Editing

In order to make the editing process as simple as possible, Josh synced all of the footage with our edited version of the track. This allowed us to drag the desired shots down with ease and in only a matter of seconds, we could create short sequences. This proved to be very time efficient and we are grateful that Josh decided to spontaneously do that in some spare time.

Layered and synced footage

Although Vivian and Josh were solely focusing on the editing, they would always consult Louis and I before making any major creative or technical decisions.

We used the method of alternating layers with each shot placed in the sequence. This made the sequence more friendly on the eye allowing us to see which footage started and finished at which point, very accurately. 

Alternating between layers with each shot

We stuck, rather rigidly, in line with the theories of Carol Vernallis. An example of this is how we linked the cut away of shots directly to the beat of the track. This, in sync with her theory, meant that the lyrics became more deeply connected with the video and the video as a whole possessed a much better flow. In addition, we followed her idea of challenging audiecne expectation. We did this by switching between the colour schemes of black and white rather frequently whilst not sticking to any noticeable pattern. This kept the video fresh and added a layer of complexity to an otherwise simple concept.

We also challenged audience expectations by way of disregarding the 30 degree rule, extreme switches shot type and extreme fluctuation in pace.

This is clear contrast of our inital plane, which was to follow a continuous studio sequence. Although we have kept the same shots and some of the same chereography from when this idea was the one we were sticking to, we have not followed a continuous sequence. Doing this will prevent the video from getting too boring and yet again, adds another layers of complexity to it.



The only worthy problem we came across was with the length required for some shots. For instance, we needed some of our establishing shots to be on screen for 4 seconds, but after 3 seconds one of the actors fidgets. To combat this, we decreased the speed playback of the shot, meaning that the same 3 second shot could be dragged out to a 4 second shot. The viewer wouldn't be able to tell that this is what we did as there was virtually no movement in the shot. Another use of the speed function was to speed up blinking shots appropriately so that it synced properly with the beat.

Adjusting the speed of a shot