close up exaggerates the protagonists excessive drinking, allowing the audience to understand the melancholic tone of the music video. Again, I used the 'cool film' filter over the footage to convey the melancholic night time atmosphere of the music video. The lyric I feel correlates to the visuals displayed on screen, as the 'Mona Lisa smile" lyric connotes a sinister, ironic feel to the depressing music video. However, I feel this part of the music video could be improved as the visuals seam almost repetitive and so is an aspect of the video I plan to change in my final cut.

Shot 28:

The close up showcased above I feel holds sinister, eerie connotations; I created this by using LED lights bought for the music video, underneath the characters face, this being as use of the lighting trope, 'face framed in shadow', through a partial lighting reveal. The limited illumination of the characters features make them seam ghostly and unnatural, a symbolic reference to the character becoming less of a person due to the excessive drug use. To improve this I could have used the 'Shatner lighting', commonly displayed in films/TV shows such as 'Star Trek', the 'Bond' series and 'Star Wars', this lighting feature being coined by 'Grant Freckelton'. This only illuminates the eyes of the characters face, hiding other facial features, this technique allows a clear read of a dramatic moment, a subtle emphasis to the drama within a scene.

Shot 29:

This low down close of the characters hands demonstrates the movement of the protagonist drinking alcohol, the symbolic imagery of a 'shot glass' furthering this to my audience; the arrangement of drugs and alcohol around this movement emphasising this. To be consistent with other scenes in the music video I added dramatic blue, neon lighting around the characters hands to illuminate the action. The audio within the song "and ill do 25 tonight' being a common reference to excessive drinking I feel flows well the visual imagery displayed on screen. This low down close up I feel us normally used in film to demonstrate drinking at bars, clubs, etc, and so is something my audience can expect to se and used to seeing these visuals in this type of shot.

Shot 30:

The fast moving shot displayed above is a medium transition shot of the character physically 'falling' into the next scene, this being a common editing technique I have used throughout my music video. Again, I have used the dramatic blue, neon light of the lighting machine, in my equipment list, to emphasise the drama in the transition and keep a consistent use of colour imagery. Initially, within my storyboard I planned to create a digital GIF above the character when the lyrics "if it makes me a king" are heard, this being a small crown drawn over the top of the protagonist to display a feeling of the characters 'high' before the visual 'low' of her physical and metaphorical falling. I then used a smash cut before the character meets the ground to transition into the next scene; I wanted this scene to signify the downfall (hubris) of the protagonist but I feel I could have displayed this in a more clear way to my target audience, thus being something I will improve in my final cut.

Shot 31:

This cowboy/medium full shot transitions from the last shot within the music video, evoking the feeling the character has died through the visual symbol of the hospital gown. However, we still see the protagonist drinking, showcasing the horrible effects of alcoholism, and how even in death this form of self harm is terribly hard to stop. This gives an emotional, dark use of imagery and narrative to my music video. On the other hand, to improve this I could make the transition of her death more clear by using the graveyard shots and or a whole new use of footage actually showcasing the death of the protagonist in amore clear, concise way; however this may change the age rating certificate of the music to a higher one because of the possible gory or eerie imagery.

Shot 32:

This next scene displays a walking shot off the protagonist in a slanted, medium full shot, displaying the exaggerated movement of the character. Within editing I cropped the outline of the sky in the scene and enhanced the saturation and contrast to a lower filter, making the shot seam more dark, fitting the night time atmosphere. The slanted shot used emphasises the strange, dramatic moments within this part of the music video, making the protagonist seam more eerie and deathly. The musics's audio at this point saying "I'm giving in" helps give a clear image of the characters downfall and their loss of hope. However, in this scene I found the protagonist to look directly into the camera, thus making the scene slightly awkward looking, this being something I could reshoot within my final cut.

Shot 33:

This medium/medium close up showcases an emotional aspect of the music video, the character again demonstrates her excessive drinking even in death. I think this shot worked well as the blurred background of the graveyard, again showing the characters despair, as well as the line of graves creating a leading line towards the focal point of the scene. Again, I used the 'cool filter' over the footage to create a night time feel, however in my final cut of the music video I could enhance this as it feels too bright when watching the music video. Within this shot I used the symbolic codes and conventions of 'acting' as the character cries, displaying emotion within the scene. 

Shot 34 & 35:

Within this close up shot I used LED lights to create the neon like feel I described within my script and storyboard; I used the colour imagery of flashing lights from the colours to imitate the club like feel I planned. I demonstrated use of symbolic and technical codes and conventions through the light and colour imagery displayed on screen. Moreover, I used the technical codes of visuals that you expect to see in a music video when the acoustic section takes over of extreme close up of the focal character; thus following the 'Andrew Goodwin Theory' in which record companies demand a need for close up or extreme close ups within their music videos.

Shot 36:

This next extreme close up showcases the character smoking a cigarette, the shot going from out of focus to the main focal point being the fire from the cigarette; this I feel is a shot I could improve on as the inn and out focus of the footage can be confusing for my target audience. This shot demonstrates the convention of mise-en-scene of what the audience can see in the frame, this obviously being the character smoking, evoking the imagery again of excessive use of unhealthy habits. Moreover, the scene reads from left to right of the screen, leaving 'looking space' or 'nose space' within the shot, the audience being able to see an amount of negative space in the right hand side of the shot, this then allows the subject room to move, cropping out the lead room makes the image feel squashed and compacted, making the viewer feel uncomfortable.

    Shot 37, 38, 39 & 40:

These extreme low down close ups of props within the music video again demonstrate the themes within the music video, these both being the alcohol and drug use. Again, I used the 'cool film' over the footage to keep the night time feel theme within the music video. Moreover, I used the LEDS bought for the music video to create the illuminated light beneath the table and character, this being a use of symbolic and technical codes. However, some of the shots could be improved as numerous zoom in and out of focus, thus making it unclear to the audience.

Shot 41:

This is a shot I used before within my music video, this being something I need to improve within my final cut as when shooting my music video, other extreme close ups didn't work well as they became in and out of focus; I could improve this by reshooting the scene and or use effects over the top of other tried shots to try and improve the blurred shots. Within this scene, I used an extreme close up of the protagonist, thus displaying emotion and driving the audience to feel empathetic for the character. This was the first time I used the colour lighting machine and jell screens, this allowed me to create the blue on the characters left side of face, this I felt worked well as enhanced the colour within the shot and created a fun blue contrasted to red colour imagery. When editing I did not use the 'cool film' filter but instead had changed the colour modifications in 'colour match' on Filmora, a common tool in their settings I have used throughout. I used a high saturation within the left hand side of the face to emphasise the blue lighting but lowered the brightness and contrast to still hold a night time feel; in my own opinion this created a sense of two people in the music video, one holding a melancholic tone in the blue colour imagery and lighter, more pastel colours demonstrated a happier version of the protagonist, this being an example of mise-en-scene, this being the lighting, makeup and composition of the shot as well as holds and symbolic/technical colour conventions. However, in this footage the camera focus's in and out of shot, this being something I want to improve on but expected when it came to extreme close ups, to improve on this I in my final edit I will cut out any unneeded unfocused footage.

    Shot 42:

Within this extreme close up I again used the LED lights to illuminate the protagonists features, this being a use of 'chiaroscuro lighting', the parallel lights provide a faint fill; they're often used to provide drama and mood to a scene, particularly in the genre of film noir. This may be a certain scene I use as the music video's front cover as demonstrates the dramatic feel of the video.

Shot 43: 

This medium full shot of the music video again displays the character drinking, this being a shot I have used before within the video, however, I have reversed the footage to create the idea of the reversal of time throughout the character's life, I have purposely only used footage of the character when drinking or using excessive drugs, thus exemplifying this was a main part of their life, giving a depressing moment within the music video. 

Shot 44 & 45:

The two shots displayed above are a reversal of already used footage, again exemplifying how the characters life was built around and horribly effected by alcohol and drugs. Both of these being extreme close up shots as when editing I found reversing footage of medium shots, long shots, master shots, etc. This is an important lesson I have found when creating and editing the music video that will help me in the future.

Shot 46:

Again, this shot was used in reverse of already used footage, thus exemplifying the characters life. Using the jell cards I created the purple coloured effect behind the two characters and then further edited it in Filmora to enhance said colour to a much more saturated version.

Chapter 47:

As described beforehand, I used previous footage to showcase the character within the neon, brightly coloured background, again this was used in reverse. This was used as the climax to the audio of the music video, this close up amplifying the previous footage before the ending footage of the music video. The lyrics before the last climatic part of the music video being "before I disappear into that good night", the visuals following the lyrics as the characters downfall, thus exemplifying codes and conventions of  setting and camera work.

Shot 48 & 49:

The two medium close ups showcased above were filmed within the bathtub of the music video, these both being highlighted with jell cards on the lighting machine. I then again, reversed the footage to display the characters climax at the end of the music video, seemingly coming out of the water. Moreover, I used symbolic codes and conventions of the characters makeup, this being ruined makeup of dripping mascara; thus being a visual cue of the characters unwell mental health, this symbol of ruined makeup holding imagery that most audiences will understand as most characters being mentally ill.

Re-edit: Within this scene I found the footage to be lingering and didn't flow well with the audio or music video as a whole. To counter this problem I used other footage when filming the 'bath scene', then reversed them in small clips in time with the acoustic build of the audio, thus creating tension and drama; to emphasise this I as well used the 'crop' tool in Filmora (editing software) to make the shot size a close up instead of a medium close to again add more drama. This use of the technical code and convention of editing audio I feel worked better in my re-edit than the first cut of the music video.

Shot 50, 51 & 52:

Again, these are all previous extreme close ups used in my footage file, all are edited in reverse to display the characters disarray. All footage above being edited with the 'cool film' filter to keep the consistency of the colour imagery used throughout the music video.

Shot 53:

Within this long/master shot the character is put within reverse to again display the characters disarray, thus the master shot closing the end of the music video.

Shot 54:

In this final extreme close up and final shot used within the music video, the character is seen to be crying as the last instrumental audio is heard in an electronic tone. This I feel contradicts the visuals but still conveys a a melancholic tone in contrast to the audio thus being a unique ending. However, within this shot I have not used a filter to fully showcase the characters emotion as in shots beforehand it became grainy.