We spent two sessions of filming inside of the Loreto studio, with this time we managed to achieve three successful versions of the song through the performance element, this was produced by Ethan on the first one playing guitar, the second him singing, and the third him doing both together. This in the long run will give a variety of shot mise en scene to play around with when editing. It will also prevent the feeling of repetition being used by the changing set ups.
When in the studio we had the oppotunity of using three cameras at one time to capture different angled and ranged shots. We took advantage of this by have one camera shoot a full body shot from straight on, one camera shooting from a close up side angle of Ethan's face using a focus pull to react to the bass of the music and blur at parts, the third camera we used was a mid-ranged half body shot showing Ethan's upper half of his body, this shot enabled to show the detail in the expression and hand gestures he used when performing the song, it also gave a closer view of the guitar from the full body long shot. Throughout the numerous takes of performing the piece, Martin who was controlling the recording system and the camera choice, switched between cameras 1-3 in syncronisation with the songs beat and top line to represent the link between song and performance. It also helped build the intensity of the songs unlining attitude.
Inside of the studio we took advantage of the professional standard backdrops by using the simplicity of a balck background, then combining it with the powerful spolights. This helped greatly as the dark atmospheric pressure emphasised the sinster attutide the performers gave, teamed with the sharpe beams of light from the raw spolights creating shadows and imagery on the backdrop which influenced the idea of the 'dream' part of our video, espcially for the part where Matt hits Keir with the baseball bat.
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