editing
In order to start working on the actual assemblange of the music video and its editing process, I firstly had to analyse all of the footage gathered and make a proper and useful selection of the adequate shots and videos I could use. This selection was a wide one given that I wanted to experiment extensively before narrowing down the available options and seeing which would fit better. In this terms it was more of a technical selection based on the quality and composition of shots. I then started the editing process, done with the use of softwares, specifically Final Cut Pro and Adobe Premiere CC.
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My initial ideas, and base for the editing of this video revolved around my interpretation of the songs lyrics, as explained in one of my previous posts, and the implementation of a combination of various techniques; cut-to-the-beat and lip sync were the main two I had in mind, given that I thought would fit best for the genre chosen.
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Using Final Cut Pro, I started by importing the song and then putting together the shots, following the script and storyline, trying and changing from the various versions available of the same shot. I started by using the cut to the beat technique,the cuts and edits of the video are in sync with the rhythm and beat of the song matching them to specific notes and diverse acoustic elements of the song, alternating the focus between the model (representing the artist), nature and abstract visuals. Which was reasonably efficient and rapid because it is an editing style that characterises most of my videography preliminary work.
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When taking into account Andrew Goodwin’s theory, in relation to the creation and presence of motifs in music videos, I subverted this convention. As you will be able to notice, the music video I worked on, does not necessarily have a repetitive structure based on the songs composition. This is mainly because I wanted to unfold a feeling of confusion in the audience's perception, and avoid them being accustomed. However, I opted for a minimal and different inclusion of a motif throughout the video, given that a complete absence of it would have changed the video's genre. The main motif is the lip sync shot present in the pre-chorus, always being an extreme close up of the model's mouth repeating 'I can't I can't I can't breathe'. - motifs which recur across their work (a visual style). I decided to implement this conventional aspect (although my work is characterised by the subversion of conventions) in order to give the audience a sense of structure. Although still in a subliminal way given the use of different shots for the same sentence, and its presence in the pre-chorus rather than chorus itself.
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Editing the lip sync shots I believe was the most challenging part given that it was the first time I was trying these technique and that the model's pronunciation wasn't necessarily the most accurate, taking into consideration that english isn't a familiar language to her. In order to edit these shots in the most synchronised way possible and have the same repeated flow I had to make various changes which consisted of - applying slow motion, fastening, freezing or cutting and repeating. This was done differently for every single shot given that I decided to use different footage in almost every pre-chorus repetition. Such changes of timing and speed were done to almost every shot used in the video, but were not as noticeable and complex as when done for this specific technique.
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Compositioning, I had previously considered to adapt this technique into my own creation after watching videos such as Wet's Don't wanna be your girl' music video, being one of my main inspirations, but decided to do so only in certain parts of the video, by overlapping shots focused on the character and contrasting backgrounds (blurring between media and reality). I did this by importing and positioning the selected video on top of other systematically following the same format and measurements, cropping and enlarging when necessary to have a final homogeneous result.
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After choosing the shots, editing them and applying diverse techniques I continued the post-production with color-correcting the final version of the video and adding the necessary effects, initially using Adobe Premiere CC but changed back to Final Cut Pro because of my familiarity with the programme and minimal corrections I had in mind. I created my own preset adjusting a darker lighting and unsaturated colour tones which help set moods and emphasise key movements of the song for a more dense effect. Additionally, I added a grain effect to the video with the intention of creating a characteristic present throughout the video, unifying it and giving it an older, and more personal style.This replaced my initial intention of adding a VHS effect, which I concluded would be too overwhelming for this video.
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After various trials, I decided on both the highest quality, best composed and better looking shots in terms of; appearance, length and model's acting. I believe that the final ones were the most appropriate when analysing the entire video. Although some can seem to be contradicting the style or continuity of the video.
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Below you will be able to find explanations for some of the choices taken in relation to shots and footage, all of the final chosen ones have a reasoning behind whether because of aesthetics, technicalities or concept and theories. But as explained previously my intention is not for these to completely influence the audience's perception and understanding of the video, but create a well-thought product with concealed messages allowing the viewers to have their own interpretation and me as the creator a meaningful final video.
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VERSE 1 & Breakdown - Introductory and ending scene
Besides it being a beautiful shot, in my opinion, due to the location and sunset, I decided to use it also in order to both introduce the main character, Cecilia and set the storyline by generating a feeling of intrigue transmitted by her position and actions - set down looking at the sea, observing and thinking. It also signifIes the ending of the song and the journey, creating a circular timeline.
VERSE 1
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I'm blacked out but I'm still running round
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I chose the use of this shot alongside the lyrics of the song, subliminally trying to give a visual metaphor of being blacked out - representing what the model was looking at when set down but with the connotation of her not realising or understanding what that was.
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VERSE 1
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Were strung up but we're still running round
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Initially when hearing the song I understood
'we're stronger' which was partially why I decided to use this as a visual representation because of the wave coming stronger as well it going in a circular motion along the 'running round'. Although when deciding this I had analysed the lyrics better and knew that my understanding was incorrect I decided to use it because it could still fit by representing a contradiction to being strung up, through the relaxing and untangling imagery of the waves. Presenting the target audience with two different subliminal explanations.
PRE-CHORUS ​
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Even if they don't have much to say
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Signifying a lack of depth and importance in the trends followed by a large number of today's youth, as the model in this case - smoking - without a reason. It also functions as a good transition between scenes of the model and ones of visual art pieces, with the smoke being the relevant element.
PRE-CHORUS ​
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Who knows could be you tonight
Slipped away they held on too tight
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Although the use of this specific shot, edited to a slower speed and longer timing, differentiating from the precedent and following ones, which have a faster beat, was the best option for this sentence and video frame. It gives the T.A a moment to reflect upon the lyrics as the model is shown as if she was doing so. And it also creates an element which will be repeated later on in the song of slower footage, instead of there just being a drastic change from faster and shorter shots to longer and "calmer" ones.
VERSE 1, PRE-CHORUS, CHORUS,
VERSE 2 , BREAKDOWN
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Used as a transition between scenes or locations when she blinks, model looking straight into the camera - at the audience, attracts attention and gives a more personal touch to the video. A similar shot but of a visual art piece of an eye is used with the same concept and purpose in mind.
