Objects in the mirror/Mac Miller - https://www.youtube.com/watch?v=CRfDGDo-Ecg
My role: Director
Ideas we have discussed so far:
P1
Powerpoint 1
Powerpoint 2
Powerpoint 3
P2
A) Treatment powerpoint
Pitch video here
B) Script
C) Storyboard
D) Production schedule
E) Recce sheets
F) Risk assessment
G) Legal and ethical
Model release forms
H) Certification and scheduling
Mac Miller’s ‘Objects in the mirror’ is not exactly an offensive song and would not need to be certified into a specific time bracket so it can be played at any time for radio and TV music channels as it has no bad language although in one moment of the song the lyrics mention suicide, however this is depicted as a negative thing and is not inciteful in any way the lyric that mentions suicide is:
“ Don't even say you about to end it all….Your life precious ain't a need to go and kill yourself ”.
The song itself is about drugs but not once is that actually mentioned, the song actually seems like it is about a girl but Mac Miller said in an interview that it is about his prior drug addiction and drugs in general.
An example of a similar song is Blurred Lines (Unrated version), which is also rated PAL and is not broadcasted before the watershed.
We will broadcast our music video on MTV, we believe it is not appropriate to view before the watershed, as the song is rated PAL.
We will also put the video on youtube, and will not age restrict the video in any way. The album as a whole is rated parental advisory (PAL), this is also the rating we have for our music video.
Location permission
Song permission
P3
A) How did you set up the equipment properly?
Setting up equipment
DSLR Camera
To set up the camera first we check the battery life, to make sure it is full and then turn it off once we are satisfied.
After this we insert the SD card and check how much storage space we have available.
After turning the dial on the top to the video setting we are ready to shoot.
But not before removing the lens cap!
Tripod
When using the tripod we make sure to be mindful of our space when carrying it.
When using it we first find the spot we wish to place it, then hold it above this spot while extending the legs to the length we need and locking them in place.
After we check the tripod is balanced using the spirit level, we can remove the small plate at the top of the tripod and attach it to the bottom of the camera.
Then we can place the camera on the tripod.
We always make sure to take the camera off if we are moving the tripod.
Shoulder Mount.
The shoulder mount came in a case and had to be assembled. The process of assembling the frame of the shoulder mount was simple. First we remove the top plate and attach the camera to it, after which we place that to one side.
Then whoever is going to use the shoulder mount puts it on their shoulder, and adjusts the fit and length until it is comfortable. Then we can finally place the camera and top plate back on the shoulder mount and secure it.
Now we are ready to shoot.
Flycam
The fly cam came in a case and had to be assembled. The process of assembling the frame of the flycam was more complicated. First we remove the top plate and attach the camera to it, after which we place that to one side.
Then we attach the pole portion of the fly cam to a secure level surface, like a table, and then try our best to balance the weight evenly. Then once we think it’s balanced we can finally place the camera and top plate back on the fly cam and secure it.
Now we are ready to shoot.B) Did you follow script/storyboard?
Yes we did, as well as using the storyboards on set as a reference point for the shoot, we also added numerous shots that we felt would be appropriate for our video, these additions were also done in an additional re-shoot week as we had to review the footage we had already gotten.
C) Did you follow safe working practices? How?
When filming we made sure that we were using the equipment safely and sensibly.We followed our safety precautions as listed in the risk assessments.
We also made sure our shooting environment was safe before we shot.
- We made sure that no one ran while on set.
- All cables that were used on set were tied down appropriately.
- We brought a sign when filming in public so the public knew what was going on.
- All equipment was used sensibly.
- The cast and crew all had sensible footwear on the less even footpaths.
D) How did you follow the production process, and what did you do differently/went wrong?
We followed the production process by:
- Brainstorming ideas and deciding which was best as a group.
- Creating a script for our idea to give ourselves a starting point for more ideas.
- storyboarding the sequence of our story board and adding to it as we felt appropriate.
- Making recce and risk assessment sheets for locations we thought would be good for our shoot.
- Going out and filming test shots in the locations decided via recce, and adding to the storyboard and shot list as we familiarise ourselves with the space.
- Evaluating our test footage and deciding what works well with our video.
- Going out to the locations again and filming the shots for real.
- Getting started with post production using the shots we got from the real shoot.
- Going out and filming re-shoots for shots that better work with our edit.
- Continuing (and eventually finishing) our edit with these new shots
Test shots here:
E) What genre did you decide on and what genre conventions did you use?
The genre we decided on was hip-hop and we decided to amplify the conventions of trip hop music videos.
Some of the conventions we used from this genre are:
- A narrative about negative themes, like sadness loneliness etc.
- A small roster of characters e.g we only have Shaun featuring in our video, alongside 2 background characters that have nothing to do with the video.
- Shots that are more cinematic in nature e.g a shot of someone walking through a tunnel which fades to a blue sky.
- Use of slow handheld, shots. To make the movement seem more natural.
P4
A) Log rushes
EDL
TITLE: EDLTylerObjects
FCM: NON-DROP FRAME
001 BL V K B 00:00:00:00 00:00:21:08 00:00:00:00 00:00:03:08
FCM: NON-DROP FRAME
001 AX V K 000 00:00:00:00 00:00:03:08 00:00:00:00 00:00:03:08
* KEY CLIP NAME: TAP STILL 1.MOV
002 BL V C 00:00:00:00 00:00:03:08 00:00:00:00 00:00:03:08
002 BL V K B 00:00:00:00 00:00:18:00 00:00:03:08 00:00:06:12
FCM: NON-DROP FRAME
002 AX V K 000 00:00:00:00 00:00:03:04 00:00:03:08 00:00:06:12
* KEY CLIP NAME: HOUSE STILL.MOV
003 BL V C 00:00:00:00 00:00:06:12 00:00:00:00 00:00:06:12
003 BL V K B 00:00:00:00 00:00:14:21 00:00:06:12 00:00:09:14
FCM: NON-DROP FRAME
003 AX V K 000 00:00:33:05 00:00:36:07 00:00:06:12 00:00:09:14
* KEY CLIP NAME: KETTLE STILL.MOV
004 BL V C 00:00:00:00 00:00:09:14 00:00:00:00 00:00:09:14
004 BL V K B 00:00:00:00 00:00:11:19 00:00:09:14 00:00:12:16
FCM: NON-DROP FRAME
004 AX V K 000 00:00:04:18 00:00:07:20 00:00:09:14 00:00:12:16
* KEY CLIP NAME: MVI_0006.MOV
005 BL V C 00:00:00:00 00:00:12:16 00:00:00:00 00:00:12:16
005 BL V K B 00:00:00:00 00:00:08:17 00:00:12:16 00:00:17:15
FCM: NON-DROP FRAME
005 AX V K 000 00:00:00:00 00:00:04:24 00:00:12:16 00:00:17:15
* KEY CLIP NAME: S1 T4.MOV
006 BL V C 00:00:00:00 00:00:17:15 00:00:00:00 00:00:17:15
006 BL V K B 00:00:00:00 00:00:03:18 00:00:17:15 00:00:21:08
FCM: NON-DROP FRAME
006 AX V K 000 00:00:09:12 00:00:13:05 00:00:17:15 00:00:21:08
* KEY CLIP NAME: S1 T3.MOV
007 AX V C 00:00:02:03 00:00:04:02 00:00:21:08 00:00:23:07
* FROM CLIP NAME: S2 T1.MOV
008 AX V C 00:00:06:03 00:00:10:16 00:00:23:07 00:00:27:20
* FROM CLIP NAME: S3 T1.MOV
009 AX V C 00:00:03:08 00:00:06:24 00:00:27:20 00:00:31:11
* FROM CLIP NAME: S4 T1.MOV
010 BL V K B 00:00:00:00 00:00:16:02 00:00:31:11 00:00:37:13
FCM: NON-DROP FRAME
010 AX V K 000 00:01:05:11 00:01:11:13 00:00:31:11 00:00:37:13
* KEY CLIP NAME: S5 T1.MOV
011 BL V C 00:00:00:00 00:00:11:24 00:00:31:11 00:00:43:10
011 BL V K B 00:00:00:00 00:00:04:03 00:00:43:10 00:00:47:13
FCM: NON-DROP FRAME
011 AX V K 000 00:00:08:06 00:00:12:09 00:00:43:10 00:00:47:13
* KEY CLIP NAME: S8 T1.MOV
012 AX V C 00:00:02:07 00:00:05:02 00:00:47:13 00:00:50:08
* FROM CLIP NAME: S9 T1.MOV
013 BL V C 00:00:00:00 00:00:15:09 00:00:50:08 00:01:05:17
014 AX V C 00:00:09:18 00:00:13:08 00:01:05:17 00:01:09:07
* FROM CLIP NAME: S13 T1.MOV
015 AX V C 00:00:08:05 00:00:17:09 00:01:09:07 00:01:18:11
* FROM CLIP NAME: S14 T1.MOV
* OPACITY LEVEL AT 00:00:12:15 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:15:18 IS 0.00% (REEL AX)
016 BL V C 00:00:00:00 00:00:08:22 00:01:18:11 00:01:27:08
016 BL V K B 00:00:00:00 00:00:02:22 00:01:27:08 00:01:30:05
FCM: NON-DROP FRAME
016 AX V K 000 00:00:14:15 00:00:17:12 00:01:27:08 00:01:30:05
* KEY CLIP NAME: S15 T1.MOV
017 AX V C 00:00:04:13 00:00:07:15 00:01:30:05 00:01:33:07
* FROM CLIP NAME: S15 T2.MOV
017 AX V K B 00:00:07:15 00:00:18:10 00:01:33:07 00:01:44:02
FCM: NON-DROP FRAME
017 AX V K 000 00:00:31:09 00:00:42:04 00:01:33:07 00:01:44:02
* FROM CLIP NAME: S15 T2.MOV
* KEY CLIP NAME: LIPSYNC 2.MOV
* OPACITY LEVEL AT 00:00:31:09 IS 0.00% (REEL AX)
* OPACITY LEVEL AT 00:00:32:19 IS 13.00% (REEL AX)
* OPACITY LEVEL AT 00:00:39:04 IS 13.00% (REEL AX)
* OPACITY LEVEL AT 00:00:41:04 IS 0.00% (REEL AX)
018 BL V C 00:00:00:00 00:00:02:17 00:01:44:02 00:01:46:19
018 BL V K B 00:00:00:00 00:00:23:24 00:01:46:19 00:01:52:11
FCM: NON-DROP FRAME
018 AX V K 000 00:00:01:12 00:00:07:04 00:01:46:19 00:01:52:11
* KEY CLIP NAME: S19 T1.MOV
019 BL V C 00:00:00:00 00:00:08:09 00:01:44:02 00:01:52:11
019 BL V K B 00:00:00:00 00:00:18:07 00:01:52:11 00:01:54:10
FCM: NON-DROP FRAME
019 AX V K 000 00:00:12:14 00:00:14:13 00:01:52:11 00:01:54:10
* KEY CLIP NAME: MVI_0010.MOV
020 BL V C 00:00:00:00 00:00:20:07 00:01:44:02 00:02:04:09
020 BL V K B 00:00:00:00 00:00:06:09 00:02:04:09 00:02:10:18
FCM: NON-DROP FRAME
020 AX V K 000 00:00:05:01 00:00:11:10 00:02:04:09 00:02:10:18
* KEY CLIP NAME: S12 T1.MOV
021 AX V K B 00:00:18:08 00:00:24:23 00:02:10:18 00:02:17:08
FCM: NON-DROP FRAME
021 AX V K 000 00:00:11:10 00:00:18:00 00:02:10:18 00:02:17:08
* FROM CLIP NAME: S12 T1.MOV
* KEY CLIP NAME: S12 T1.MOV
022 BL V K B 00:00:00:00 00:00:06:01 00:02:17:08 00:02:20:00
FCM: NON-DROP FRAME
022 AX V K 000 00:00:01:23 00:00:04:15 00:02:17:08 00:02:20:00
* KEY CLIP NAME: S16 T1.MOV
023 BL V C 00:00:00:00 00:00:02:17 00:02:17:08 00:02:20:00
023 BL V K B 00:00:00:00 00:00:03:09 00:02:20:00 00:02:23:09
FCM: NON-DROP FRAME
023 AX V K 000 00:00:30:08 00:00:33:17 00:02:20:00 00:02:23:09
* KEY CLIP NAME: S16 T1.MOV
024 AX V C 00:00:10:14 00:00:13:13 00:02:23:09 00:02:26:08
* FROM CLIP NAME: S18 T1.MOV
025 BL V K B 00:00:00:00 00:00:06:21 00:02:26:08 00:02:29:10
FCM: NON-DROP FRAME
025 AX V K 000 00:00:10:05 00:00:13:07 00:02:26:08 00:02:29:10
* KEY CLIP NAME: S17 T1.MOV
026 BL V C 00:00:00:00 00:00:03:02 00:02:26:08 00:02:29:10
026 BL V K B 00:00:00:00 00:00:03:19 00:02:29:10 00:02:33:04
FCM: NON-DROP FRAME
026 AX V K 000 00:00:01:24 00:00:05:18 00:02:29:10 00:02:33:04
* KEY CLIP NAME: S22 T3.MOV
027 AX V C 00:00:06:01 00:00:08:00 00:02:33:04 00:02:35:03
* FROM CLIP NAME: S21 T1.MOV
028 BL V K B 00:00:00:00 00:00:03:05 00:02:35:03 00:02:37:03
FCM: NON-DROP FRAME
028 AX V K 000 00:00:07:17 00:00:09:17 00:02:35:03 00:02:37:03
* KEY CLIP NAME: S22 T3.MOV
029 BL V C 00:00:00:00 00:00:02:00 00:02:35:03 00:02:37:03
029 BL V K B 00:00:00:00 00:00:01:05 00:02:37:03 00:02:38:08
FCM: NON-DROP FRAME
029 AX V K 000 00:00:00:22 00:00:02:02 00:02:37:03 00:02:38:08
* KEY CLIP NAME: S23 T2 .MOV
* OPACITY LEVEL AT 00:00:02:02 IS 100.00% (REEL AX)
030 AX V K B 00:00:00:00 00:00:04:05 00:02:38:08 00:02:42:13
FCM: NON-DROP FRAME
030 AX V K 000 00:00:02:02 00:00:06:07 00:02:38:08 00:02:42:13
* FROM CLIP NAME: S25 T1.MOV
* KEY CLIP NAME: S23 T2 .MOV
* OPACITY LEVEL AT 00:00:02:02 IS 100.00% (REEL AX)
* OPACITY LEVEL AT 00:00:02:21 IS 0.00% (REEL AX)
031 AX V C 00:00:03:15 00:00:09:22 00:02:42:13 00:02:48:20
* FROM CLIP NAME: S26 T1.MOV
032 BL V K B 00:00:00:00 00:00:02:21 00:02:48:20 00:02:51:16
FCM: NON-DROP FRAME
032 AX V K 000 00:00:01:14 00:00:02:14 00:02:48:20 00:02:49:20
* KEY CLIP NAME: S28 T1.MOV
033 AX V C 00:00:05:02 00:00:08:15 00:02:51:16 00:02:55:04
* FROM CLIP NAME: S27 T1.MOV
034 BL V C 00:00:00:00 00:00:21:18 00:02:55:04 00:03:16:22
034 BL V K B 00:00:00:00 00:00:24:17 00:03:16:22 00:03:24:14
FCM: NON-DROP FRAME
034 AX V K 000 00:00:00:20 00:00:08:12 00:03:16:22 00:03:24:14
* KEY CLIP NAME: S31 T1.MOV
035 BL V C 00:00:00:00 00:00:33:24 00:02:55:04 00:03:29:03
035 BL V K B 00:00:00:00 00:00:12:11 00:03:29:03 00:03:41:14
FCM: NON-DROP FRAME
035 AX V K 000 00:00:02:00 00:00:11:05 00:03:29:03 00:03:38:08
* KEY CLIP NAME: S34 T2.MOV
036 AX V C 00:00:05:21 00:00:10:15 00:03:41:14 00:03:46:08
* FROM CLIP NAME: MVI_0018.MOV
037 AX V C 00:00:13:16 00:00:15:06 00:03:46:08 00:03:47:23
* FROM CLIP NAME: MVI_0017.MOV
038 AX V C 00:00:18:06 00:00:24:03 00:03:47:23 00:03:53:20
* FROM CLIP NAME: MVI_0019.MOV
039 BL V C 00:00:00:00 00:00:03:13 00:03:53:20 00:03:57:08
040 AX V C 00:00:02:00 00:00:05:00 00:03:57:08 00:04:00:08
* FROM CLIP NAME: MVI_0026.MOV
041 BL V K B 00:00:00:00 03:55:59:17 00:04:00:08 04:00:00:00
FCM: NON-DROP FRAME
041 AX V K 000 00:00:01:23 00:00:05:01 00:04:00:08 00:04:03:11
* KEY CLIP NAME: MVI_0030.MOV
B) Review off-line edit
C) 5 Visual effects
Visual effect 1 - Timecode:
For this shot I added a slight colour correction, making the image a bit more blue than usual. I also increased the vibrancy of the colours and the saturation.
This is to convey the fact that the setting the character is in is one that is a little more surreal and a little sadder.
Before:
After:
Visual effect 2 - Timecode:
For this shot I layered over another shot of the actor lip syncing, to achieve this I matched up the lip sync footage with the song and then changed the opacity of that clip to around 50%. Once this was done I placed it on top of the clip of the actor walking through the tunnel.
Visual effect 3 - Timecode:
For this shot I created a flash to white transition, I felt that it was more appropriate than the cut the the next shot. I achieved this by taking a fade to white transition from the effects panel and shortening it, usually it is a fade because of the length of the effect. Shortening the time it takes to run it's course means that it became more of a flash to white.
Visual effect 4 - Timecode:
In this shot I added a black bar transition, it serves as a kind of time lapse between two shots of the same place. To create this effect I layered the two shots over each other, then created a black straight line in photoshop. After this I imported the black bar into premiere and timed its movement down the screen with the garbage matte movement of the top layer shot.
This created the effect that is seen, in which one shot changes to another as the bar moves down the screen.
Visual effect 5 - Timecode:
In this visual effect I place one clip in the track above another and then proceeded to keyframe it's opacity to 0% from 100%.
This meant that rather that a cut from one clip to another I achieved a fade from one clip to the other which I felt was better.
D) Audio visual links and applied effects
FINAL VIDEO UPLOADED HERE
https://youtu.be/CnSWugMrmio
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